Ghost Brothers Libretto

Music & Lyrics by
Libretto by
Musical Direction by
JOHN
STEPHEN
T BONE
MELLENCAMP KING
BURNETT
PROLOGUE
Scene 1
(The McCANDLESS CABIN is a DARK SHAPE.Theres a jutting ROCK
PROMONTORY at STAGE LEFT that overlooks Lake Belle Reve.The top
of the clearing is ringed by pines.The bottom drops out of sight. As the audience
enters and seats, we hear CRACKLY DEEP SOUTH AM RADIO.The music is
ZYDECO and HANK WILLIAMS TYPE C&W. Its peppery and upbeat.)
(As the HOUSE LIGHTS GO DARK, the ZYDECO COWBOY appears in
his little studio at STAGE RIGHT, on his feet behind an old-fashioned standing
mic. Shirtsleeves rolled to the elbows; suspenders; big ole straw cowboy hat.
ZYDECO is on the phonean old-fashioned 67 model. He puts it down
next to his record player and lifts the needle from the current disc with AN
AMPLIFIED SKEE-RONK sound.)
Song: AnD You CAn DreAM ..... ZYDeCo CoWBoY

DONT LET THIS WORLD GET YOU DOWN
YOU CAN BELIEVE AND YOU CAN DREAM
During the following, BIG NUMBERS1967appear above the darkened cabin.
(into the mic)
Sorry to interrupt, chillun, but I just got some tragic news from Lake Belle Reve, where it
look like a bad accident has occurred on to a double suicide. The bodies of a young man n
woman was recovered by Mr. Dan Coker, a local caretakerhalf ya know him, the other half
missin out. An-nd the body of another boy was found in a nearby cabin! An-nd the boys were
brothers! Both was in the Hawkeye Shootin Competition, where your pal the Zydeco Cowboy was the master of ceremonies, yeah youre right. [Beat] Oh my. This make the Cowboy
feel so sad. Luckily for cheerin us up, we got the Delta 5, yeah you right, on WWFW, your
voice of the Crescent
(As he puts on another record and the MUSIC STARTS UP, newspaper
headlines appear above the darkened cabin. First: THEY DIED FOR LOVE.
Second: DAY OF FUN & CELEBRATION TURNS TO HORROR)!
(The MUSIC BECOMES ECHOEY AND FADES. The STAGE GOES DARK,
and then a shaft of RED LIGHT appears as THE SHAPE rises from the bowels of
the earth. Hes a handsome, smiling, tattooed, muscular monster.)
(Spreading its arms wide, it singsa capellathe first verse of Thats Me.)
Song: ThAT S Me ..... The ShAPe

YOU KNOW THAT VOICE
YOU HEAR IN YOUR HEAD
THATS ME, BABY THATS ME
AND YOU THOUGHT YOU WERE JUST
TALKING TO YOURSELF
BUT ITS ME, BABY THATS ME
I CAN GET YOU TO DO
3
ANYTHING I WANT
CAUSE IM THE SEXY ONE
WITH ALL THAT GOOD STUFF
ITS ME,YES BABY, THATS ME
WHEN YOU FEEL
LIKE SMACKING YOUR BROTHER
THATS ME, BABY THATS ME
AND WHEN YOU FEEL LIKE
CHEATING ON A LOVER
THATS ME, AH YES THATS ME
YOUNG MAN
I love you.
YOUNG WOMAN
I love you, too.
YOUNG MAN
On three, then. Onetwo
BOTH
Three!
I CAN GET YOU TO

SCREW UP YOUR LIFE
STICK UP THE PAPERBOY
WITH YOUR BEST FRIENDS WIFE
THATS ME, BABY, OH THATS ME
IM THE PROVIDER OF ALL THAT POOPY-DOOPY-DOO
WHEN YOU THINK
YES, I GOT IT ALL WORKED OUT NOW
THINK OF ME, BABY THATS ME
WHEN YOUR SUNNY DAY
TURNS CLOUDY
THANK ME, BABY THANK ME
(When the verse finishes, it allows a beat of silence.Then it does a happy little dance
and swirl that finishes with a bow to the audience.)
THE SHAPE
Hello, all you beautiful peoplehow ya doin tonight? Are you good? Of course you are! Its
Friday night in downland Mississippi, and everybodys happy.Your paycheck is cashed and its
time to go honky-tonkin. Get in a fight in the parking lot; get kissed after; ride home fast.
Some girls apt to get her name sprayed on the Delight water-tower. Oh, and someones going
to die. Isnt it wonderful. That radio asshole is bustin his britches tellin everyone in Darkland
County. Its the American wayand its what you came to see.
(Headlights approach on the PROMONTORY, and the HOUSE BAND begins
to play.)
THE SHAPE
Call me an old softie, but I love it when young people die.
(It slinks back into the darkness. The RED SPOT FADES INTO MOONLIGHT.
TWO CAR DOORS OPEN, then CHUNK SHUT. A YOUNG MAN and
YOUNG WOMAN appear in the clearing that will go down in local history as
The Leap. We cant see their faces, only their SILHOUETTES.)
YOUNG MAN
(They JUMP! Hand in hand and out of sight. The MUSIC CRASHES
BACKa BIG STING OF SOUND. )
THE SHAPE
OH YOU CRAZY MOON!
(The PROMONTORY fills with BLUE MOONGLOW, and this allows us to see
the people who come next. A YOUNG JOE, a boy with a WHITE STREAK IN
HIS HAIR, walks into the clearing.)
YOUNG JOE
(to the audience)
That aint how it happened.
(A MAN enters the clearing: Grown Joe with the same WHITE STREAK in his hair.)
GROWN JOE
Sure it was.
(YOUNG JOE looks around fearfully.)
Ask anyone in these parts.
YOUNG JOE
No! It aint! You got to tell!
GROWN JOE
I cant ever tell. And you know why.
YOUNG JOE
It wasnt like that! It was
GROWN JOE
TATTLE-TALE-TIT! ALL THE DOGS IN TOWN COME TO GET A LITTLE BIT!
Get out of here or Ill tan your britches!
YOUNG JOE
Youre the one who needs his britches tanned! You!
Never meant to hurt him. Nosir.

YOUNG WOMAN
I know it, honey. Im ready if you are.
(They share a passionate kiss at the lip of the drop.)
(YOUNG JOE flees. GROWN JOE peers after him, then approaches the edge of
the drop and looks down.)
GROWN JOE
Nosir. No. We dont tell. We dont ever tell.
5
(Now THE SHAPE creeps to the foot of the promontory. GROWN JOE doesnt
see him, but he senses him.)
Scene 2
(LIGHTS GO UP in the DREAMLAND CAF, which floats in mid-air over
the CABIN. The DREAMLAND exists in no timeor rather, outside of time.
Its empty except for GROWN JOE and THE HOUSE BAND, still softly playing
Away From This World. JOEs head is down on his arms. There are a couple
of empty beer bottles in front of him. Hes either asleep or passed out. The feel is
blueas in a Frank Sinatra torch song.)
THE SHAPE
I win, I always win.
(To JOE)
Move chump.Youre in my moonlight.
(GROWN JOE exits. THE SHAPE stands in the moonlight for a few seconds,
enjoying it, then it finishes the song.)
SOUND CUE: A GUNSHOT, ECHOING, LOUD.

(JOE snaps upright, eyes wild with terror. He looks around and terror becomes
unutterable weariness. He runs his hands through his hair. DAN comes to him, only
here hes the DREAMLAND BARTENDER, wearing a bow tie and arm garters.)
Song:ThAT S Me (rePriSe) ..... The ShAPe

AND WHEN YOURE BURNING UP
IN HELLS FIRE
ILL GIVE YOU A WATER BREAK
IM SUCH A LIAR
THATS ME, OH ARENT YOU GLAD YOU KNOW ITS ME
CAUSE BABY THATS ME, OH YES THATS ME
IM THE ORIGINAL HOTTIE, THATS ME
THANK YOU
(THE SHAPE EXITS in the same shaft of RED LIGHT it arrived in. It fades
to dark, and the LIVE BAND bridges to Scene 2 with Away From This World
instrumental).
DAN
Closin time! You dont have to go home, but you cant stay here! Drive safe, watch out for
County Mounties, and if youre on your bike, wear wh
JOE
No
DAN
If youre on your bike, wear white!
JOE
Again?
DAN
What do you mean, again? Closin time always comes at the same time. Why you still here
when everyone else is long gone?
JOE
This time I want to stay.
DAN
Your biness aint right. Put yo biness right, then we see. How many times have I told you?
JOE
I dont know what you mean.
DAN
You know, all right. When you gonna tell the truth and get out of here? Wise up, Joey.
Wise up and grow a pair.
(JOE looks at him with despair, but THE BARTENDER leaves, and the DREAMLAND goes dark. The 1967 superimposed over the cabin BLURS UPWARD,
stopping at 2007. Then these numbers fade, leaving only the sound of CRICKETS
and faint music.)
ACT 1
Scene 3
The McCandless cabin on an August night in 2007.
(The CABIN is gloomy. Partly because its night, but mostly its just a gloomy place
these days. The FURNITURE is swaddled in dustcloths, even the two biggest
pieces: the GRANDFATHER CLOCK and the GUN CABINET.)
SOUND OF AN APPROACHING ENGINE.
(THE SHAPE enters, cutting across the apron and entering the cabin. It travels in
an ORANGE-RED GLOW, like well-banked hellfire. It puts one BONY HAND
to the side of its hooded head, as if getting an ESP wave.)
THE SHAPE
More company coming! I think it might be Frankie! And I think hes bringinga friend!
(THE SHAPE pumps its hips in burlesque intercourse)
(From STAGE RIGHT comes DAN COKER, a black man now in a black suit and
tieless white shirt. He looks about 60, which is how old he was when he died. Like
all the GHOSTS in this play, he travels in a BLUE GLOW. He approaches THE
SHAPE from downstage. Theyre old adversaries.)
THE SHAPE
Wheres your little friends? Off hauntin the Tastee Freeze again? Or shoppin for bargains at
the Wal-Mart where the drive-in used to be?
DAN
Never mind them. Why not let these folks be, just for the hell of it. Whoever they are.
THE SHAPE
Eat some chicken! Add some pie! Add some French-fried shit and die!
(The door opens. FRANK McCANDLESS (22) and ANNA WICKLOW (about the same age)
enter the living room, arms around each other, laughing and stumbling. FRANKs got one arm in
a forearm cast, but its not slowing him down any.Theyre not drunk, but theyre certainly high
and pressurized.Theyve been partying all night. On the way here, too, from the looks of them. )
(As the scene plays, they go around the room yanking dustcovers off the furniture, goofing around, flapping them at each other. Theyre in good humor. )
ANNA
Did you see him when people started to leave?
FRANK
Halfway through his tenderest ballad, some guy yells out Hey Drake, play Free Bird!
ANNA
And he goes
(Imitating DRAKE, deep cornpone Southern accent)
This aint that kahnd of bay-und.
(She caws with laughter.)
I love that!
8
FRANK
You dont feel sorry for him? Just a little?
(ANNA pauses with a dust cloth in her hands. She turns partly away from
FRANK and we see she does feel sorry, at least a little. Then her face closes up
and she turns back to FRANK with a hard, shiny smile. This is a pretty girl, but
the smile isnt pretty. This is one Southern belle you do not want to cross.)
ANNA
Do you know who calls me a bitch and gets away with it, Frank?
FRANK
Cant say I do, maam.
ANNA
Nobody. Not sojer-boys in wheelchairs, not Girl Scouts selling cookies door-to-door. Not even
your brother.
Song:ThAT S Who i AM ..... AnnA

IM A WHOLE LOTTA BIG LITTLE GIRL
AND I KNOW WHAT MEN LIKE
LOOK OUT BOYS CAUSE HERE COMES ANNA
WITH HER SKIRT HIKED UP HIGH
WHEN YOU HOLD ME TIGHT
AND LOOK INTO MY EYES
I CAN SUCKER YOU INTO BELIEVING
ALL OF MY LIES
THATS WHO I AM
ONE THOUSAND PERCENT ILLUSION
THATS WHO I AM
GOTCHA FLOATIN ON A CLOUD
THATS WHO I AM
COOKIE-CUT FOR YOUR LOVIN REUNION
I WANT TO MAKE DAMN SURE YOU KNOW
WHAT YOURE GETTING YOURSELF INTO NOW
I CAN BE AS NICE AS PIE
WHENEVER I NEED TO
PUT MY HAND IN YOUR FRONT POCKETS
AND TIGHTEN UP YOUR SCREW
MAKE YOU FEEL LIKE A BIG MAN
WALKIN WITH YOUR BARBIE DOLL
PUT YOU DOWN WHEN YOU AINT AROUND
AND KICK YOU WHEN YOU FALL
THATS WHO I AM
THATS WHO I AM
THATS WHO I AM
9
I CAN LAUGH AT ALL YOUR JOKES

PARTICULARLY WHEN ITS AT YOU
HAD BETTER AND I HAD WORSE
BUT I GUESS THAT YOULL DO
DONT TRY TO BOSS ME OR THINK I REALLY CARE
CAUSE THERES HUNDREDS OF BOYS WAITIN, WAITIN FOR ME OUT THERE
FRANK
You know what? When we were kids, Drake stole all my toys.
ANNA
And now that you gone and stole one of his, how do you feel?
FRANK
THATS WHO I AM
THATS WHO I AM
THATS WHO I AM
(ANNA is alarmed at where this particular insight might be going, and
throws one of the dustcovers over FRANKS head to shut him up. works.)
FRANK
Im a ghost! Im the ghost of Lake Belle Reve! BWAA-HA-HA!
(ANNA screams theatrically. He chases her, looking like an overgrown version of
Casper the Friendly Ghost. She tumbles to the sofa. He lands on top of her and
covers them both with the sheet. LAUGHTER and GIGGLES from beneath.)
FRANK
Pop quiz. What do ghosts love most?
(frown becomes a smile)

Damn good, actually.
ANNA
Which bunk was yours?
FRANK
Bottom.
ANNA
Then lets go up top. If youre gonna play with his toy, you ought to do it in his playroom.
FRANK
You dont quit, do you?
ANNA
Nosir, I do not.
FRANK
(As she takes his hand and leads him to it)
AnnahoneyIm not sure thatll hold us
(She unbuttons her blouse and drops it. Shimmies out of her skirt. Stands there in her
lacy underwear)
ANNA
I dont knooww!
FRANK
Tittie-ticklin!
(She SCREAMS some more, and when she emerges from the sheet, shes messed up
and unbuttoned. She runs STAGE LEFT, to the boys old room. FRANK chases after.
She turns on the lights. Its a 1990s time-capsule from when FRANK and his brother
DRAKE were kids.There are posters, a toybox, sports books.Theres a [relatively]
tasteful pinup of Shania Twain.)
ANNA
If you want some sugar, youre gonna have to dip it out of the bowl up there where the air is rare.
(Giggles)
FRANK
Well, damn!
(Hes out of his shirt, and as he shucks his pants, he turns off the light. Theres some
glow from the main room, but mostly we see shadows as first ANNA and then
FRANK climbs into the top bunk.)
ANNA
Omigod! Shania!
FRANK
We were kids. She looked pretty hot to a couple of
(Embarrassed, moving on.)
Kurt Cobain, see?
ANNA
(not to be distracted)
Shania TWAAIIIN! OhmyGOD! Is that where you boys slept?
(Indicating the bunk beds.)
FRANK
Well
(He looks around the room, frowning.)
10
ANNA
Come here and show me how the worlds next big writer does it.
(Theres a WARNING CREAK from the top bunk as they wrestle around.)
FRANK
Hear that?
ANNA
(seductive)
Feel this?
11
(More wriggling. More slap-and-tickle. Another CREAKthen a CRASH as the

top bunk collapses! ANNA screams. FRANK shouts. Theres silencethen more
THRASHING and LAUGHING. Theyre young, and not apt to let a little thing
like a busted bunk stop them.)
FRANK
The survivors crawled from the wreckage intact but with an insane desire for PROCREATION!
ANNA
(fake Southern belle indignation)
Youyou bunk-wrecker! But at least it was his bunk.
(Theres more GIGGLINGthen MOANING we all recognize from our own
post-adolescent sexual adventures.)
(The LIGHTS SINK TO DARK in the boys bedroom; the BLUE GLOW returns
to the APRON. DAN is still there, looking toward the boys bedroom, but he turns
as ANDY (21) and JACK (18) enter from STAGE RIGHT. Both traveling in their
own BLUE CAPSULES OF LIGHT.)
(He bends over until his face is almost on FRANKS. Although the
BLUE GLOW is bright, neither sleeper stirs.)
Thats a McCandless face, though. Damn if it aint. Like looking into a mirror!
JACK
Wanna see your face without looking in a mirror?
(JACK drops trou and moons ANDY. Then yanks his pants up again quickly,
just in time to dance away before ANDY can grab him. Through what follows,
the SLEEPING LIVE FOLKS, never stir. At one point, ANDY kicks JACKS
upturned ass. JACK does a barrel-roll and comes to his feet, grinning.)
ANDY
Dont show me your ass unless you want me to whip it off you.
JACK
You couldnt whip cream!
DAN
ANDY
Whats goin on, Dan? They aint been out here forev
(DAN puts a finger to his lips and points toward the darkened bedroom.)
Dont start, you two.

JENNA
They never stopped.
JACK
(snorts)
As if they could hear us!
JACK
(arms out, does Elvis)
Hank-yew. Hank-yew verra much.
DAN
Sometimes they feel us.

ANDY
(nods to the noisy darkened bedroom)
Sounds like someones feelin plenty. Two someones.
(JENNA (19) enters. Shes beautiful, and bears a resemblance to ANNA.)
JENNA
ANDY
You little show-off bastard.
(turns to DAN)
Forty years in this rotten cell! Forty years with the brother from hell!
JACK
(knocks a blow from his brother aside)
If you cant finish, you best not start!
(He launches a roundhouse punch.)
Who was it, Dan? Whos here?

DAN
Come see.
(He leads them to the bedroom. They may pass through the living room wall to get
there; theyre ghosts, after all. The BLUE GLOW travels with them, illuminating
the room. The top bunk lies askew on the bottom one. FRANK and ANNA are
sleeping in each others arms.)
DAN
(points at FRANK)
Thats Frank, your baby brothers son.Your nephew.Your youngest nephew.
ANDY
(shocked)
I dont believe it!
12
JENNA
(steps between them)
Cant you stop? It breaks my heart! You both think youre so goddam smart!
Song:So GoDDAM SMArT ..... JACK, AnDY, JennA

JACK
SHOWED UP AT THE WRONG TIME
IVE BEEN KEPT OUTSIDE
NEVER COULD GET IN AT ALL
EVEN WHEN I TRIED
NOW I SEEN THIS WHOLE WORLD CRYIN
SEVEN DAYS FROM THE START
IM THE ONLY SON CONCEIVED THROUGH WISDOM
AND THATS WHAT MAKES ME SO GODDAM SMART
SO GODDAM SMART
13
ANDY
YOU AINT NOTHING BUT A LIAR
I HEAR THOSE WORDS THAT YOU SPEW
YOU ARE UNKIND AND THOUGHTLESS
AND IM ASHAMED OF THE THINGS THAT YOU CALL THE TRUTH
BUT LOOK AT ME WITH ALL OF THIS BEAUTY
AND MY WORDS ARE SPOKEN FROM THE HEART
IM STRONG AND GETTING STRONGER
THATS WHAT MAKES ME SO GODDAM SMART
SO GODDAM SMART
JENNA
OH HERE WE ARE
FROM DUST TO ETERNITY
AND HERE WE WILL STAY
TILL THE TRUTH JUST LETS US BE
ANDY
Bullshit!
(But she does and ANDY knows it. Its just that these two never agree.)
ANNA
(shaking FRANK)
Honey, wake up! I think I hear something!
FRANK
(mumbling)
Just micehzzzzz
DAN
No one here.
JACK & ANDY

SO GODDAM SMART
SO GODDAM SMART
YOU BETTER KEEP YOUR DISTANCE
MY OLD EX-BEST FRIEND
AS WE LIVED AND DIED BROTHERS FOREVER
OUR BEST WISHES TO YOU ALL WELL SEND
AND SOME DAYS ARE BETTER THAN OTHERS
IT SEEMS OUR ACTIONS HAVE TORN US APART
AND THE MORAL IS TO TRY TO LOVE ONE ANOTHER
THATS WHAT MAKES US SO GODDAM SMART
SO GODDAM SMART
SO GODDAM SMART
(At the end of the song, ANDY and JACK lunge at each other again, one on each
side of the SLEEPING COUPLE. DAN gets between them this time, and shoves
them apart like a ref at a boxing match)
DAN
(thunders)
ENOUGH!
(This wakes ANNA, who sits up clutching the sheet to her shoulders.)
JACK
Now you done it, went and woke her up
ANDY
Wasnt me, you gluefoot dumbbell
(JENNA ignores them. She is bending to look into ANNAS face. And although
their faces are less than an inch apart and the BLUE GLOW washes over ANNA, she
looks right through JENNA.)
JENNA
Why, she looks like me!
JACK
(bending in for his own look)
Maybe a little.
14
ANNA
(sighs)
I guess no ones here this place is creepy.
JACK
(a little offended)
Creepy? Whats creepy about it?
DAN
Live folks cant smell the blood that was spilled in a placebut sometimes they can feel it.
(He touches ANNAS forehead, then passes his hand in front of her eyes.)
Go back to sleep.
(ANNA lies down, snuggles against FRANK, and goes back to sleep. From outside
comes THE SOUND OF AN ENGINE APPROACHING. Lights flash in the
windows of the front room.)
(On the APRON, A RED-ORANGE GLOW lights THE SHAPE.)
THE SHAPE
Whoa! This could be one of those Lifetime Channel situations!
(The GHOSTS retreat to the living room as FRANK stirs. When they leave, the
bedroom GOES DARK again; we can just make out the shapes of FRANK and
ANNA. HEADLIGHTS wash in through the windows. This rouses FRANK,
who sits up. ANNA stirs and mutters. )
JENNA
(frightened)
Whos that?
(ANDY tries to put an arm around her. JACK shoves him away. Theyre on
the verge of another fightone of many, stretching back over 40 years. DAN
pushes them both away and comforts JENNA himself.)
(The ENGINE CUTS OUT. Footsteps approach and the door opens. MONIQUE
McCANDLESS comes in, carrying a single fashionable overnighter, pink, of course,
and a handbag, Gucci, of course. Sheswell, lets just say a woman of a certain age.
15
Shes managed to hang on to a good deal of the charm and beauty that captivated
her husband JOEand shes managed to hold onto him, as well. No trophy wife for
JOE McCANDLESS; MONIQUE is his first and only.)
MONIQUE
(She is not quite steady on her feet.)
Well, hello, cabin.
(She opens her purse and brings out a silver flask. She has a nip, looks around.)
(Louder) I said, hello, cabin!
FRANK
I dont know who you are
(He sees his MOTHER pointing a gun at him.)
Yow! Jesus, Ma! Hold your fire!
(Lowers the bat)
MONIQUE
(Lowers the gun, trembling and terrified.)
My good God, I almost shot you!
(This wakes ANNA again. She sits up and clutches FRANK. FRANK puts a finger
to his lips to hush her. Theres a baseball bat leaning in one corner amid a clutter of
sports gear, and he grabs it.)
FRANK
(taking the old rifle from her)
Not likely. Barrels plugged. See? Wheres Pa?
(During this business, MONIQUE takes a longer drink, then caps the flask. Before
she can put it back in her handbag, FRANK kicks a toybox, producing a THUMP
and RATTLE.)
MONIQUE
Held up at a job site. That darn bank building. Something about the cladding. Hell be along
trectly.
ANNA
(whispers to FRANK)
Who is it?
FRANK
(spots the flask and picks it up)
This yours?
FRANK
(whispers back)
Stay put.
MONIQUE
(plucks it from his hand)
No, that belongs to Vanna White.You know, The Wheel of Fortune gal? I dropped her off half a
mile back. Said she had to pick up a mess of vowels. Guess she might have forgot it.
MONIQUE
(stiffens, goes on alert)
Is someone here?
FRANK
From the smell of your breath, old Vanna must be a sharing soul.
(Those whispers are enough for MONIQUE. No horror movie heroine here;
she drops her overnighter and her purse on the floor, puts her flask on an end table,
and strides to the GUN CABINET. Inside is a DUSTY OLD RIFLE. As she
takes it out, she doesnt notice a METAL ROD protruding from the end of the
barrel. Probably we wont, either, until its called to our attention.)
(MONIQUE raises the gun, socks the butt into the hollow of her shoulder, and points
it at the darkness. Shes not quite steady on her feet and the barrel wavers around a bit.
ANDY and JACK watch tensely. JENNA cringes inside DANS encircling arm.)
MONIQUE
You might want to save your sarcasm for your writing, honey.
(She puts the flask in her purse, perhaps operating under the out-of-sight, out-of-mind theory.)
FRANK
Momma, what if a County Mounty had stopped you? What would you blow? Oh-six? Oh-eight?
MONIQUE
Im fine, Frank, and anyway, the State Patrol doesnt bother with Darkland County except on
Friday nights.You know that as well as I do.
JENNA
(whimpering)
Oh Dan, its like 1967 all over again!
FRANK
ButMommaif
(Theres a moment of fraught silence, which THE SHAPE breaks.)

THE SHAPE
(amplified, on the apron)
KILL THEM BURGLARS, MA! SHOOT FIRST N ASK QUESTIONS LATER! REMEMBER THE FUCKIN ALAMO!
MONIQUE
(surveying her sons decidedly informal attire)
And youre about two swatches of cotton from nekkid. Thought youd have a little nap, then
scare the dickens out of your loving Momma?
FRANK
Ummmno. We went to Darkland County Days. To see Drake.
(FRANK, dressed in his boxers and holding the bat like Chipper Jones in a bad
mood, comes into the living room.)
MONIQUE
And who is we, dear?
16
17
(ANNA comes out. Shes found a tee-shirt that she wears like a minidress. Lots of bare
thigh on displayher hairs all in a good-lovin tangledoesnt take a rocket scientist to
figure out whats been going on.)
ANNA
Umhi, Mrs. McCandless. Weumbroke the bunk.
(She emits an irritating little sub-deb giggle.)
Soh-ree.
FRANK
Wrestling around.
(Brightening; sees a way to distract her, maybe.)
Say, Momma! My agent sold my book to paperback and
(MONIQUE pays no attention to him. Shes staring at ANNA, and without
much liking. MONIQUE knows a bitchkitty when she sees one.)
BECAUSE EVERYTHING YOU DO I SEE

BUT YOURE WRONG,YOURE WRONG,YOURE WRONG ABOUT ME
TEN COMMANDMENTS, HELL!
WITH ME, THERES ONLY ONE
EACH INDIVIDUAL HAS THE RIGHT
THE FELLA NEXT TO YOU HAS NONE
YOURE WRONG,YOURE WRONG,YOURE WRONG ABOUT ME
(MONIQUE starts picking up the scattered dustcovers and folding them.)
MONIQUE
(low, to herself)
Well, hail. Its been goin on since the world began. But little Miss Hot-Pants
(Shakes her head)
ANDY & JACK
MONIQUE
(sweet as honey)
If youre going to be shtupping my son in our lakeside cabin, why dont you just go on and
call me Monique? And put something on, dear.You too, Frank. Children generally greet their
parents with their pants on, or did when I was young.
THE SHAPE
And when was she young? WHEN DINOSAURS ROAMED THE FUCKING EARTH!
(To the audience, confiding)
Looks like Mo-neekie forgot how to get freaky. Goes to church, you know. I get bad reviews
there. Always have. True artists usually do.
What did she say?

THE SHAPE
(bellowing cheerfully)
Momma doesnt like her! Thinks her boy genius got hooked up with a real ball-cutter! But
shes hot! Gotta admit it! Them legs start in the Australian outback and go all the way up to
the steamy African jungle!
FRANK
(enters)
Annas just fixin her hair.
Song: WronG, WronG, WronG ABouT Me ..... The ShAPe

WELL YOU LOOK DOWN YOUR NOSES
WHEN ANYONES HAVING FUN
I GUESS YOU CANT REMEMBER
WHAT ITS LIKE TO BE YOUNG
YOU GOT NO FUN-LOVIN SPIRIT LEFT IN YOU AT ALL
JUST TWO YOUNG LOVERS HERE
TRYIN TO HAVE A BALL
ITS PEOPLE LIKE YOU
WHO THINK THAT HEAVENS THE PLACE TO BE
BUT YOURE WRONG, WRONG, WRONG, WRONG ABOUT ME
MONIQUE
(sweet)
Oh, is that what shes fixing?
FRANK
What are we doing here, anyway?
MONIQUE
Honey, youll have to wait for your father on that.
FRANK
But you know.
WELL YOUVE LIED TO YOUR CHILDREN

ABOUT WHATS GOOD AND BAD
AND YOU FALSIFY THE TRUTH
ABOUT ALL THE FUN THAT YOUVE HAD
YOU ALWAYS ACT SO GOODY-GOODY
WITH YOUR THANK YOU, DEAR AND PLEASE
BUT YOURE WRONG,YOURE WRONG,YOURE WRONG ABOUT ME
IN SUMMATION
JUST TO BRING THIS TO A CLOSE
I BET YOUVE DONE SOME THINGS YOURSELF
THAT NOBODYS SUPPOSED TO KNOW
DONT FORGET WHO YOURE TALKIN TO, DEAR
18
MONIQUE
Just enough to make me nervous.
FRANK
I thought Daddy told you everything.
MONIQUE
(cant quite hide her hurt feelings)
So did I.
FRANK
Daddy never comes out here anymore. Not since we were little.
19
MONIQUE
Well, hes comin. And it had to be here. Thats what he said.
(She changes the subject.)
Tell me your big news.You sold your book to whatthe movies?
FRANK
Not the movies, paperback!
MONIQUE
(doesnt care or doesnt get it)
Thats wonderful! Did you get a little money, Frank?
FRANK
(laughs happily)
Did I get a little? A little? Momma, I got
FRANK
Stop it!
DRAKE
Huggies on Frank! Huggies on Frank from the Big Duck!
(He swings FRANK around, making QUACKING SOUNDS that go to childhood.)
What do you say, Frankenstein? Hows the hot-shit writer? Still typin out those turds?
MONIQUE
Drake McCandless, dont you ever!
DRAKE
(releasing FRANK, who steps back, brushing his shirt)
Sorry, Momma. Hot shot writer is what I meant to say.
FRANK
MONIQUE
You stink of beer, sweat, and pot.
(hand up to hush him)

That must be your brother.
DRAKE
Thats the smell of rock and roll.
(There is indeed another CAR APPROACHING. She turns toward the SOUND
eagerly, losing interest in FRANKS big news. The joy goes out of FRANK, replaced
by a look of sullen resignation.)
MONIQUE
(anxious)
How did it go? Did that man from the record company show up?
FRANK
Bad pennies always show up.
MONIQUE
(fierce)
Dont you start!
DRAKE
He stayed the whole show. Said he loved the new stuff.
(He touches the guitar case, which is covered with stickers.)
Says hell be in touch real soon.
MONIQUE
(HEADLIGHTS flash across the windows. A moment later, DRAKE McCAND

LESS (24) steps in. Hes carrying a cased guitar, which he sets by the door. The
GHOSTS, unnoticed, stare with avid curiosity. THE SHAPE lurks in its
ORANGE-RED FIRE on the APRON.)
MONIQUE
Come here and hug your Momma, Drake McCandless!
(He does, and gives her a kiss. FRANK watches with narrow jealousy. Hes the
success, but DRAKE has always been his parents favorite.
The LIVE BROTHERS are a study in contrasts. FRANK is slim, dark, intelligent,
nervy; surface confidence and swagger mask the insecurity that comes from a lifetime
of sucking hind tit behind his older brother. DRAKE is handsome and outdoorsy
looking, very much his fathers son. Until lately, hes always been the successful one,
but now he looks tired and unsure of himself. He takes off his battered leather jacket
and slings it onto the couch.)
(He turns to regard FRANK. MONIQUE watches nervously. For a moment
nothing happens. All is still. FRANK looks at his older brother with a lifetime of
narrow distrust. Then DRAKE gives a magnificent Big Duck grin and sweeps his
brother into his arms, lifting him from the floor.)
20
(claps her hands)

Waitll Joe hears!
FRANK
He might even like to hear my news.You know, at some point.
MONIQUE
You be glad for your brother, Frank McCandless!
FRANK
(ignores her, goes straight to DRAKE)
Stayed for the whole show, did he? I guess I pegged the wrong fella. I thought he was the
greasy guy with the coke-drip. I must have been wrong.
DRAKE
You were there? I didnt see you
(ANNA appears in the doorway of the boys bedroom, smiling at DRAKE. Shes
dressed, and her hair is neatly pulled back in a scrunchie, but shes still got that look
that glowthat can mean only one thing. DRAKE is thunderstruck to see her there.)
ANNA
Hi, Drake.
(Theres something sweet and tentative here. Hopeful.)
21
DRAKE
Annawhat the hell are you doing here?
(The anger in his voice freezes the sweetness out of her face. Her smile becomes catty.)
ANNA
Behaving like a couple of twelve-year-olds! Drake, youve got your music, and now youre goan get
a record deal! Frank, you sold your book! Jealousy in the face of such blessings is an affront to God!
FRANK
His record deal is mostly in his own mind. And I cant help it if Anna ended up preferring
me to him
We came to your show. Me n Frank.

ANNA
DRAKE
(thunderstruck)
Youand Frank?
ANNA
Lookie, yall
(She shows a flashing ring on the third finger of her left hand.)
Were engaged!
(A beat while she savors their expressions: MONIQUE amazed, DRAKE jealous,
FRANK uncomfortable.)
Wellengaged to be engaged.
DRAKE
But youwhen did you and himhow
FRANK
(with a meanly delighted smile)
Kind of a shock, I guess. When things dont go your way. Not exactly used to it, are you?
(sweet as sugar)
Thats right, honey
JENNA
That ones only got two speedsBitch and Bitch Overdrive.
ANDY
Wellyoud know, wouldnt you?
(JENNA gives him a hurt, angry look and steps away from the GHOST BROTHERS.
DRAKE, meanwhile, makes another lunge for the door. MONIQUE blocks him.)
MONIQUE
Nosir. No.Your father has got something eating into him. He needs to get shut of it, and he
said it had to be at the cabin. Where it happened, he said.You think I want to be here and
listen to you boys chew on each other about thisyoung lady? I do not. But Im here and
youre here and here well stay until he says whats on his mind. Once thats done, you can go.
But not until.
(DRAKE gives his brother a look of pure shocked hate, then turns to
MONIQUE.)
DRAKE
FRANK
(grumbling)
Dont know what its got to do with us.
You know what? Im out of here.

(ANNA looks surprised by this, and takes a step toward him, as if to stop him from
leaving. FRANK hauls her back. Thats okay; MONIQUE does the job.)
MONIQUE
(grabs him at the door)
No, sir.Youre goan honor your father.Your mother, too. Raised Christians and acting like
cannibals! Its a shame, it really is!
MONIQUE
Dont you think he sees how you are with each other now? Its not just yellin anymore. Is it?
(She challenges them with her eyes.They look down, ashamed.)
Frank, I want to know why your brother broke your arm.
(She picks it up to show DRAKE the cast. DRAKE doesnt want to see it.)
MONIQUE
Look at it!
DRAKE
You cant ask me to stay here while my girl
DRAKE
Aw, it wasnt nothing, Ma. Just a little accident
FRANK
She is NOT your girl!
MONIQUE
As my granddad used to say, why dont you just save the shit for the shithouse?
DRAKE
.. flashes that two-dollar sparkler like a cheap wh
MONIQUE
SHUT UP!
(DRAKE is stunned. All three of them are. MONIQUE rarely flashes anger, but
when she does, you want to stand clear of the flame.)
(DRAKE is stunned. Mom usually doesnt talk this way. Meanwhile, MONIQUE
turns those laser eyes of hers on FRANK. Not to be denied.)
MONIQUE
The truth, please. Without any sugar on it.
(DRAKE and FRANK look at each other uncomfortably. Then the BOYS
22
23
BEDROOM lights up, only now its FRANKS BEDROOM in town.

Hes converted it into a kind of writers den.)
in the gloom of these southern forest glades, the McCoury brothers played out their ancient
animosities.You might want to change that McCoury brothers thing, bro, Del McCourys
got a bluegrass band
FRANK
He came in drunk from a gig. Wasnt the first time, wont be the last.
FRANK
Give me that!
DRAKE
I had a few
(Looks meaningfully at FRANK)
but I aint the only one in this family who likes a drink.
(DRAKE gets up and crosses into FRANKS BEDROOM/STUDY, starting to
weave a little as he does. He was drunk, all right. He sits down in front of the computer. Looks at the screen, then takes up the pile of papers beside the computer. He
starts to read, and as he does, he takes a FLASK (a lot bigger than MONIQUES)
from his hip pocket and helps himself to a drink. )
(He tries to take the pages. DRAKE is up in a flash, avoiding him easily. FRANK stumbles
to his knees. DRAKE dancing away and shuffling pages at the same time, dropping some)
Their rage was old and apocalitticapocka-what-ick?and any hope of forgiveness had
long since
(FRANK grabs for him again. They do a drunken rage dance around the desk,
DRAKE waving the now battered manuscript over his head.)
DRAKE
FRANK
This was in town.You and Dad werent there. Id been out myself
ANNA
With me!
(to MONIQUE)
Men Drake were supposed to go out, but he was practicin with his bay-yund. Like always.
So I went with Frank.
(FRANK gets up. The cast on his arm is gone. Starts to whistle. He goes to the door
and opens it. As he steps into the past, he also begins to weave subtly. DRAKE wasnt
the only one who put away a drink (or five) on the night in question. The lights in
the LIVING ROOM dim almost to dark, but we can see MONIQUE and ANNA
watching. On the APRON, the GHOSTS are also watching.)
Watch out, crip! Dont trip!

FRANK
You shithead! Couldnt even play an F-chord til I showed you how!
(He swings a roundhouse punch.)
DRAKE
(avoids it easily)
What, did you send that by Pony Express?
FRANK
Maybe, but heres FedEx.
(This time he connects. DRAKE falls against the computer. It crashes to the floor
and SHATTERS IN A BURST OF SPARKS.)
FRANK
FRANK
(agonized)
(stops, surprised to see his brother)

What the hell you doing in my room?
NO!
DRAKE
How are ya, Frankenstein? We had a great show. Four encores.
DRAKE
(shocked sober)
Hey, little brotherIm sorry. I was only teasin. And I wanted to see what you were
FRANK
Not surprised. The drunks dont stop yellin for encores at Club 41 until the bartender padlocks the taps. I repeat: what are you doing in my room? And what are you doing with that?
(He means the manuscript)
DRAKE
Wanted to see the great writers book, is all.Whats the big deal? Its goan be published, isnt it?
FRANK
You want what you can never have! A real life instead of that SHITTY BAR BAND!
DRAKE
(almost pleading for understanding)
That bands gonna get me out of this town, just like your book.
FRANK
FRANK
Youll be playing Sweet Home Alabama for pickup-truck-driving assholes until youre too
arthritic to make a bar chord. Ill be in New York. Ill drink to you, bro. Champagne.
DRAKE
(laughs)
Id say it needs some! In the ineluctable gloom...
(makes a change)
(DRAKE throws the papers in his brothers face. FRANK leaps at him with a
YELL OF RAGE. DRAKE backs off. As they circle, feinting at each other, throwing little exploratory punches, they sing. Its a dance of young-man aggression.)
(THE SHAPE strolls into the room to watch. And to egg them on, of course.)
It isnt ready yet, Im still making changes.
24
25
Song:BroTherLY Love ..... FrAnK, DrAKe

FRANK
WELL I DONT LOVE MY BROTHER
AND HE DONT THINK MUCH OF ME
WE DONT LIKE EACH OTHER
AND WE NEVER CAN AGREE
IF IT WERENT FOR THE OLD MAN
I WOULDNT TALK TO YOU AT ALL
WE HAVE HATED EACH OTHER
EVER SINCE WE COULD CRAWL
CAIN AND ABEL OUGHT TO BE OUR NAMES
IF IT WERENT FOR THE MURDERING CHARGE
I WOULD PUT YOU IN YOUR GRAVE
DRAKE
ID BEAT YOU LIKE AN OLD MULE
AND LEAVE YOU LIKE AN OLD WET SACK
SPIT IN YOUR FACE AND BLACKEN YOUR EYES
AND LEAVE YOU ON THE RIVER BANK
LET THEM CROWS PICK YOUR BONES
LET THE WOLVES CHEW OFF YOUR HEAD
THEN ID MAKE YOU DIG YOUR OWN GRAVE
TILL IM SURE THAT YOU WAS DEAD
THEN I WOULD BE WHISTLING
ALL THE WAY BACK HOME
THEN ID SAY A PRAYER
THANK GOD THAT I WONT HAVE TO SEE YOU NO MORE
(DRAKE grabs FRANK. They grapple. Suddenly theres an AMPLIFIED CRACK

SOUND. FRANK SCREAMS and holds his arm.)
DRAKE
Frank? Frank, are you all right?
FRANK
You broke my arm!
DRAKE
AwJesus. What a clusterfuck.
(He looks at his brother. He looks at the shambles of the room.)
Im sorry.
THE SHAPE
Brotherly love. Its been beautiful ever since Eden.
(LIGHTS DOWN in FRANKS room, and the LIVE BROTHERS rejoin
MONIQUE and ANNA. Both are shamefaced.)
DRAKE
Just an accident.
MONIQUE
I know, honey, Im sure you didnt mean to.
FRANK
Im trying to remember.
FRANK
MONIQUE
SCUSE ME FOR SAYIN SO

BUT I PREFER IT THIS WAY
(sweet as pie)
What, dear?
DRAKE
WITH THE WAGGIN OF YOUR JAW

DAY AFTER DAY
FRANK
YOU ARE SELFISH AND A LIAR
DRAKE
YOU ARE AS TRUSTWORTHY AS A SNAKE
BOTH
A MATCH NOT MADE IN HEAVEN
IT WAS SURELY A MISTAKE
DRAKE
ITS GOT TO BE FROM HELL
AND NOT FROM ABOVE
BOTH
THIS IS WHAT THEY CALL
BROTHERBROTHERLY LOVE
26
FRANK
If there was ever a time when you didnt take his side.
(MONIQUE might as well have been slapped. ANNA gives a poison smile and
rubs FRANKS arm. She may be conflicted about her feelings for DRAKE, but
theres no question of how she feels about MONIQUE.)
DRAKE
(moves menacingly into FRANKS space)
You take that back.
FRANK
Or what? Youll break the other arm? Or this time you want to try for a leg?
(During this, ANOTHER CAR has arrived. None of them notice the SOUND
OF THE MOTOR or the BRIEF FLASH OF THE HEADLIGHTS. Both cut
out, but now JOE McCANDLESS (broad-shouldered and 50ish) comes onto
the apron and approaches the cabin. Although the fourth wall is invisible to us,
its not to him. He looks in through a window at his fightin family. He cant
watch and steps away. When he does, he sees YOUNG JOE watching him from
the apron.)
27
MONIQUE
Stop it, both of you.
(To ANNA)
You can stay, but Id like you to go back into the bedroom while we hash this out.
Its family business
FRANK
(goes to her, puts an arm around her)
Yeah? Well, shes family. Gonna be, anyway
JOE
I dont know if I can tell them, after all.
(renewed resolve)
I will. Im gonna tell them.
THE SHAPE
(in his ear)
But not everything.
MONIQUE
(aside)
Jesus save us.
JOE
Of course, I cant tell them everything.
FRANK
so whatever hes got to say, Daddy, can say it in front of her. Or were leaving.
(Self-important)
I got work to do. Rewrites and such.
THE SHAPE
(confiding to audience)
He never tells them everything. Like that pretty librarian . . . but thats a different story.
(LIGHTS GO UP in the cabin again. MONIQUE has gotten the boys separated,
but they are still glowering.)
DRAKE
(savage mimicry)
Rewrites and such.
DRAKE
You know, I looked into that book business a little.
(FRANK lunges toward him. ANNA looks on with a mixture of fright, awe,
and satisfaction. Wearilyshes done this a lot latelyMONIQUE gets between
them. LIGHTS IN THE CABIN DIM. JOE walks down on the apron. Spots iso
late the distance between GROWN JOE and YOUNG JOE. JOE looks up at him,
then turns away. Hes been doing it ever since that night all those years ago.)
FRANK
Didnt know you could read. Barely finished high school.
DRAKE
Cording to what I read, most first novels dont sell but 500 copies. Good thing Mommas got
a lot of relatives, they should be good for two copies apiece
JOE
Jesus, look at em go at it. Just like Jack and Andy all those years ago.
MONIQUE
(still between them)
Stop it, both of you, I wont hear it
Song:hoW MAnY DAYS ..... Joe

HOW MANY DAYS CAN ONE MAN WONDER
HOW MANY YEARS CAN ONE MAN CARRY ON
IF I WAS TOUGH, COULD MY FIST HARNESS THE THUNDER
IF I WAS STRONGER, COULD I ROLL THESE DAYS ALONG
HOW MANY DAYS, HOW MANY DAYS
HOW MUCH TIME CAN ONE MAN SPEND TRYING
HOW MANY LIES COULD THAT ONE MAN TELL
IF I WAS SMART, WHY WOULD I TRY TO TAME THE LION
IF IT MEANT I LOST MYSELF TO BURN IN HELL
IF I BELIEVED THERES A BETTER WORLD WAITING
IS THAT BELIEF FRAMED IN IGNORANCE AND FEAR
IS BLIND FAITH OUR ONLY SALVATION
OR IS THE PLAIN TRUTH ALWAYS SITTIN RIGHT HERE
HOW MANY DAYS CAN ONE MAN WONDER
HOW MANY YEARS CAN ONE MAN CARRY ON
28
FRANK
(jibing)
How those tune-ups going down at Blesseys Service Station?
DRAKE
(jibing right back)
Try payin for one with a New York Times review, smart-boy.
FRANK
My agent sold the paperback for half a million dollars!
(Silence crashes down. DRAKE is thunderstruck. So is MONIQUE.)
ANNA
(to DRAKE, and very sweetly)
Bet youre sorry you broke his arm now.
(And to spite him, she plants a soft kiss on FRANKS cheek.)
DRAKE
Cheating bitch.
29
ANNA
I never did! I just
[teeny voice]
didnt tell.
MONIQUE
Stop it right now. Both of you. (Beat) All three of you.
DRAKE
Half a million dollars? Thats a flat black lie.
FRANK
The lie, big brother, is that the record company man stayed for the whole show. He bumped
me on his way out, and that was during the first song.
DRAKE
(in a trance of amazement)
You werent even there.Youre just makin it up.
(MONIQUE hugs JOEshes never been so glad to see him in her whole life.
DRAKE, meanwhile, is panting, trying not to break into childish tears. Its useless.
He abruptly heads for the door.)
MONIQUE
Where are you goin?
DRAKE
(thick voice)
I needI need some fresh air.
(He EXITS and stands in the DIMNESS, head lowered and shoulders shaking.)
FRANK
Hey, Daddy, Im sorryits just that sometimes he makes me so madall his life hes been on
top, and now that Im the one whos got hold of something good, he cant
JOE
He cant, and neither can you.
(THE SHAPE scurries forward to join the fray.)

DAN
Stay out of it, now!
(THE SHAPE whispers to ANNA)
MONIQUE
(to FRANK)
See what you can do with that bunk you broke.
ANNA
Mr. McCandless Mrs. McCandless Monique I know were all a little upset, but
ANNA
We caint play Free Burd, this aint that kind of bay-yund.
THE SHAPE
(to DRAKE)
You dont have to listen to this shit.
DRAKE
I dont have to listen to this shit, not from my stuck-up brother and not from that no-accounhighboxhoney.
(ANNA is shocked and hurt. FRANK lunges at DRAKE. MONIQUE is spun aside.
And thats when JOE enters.Weve seen his weak and wavering side; now we see the
family patriarch.This has got to be a strong entrance, with the force of his shout
knocking even THE SHAPE back a step or two.)
JOE
(thunders)
JUST YOU GODDAM STOP IT!
(Theres a moment of SHOCKED SILENCE. ANDY, JACK, and JENNA are
cringing together.)
ANDY
(almost a whisper)
Thats baby brother? Oh my soul.
JOE
Go on, now.
(FRANK hesitates, then takes ANNAS arm and leads her back into the bedroom.
In the dim light, well see they actually are able to get the broken bunk back in
place, but our attentionand that of the GHOSTSis focused on JOE and
MONIQUE.)
MONIQUE
Well, honey, you got us here.You pleased with how its going so far?
JOE
(not convinced by his own words)
Its the girl, thats all. I didnt know shed be here. Maybe this idnt the right time, after all.
(He turns as if to leave and she grabs him)
MONIQUE
If you walk out that door, Joe McCandless, dont bother going home. Just take that yellow
streak up your back to the Holiday Inn down by the turnpike.
(He looks at her, shocked.)
You said you had something to tell us, and it had to be at the cabin. Soyou tell.
JOE
Now that Im here, I dont know if I can.
(Looks around)
This place has gone bad again. It was okay when the boys were small, but since they started
all that squabbling, the poisons come back.
DAN
And just in time, by the look.
30
31
MONIQUE
Squabbling? Squabbling? Is that what you call it?
(She laughsa sound like icicles dropping off an eave.)
THEYRE AT EACH OTHERS THROATS! If youve got something to say thatll make a
difference, you owe it to them to say it.
(Beat)
And you owe it to me.
(She pulls the flask from her handbag and takes a sip. Puts it away.)
JOE
I havent seen that flask in a year or more.
MONIQUE
Say whatever it is that keeps you awake nights and Ill throw it in the lake before we leave in
the morning. I want my sons back, but you know what I want even more? I want my damn
husband back. While you organize your mind, Im going out to see if I can get Joe Cocker
calmed down.
JOE
(as MONIQUE reaches the door)
Listen, honeynext weekd be better. Back in town. Well make sure Frank leaves his little
honey in whichever trailer park she calls home.
MONIQUE
All right, then.
(She gives JOE a moment to think hes actually off the hook)
You enjoy your week at the Holiday Inn. I hear they put on a nice Sunday brunch.
JOE
Neekie
(She ignores him and goes out. In the DIM LIGHT on the apron, we see her find
DRAKE and take him in her arms. They talk inaudibly, MOTHER to SON. Well
never see her this way with FRANK. JOE wanders the living room in a daze,
touching pieces of the furniture.)
ANDY
JACK
Hes so sad.
Song:hoMe AGAin ..... JennA, CAST

JENNA
THE WHOLE WORLD CAN TELL YOURE SAD
IT JUST SAYS SO IN YOUR EYES
SORRY THAT YOU FEEL SO BAD
BUT I THINK YOULL BE ALRIGHT
YOU GOT MANY FRIENDS HERE
TO BE BY YOUR SIDE
AND WERE ALL HERE TO HELP YOU
ALL
OH, OH HOME AGAIN
ARENT YOU GLAD TO BE HOME AGAIN
OH, OH HOME AGAIN
JENNA
YOURE AMONGST FRIENDS
ALL
JENNA
THE WORLD CAN MAKE YOU WEARY AND MEAN
JUST TAKE A LOOK OUTSIDE
SOME WILL TRY TO BUY YOUR DREAMS
AND HIDE THE TRUTH WITH LIES
WHEN GOOD FORTUNE COMES YOUR WAY
THIEVES WILL STAND BACK AND SCREAM
WE NEVER WANTED YOU HERE ANYWAY
ALL
OH, OH HOME AGAIN
OH, OH HOME AGAIN
He got so old!
JENNA
DAN
Thats what live folks do, Andy. Only the dead stay the same.
JOE
(runs his hand lovingly over the dining room table)
Huh. This is what Momma got when Uncle John passed.
(Goes to the GRANDFATHER CLOCK)
And this came down from Virginia with great-grampy.
(He picks up the rifle and tugs at the rod plugging the barrel. Its solid, but he still
looks at the gun with loathing.)
JOE
And that goddam thing.
(Puts it back in the GUN CABINET and slams the door shut.)
32

ALL
JENNA
WHY DONT YOU REST HERE AWHILE
LET YOUR ANXIETIES SUBSIDE
MAYBE WALK AROUND THE TOWN
YOU DONT HAVE TO SPEAK
IF YOUVE GOT NOTHING LEFT TO SAY
AND WELL TRY TO EASE YOUR PAIN
AND TOMORROWS ANOTHER DAY
33
ALL
OH, OH HOME AGAIN
OH, OH HOME AGAIN
JENNA
ALL
OH, OH HOME AGAIN
OH, OH HOME AGAIN
(While singing, the GHOSTS draw closer. At the end.)
DAN
(kindly, pointing at the wall)
No one thought to uncover that, Joey.
(JOE looks in the direction of the pointing GHOST-FINGER (of his own accord, he thinks) and sees a picture thats still coveredthe way a Jewish family
might cover a mirror after a death in the family. He goes to it, pulls off the covering, and reveals A LARGE FRAMED PHOTOGRAPH. It shows the family here
at the lake. Theyre all in swimsuits and all smiling. DRAKE (14) and FRANK
(12) have their arms slung around each otherthe best of friends. Happy days.
Happier than these.)
(The LIVING ROOM FADES TO BLACK, except for the BLUE GHOSTGLOW. In its light, we see JOE sit down, looking old and unhappy. Then one little
piece of that GHOST-GLOW separates from the rest. Its JENNA, drifting down
to the APRON, where MONIQUE and DRAKE are sitting in the moonlight.)
MONIQUE
Its so beautiful out here!
DRAKE
Remember what Daddy always used to say? Wish-a-fish!
SOUND CUE: KER-PLUNK!
MONIQUE
(laughs, then grows serious again)
What really happened at the Darkland County Days?
DRAKE
(flatly)
Nothin.
MONIQUE
Drakehoney
34
DRAKE
I aint lyin, Momma. Nothin. Just like he said. The big-shot writer.
(Pause)
We did that new songYou Are Blind. I played it for you, remember?
MONIQUE
I loved that one! So poetic! Theywhat, honey, they didnt like it?
THE SHAPE
(strolling toward them)
Play Free Bird, Drakey-Wakey!
(DRAKE winces. The SHAPE reaches them and leans chummily behind
DRAKES chair.)
THE SHAPE
(To DRAKE)
What most folks like are songs about fucking and murder.
(To the audience)
Add Momma gettin hit by a pick-up truck, you got a Top 10 hit. Guaranteed.Whats so hard
about that, shitbird?
Song:You Are BLinD ..... DrAKe

SHES COLORFUL AND CRAZY
YOU THINK SHES BROKEN HEARTED
THE SADNESS OF THE WORLD
IS WHERE THE CONVERSATION STARTED
BUT YOU WANT TO BE WITH HER
CAUSE YOU THINK THAT YOU CAN SAVE HER
BUT SHE LIKES THE WAY SHE IS
AND SAYS THATS THE WAY GOD MADE HER
BUT YOU KNOW THAT YOU CANT LOVE HER
WITH A LOVE THAT LASTS FOREVER
SO YOU HOLD HER SO CLOSELY
CAUSE YOU KNOW THAT YOU ARE BLIND
SHE TAKES YOU MANY PLACES
SO YOU GO THERE TOGETHER
THE RIDES ALWAYS STORMY
YOURE SURE IT WILL GET BETTER
AND SHE TOUCHES YOU SO SOFTLY
SOMETIMES YOU CAN BARELY FEEL HER
SHE TELLS YOU SHES YOUR LOVER
BUT YOUR MIND, IT KNOWS BETTER
AND JUST WHEN YOU WANT TO LEAVE HER
SHE BRINGS YOU INTO HER BODY
AND YOUR HEAD GOES TO SPINNIN
AND YOU KNOW THAT YOU ARE BLIND
SO MAYBE TOMORROW
SHELL BE GONE FOREVER
ITS ALWAYS HER FAVOR
IF YOULL BE TOGETHER
ITS HARD TO IMAGINE
35
THAT SHE IS ONLY HUMAN

BUT SHES REALLY NO DIFFERENT
THAN ANY OTHER WOMAN
BUT YOUD CARRY HER FOREVER
NO MATTER WHAT THE DISTANCE
BECAUSE YOU BELIEVE HER
AND YOU KNOW THAT YOU ARE BLIND
DRAKE
Momma, they booed us off the stage.
(MONIQUE puts her arms around him)
DRAKE
It was the worst we ever played. Worse even than when we were starting out.
(Beat)
I blew it, Momma. Ill be gappin plugs and changin oil for the rest of my life.
MONIQUE
No, honey, no!
DRAKE
(looks bitterly toward the cabin)
And he makes half a million dollars sittin on his ass at a computer! Barely out of college!
[Bursts out]
Hes rich and he stole my girl!
MONIQUE
(with a grim smile)
A year from now youll thank him for the girl-stealing part.
DRAKE
(MONIQUE produces her flask from her dress pocket and has a drink.)
SOUND CUE: KER-PLUNK!
MONIQUE
Wish-a-fucking-fish!
(She has another drink. Puts the flask away. And sings)
Song:You DonT KnoW Me ..... MoniQue

YOU DONT KNOW ME
YOU CAN ONLY SAY MY NAME
PICTURES OF ME YOU PAINT
I CANNOT SAY
IM ONLY JOKE BUSINESS TO YOU
SOME SORT OF SILLY FOOL
FOOL THAT I AM
I FORGIVE YOU
BECAUSE I LOVE YOU
BECAUSE I DONT KNOW WHERE TO BEGIN
TO SAY THE WORDS
YOU NEED ME TO SAY
YOU DONT KNOW ME
NOT LIKE YOU THINK THAT YOU DO
IM NOT THINKING OF ME
IM THINKING OF YOU
SO JUST LET ME SAY THESE FEW WORDS
FROM THE VERY PIT OF MY HEART
TROUBLESOME THING THAT WE ARE
YOU KNOW THAT I LOVE YOU
FROM THE MOMENT I LAID EYES ON YOU
CANT WE FIND A NEW PLACE TO START?
Im goin on back to town.

MONIQUE
No you are not! Its taken me a long time to bulldoze your father into talking about whatever it is that makes him scream and cry in his sleep. Dont you let all my hard work go to
waste.
JENNA
(puts an unfelt arm around him)
Tell her all right. If you love her, tell her you will.
DRAKE
Okay, Momma. But not for him. For you.
(He starts back toward the cabin)
MONIQUE
If you want to do something for me, honey, make it up with your brother.
DRAKE
(bristles at once)
Tell him that.
(He stalks toward the cabin.)
36
YOU DONT KNOW ME

THATS ALL I HAVE TO SAY
AS MY UNDERSTANDING
DRIFTS AWAY
BECAUSE I LOVE YOU
BELLY TO BELLY AND SKIN TO SKIN
MY HEART IS OPEN NOW
WONT YOU PLEASE COME IN
YOU DONT KNOW ME
YOU DONT KNOW ME
YOU DONT KNOW ME
AT ALL
(MONIQUE re-enters the cabin. JOE is coming out of the CLOSET, holding a
FRAMED PICTURE, which hes looking at bemusedly)
JOE
(excited, happy)
Gosh, I havent seen this in years. It makes me think of the time when Pappy McCandless
you never met him, Neekie, but this one time
37
MONIQUE
Thats not the story you need to tell. Or the one the boys need to hear.
JOE
(trying to jolly her)
Momma, young bulls have always butted horns. I know you didnt have any brothers, butif
you hadyouwell
(Her steady stare makes him realize this is foolish, and he runs down.)
MONIQUE
MONIQUE
On the couch, boys. Ill sit in the middle. Then if you want to go at each other, youll have to
punch through me.
ANNA
Where should I sit?
THE SHAPE
(pops out of the wall)
Mommad like it if you sat your ass right there in the fire!
(And pops back in.)
They are boys Joe, not bulls?

(No reply, and he wont look at her.) [Hes staring at the picture. She reaches
out and lifts his chin, making him look at her.]
MONIQUE
Why dont you just sit your
(Gets hold of herself; gives a brilliant Miss Ole Miss smile)
Sit over here, darlin, by Frank.
(JOE laughs.)
(ANNA does so.)
MONIQUE
Goddam you, Joe McCandless, you think thats FUNNY?
JOE
No, I do not. Sometimes a man laughs because laughins all thats left.
(JOE gathers all his moral courage, which is considerable, and bellows in that
deep patriarchal voice. DAN, meanwhile, has gone to the edge of the apron.)
JOE
Drake! Frank! Come out here!
(Reluctantly)
And bring your friend.
DAN
(to the audience)
Maybe this time.
(The other GHOSTS join him and they huddle together.)
Pray for the truth, children.
(FRANK and ANNA come in from the boys room, DRAKE from the kitchen, which
we dont see).
DRAKE
What is it, Daddy? Hurry up. Tell your story.
(JACK and ANDY come back in their blue glow and stand by JENNA. THE
SHAPE strolls along THE APRON in its red glow. )
JENNA
Danif he tells them what really happenedwhat will happen to us?
THE SHAPE
(to the audience)
Wont do any good. Talk is the opiate of the wanking class.
(Having delivered himself of this aphorism, he disappears. For now.)
FRANK
(gently)
Were waitin, Daddy.
(The GHOSTS move closer, unseen by the livingbut felt. Dont we all feel
ghosts when we speak of the unhappy past?)
JACK
FRANK
Could we maybelive again?
What is it, Daddy? Youre as white as a

JOE
Ghost, I know. Ive got a story to tell you, then you can all go your separate ways. Draw up a
little.
ANDY
You twit! Wake up n smell the damn coffee!
JACK
Shut up! Youre the reason were here
(They move in close)

JENNA
JOE
This is a story about brothers who couldnt get along.
Youre BOTH the reason were here!

(The GHOST BROTHERS recoil from her rage.)
(DRAKE and FRANK exchange a look of mingled animosity and shame.)
38
39
DRAKE
Earth to Dad.
DAN
Live again? Dont think so. I think live folks only get one bite of the apple.
JENNA
Even if we couldnt live, we might be able to leave!
ANDY
And go where?
JENNA
To whatever comes next! Or did you want to stay in this cabin forever?
JACK
At least we know this place
DRAKE
(when JOE doesnt respond; but also gentle)
Earth to Dad, come in, Dad.
(JOE doesnt respond for a moment. Then he snaps to and gives a little smile.)
JOE
(Smiles)
Daddy called me Mommas little afterthought.
Song:MY nAMe iS Joe ..... YounG Joe (appearing on forestage)

MY NAME IS JOE
AND IM BARELY TEN YEARS OLD
AND I SLEEP IN THE BACK OF THE PONTIAC
WHENEVER THERES TROUBLE
AND I CAN DO AS I PLEASE
CAUSE IM THE RUNT OF THE FAMILY
AND ANDY AND JACK ARE HEROES
AND THEYRE MY BIG BROTHERS
AND MY NAME IS JOE
AND I KNOW WHEREVER I GO
THAT MY BIG BROTHERS WILL
TAKE CARE OF ME
THEY TEACH ME LOTS OF GAMES
AND EVERY DAY IS NEVER THE SAME
SOMETIMES IM QUARTERBACK
SOMETIMES IM ON THE ATTACK
IN THE ARMY
Sorry. Just thinking how to tell it.

MONIQUE
Thats all right, honey; take your time.
THEY HAVE FRIENDS AROUND ALL THE TIME

AND I REALLY LIKE TO SPY
ON ANDY AND JACK
BOTH TRYIN TO KISS JENNA
ANDY
Skunk?
(He laughs and shakes his head.)
Anything he knewd take about twenty seconds to tell.
(At this, JACK and JENNA exchange a look. Its supposed to be private, but
ANDY catches it.)
JACK
AND MY NAME IS JOE

AND I KNOW WHEREVER I GO
THAT MY BIG BROTHERS WILL
TAKE CARE OF ME
CAUSE IM PART OF THE FAMILY
(At the end of the SONG, the light around him FADES. He doesnt exit, just
disappears. And, as that happens)
Listen to the runt.

(Hes distractingand it works. They all turn back to the live folks gathered
in the living room.)
JACK
(moved)
We loved you, you little skunk-haired sonuvabitch. No matter what. Hope you know that.
JOE
I had two brothers when I was a kid; that much you know. Andy n Jack. They would have
been your uncles, had they lived.
JOE
They loved me. And until high school, they loved each other. Got along fine.
DRAKE
Died in some kind of accident, didnt they, Daddy?
Did we? I cant remember.
ANDY
JOE
It was a little more complicated than that. Happened in 1967. Forty year a-gone. Andy was
twenty-one. Jack was eighteen. And I was ten.
40
JENNA
I can. Didnt we all scrape our knees on the same playground?
(The LIVE FOLKS, hearing this on some level, look around uneasily.)
41
JOE
Around the time Jack got to high school, the fighting started. Squabbles over anything and
everything. Sometimes Id try to make peace, but no one ever listened to me. I was just
Skunk, the runt of the family. It was like I was invisible.
(Smiles)
Daddy had an old Pontiac. It was what my brothers learned to drive on. Andy got his license
first crack; Jack had to go three times. Daddy said Officer Carmody finally gave Jack his ticket
because he got tard of looking at his face.
JOE
(smiling, embarrassed)
Oh.you knowones where we were all friends again.
MONIQUE
I know stories like that. I make them up about you two.
(We have seen some thawing between DRAKE and FRANK during the last sequence, but now they look at each other with renewed hostility.)
(JACK shakes his hands over his head like a victorious boxer.)
ANDY
That wasnt it, baby brother. He was plain scairt to drive with you after you almost hit that
dump truck over by the town motor pool.
JOE
The last three years of their lives was one long stretch of ugly.
JOE
Two things happened. The Minutemen was the first. Rifle club. Disbanded in 1968. The official reason was lack of funds, but everyone knew it was really about the McCandless brothers.
And what happened after the Hawkeye shooting competition in 67.
(Beat)
Then
JENNA
Then came Jenna. Go on. Say it.
ANDY
(stunned)
That aint how it waswas it?
JOE
Then came Jenna. Shed been livin two blocks over their whole livesjust a gawky-legs tomboy
in jeans and pigtails and a big ole Birdy Feeds cap that came down around her ears
JACK
Listen to the runt. Hes tellin it.
JENNA
I was not!
JOE
Andy got straight As without trying. Jack had to bust his hump to make Bs. Even the dog liked
Andy better.
ANDY
Thats true. Good old Whiffle.
ANDY & JACK

(both laughing)
You were!
ANNA
(interested in this part)
They both fell in love with her! Thats sweet!
MONIQUE
Which one did you like better, darlin?
JOE
I liked emno, loved em both the same. But what good was that? By the summer of 67, my
brothers were at war and I was just a ghost between em. Was that one the summer of love?
(He laughs bitterly at the idea.)
(A PHOTO-PROJECTION of a VINTAGE PONTIAC appears at STAGE LEFT,
near the promontory. It flickers in and out, as our memories do.)
JENNA
(drifts toward DAN)
Everyone thought Id end up with Andy.
(Laughs)
Especially Andy. For awhile, I did, too. It just seemed natural. We were the Homecoming
King and Queen, afterall! But thenI dont know
JOE
After high school, Andy chose Crescent Community College over Ole Miss. He said it was
to stay closer to home
UNDERSCORE: MY NAME IS JOE

JOE
(sad, even after all these years)
That old Pontiac! When they really got goin at it and neither Momma nor Daddy was there
to yell a stop to it, Id climb in back. Id make up stories.
DRAKE
Another Hiram Hoehandle like me, in other words.
JOE
He wanted to stay close to her, tooJennabutyeah. He was one of those guys who
justliked home.You see anything wrong with that?
FRANK
What kind of stories, Daddy?
DRAKE
No. Huh-uh, Daddy.
42
43
JOE
What about you, William Faulkner?
FRANK
Nope, nothin wrong with home. Its just not for me.
ANNA
(takes his arm possessively)
Or me.
FRANK
(looks right at ANNA)
And the girl kep on with both of em? What a tease!
(DOWNSTAGE becomes the SHOOTING RANGE, flooded with OUTDOOR

LIGHT. We see a set of TARGETS and TEENAGE BOYS with their .22s. The
MUSIC here is PEPPERY ZYDECO. Standing in the crowd we see JENNA,
now a LIVE GIRL. She wears a satin sash that says MISS DARKLAND
COUNTY 1967. With her is YOUNG JOE. DANS there, too.)
ZYDECO COWBOY
(amplified)
We now ready for the Deer Round of this years Hawkeye Shootin Competition! And heres
this years Shootin Masterand pro-prietor of Delight Furniture, where every day is sale
dayNooo-oot HOGGENBECK!
(The crowd APPLAUDS. NEWT, now 35 instead of 75, but still recognizable as
the same man, struts forward, waving.)
JENNA
(calls out angrily)
You think I was doing it on purpose?
MONIQUE
You think any girl of 19 has a plan? Men!
ANNA
I think its just so beautiful.
(This time both FRANK and DRAKE look at her with irritationthen catch each
others eyeand smile. Brothers, whether theyre pissed at each other or not, can read
each others minds. )
JENNA
For awhile, I loved you both. Just like little Joe did.
(Turns to JACK and ANDY.)
I truly loved you both. But Jacklittle by littleJack
(The image of the PONTIAC fades, then disappears.)
JOE
For quite awhile, the three of em went everywhere together. Jenna insisted. Andy went along
with it, probly thought she was just being nice to his little brother because Jack had a crush
on her. When they were together, they got along sweet as pie. When she wasnt there, though,
the fights started gettin hotter. Maybe Andy was startin to get a cluehe was sure of himself,
but not dumb. Finally all that fightin was past. We got us some peace at last. Peace in the
house, cause they werent around. They were nine blocks over.
NEWT
(deep delta accent)
You folks know how dis woik! Six boys! Foist roun, four stay n two go! Second roun, two go
an two stay! Thoid roun, we gonna see who wins the medal!
(Applause)
Now if I could have it quiet, puh-leeze! Gennelmen, load your rifles.
(He raises a hand)
Gennelmen, ready!
(The dozen SHOOTERS shoulder their weapons)
Gennelmen, aim!
(They do so, and after a dramatic pause)
GENNELMEN, FAR!
(A DEAFENING CRASH as all the guns go off. The targets jump.)
NEWT
Gennelmen, lower your rifles! Pull your bolts!
(As they do so, NEWT calls out to the JUDGES.)
Target judges, we are clear! You may pro-ceed!
(The TARGET JUDGES examine the targets, then trot up to NEWT and confer.
The CROWD murmurs. The SHOOTERS watch tensely, except for JACK, who
knows hes okay. We see JENNA light up every time she looks at him. Shes made
her choice.)
NEWT
All right! Those goin on to the Bear Round will be #1, Bobby Clampett#3, Herk
Snopes#5, Jack McCandlessand #6, Jacks big brother Andy! Give em all a big dose of
da clap, folks, because they all shot like champeens!
MONIQUE
(The CROWD LAUGHS GOODNATUREDLY at NEWTS faux pas, and nobody applauds harder than JOE and JENNA.)
(very quiet)
Underground.
JOE
All the quiet I wanted, and you think this place is haunted?
(Takes a beat.)
The Minutemen held their annual Hawkeye Shooting Competition every August, right
where they have the band tent nowadays. Andy and Jack were both entered. Hell, the best
shots in the county were entered, and most of the town was there.
44
NEWT
Gennelmen, please reload your weapons and assume the position!
(Each of the four semi-finalists takes a shell from his shirt pocket. ANDYS fingers
are wet with sweat and he almost drops his. He manages to hold on, loads his rifle,
and closes the bolt.)
45
NEWT
Quiet, please! We gettin down to it now! Gennelmen, ready!
(The barrel of ANDYS gun trembles, then steadies. JACK, however, is like a rock.)
Gennelmen, aim!
(They do, and after the same dramatic pause)
GENNELMEN, FAR!
NEWT
I know the rules, Howard. (To ANDY, kindly) Im sorry, son.
ANDY
But it slipped.
(To JACK)
You know I can do bettern that!
(Another DEAFENING CRASH, and the remaining six targets jump.)
JACK
Sorry, bud. (Hes not.)
NEWT
Gennelmen, lower your rifles! Pull your bolts!
(And when they have done so)
Target judges, we are clear! You may pro-ceed!
ANDY
But
YOUNG JOE
(The JUDGES examine the targets, conferring at some length over two of the
four. At last they trot up to NEWT and confer some more.)
NEWT
Quiet, please! That was a close un, folks, but its the brothers goin on to the Eagle Round,
Numbers 5 and 6, Jack n Andy McCandless!
(APPLAUSE. JENNA hugs YOUNG JOE, then jumps up and down.)
Now what are we goan give these other boys?
CROWD
A BIG DOSE OF THE CLAP!
NEWT
Thats right, so lets hear it!
(The CROWD CLAPS, CHEERS, and WHISTLES)
NEWT
Nowfor dis years Hawkeye Medalgennelmen, load your weapons!
(ANDY and JACK do so. Were back to DEAD SILENCE from the CROWD.
JOE hides his face against JENNAS hip.)
NEWT
(finally dares to look around)

What happened?
JENNA
Andy lost.
YOUNG JOE
Andy lost to Jack?
(ANDY becomes aware of the SILENT CROWD, judging his behavior. He manages a grotesque smile and holds JACKS hand high.)
ANDY
THE CHAMPEEN!
(The CROWD ROARS approval, and gives the brothers another dose of the clap.
JACK hugs his brother. Then JENNA rushes forward and he hugs her. ANDY
picks up YOUNG JOE and swings him around. CONSTANT CHEERING.)
NEWT
Dis years Hawkeye Medal go to Jack McCandless! And to present itMiss Jenna Farrell, dis
years Miss Darklun County! Aint she a peach!
Ready!
(JACK shoulders his weapon. ANDY hesitates.)
I said READY!
(ANDY raises his rifle.)
Aim!
(They aim.Then, after a long pause)
FAR!
(The BOYS SHOOTand the CROWD GROANS.)
(The CROWD GOES BONKERS with APPLAUSE and WOLFWHISTLES.

NEWT hands her a GOLD MEDALLION on a wide purple ribbon. JENNA puts it
around JACKS neck and then kisses him on the mouth. The CROWD CHEERS.)
TARGET JUDGE
Shooter 6 has missed the target. Andy McCandless is disqualified.
(JENNA and NEWT turn JACK to the CROWD and hold up both of his hands. ANDY
is now alone and unnoticed (except for YOUNG JOE). Alone for perhaps the first time in
his previously 24-karat life. His smile becomes a SOUR GRIMACE OF HATE.)
(THE SHAPE comes SWOOPING DOWN (hopefully scaring the hell out of us.)
ANDY
Damn gun slipped when I pulled the trigger. If I could have another chance
(ANDY sees. Hes flabbergasted, realizing he may have lost more than a shootin
match. Then he darkens. JENNA, realizing that shes showing too much of her
heart in front of too many, kisses ANDY as wellbut on the cheek.)
THE SHAPE
TARGET JUDGE
Newt, the boy missed clean! Accordin to the rules
Brotherlyfuckinglove.
(The GHOSTS draw back in fear; even the live folks feel the malevolence.)
46
47
THE SHAPE
ItsTennessee Williams in hell! I LOVE IT!
TEAR THIS CABIN DOWN
Song:T eAr ThiS CABin DoWn ..... DAn, CAST
DAN
ONLY GOD KNOWS WHERE WEVE BEEN
DAN
YOU KNOW PEOPLE MIGHT JUST SAY ANYTHING
TO TRY AND SAVE THEIR SKIN
AND THE BIBLE SAYS WE MUST STAND ALONE
CAUSE WERE DAMN SURE GONNA SIN
AND THERES STORIES TO HELP US WALK THAT LINE
COMMANDMENTS TO GET OUR CROWNS
BUT IF THE TRUTH WAS KNOWED ABOUT US ALL
WED HAVE TO TEAR THAT CABIN DOWN
ALL
DAN
AND START ALL OVER AGAIN
ALL
ALL
ALL
DAN
THERES A HELL SOMEWHERE FOR US ALL
ALL
DAN
SO IF YOU WANT TO GET INTO HEAVEN
YOU BETTER GET DOWN ON YOUR KNEES
AND TRY TO BE A BETTER MAN
THAN THE ONE YOU USED TO BE
AND DONT GO MEDDLIN WITH SOMEBODY ELSE
ITS HARD TELLING WHAT YOULL FIND
AND IF THE TRUTH WAS KNOWED ABOUT US ALL
WED HAVE TO STAY HERE FOR ALL TIME
DAN
ONLY GOD KNOWS WHERE WEVE BEEN
ALL
ALL
DAN
OH LORD LET ME BE THE BEST THAT I CAN BE
DAN
THERES A HELL FOR US ALL
ALL
ALL
DAN
OH LORD, LET THE TRUTH BE WHAT I SEE
DAN
WELL CAIN ROSE UP TO SLAY ABEL
SO THEY RAN HIM OUT OF TOWN
AND DEEP DOWN IN OUR SOULS AND HEARTS
OLD CAIN IS STILL AROUND
AND HE LIKES TO TELL US SECRETS
HE LIKES TO WHISPER IN OUR EARS
THAT IF THE PEOPLE KNOWED
ALL THE MEANNESS WEVE DONE
THEYD THROW US OUTTA HERE
ALL
DAN
YEAH LORD, THERE MUST BE A HEAVEN FOR US ALL
ALL
ALL
THEYLL TEAR THIS CABIN DOWN
DAN
OH LORD LET ME BE THE BEST THAT I CAN BE
DAN
AND START ALL OVER AGAIN
ALL
48
49
DAN
OH LORD, LET THE TRUTH BE WHAT I SEE
ALL
DAN
YEAH LORD, THERE MUST BE A HEAVEN FOR US ALL
ALL
(GHOSTS exit; main stage goes dark except for a spot that showcases the SHAPE,
on the Promontory. He holds the rifle from the gun cabinet up over his head.)
THE SHAPE
First rule of the thee-ater, ladies and germs: if its onstage in the first act, it must go off in
the last act. BANG! Stay tunedbecause I smell blood.
THE SHAPE & DAN
OOOOOHHHHHH YEAH
CRASH TO BLACK - END OF ACT 1
ACT 2
SCENE 1
Empty cabin followed by the Dreamland Caf.
(At the open, both are litDREAMLAND above, CABIN below.
In DREAMLAND, JOE is crashed out with his head in his arms on the bar.)
(In the cabin, the sheets are back on the furniture. The light is very low. The place
looks deserted, as if all the inhabitants were long gone years ago.)
(THE SHAPE enters. By himself, he is thoughtful, contemplative, maybe a little sad
although there is always that undertone of glee. As he sings, he removes the sheets
from the furniture. At one point he should point a bony finger at the fireplace,
which starts up with a whump. By the time he finishes, the place looks just as it did
when we left it to have a drink and a chat with our friends at intermission. All it
needs are the people.)
Song:LounGinG ArounD in heAven .... The ShAPe

I USED TO HAVE A BIG ROOM UP IN HEAVEN
I LOUNGED AROUND ON A BEAN BAG CHAIR
PRIVATE MOMENTS WITH JUST ME AND JESUS
HE TAUGHT ME MANY THINGS
MOSTLY HOW TO CARE
AND THEN ONE DAY
THE THOUGHT JUST HIT ME
IT HIT ME LIKE A THOUSAND POUND GOLDEN CALF
AND SOMEHOW I KNEW I HAD LOST MY CALLING
AND I BECAME NO GOOD
NO GOOD AFTER THAT
SOMETIMES THE TRUTH IS A MYSTERY
SOMETIMES THE TRUTH DONT SEEM FAIR
SOMETIMES THE TRUTH AINT NOTHIN BUT TROUBLE
AND I CAN TAKE YOU THERE
WHERE THE TRUTH DONT REALLY CARE
FOR YOU AT ALL
WELL ME AND JESUS
DONT HAVE MUCH IN COMMON NOW
I MOVED TO THE BASEMENT
AND HE LIVES UPSTAIRS
AND ALL THE PEOPLE PRETEND TO BELIEVE IN HIM
BUT THEY FOLLOW ME EVERYWHERE
AND SOME DAY ILL PULL YOUR NUMBER
YOULL GET A CALL
HELLO ITS ME
AND THAT LIFE YOUVE BEEN LIVING
WONT AMOUNT TO NOTHING
AND DARKNESS IS ALL THERELL BE
EVERYBODY!
50
51
ALL
SOMETIMES THE TRUTH IS A MYSTERY
SOMETIMES THE TRUTH DONT SEEM FAIR
BUT PEOPLE, SOMETIMES THE TRUTH
AINT NOTHIN BUT TROUBLE
THE SHAPE
AND I CAN TAKE YOU THERE
WHERE THE TRUTH DONT REALLY CARE
FOR YOU AT ALL
BARTENDER/DAN
Happens ever night after sundown. Maybe you didnt notice.
JOE
No stars. No moon. It was like walking into nowhere.
BARTENDER/DAN
You got to go.
JOE
I came back to ask a question.
SO IF YOURE LYING IN YOUR BED SOME NIGHT

AND A FALLEN ANGEL CATCHES YOUR EYE
AND YOUR DAYS FLASH IN A CIRCLE AROUND YOU
AND YOURE CAUGHT IN A LIE
THERES NO TIME TO CRY
REDEMPTION HAS PASSED YOU BY
SO, HELLO, THATS ME
AND IM THE REAL GO-GETTER OF LAKE BELLE REVE
(To prove it, he drapes himself in the dust sheets, makes a big, flapping circle of the
cabin, and rushes out with a hearty)
BARTENDER/DAN
(sighs)
All right, ask. But hurry up.
JOE
Do you think we can ever put things right once they go wrong? Do you think thats even
possible, outside of fairy tales?
BARTENDER/DAN
No. Wrong is wrong and done is done, thats what I think.You have to keep more wrong
things from happening. Or at least try. And you cant let go of the truth, because too late always comes too early.
THE SHAPE
Booga-fuckin-booga!
JOE
(The CABIN goes completely dark (to allow our cast to take their
places), and the light in the DREAMLAND CAF comes upbut just a
little. Remember that the hour is late and the mood is blue)
THE HOUSE BAND IS SOFTLY PLAYING: HOME AGAIN.
(with renewed resolve)

Okay. And thanks.
BARTENDER/DAN
Dont mention it. In this place there are no drinks on the house, but the advice is always free.
Like the peanuts. Now get out of here and stop bustin my balls. [Calls after Joe] Watch out for
County Mounties, and if youre on your bike, wear white!
SOUND CUE: A GUNSHOT, ECHOING AND LOUD.

(JOE goes out. BARTENDER speaks to himself.)
(JOE snaps upright, looking around in terror. The DREAMLAND BARTENDER (DAN) comes hurrying in from the kitchen, where hes been doing a
little late washing up; hes wearing an APRON and has a TOWEL over one
shoulder. He sees JOE at the same time JOE sees him. They both recoil in fright.)
BARTENDER/DAN
Lord, that boy is stubborn.
(The DREAMLAND goes dark.)
JOE & BARTENDER

SONG: TEAR THIS CABIN DOWN (reprise)
Jesus!
JOE
Sorry.
DAN
BARTENDER/DAN
You scared the life out of me, McCandless! Thought I told you the bar was closed.You need
to move onhow many times I got to tell you?
JOE
I left, but then I came back.
(Beat)
Its dark out there.
DAN & JENNA

START ALL OVER AGAIN
DAN, JENNA, JACK, ANDY
TO BLACK
52
53
SCENE 2
The McCandless cabin, later that night.
(Darkened stage. INSTRUMENTAL MUSIC: Tear This Cabin Down. This
version is slow and dreamy. DAN strolls onstage. JENNA joins him, then ANDY
and JACK from opposite sides of the stage. They stand together in the darkness, lit
in the BLUE SPOTLIGHT of their GHOSTLY AURAS. The GHOST
BROTHERS anger has been put aside, at least for now; we see these four united
in their hope that the LIVE FOLKS can do better than they were able to.
More of that PEPPY, ZYDECO-FLAVORED MUSIC PLAYS, then FADES
INTO the strains of Home Again as the BRIGHT DAYLIGHT of 1967 DIMS
and our attention returns to GROWN JOE and his family by the fire. THE SHAPE
comes slinking out of the darkness. It lurks just outside the family circle, listening.)
THE SHAPE
Shes down! Mom goes down! Folks, the ref may have to stop the fight, cause this looks like
a technical knockout!
(It shadow boxes out of sight, its job done. For now.)
(JOE is frozen with shock, but)
DRAKE
Oh, Momma
FRANK
I didnt mean to
(MONIQUE sits up. Touches her mouth, from which blood trickles.)
DRAKE
Andy must have been scared.
(With a look at FRANK and ANNA)
Pissed off, too.
MONIQUE
(reading DRAKES mind)
Somebody should have told him that change isnt always bad.
FRANK
It was for them. Wasnt it? I know stories, and I can see where this ones going.
MONIQUE
(soft)
Cant you see youre breaking your mothers heart?
(She holds her bloody fingers out for them to see.)
JOE
(roaring)
And Ill break your goddam heads!
ANNA
(sulky)
Just because Duane Allman there cant take a little joke
(For that she has no answer. THE SHAPE whispers in DRAKES ear.)
DRAKE
I dont want to hear any more of this. Its boring. Ancient history.
(THE SHAPE now whispers to FRANK.)
FRANK
Is the Big Duck chickening out?
(THE SHAPE whispers more. FRANK listens and grins.)
Play Free Bird!
MONIQUE
JOE
(turning his wrath on her)
Its sixteen miles back to town and youll be walking every mile of it if you dont shut your
troublesome mouth!
(She recoils, cowed. People dont usually speak to ANNA in such a manner. JOE
turns to the BROTHERS again.)
As for you two
MONIQUE
(gets up and holds him back)
Sit down, Joe.
(rubs her jaw)
Frank McCandless, dont you ever!
DRAKE
(DRAKE turns angrily to his brother. FRANK turns to DRAKE. He

might be ready to apologize, but)
ANNA
(laughing)
This aint that kind of bay-und!
(That does it! The LIVE BROTHERS unload, andjeez, Louise! instead of
hitting their intended targets, both of them get their MOTHER! MONIQUES
head rocks first one way, then the other. She collapses against the back of the
couch, not out but dazed, for sure.)
(THE SHAPE raises its hands over its head, shakes them triumphantly in the air,
then FEINTS and DODGES around the room, both comic and ominous.)
54
(meek)
Sorry, Momma.
FRANK
(mild)
Me too, Momma.
MONIQUE
I dont want your sorry. I want you to sit there and shut your heads.
(The boys settle back on the couch, thoroughly ashamed of themselves.)
Good.
(She once more sits between them.)
Now if you want to start again, youll have to punch me on purpose.
(To DRAKE)
You want to punch me?
55
DRAKE
No, Momma.
MONIQUE
(to FRANK)
How about you, George Foreman?
FRANK
No, maam.
MONIQUE
(to ANNA)
What about you, sweet-britches? Want to take a shot? Go on Joe.
JOE
Do you want me to fetch you an icepack darling?
MONIQUE
I want you to finish your story.
(ANNA looks away sulkily, saying nothing. Her evening, which started out well,
is turning to shit.)
JOE
This place has seen its share of bad luck and trouble. My brothersJenna Farrell
(Turns to MONIQUE)
And Dan Coker, him that was caretaker back then. He died right in this room. I ever tell you that?
MONIQUE
(wide-eyed)
Song: AnD Your DAYS Are Gone ..... JACK, JennA, AnDY
JACK
SOME PEOPLE GIVE UP ON THE MONEY
JENNA
SOME PEOPLE GIVE UP FOR THE PAIN
ANDY
SOME PEOPLE GIVE UP FOR NO REASON
UNABLE TO START AGAIN
THEN THEY GIVE UP FOR THE PROMISE
JACK
ON A TICKET THAT THEY CANT SELL
JENNA
THEN THEY GIVE UP ON EACH OTHER
BEFORE THE TRUTH THEYLL TELL
ALL
AND OUR DAYS ARE GONE
AND THE DAYS ARE GONE
ANDY
YOU CAN GIVE UP FOR CONFUSION
TOO AFRAID TO TAKE ANOTHER STEP
JACK
AND ALL YOUR DREAMS COME CRASHING DOWN
FOR A MOMENT YOUD LIKE TO FORGET
No!
JOE
Yessir. He was foolin with that old clock.
(Points at it)
Tryin to get it goin.
JENNA
AND IN THAT TINY MOMENT
YOU CAN CHANGE THE COURSE OF TIME
JACK
(ANDY, JACK, and JENNA look at DANwho LAUGHS!)
THEN YOUR LUCK RUNS OUT
DAN
Almost had it fixed, too!
(Rubs his chest)
Damn vapor-lock!
JENNA
UP THE WATER SPOUT
ANDY
CUT DOWN IN YOUR PRIME
JOE
That clockthat damn old clock It never ran again. . . after. . . after.
(He lowers his head.)
JENNA
(to JACK and ANDY)
Your little brothers getting ready to give up. I can see it in his eyes.
ALL
AND YOUR DAYS ARE GONE
DAN
(to Jenna)
What about you, honey? Ready to call it quits?
JENNA
(lifts her chin)
Maybe not just yet.
56
57
JENNA
IN THE WHISPERS OF YOUNG LOVERS
WHO CANNOT ORGANIZE THEIR THOUGHTS
THAT THEY FOR THE FIRST TIME
THE SWEET SADNESS OF LOVES BEEN BOUGHT
ANDY
WHAT DO YOU DO WITH SUCH A THING
SO POWERFUL SO FRAIL
JACK
HOLDING HANDS YOU JUMP IN THE WATER
A STORY ONLY DANTE COULD TELL
ALL
JACK
Oh goddammit, after...
(JACK whirls to the LIVE FOLKS. Maybe he wants to spur JOE on; more likely
its the summed-up fury of being a ghost for forty years: no one sees, no one hears.
In any case, HE SCREAMS WITH ALL HIS MIGHT.)
JACK
THAT GODDAM MEDAL IS STILL HERE!
(The LIVE FOLKS take no noticeor do they?)
ALL
MONIQUE
Whatever happened to the shooting medal, Joe?

AND YOUR DAYS ARE GONE
JACK
WELL IM SORRY FOR WHAT HAS HAPPENED
JOE
I dont know.
JENNA
MONIQUE
Can you imagine if that darn thing was still here? And we found that after all this time?
AND I GUESS THAT YOU ARE TOO

ANDY
AND HERE WE ARE LOST AND FORGOTTEN
THE PRICE WE PAY FOR WHAT WE DO
JACK
BUT I WANT YOU TO KNOW THAT I LOVED YOU BOTH
THE BEST WAY THAT I KNEW HOW
(JENNA drifts closer to MONIQUE.)

JENNA
Its on top ..
(points to the top of the gun cabinet)
(A WHISPER instead of a SHOUT, but it gets through.)
JENNA
SOME BAD MISTAKES OUR SOUL WILL TAKE
DONT GIVE UP ON US NOW
ALL
MONIQUE
(trancelike)
Did anyone look on top of the gun cabinet?
(She goes to it, stands on tiptoe, and starts feeling around up there)

JACK
That goddam medal
FRANK
Momma, herelet me.
(He hurries to her, hips her aside, and reaches up on top.)
Nope, nothin but dust.
ALL
JACK
That medal, I took it off 40 years ago. After . . .
ALL
JACK
After. . .
58
DRAKE
You may have sold your book for half a million bucks, but I still got two arms that work.
(DRAKE hips FRANK aside as easily as FRANK did it to his mother. Starts feeling
around.)
Doubloonsguess this must be a bag of jewelssmall bag, not worthkeepinand this must
be a
(Freezes up.)
ANNA
What?
(What now, in other words.)
59
(DRAKE brings down JACKS shooting medal. He blows off forty years worth of
dust, then holds it out to his father. JOE reaches for it, then stops.)
JOE
Give it to Neekie. Shes the one guessed where it was.
(DRAKE gives it to her with a bow. MONIQUE slips the ribbon around her
neck. Shes delighted. So are the GHOSTS. Still in a state thats almost like a hypnotic trance, MONIQUE rises and goes to the clock. Looks at it. DAN approaches,
takes her hand, and lifts it to the clocks face. They touch it together, and the clock
starts to TICK.)
JOE
WHEN I WAS HOPEFUL, LOVING AND YOUNG

WHEN I WAS YOUNG, WHEN I WAS YOUNG
IVE BEEN HERE SO LONG, OLD FRIEND, BELLE REVE
IM NOT YOUNG AND THINGS ARENT LIKE BEFORE
AND BELLE REVE TIME, SO STRANGE, SO SWEET
SO STRANGE, SO LONG, SO SHORT.SO SHORT
ANNA
(mutters)
This place is weird and I hate it.
(She gets up, walks sulkily to the window, and looks out.)
Frank, I want to get out of here.
Sam I say goddam!

FRANK
DRAKE
Not yet. I want to hear
Momma, howd you do that?

JOE
MONIQUE
Actually, that might not be a bad idea.
II dont know!
MONIQUE
FRANK
You thumped it just enough to jog the works. Itll stop again in a minute.
Song:on BeLLe reve TiMe ..... MoniQue

WEVE BEEN TOGETHER SO LONG, BELLE REVE
IM NOT YOUNG AND THINGS ARENT LIKE BEFORE
BUT BELLE REVE TIME, SO STRANGE, SO SWEET
SO STRANGE, SO LONG, SO SHORT
ITS HERE THAT MY WORLD SHINED SO BRIGHT
BUT NOTHING WORKS OUT LIKE WEVE PLANNED
YELLOWING WITH THE PASSAGE OF TIME
AS DAYS SLIP THROUGH OUR FINGERS LIKE SAND . . . LIKE SAND
OH, PLEASE, BELLE REVE, WONT YOU SMILE FOR ME
AND PUT SOME SUN ON MY FACE
WITH A LITTLE MAGIC NOW AND THEN
AND A FEW THINGS GOING MY WAY
OF COURSE, WELL DANCE IN THE GLOW OF THE SUN
SOMETIME SOON, IM SURE
BUT BELLE REVE, I FEEL THE SUN IS SETTING ON ME
AND TIME HAS SETTLED ALL SCORES
ALL THE SCORES,YEAH WHO KEEPS SCORE
(DAN dances with her, unseen, as she sings)
ANOTHER TIME, ANOTHER PLACE, IN AN INSUFFERABLE WAY
I DONT KNOW EVEN KNOW WHERE TO START
ITS NOT THAT THEYRE CRUEL OR UNKIND
HAVE WE REALLY FALLEN SO FAR
I HOPE YOU CAN FIND IT IN YOUR HEART
TO FORGIVE ME FOR WHAT IVE NOT DONE
AND THINK OF ME AT MY BEST
60
Joe, you promised

JOE
Just outside is all I meant.
(To ANNA)
It is weird; youre right about that. Likeeverythings still here.
ANNA
(shes grateful to him)
Yeahlike that.
(She looks around, and her eyes fix on DRAKE)
You feel it too, dont you?
DRAKE
When I reached on top of the gun cabinet
ANNA
(totally focused on him and FRANK doesnt like that)
What?
DRAKE
For a second it felt like somebody took my hand and put it on that medal.
FRANK
(putting a proprietary arm around ANNA)
Thats the purest bullshit I ever heard.
JOE
Quit it, you two. Last warning. Now come on.
(They all rise and go outside onto the FORESTAGE. Director may invent a bit of
business for ANNA and DRAKEa whisper in the ear, a touch on the arm, stuff
61
to show us that she sympathizes with his little ghost story even if FRANK does
not, and to show him she hasnt lost all her feelings for him. The LIVING ROOM
DIMS TO BLACK.)
FRANK
(as they settle)
What happened after the shootin match, Daddy?
JOE
The boys dropped Jenna off and went home. Only they had a passenger in the back seat they
kinda forgot. He was easy to forget.
(During this, the projection of the PONTIAC reappears at STAGE LEFT. ANDY
and JACK go to it and sit side-by-side below it, in folding chairs they carry. LITTLE JOE brings two more folding chairs and puts them behind the ones occupied
by his big brothers. He shrinks into one, looking sad and beaten. Their words are
beating him. ANDY, behind the wheel, makes driving motions. [Some sound FX
would help here.] The FAMILY watches ANDY and JACK argue.)
ANDY
Why couldnt you back me up?
(ANDY stalks away. After a moment, JACK does, too. As they reach the darkness,
they regain their BLUE GLOW and become GHOSTS again.)
(YOUNG JOE looks after them unhappily.)
INSTRUMENTAL UNDERSCORE: MY NAME IS JOE
JOE
Sometimes after they fought like that, Id lie down in that ole car and go to sleep. It was a
way to get away from the pain, I suppose.
(YOUNG JOE lies down on the folding chairs that make up the Pontiacs backseat.)
And when those two went out barrel-housin that night with the girl of their dreams, little
brother was still fast asleep in the back seat.
(Club 41 lights up: a smoky roadhouse where some older couples dance to CATATONIC COUNTRY MUSIC on the jukebox. JENNA, ANDY, and JACK (still
wearing his medal) come rolling in.)
ZYDECO COWBOY
Yahoo all you jukers and tactical nukers! Welcome to the Club 41 Boom Boom Room.
Now n then we pause for the cause and the cause is Mr. Al K. Hall! Kick off your shoes
and lose the blues.
(JENNA hands him a record)
Change of plan here... We got something to give you enjoy up to yo plum full.
JACK
(The CATATONIC DANCERS pay him no heed. ANDY goes to the bar to
get drinks. JENNA surveys the scene and doesnt care for what she sees.)
I dont make the damn rules!

LITTLE JOE
(trying to be cheery)
Hey, you guys, want to stop for ice cream? I got my birthday money, Ill buy you each a
(They ignore him.)
ANDY
Or were you scared Id beat you? That was probably it, huh?
JACK
Youre the one got scared. The way you dropped your last shell
ANDY
I didnt drop it!
(Motor FX stop. ANDY gets out of the car. So does JACK, still wearing the
medal. They face each other, fists clenched.YOUNG JOE watches. Neither of
the older brothers notices him.)
JACK
Do you have to win at everything your whole goddam life?
ANDY
No. Ill settle for Jenna. Keep your hands off her, Jackie-boy.
JACK
Shell decide who puts his hands on her, Andy-boy. [Beat] And who doesnt. Got that?
62
Song: JuKin ..... JennA

YOU GOTTA BE A LITTLE DRUNK
AND A LITTLE BIT CRAZY
IF YOU WANT TO GO JUKIN WITH ME
I CAN BE A LADY
OR A SNAKE IN THE BEDROOM
I CAN BE WHAT YOU WANT ME TO BE
I CAN TURN OFF THE LIGHTS
WITH A FLIP OF MY HIP
I CAN KISS YOUR LIPS REAL HARD
I CAN DRINK YOU UNDER THE TABLE
LEAVE YOU WEAK OUT IN THE BACKYARD
BUT ITLL BE ALRIGHT
WHEN WE GET IT TIGHT
AND WERE OUT THERE JUKIN
WHEN YOU DRIVE AND DRIVE WITH THE TOP DOWN
THEN YOU CANT DRIVE NO MORE
YOU PUT SOME CHANGE INTO THE JUKEBOX
AND GO BARE-FOOTIN OUT ON THE DANCE FLOOR
MAKE A SHOW OF YOURSELF
LET THEM KNOW YOURE ALIVE
UNTIL THEY 86 YOU OUT THE DOOR
THEN YOU GET BACK OUT THERE ON THE ROAD
AND YOU GO JUKIN SOME MORE
63
BUT ITLL BE ALL RIGHT

SO LETS GET TIGHT
AND GO OUT JUKIN
BUT ITLL BE ALL RIGHT
SO LETS GET TIGHT
AND GO OUT JUKIN
YOU GOTTA BE A LITTLE DRUNK
AND A LITTLE BIT CRAZY
IF YOU WANT TO GO JUKIN WITH ME
I CAN BE A LADY
OR A SNAKE IN THE BEDROOM
I CAN BE WHAT YOU WANT ME TO BE
JENNA
The cabin! Lake Belle Reve by moonlight! Lets go!
(As they sit on the folding chairs representing the front seat of the Pontiac,
CLUB 41 FADES TO BLACK.)
FRANK
How come you never told us this before, Daddy? Its as good asI dont knowFlannery
OConnor!
(At this, DRAKE and MONIQUE exchange a look of perfect understanding.
FRANK doesnt see it.)
(YOUNG JOE wakes up, gets out of the Pontiac [on the forestage], and creeps
to the window. Hes fascinated.)
(ANDY watches JACK and JENNA dance. He swallows his drink at a gulp.Then
JENNA pulls him onto the floor. Last, the three of them togetherbig finish.The
CATATONIC DANCERS [most of whom we saw in the CROWD at the shooting match] join in, and APPLAUD at the finale.)
(Outside the roadhouse,YOUNG JOES head first nods, then descends to his
crossed arms. Inside, the light LENSES TO A DEEP DIM RED. From the juke
comes The Platters singing Goodnight, Sweetheart (or possibly Home
Again done as an instrumental).
JOE
After awhile, I dozed off. I woke up just as the guy spinning the records said. . .
(Inside, JENNA, ANDY, and JACK are sharing the last dance together. They wont
squeak when they leave, because theyre extremely well-oiled.)
ZYDECO COWBOY/BARTENDER
Closin time! You dont have to go home, but you cant stay here! Drive safe, watch out for
County Mounties, and if youre on your bike, wear white!
JOE
(confused)
Flannel who?
MONIQUE
Go on, Joe.
(The three GHOSTS walk unsteadily toward the cabin and enter as they did on the
night they died. JACK is wearing the shooting medal. As they turn on the lights, we
see the place exactly as it was then: fresh covers on the couch and chairs, no dust,
gleaming wood surfaces. The GRANDFATHER CLOCK ticks. In one corner sits a
TABLE RADIO, which ANDY turns on. CAJUN MUSIC PLAYS. On the MAHOGANY BAR by the GUN CABINET is a BOWL OF FRUIT. THE SHAPE,
there all along, shows the audience a SHINY RED APPLE with a flourish. Carefully,
with an artists touch, he perches it atop the fruit)
(YOUNG JOE creeps from the back seat of the Pontiac to watch through a
window. The PHOTO-REPRESENTATION of the Pontiac FADES AWAY.)
ZYDECO COWBOY
Heres a new tune for yall: Away From Dis Woild. Its a beautiful summer night and aint
you lucky to be in the Crescent, yeah you right!
(Away From This World plays from the radio. JENNA whispers in JACKS ear)
JOE
When I heard that, I ran back to the car and hid in the back. Barely beat em, too.
(YOUNG JOE books for the Pontiac and crouches between the folding chairs representing the back seat just as his brothers and JENNA come out, high and hilarious.)
JOE
(overlapping this business)
I dunno how long she and Jack had been a couple, and I dunno why she chose that night of
all nights to let Andy in on their secret. It must have been the booze. I saw her whisper in
Jacks ear
JACK
Yall want me to drive?
(JACK nods and smiles at whatever shes suggesting.)

ANDY
Ill do it, Im soberer.

JACK
and I got an idea of what was goin through his mind: Why, this is bettern the Hawkeye!
When it comes to winnin prizes, this puts that old shooters tin to shame!
(JENNA gives JACK a hug and a kiss on the side of the mouth. ANDY enters)
Okay, Sobererwhere we goin?

ANDY
(spur of the moment)
The cabin!
64
JOE
What happened that night proves one of lifes great truths: you can never do the right thing
after you just closed up the local honkytonk.
65
(JENNA spins free of JACKS arms, dips a hand deep into her dress pocket, and
slips a ring onto her finger. She and JACK approach ANDY, who stands by the
MAHOGANY BAR and that unlucky bowl of fruit.)
JENNA
(shy, displaying her wonderful ring)
Look what Jack gave me. Idnt it pretty?
JACK
(slips an arm around her waist)
Were hoping to make it an official engagement at Christmas.
JENNA
(ANDY bounces to his feet, grinning. Grabs some heavy crystal glasses from the
BAR. ANDY and JENNA are both uneasy now, but ANDY wont let them decline.
Hes a good host! The host with the most, and they must drink a toast! He thrusts
the glasses into their hands, pours, then sets the SECRET BOTTLE down next to
the BOWL OF FRUIT. He holds his glass up, and, after exchanging a glance, JACK
and JENNA do the same.)
ANDY
May you both have the best of everything, and may my brother not turn out to be like Uncle Ray.
(Off JENNAS puzzled expression.)
Uncle Ray was the rump-wrangler of the family. Big skellingtonskeletonin the closet.
(Conspiratorial)
I think Jacky-boy favors his looks. No tellin what else he favors.
Thanksgiving!
ANDY
(quite drunk)
Well slap my tail and call me stinky! Aint that somethin! You been keepin secrets, you two!
Little secret-keepers is what you are! Well, what the hell. What the fuckin hell. Congratulations!
JACK
You mean it?
ANDY
Hell, yes! Why wouldnt I mean it? Better man won. Better man fuckin won. We gotta have
a drink on it! With the good stuff!
FRANK
(to JOE)
We had a gay uncle and you never told us?
JOE
Son, my Uncle Ray was married three times and had nine kids. Only reason you dont know
that is he moved up north to get shut of another three or four ladies.
(Beat)
Its true that he liked silk underwear, though.
DRAKE
Gays somethin you probly know about, Frankensteinall those writers you like are gay, right?
Maybe weve had enough.
FRANK
Dont talk about what you dont understand.
ANDY
Shit on at! Gotta hap to drinkinessdrink to happinessyou know what I mean, course
you do, little secret-keepers like you know all kinds of things.
DRAKE
(to ANNA)
I think they have to turn gay when they go to New York. I think its a rule, like
JENNA
(ANDY opens a PANEL in the bar and brings out the SECRET BOTTLE. He
hugs JENNA, then pats her bottom. She steps away fast.)
ANDY
You fucked the best; might as well fuck the rest.
(And before they can respond)
Just kiddin, just kiddin, and probly not in the test of bastebest of you know what I mean.
JACK
FRANK
Like how all rock and roll musicians shoot heroin.
(Casts a mordant eye on ANNA)
And screw half-drunk sluts after the show.
(DRAKE balls his fists and starts to get up.)
JOE
(sad)
You sound just like em.
Andy
ANDY
Calm down, calm down, just bammin your balls a bit. Better man won, thats all. Won this afternoon, won tonight. I bow down before you.
(He drops to his knees and bows his head.)
JENNA
(decides to treat it as a joke)
Get up, you goof.
66
(That stops them. For the time being. They sit, still staring at one another.
Each on a hair trigger.)
(ANDY, meanwhile, tosses off his drink. JACK and JENNA only sip at theirs. They
are becoming more and more uneasy.)
ANDY
(chanting)
Lets have another one! Just like the other one!
(Tries to pour and only succeeds in watering the floor.)
67
JACK
(In the cabin ANDY is pushing JACK with his chest.)
Thats enough.
ANDY
Throw seven, throw eleven, kiss my ass and go to heaven. Were havin another. And why?
Because the one who got lied to says so.
JENNA
We didnt lie
ANDY
(to JACK, confidential big brother stuff)
She cries when she comes.
JENNA
(cold)
You wouldnt have any idea what I do when I come.
ANDY
Touch, touch!
(He pronounces it touchy, touchy and tries to pour himself another drink.)
Kiss my ass and go
JACK
Youve had enough.
(ANDY and JACK struggle over the bottle. JACK gets it, but drops it. It shatters
on the floor.)
ANDY
Little pansy cant even hold onto a bottle of liquor. Whats he gonna do when he gets you in
bed? Squirt on the sheet beside your right knee and then say, Was it good for you, dear?
(While ANDY is LAUGHING DRUNKENLY at his own wit, THE SHAPE
swoops in from wherever its been lurking. It whispers in JENNAS ear. She listens
intently, and a small, mean smile lights up her face.)
JENNA
(turning to ANDY)
For your information, Mr. Drunk and Ugly, he has no problem at all finding Happy Valley. A
spot YOUVE probably only seen in Playboy magazine.
(Smiles at JACK, then turns again to ANDY; here she is all ANNA)
Maybe you need lessons in all kinds of shooting.
ANDY
Why you open-legs little slut.
(He raises his hand to strike her, but JACK intervenes, pushing ANDY all the way
to the wall with his chest.)
ANDY
You know what a loser is? Someone who can do in a game what he cant do in real life.
You can win a medal out in back of the Amvets Hallnothin on the line, got your pretty
girlfriend cheerin you onbut itd be different if you were playin for all the marbles. Even
at close range.
Song:PuT Me in The GrounD ..... JACK, DrAKe, AnDY, FrAnK

JACK
SOMEONE GET THESE CHAINS OFF OF ME
THEY HAVE KEPT ME DOWN FOREVERMORE
I HAVE EYES BUT I STILL DONT SEE
WHATS THE POINT OF ME BEING HERE FOR
DRAKE
HEAVEN HAS TURNED ME AWAY
BUT I CANT GET ON MY KNEES AND PRAY
I KEEP SEARCHING FOR THE GOOD OLE DAYS
BUT IT LOOKS LIKE DARKNESS IS HERE TO STAY
JACK, DRAKE, ANDY & FRANK
OH... OH, PUT ME IN THE GROUND
FRANK
SO IF I AM GUILTY WHO CARES
JUST HOPING TO SETTLE A FEW OLD SCORES
THIS GOES BACK SO MANY YEARS
I CANT EVEN REMEMBER NO MORE
ANDY & DRAKE
SO PUT YOUR GUN TO MY HEAD
THE RAIN IS ALREADY FALLING DOWN
ANDY
IF THIS IS ALL THERE IS IN THIS DIRTY OL WORLD
ANDY & DRAKE
ID RATHER NOT HEAR ANOTHER SOUND
JACK, DRAKE, ANDY & FRANK
OH-OH-OH-OH
PUT ME IN THE GROUND
(Lights fade on 2007 brothers.)
JACK
Quit the shit! Man up! You lost! Know it and own it!
ANDY
Lets see how you do under pressure, Hawkeye.
(With the SHAPE egging them on, JACK and ANDY are at each others throats.
During this, THE LIGHTS COME UP on DRAKE, glaring at FRANKwho has
his arm firmly around ANNA and is glaring right back.)
68
69
Song:So GoDDAM GooD ..... AnDY, JACK, JennA

ANDY
GO ON AND DO IT
DO YOU THINK THAT YOU COULD?
LETS SEE YOU GET TO IT, IF YOURE SO GODDAM GOOD
JACK
YOU BETTER NOT TEMPT ME
I WOULDNT DO THAT
ILL TAKE YOU UP ON IT AND NEVER LOOK BACK
JACK
I TOLD HIM I WOULD
ANDY
IF YOU MEAN WHAT YOU SAY, THEN BROTHER, GET DOWN TO IT
JACK
(enraged)
AND NOW ILL SHOW HIM WHOS SO GODDAM GOOD
NOW ILL SHOW YOU WHOS SO GODDAM GOOD
JENNA
PLEASE DONT DO THIS
LEAVE IT ALONE
STOP FOR MY SAKE, IF NOT FOR YOUR OWN
MUSIC CRASHES TO SILENCE. GRANDFATHER CLOCK TICKS.

(THE SHAPE whispers in ANDYS ear, then points to the BOWL OF FRUIT.
A big old drunk smile spreads out on ANDYS face.)
ANDY
I DONT THINK YOU CAN DO IT
YOU WERE NEVER FOR REAL
YOURE AS GRAY AS A HANGOVERWHERES THOSE NERVES OF STEEL?
JACK
YOU WANT ME TO DO IT?
I SAID THAT I WOULD
SHUT UP OR ILL SHOW YOU WHOS SO GODDAM GOOD
SOUND CUE: CABINET DOOR OPENS. RUMMAGING SOUNDS. THEN THE
METALLIC CLACK OF A RIFLE BOLT BEING RACKED.
JENNA
STOP WHILE THERES TIME
STOP IF YOU CARE
THIS WONT PROVE A THING
THERES DEATH IN THE AIR
STOP WHILE THERES TIME
STOP WHILE WERE FREE
IF NOT FOR HIM
THEN DO IT FOR ME
(ANDY takes the apple and puts it on top of his head. Then he stands with his back
against the GRANDFATHER CLOCK. Jack goes to the gun cabinet and snatches
out the RIFLE weve already seenalthough of course now theres no rod plugging
the barrel. JACK doesnt shoot.We see what we didnt at the Shooting Competition:
hes scared. The muzzle of the gun wavers slightly. THE SHAPE is dancing around,
making shooting motions and crying Pow! Pow! Blam! Blam! Ya got me, partner!)
JENNA
Cant you see how stupid this is? Its not about ANYTHING!
ANDY
(a small drunken giggle)
Remember if you aim low and put one between my eyes, Ill haunt you for the rest of my life.
JACK
Shut.UP!!!!
(The gun barrel wavers everywhere now, a recipe for disaster.)
JENNA
Please dont. For Gods sake!
THE SHAPE
THE SHAPE
Are you going to let her tell you what to do, Jacky-wacky? Thats no way to start a
relationship!
DO IT!
(But JACK lowers the gun, shoulders sagging, relieved and almost sober. THE
SHAPE is at JACKS side in a flash, yammering in his ear.)
SFX: ANOTHER CLACK AS JACK SLAMS THE BREECH CLOSED.

JENNA
JACK
BUDDY,YOURE TEN MILES PAST STUPID
YOURE AN ACRE OF DUMB
AND IM COUNTRY-ASS TIRED OF LIFE UNDER YOUR THUMB
ANDY
(back against the clock)
YOU DONT HAVE THE GUTS,YOU WONT NEVER DO IT
Thats enough, now.

THE SHAPE
DO IT!
JENNA
Were going home.
THE SHAPE
DO IT!
70
71
JENNA
JACK
Home and bed. Ill drive.
Howm I going to tell mine?
ANDY
(back still to the clock, apple still on his head)
YOU GODDAM THIEF, YOULL ALWAYS BE SECOND BEST!
(In a single motion, JACK puts the rifle back to his shoulder and FIRES. ANDYS hand
flies to his forehead.The glass front of the GRANDFATHER CLOCK SHATTERS.
ANDY stares at his brother with unbelieving eyes as BLOOD TRICKLES THROUGH
HIS FINGERS and starts RUNNING DOWN HIS FACE. His hand drops.We see a
ROUND BLACK HOLE dead center in his forehead. He holds his BLOODY HAND
out to JACK and JENNA.Then his knees unhinge and he crumples to the floor.)
JENNA
How can I live in Delightanywhere in Darkland Countyafter this?
(YOUNG JOE staggers backward. The kids face is a mask of horror. He MIMES
SCREAMING.)
JOE
I thought I screamed, but neither of em came outside, so I guess it was just in my head.
(AUDIO FX: AN ECHOING, DIMINISHING SHRIEK OF HORROR.)
God knows that somewhere inside Ive been screaming ever since.
(YOUNG JOE Silent! Shh! runs away into the shadows)
(The inside of the cabin FADES TO BLACK.)
FRANK
Jesus, Dad! I mean God-amighty damn!
MONIQUE
(on autopilot)
Dont take the Lords name in vain if youd not face Him so.
JOE
I remember going back to the car, but thats all I remember for awhile.
(DIM LIGHT returns to the cabin. JACK stands at the end of the couch with his
face in his hands. JENNA kneels beside the dead boy. When she rises, JACK drops
his hands and looks at her.)
JACK
(the dawning of an idea)
You dont need to, darlin. Neither do I.
JENNA
We dont have any money. If we run away, theyll bring us back.
JACK
Theres a place we can go that no one ever gets brought back from.
(They stare at each other, communicating volumes via ESP. JENNA nods. JACK
goes to a small writing desk and begins scribbling a note while JENNA strips the
coverlet from the couch and puts it over ANDYS body.)
JOE
The note they left said, We are sorry. What happened was an accident because of high
spirits and too much to drink. Jenna and me love each other and want to be together always.
Whoever finds this, tell our folks we love them. And give Skunk a kiss from Andy n Jack.
(JOE chokes on this and almost loses it. MONIQUE puts an arm around him.
DRAKE and FRANK also move to comfort their Dad. ANNA still stands apart,
left out of the family and pouting about it.)
(During this on the FORESTAGE, JACK leaves the note on the liquor cabinet.
He and JENNA exchange a brief, chaste kiss, then leave the cabin.)
JOE
They must have been just drunk enough for it to look romantic.
(MOONLIGHT on the Promontory; HEADLIGHTS appear through the trees
up there. This is where we came in.)
(DAN COKER stands in front of GROWN JOE, unseen.)
JACK
Is he?
JENNA
DAN
Its not your sons you need to help, Joey. And its not your wife. Help yourself!
(Now the SHAPE comes, peering over DANS shoulder.)
(calm; in shock)
Oh yes.
THE SHAPE
Dassnt tell.You aint never to tell.
JACK
(slips off the shooting medal and looks at it)
This fucking thing!
(He throws the medal on top of the GUN CABINET. JENNA barely notices; shes
still looking at ANDYS CORPSE.)
JENNA
(calm and dazed)
How am I going to tell my Momma and my Daddy?
72
(JACK and JENNA walk to the edge of the drop, holding hands.Theyve both been crying, and although their tears are behind them, they have the hollow-eyed look of kids who
have finally seen the world for the house of cards that it is.They MIME SPEECH and
share a kiss.When we saw this at the start, they were silhouettes. Now we see them clearly.)
JOE
(dreamily)
Maybe it was the moon that made em do it.
73
THE SHAPE
That crazy moon.
(Hands joined, the lovers leap. The MUSIC CRASHES TO SILENCE.)
JOE
Look, Im tired. [Tard] Im goin to bed. Boys
(He struggles to say more. Cannot. He moves away from the family.)
FRANK
DAN
It wasnt the moon!
Whys he crying? I mean, he told it!
THE SHAPE
(thrusting up its fingerbones)
And the judges give themALL TENS!
MONIQUE
(calmly)
Thats why. Come on boys, lets give your Daddy some space.
JOE
It was Dan who found Andys body. And the suicide note. And the Pontiac parked at the end of
Lookout Road.
(Beat)
Whats now Leap Road.
MONIQUE
Was it Dan who told the cops your brothers were playing William Tell?
(When they leave, MONIQUE has her arm around DRAKE. FRANK starts to go
beside her, but MONIQUE doesnt even look at him. So he tries to put an arm
around ANNA, but she just stalks off. FRANK walks off behind the others, alone.)
DAN
(to Joe)
If you gonna keep lyin about what happened, why tell it at all?
UNDERSCORE: WHAT KIND OF MAN AM I
JOE
(With increasing bitterness)
He didnt say anything about William Tell, but that idea got around, all right. As for me, the
next thing I remember, I was at Dans house. People in town treated him awful afterwards.
But of course, they had to blame someone.
DAN
How many days will you deny the things you saw? How many nights will you face the night
alone? How many times can you break your own hearts law, before your heart is turned to stone?
(But now THE SHAPE glides toward them.)
DAN
(to the audience, cheerfully ironic)
In them days, it was handy to have a black man around. For the blamin part.
THE SHAPE
(climbs back onstage)
You got off lucky. I tried to get em to lynch your ass!
FRANK
THE SHAPE
(with underscore)
If you believe theres a better world waiting, youre as numb as a pounded thumb. Silence,
thats your salvation. Keep it buried until kingdom come.
DAN
(to the other ghosts)
He coulda gone deep or come up. He chose.
They really jumped together?

JOE
(anger covering deep unease)
What else?
THE SHAPE
Sorry, kiddies! Better luck next century!
(It goes into its victory dance, waving its bony arms.)
YOUNG JOE
(over)
DRAKE
(thoughtful rather than hostile)
The note proves it, little brother.
Joe.
(The GHOSTS look around, startled.)
Joe!
FRANK
Yeahbut if I put that in my book, the editor would make me take it out.
(Realizes how this must sound to JOE)
Truth is stranger than fiction, I guess, butmost kidsd change their minds if they had some time
to cool down.
DRAKE
(nodding)
Whole lives before em, and all. But hey, youd ever told me Kurt Cobain would
74
JACK
Its Skunk!
DAN
(points through the walls at the PROMONTORY)
Up there.
75
The MOONLIGHT SPOT once more illuminates the clearing.YOUNG JOE

stands near the edge.
YOUNG JOE
Joe! Wake up! Its time to WAKE UP!
GROWN JOE
Frank? Drake? Whos there?
(No answer, although MONIQUE stirs on the living room couch.)
YOUNG JOE
Joe! Look up!
GROWN JOE
Dreamin. Must be.
(But he walks outsideand looks up)
God and sonny Jesus, so many stars!
YOUNG JOE
Joe!
(JOE looks up and sees his YOUNG SELF looking down from where JENNA and
JACK died. Hes stunned; may even go to his knees (I would).The other GHOSTS walk
down to JOE and regard him solemnly from within their envelopes of BLUE LIGHT.)
YOUNG JOE
Every secrets poison, dont you know that by now? Tell em the truth while you still know how.
Song:WhAT KinD oF MAn AM i ..... Joe, AnDY, JennA, JACK, DAn

JOE
MY WORDS DONT KNOW THE TRUTH
THEY FLUTTER AS I SPEAK
THE SICKNESS I FEEL UNDER MY BELT
IS THE DISDAIN I HAVE FOR ME
AND I ASK YOU TO STAND TALL
BUT ITS ME WHOS FALLEN DOWN
ID LIKE TO BE A BETTER MAN
BUT I CANT FIND MY WAY HOME NOW
SO WHAT KIND OF MAN AM I
WHO NEVER LOOKED UP TO SEE THE SKY
AND EVERY WORD I SAY
HAS COME BACK TO HAUNT ME EVERY DAY
SO HERE I STAND ALONE
CRIPPLED ON MY CANE
THE COWARD IVE BECOME
THE LOSER IN THE GAME
SO WHAT KIND OF MAN AM I

HAS COME BACK TO HAUNT ME EVERY DAY
AND HERE I STAND ALONE
CRIPPLED ON MY CANE
ANDY
SO DIG DEEP, YOU LITTLE BASTARD
LET THE TRUTH BE KNOWN
JENNA
ANGELS ARE FLYING WITH YOU TONIGHT
YOUD BETTER NOT LET THEM GO
JACK
CAUSE IF YOU DO ID HATE TO THINK
OF WHAT YOUR FATE COULD BE
DAN
SO SPEAK YOUR MIND, TELL WHAT YOU KNOW
AND SET YOUR FAMILY FREE
JOE
WHAT KIND OF MAN AM I
HAS COME BACK TO HAUNT ME EVERYDAY
ANDY, JENNA, JACK, DAN
SPEAK YOUR HEART
JOE
SO HERE I STAND ALONE
CRIPPLED ON MY CANE
ANDY, JENNA, JACK, DAN
SET US FREE
JOE
ANDY
THESE EYES YOU SEE ARE MASKED

BY A THIN VENEER OF TEARS
AND WHO WOULD HAVE KNOWN THAT SUCH A SMALL TASK
WOULD HAVE COMPROMISED ALL THESE YEARS
BUT A LIARS GUILT IS A LIARS FATE
AND MAN, THATS JUST THE FACTS
FOR THOSE TOO WEAK TO TELL THE TRUTH
INTO DARKNESS YOU WILL BE CAST
76
TELL THE TRUTH!

JACK
All of the truth!
JENNA
Before its too late!
77
GROWN JOE
(at finish)
I dunno whatll happen if I puke up that old story. What if they hate me for it?
YOUNG JOE
I think youll be all right.
(Beat)
People who come home usually are. Why not ask them?
(JOE looks, and sees the GHOSTS. [Hes finally ready to see them.] He CRIES
OUT IN FEAR and puts his hands over his eyes.)
JOE
(to each in turn)
Andy?...Jack?...Andis it
JENNA
(beautiful calm)
Im Jenna, hon, dont you remember?
JOE
Dan?...Is it Dan?
DAN
We wont blind you, son. Were just a few left-behind spirits.
JOE
(top volume)
COME HERE, YALL! BEFORE I LOSE MY NERVE!
MONIQUE
What is it? Whats wrong?
JOE
I never told what really happened. I never could. It would have broke me. The weight of it.
The shame of it.
MONIQUE
Shame? Joe you were ten.
(It has never occurred to him that that might make a difference. He looks into her
eyes, then up at the promontory. The others follow his gaze. JACK and JENNA
break their statue-like poses and walk slowly halfway to the edge. There they stop
again and JENNA MIMES PASSIONATE SPEECH.)
JOE
I saw em up there in the moonlight. They took the car, so I ran. I ran after them. I ran
until I thought my heart was gonna burst out of my chest. To stop em.
(Crying)
All I wanted was to stop em. Frank, you were right. They meant to go through with it at
the cabin, but up there
JOE
JENNA
(on the PROMONTORY)
If you want to do it, I cant stop you, Jack. But Ive changed my mind. Im going back.
(lowering his hands)

What he sayscan I? Can I really?
JENNA
Youre one of the live folks.You can do whatever you want.
JACK
Your hand moves what it touches. Ours goes right through.
ANDY
JACK
(grabs her before she can retreat from the edge)
Too late for that, darlin.
JENNA
If we tell em how it was, theyll understand.
Its still your world, Skunk.

JACK
Go on, you little sonuvabitch, and take it back.
JOE
Are you sure?
JACK
Our folks wont. This is for the best. Close your eyes, if you want to.
(JENNA is fighting for her life as JACK forces her toward the edge, ignoring her
screams that she wants to live. This needs to be drawn out, made really grim and
horrible. On the very edge, as they teeter)
JENNA
JACK
Theyll call you a coward and a murderer!
Sure shot.
YOUNG JOE
Do it for me, because I cant.
DAN
And do it for yself, because you can.
(The MOONLIGHT on the PROMONTORY goes out, as if because of a
passing cloud. When it returns,YOUNG JOE is gone. In his place are JACK and
JENNA, FROZEN IN PLACE, waiting for JOES memory to move them.)
78
JACK
Theyll know it was an accident. Just like the note says.
JENNA
Will they, after they find our bodies?
(Beat)
After you kill me, too?
79
JACK
(stunned)
Kill you? I aint gonna kill you! You saidyou said
JENNA
I know what I said, but I was wrong. This is wrong. We need to go back and face what
weve done.
MONIQUE puts her arms around him and his boys also close in. Poor little cuss
up there on the Leap, thoughhe had nobody.)
JOE
I told that lie tonight, just like Ive been tellin it for forty years although I guess Dan suspected plenty. I lied, and after awhile I started to believe the lie. But in the back of my mind,
I always knew the truth. If not for me, they woulda walked away. I killed em.
JACK
Tell the truth.
DAN
No, honey.
JENNA
Yes! Yes! Tell the truth, no matter what.
FRANK
You didnt put the gun in Jacks hands.
JACK
All right.
(Slumping with relief, but still on the lip of the drop.)
As long as you still love me?
JENNA
Of course I do. Ill always love y
(At this moment,YOUNG JOE comes bursting into the clearing, shirt untucked,
hair crazy, eyes wild. He needs to scare us, and even more, he needs to scare them. A
BIG MUSIC STING will help.)
YOUNG JOE
Dont! Dont, dont, d
(Theyre still on the edge, their arms around each other. JACK turns to his little
brothers voice and loses his balance. They go over together, SCREAMING.)
YOUNG JOE
(rushes to the edge, falls to his knees, and looks down.)
No! No! OH, NO!
(He looks ready to throw himself after them, but THE SHAPE appears and helps
him to his feet.)
THE SHAPE
Nice job, kid. Couldnt have done it better myself. Just remember: they jumped.
YOUNG JOE
(eyes wide, dazed with horror)
Jumped.
DRAKE
You didnt drive em up there, either, just chased after.You tried to save em, Pop.
ANNA
(just sayin)
Shitty timing, though.
FRANK
Shut up.
(ANNA recoils as if slapped)
DRAKE
I love you, Daddy.
FRANK
So do I. We all do.
The boys hug their father and MONIQUE joins the family embrace. Only ANNA
is left out. Her face is a study in jealousy. THE SHAPE battens on her, whispering
in her ear. JOE, meanwhile, is soaking up his familys love, but the pain of that old
horror is still very much with him.
JOE
Four secondscouldnt have been more than that. Id give anything to change what
happened in those four seconds.
MONIQUE
Honey, four seconds idnt nothin. Weve got all the rest of our lives.
(All LIGHTS FADE as JOE looks toward the PROMONTORY.The kid looks small
and lonely up there.)
THE SHAPE
You wont ever say different, will you?
YOUNG JOE
They jumped.
(Puts his hands over his face and begins to cry)
They jumped, they jumped, they jumped and I wont ever say different!
(PROMONTORY TO BLACK except for one MOONLIGHT SPOT, where
YOUNG JOE huddles near the edge. GROWN JOE staggers, EXHAUSTED.
80
JENNA
It all goes so fast and we never know. It just slips
(Looks at her raised hand. Her spread fingers.)
slips away. Like silk. Makes a noise when it goes. Just a little one. Shhh
(Looks around)
Andy? Jack? Where did you go?
(No answer, but she LAUGHS SADLY)
Theyll be back. They have to be back. Its heaven that got lost, and thats the hell of it.
81
Song:AWAY FroM ThiS WorLD ..... JennA
SCENE 3
The next morning
THERE IS A HEAVEN SOMEWHERE

EACH WORD IS ITS OWN LITTLE PRAYER
WHERE OUR SOULS CAN SOAR AND BE FREE
AWAY FROM THIS WORLD
A PLACE WHERE THERES NO EARTHLY PAIN
NO TEAR DROPS BEING CRIED IN VAIN
WE WILL ALL BE CHILDREN AGAIN
SO HERE WE ARE
FROM DUST TO ETERNITY
AND HERE WE WILL STAY
TIL THE TRUTH JUST LETS US BE
(BRIGHT SUNLIGHT pours in; we hear BIRDS. What little luggage the
McCANDLESS FAMILY brought is piled next to the door. The main room is
empty, but ANNA is in the boys bedroom, sitting on the lower bunk. THE
SHAPE sits beside her, pouring more poison into her ear. She listens with her
hands folded and her lowered head nodding.)
(On the forestage, DRAKE sits in one of the two folding chairs [where DRAKE and
MONIQUE sat the night before] FRANK comes down and stands beside the other chair.)
FRANK
This seat taken?
WHERE EACH STAR WE CAN REACH OUT AND TOUCH

THERES PEACE OF MIND FOR EACH ONE OF US
HOPE, FORGIVENESS, AND TRUST
THERE IS A HEAVEN SOMEWHERE
WHERE EACH WORD IS ITS OWN LITTLE PRAYER
WHERE OUR SOULS CAN SOAR AND BE FREE
JENNA
(whispers)
Like silk. Finest silk. And the sound isshhhh.
TO BLACK
DRAKE
All yours, baby brother.
(A beat; he looks out at the lake.)
Im sorry about your arm. And Im glad about your book.
FRANK
Really?
DRAKE
Really.You think we could start again?
FRANK
I think we could try.
(Lights go down on them, and come up on the main room as MONIQUE comes
in, followed by JOE.)
MONIQUE
Lakes as pretty in the morning as ever.
JOE
(takes her in his arms)
Not just the lake.
MONIQUE
Why honey, thank you.
JOE
(after kissing her)
I just couldnt tell. The nights I spent layin awakeespecially since Drake broke Franks
armthinkin Here it is again, all over again
MONIQUE
And how do you feel now?
JOE
Better. Lighter. Freer. I only wish itd do some good. Do you think it will, Neekie? Do you
think things ever change? Does hate everdoes it ever run out?
82
83
MONIQUE
(pulls him forward)
Welllook.
MONIQUE
Oh, you dont need to do thatIm sure I closed them all.
DRAKE
(She points downstage at DRAKE and FRANK. We dont hear them, but theyre
talking and laughing. The best of friends.)
Wont hurt to check.

MONIQUE
JOE
I think I mightve left my makeup case.
Thatll never last.

MONIQUE
(The LIVE FOLKS exit. But when JENNA heads for the BOYS BEDROOM,
DAN catches her up by the shoulder.)
You might be surprised.

JOE
You really still love me? Even though I held it back so long?
MONIQUE
I stood up in front of God and all of Delight, Mississippi, and said forever. Forevers what I
meant. In this world and the nextif there is one.
(Calls down to the lake)
Come on, you two! Whos ready to go back to town?
(The boys join them in the cabin.)
FRANK
Cant wait to get out of it, Momma, to tell the truth.
DRAKE
(rolls his eyes)
Jesus.
DAN
No, Jenna. This is where things changeor where they dont.
(DIM IN THE MASTER BEDROOM; a little BRIGHTER in the
LIVING ROOM; BRIGHTEST in the BOYS ROOM.)
Song:A roSe For Poor AnnA ..... AnnA

OH PLEASE, OH PLEASE, WILL YOU FORGET ABOUT ME
COULD YOU LEAVE ME ALONE THIS TIME
IVE BEEN ON MY BACK AND IVE BEEN ON MY KNEES
IVE LOST AND LIED MY WHOLE LIFE
I GOT SOMEONE THAT LOVES ME, I GOT SOMEONE THAT NEEDS ME
OH PLEASE DONT TAKE THAT AWAY
OH PLEASE, OH PLEASE, LEAVE ME ALONE
AND PLEASE JUST GO AWAY
THE SHAPE
(beside ANNA on the lower bunk)
Do you really think Frankie-Wankies going to take you to New York with him?
JOE
Aint we done with this even yet?
ANNA
No, probably not. And its too late to ask the other one to take me back, isnt it?
(Smiling, DRAKE holds up a Peace gesture)

(THE SHAPE nods.)
MONIQUE
Wheres that littlewheres Anna?
ANNA
So where does that leave me?
FRANK
Think she already went out to the car.
MONIQUE
Is it cold in here, or is it just me?
JOE
(puts and arm around her)
Youre many things, Neekie, but cold has never been one of em.
DRAKE
Someone must have left a window open. Ill just
DAN
(comes through the wall, speaks to MONIQUE)
Best he not do that.
84
THE SHAPE
Does the phrase up shit creek ring a bell?
(DRAKE enters to check the windows. Her response to THE SHAPE was
disconsolate, but when she sees DRAKE, her old venom returns.)
ANNA
Big brother, small time. Thats you, idnt it?
DRAKE
Quit it.You got the writer-boy, isnt that enough?
ANNA
(nasty-sweet)
Youre like the big brother in your Daddys story. When it was on the line, you froze, too.You
looked so stupid up there. So country.
85
(The GHOSTS are watching through the doorway, the YOUNG

PEOPLE wide-eyed and clutching each other for comfort, DAN sad.)
DRAKE
Shut up and get those round heels movin. Im done with you.
(THE SHAPE whispers some more crap in her ear.)
ANNA
He tried to choke me! You saw it!
ANNA
I followed that record company man out. I had to run to catch up with him, he was struttin so
fast. He asked me if you were having a bad night, and you know what I said? You know what I
said about the Big Duck?
(Hes dumbfounded. She advances on him.THE SHAPE is with her every step of the
way, whispering and whispering.)
I said you were havin a bad life.You know what Drake? This is the first time I met your
Momma and Daddy face to face.You were ashamed of me werent you? Thats alright. Thats
fine. Theres one brother in this family thats going somewhere, and sure idnt you.Youll be
blinkin muffler rust out of your eyes for the rest of your life.
DRAKE
Why? Why are you doing this?
THE SHAPE
BECAUSE SHE WANTS TO, YOU NO-TALENT HICK!
ANNA
(spitting, furious)
Because you broke his arm! Because youre always trying to bring him down to your level!
Youd like him right here with you in Dee-light, wouldnt you? Along with your half-broke
Daddy and your lah-di-dah Momma
(Vicious imitation)
Oh, mah! Idnt the lake purty in the moon-laht? Wishey-fishies! Make me want to puke.
DRAKE
THE SHAPE
(conversational, to MONIQUE)
Aint she the little slut, though?
MONIQUE
(back to the deep accent shes worked to lose over the years)
And I heard you aigin him on! Get your narra ass n busy cunt out the door!
THE SHAPE
(conversational, to ANNA)
Aint she a stuck-up bitch?
ANNA
Get out of my way, you fucking stuck-up BITCH!
(She pushes MONIQUE hard. MONIQUE stumbles backward and strikes the
GRANDFATHER CLOCK hard enough to shatter the glass, just as it shattered was
back in the day. MONIQUE takes a step forward, eyes wide and blank, then collapses.)
THE SHAPE
(vicious baby talk)
Ooops! Momma faw down go boom!
DRAKE
Momma! (He rushes to her, kneels, turns her over.)
Momma! (Shakes her gently; no response.)
Momma? (And now presses his fingers to her neck, taking her pulse.)
Stop it.
(He moves to the CENTER ROOM. ANNA follows. Shes not done.)
ANNA
(mounting senseless cruelty)
Shes a drunk and drunks never change.You think she wont get another bottle? Well, I spose shes
got reason to, pretty as way and ugly as comin.We wont be stayin around, Ill make sure of that. But
well send you a postcard every now n then, okay? From places like Paris. And well think of you
playin in Club 41 and dodgin them flyin bottles, gettin you a nice big beergut, and well laugh
(THE SHAPE flies to DRAKE and starts whispering in his ear. MONIQUE
hears the argument.)
(DRAKE snaps and seizes ANNA by the throat. He starts to choke her, shaking
her back and forth. She makes GURGLING SOUNDS.)
MONIQUE
No, Drake! Let loose, goddammit!
(She pulls DRAKE away.)
ANNA
(a sneer on top and fear just beneath)
Shes fakin.
DRAKE
No pulse.
(A beat while he realizes what this means.)
You killed my Momma! You fucking bitch,YOU KILLED MY MOMMA!
THE SHAPE
(swings open the GUN CABINET)
Want this?
(And as DRAKE rushes to ANNA and begins CHOKING HER again)
Guess this is gonna be more of a hands-on operation.
FRANK
Hey, you guyswhats keepin you? I havent got all d
(Comes in. Doesnt see MONIQUE; she is shielded by either the GRANDFATHER CLOCK or the GUN CABINET. But he sees DRAKE choking
his girlfriend and rushes to them.)
THE SHAPE
Awww! Just when it was gettin good.
86
87
FRANK
Let go of her! Stop it! What are you DOING?
DRAKE
(pushes him back with one hand, then resumes choking)
What her mother should have done the first time someone handed her over red n squallin.
THE SHAPE
That was you!
FRANK
That was you!
JOE
(FRANK is no physical match for DRAKE, but he sees the open gun cabinet
and snatches out the rifle. The BARREL-PLUG, of course, is gone.)
FRANK
(shoulders the gun)
Let her go! Let her go or Ill shoot you, Drake! I swear!
DRAKE
(quick look over his shoulder)
Not with that, the barrels plug
(FRANK FIRES. Both DRAKE and ANNA jerk. Its a high-powered slug, and has gone
through both.)
(Theres a RED HOLE in DRAKES shirt. As he clears our sightline to ANNA, we
see the BLACK HOLE in her forehead, exactly where ANDY got it. She goes
down. DRAKE turns to his brother, holds out a hand to him just as ANDY held
out a hand to JACK and JENNA, then collapses.)
THE SHAPE
It must be Twofer Tuesday! And folkshe hasnt even seen Mom yet!
FRANK
(stunned)
Drake? Big Duck?
(Walks forward, starts to kneel, sees his mother is also dead, SCREAMS, and covers
his face. He stands there, the rifle still in his hands.)
FRANK!
(FRANK shoots his father. Silence. He sits there. Sanityan unwelcome visitor at
this pointreturns.)
FRANK
Why did I do that? Why?
THE SHAPE
(to the audience)
This is your basic clean sweep. Exceptfor Frankie-Wanky.
(He goes to FRANK and puts a comforting arm around the poor lad.The lights to DIM.)
THE SHAPE
You had to, Frankiehe deserved it.
FRANK
Althoughhe deserved it. Him and his secrets. Him and his stories.
THE SHAPE
And you know what you have to do now. Unless you want to spend the next twenty years
writing books with Crayolas in Parchman Farm, that is. I think that you should. Lets see you
prove that youre so goddam good.
(FRANK looks around and sees THE SHAPE.)
THE SHAPE
Really just one thing to do now, Frankie, wouldnt you say?
(FRANK goes to the sofa and sits down. He puts the muzzle of the gun under his chin.)
FRANK
Were you here all along?
(No answer, but FRANK doesnt need one.)
Course you were. Tell me something, sir. Is hell as hot as the preachers say?
THE SHAPE
Oh, please. And the one who got you into this mess just walks away?
(FRANK considers this and puts the gun across his knees. Hes wearing a trace of a
smile. FRANK has gone mad.)
Wellyes. But its a dry heat.
JOE
(shouts)
Frank? Drake? What the hell was tha
(Enters and sees the bodies on the floor.)
Oh my dear Jesus.
(Sees FRANK on the sofa with the gun.)
No, son. No. Shooting yourself is no answer.
FRANK
Why would I shoot MYSELF? Im not the one who kept a secret all these years. Im not the
one who brought us out here.
(Aims the gun at his father.)
88
THE SHAPE
(The LIGHT IS ALMOST GONE as FRANK sits on the sofa and puts the barrel
of the gun in his mouth. Hes going to pull the trigger with his toe.)
(ALL TO BLACKSILENCETHEN)
JENNA
Like silk. Like silk. Shhh
SOUND CUE: GUNSHOT
UNDERSCORE: AWAY FROM THIS WORLD
END OF ACT 2
89
EPILOGUE
DREAMLAND CAF
(Its empty except for the HOUSE BAND, now softly playing Away From This
World. JOE enters.)
JOE
Hey, can a man get a drink around h
SOUND CUE: A GUNSHOT, LOUD, AS FRANK TAKES HIS OWN LIFE.
(JOE looks around in terrorbut then terror becomes unutterable weariness. He
runs his hands through his hair. DAN, now the DREAMLAND BARTENDER,
comes to him.)
JOE
JOE
I aint going anywhere but back down there.
(He points to the cabin.)
Im gonna fix it. Im gonna make it right.
MONIQUE
Too late.
JOE
I got you all killed. I dont see how you can even stand to look at me.
MONIQUE
(goes to him, puts a hand on his neck)
Oh, you stupid man! I stood up in front of God and all of Delight, Mississippi. I said forever,
and thats what I meant. In that world
(points down)
and in this one. Dont you remember?
Dont make me go back.
JOE
DAN
Son, you always want to stay. And you always gobut to the wrong place.
JOE
(in despair)
We were dead all along.
Then where the hell have you been?

MONIQUE
(sweetly patient)
Waiting.
JOE
DAN
Yes.
JOE
But I told the truth!
DAN
Not in time.
JOE
Waiting? Waiting for what?

MONIQUE
For you to be ready to hear the truth. Its not 2007 anymore. Its been years since then.Youre
the only one who wont give up on that little hell in the woods.Youre the only one who keeps
torturing himself with blame and might-have-been. Look. Open your eyes for once and look.
(She points down. Lights come up in the CABIN. Its a dusty, disused hulk.)
Youre the only ghost thats left in that cabin. Come with me. Its closing time.
(MONIQUE takes his hand.)
Not in time???
JOE
DAN
Did I stutter? Theres just one time to tell the truth. Then it just goes. Like silk. Finest silk.
(He leaves. JOE sits in despair. He doesnt see MONIQUE come in moving in a
GHOSTLY manner.)
Can I?
Song:T ruTh ..... CAST

MONIQUE
WHEN GRACE HAS ABANDONED AND FORGOTTEN YOU
AND YOU SEE THROUGH EVERYTHING THAT YOU THOUGHT WAS TRUE
MONIQUE
MONIQUE & JOE
AND THE FRUIT IS ROTTEN AND THE CROPS HAVE ALL DIED
Honey? Closing time.

JOE
Neekie?
MONIQUE
You can go now. Ill take you, if you want.
JOE
THERES NO DREAM FOR YOU TO DREAM ANYMORE
AND YOUVE BEEN KNOCKING ON HEAVENS DOOR
MONIQUE & JOE
BUT THERES NO ANSWER AND YOU RECEIVE NO REPLY
90
91
JOE
(JOE and MONIQUE to center stage, hand in hand. They speak to the audience.)
Are they waiting for me?

JOE
MONIQUE
Many. So very many. Folks you havent seen in years. Come on Joe. Its closing time.
(Monique looks aside and gives her head a little shake.)
DAN, JACK, ANDY, JENNA, MONIQUE, DRAKE, ANNA
BUT YOU CAN SEE WITH THOSE EYES
AND YOU CAN HEAR WITH THOSE EARS
AND YOU CAN SPEAK WITH THAT TONGUE
THE TRUTH LOOKS SO FAR AWAY
BUT NOW ITS CLEAR
THE SHAPE
DOUBLE TALK, LIAR LIAR
THE TRUTH HAS COME TO SET YOU ON FIRE
THE LIE IS WELL SPOKE
BUT THE TRUTH IS WELL HID
Wish me a fish!
(YOUNG JOE steps from the darkness and joins them. GROWN JOE and
MONIQUE put their arms around him.)
YOUNG JOE
And Ill wish you one too.
(The three of them exit hand-in-hand-in-hand, in a BLUE GLOW. As they do
DAN comes back and watches them disappear.)
DAN
Thats the way its sposed to be. [Then, calling] Watch out for County Mountiesand if
youre on your bike, wear white!
SHOW ENDS
DAN
SAY HELLO, HELLO TO A NEW BEGINNING
SAY GOODBYE TO WHAT NOW IS ENDING
YOUR PATHWAY TO WALK DOWN IS VERY CLEAR
ALL
BUT NOW ITS CLEAR
SO HOORAY, HOORAY FOR TOMORROW
A BETTER PLACE TO FORGET ALL YOUR SORROW
THE TRUMPETS ARE BLOWING
JOE
AND THE MUSIC IS CLEAR
ALL
BUT NOW ITS CLEAR
YOU CAN SEE WITH THOSE EYES
BUT NOW ITS CLEAR
& 2013 Ghost Brothers, LLC under exclusive license to StarCon, LLC d/b/a Hear Music 100 N. Crescent Drive, Beverly Hills,
CA 90210. Hear Music is a licensed trademark of Starbucks U.S. Brands, LLC in the U.S. and Starbucks Corporation outside the U.S.
All Rights Reserved. Unauthorized duplication is a violation of applicable laws.
92
93

Ghost Brothers Libretto

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Music & Lyrics by

Song: AnD You CAn DreAM ..... ZYDeCo CoWBoY

Song: ThAT S Me ..... The ShAPe

I CAN GET YOU TO

Never meant to hurt him. Nosir.

SOUND CUE: A GUNSHOT, ECHOING, LOUD.

Song:ThAT S Me (rePriSe) ..... The ShAPe

Song:ThAT S Who i AM ..... AnnA

I CAN LAUGH AT ALL YOUR JOKES

(frown becomes a smile)

(More wriggling. More slap-and-tickle. Another CREAKthen a CRASH as the

Dont start, you two.

Sometimes they feel us.

Who was it, Dan? Whos here?

Song:So GoDDAM SMArT ..... JACK, AnDY, JennA

JACK & ANDY

(Theres a moment of fraught silence, which THE SHAPE breaks.)

BECAUSE EVERYTHING YOU DO I SEE

What did she say?

Song: WronG, WronG, WronG ABouT Me ..... The ShAPe

WELL YOUVE LIED TO YOUR CHILDREN

You stink of beer, sweat, and pot.

(hand up to hush him)

(HEADLIGHTS flash across the windows. A moment later, DRAKE McCAND

(claps her hands)

We came to your show. Me n Frank.

You know what? Im out of here.

BEDROOM lights up, only now its FRANKS BEDROOM in town.

Watch out, crip! Dont trip!

(stops, surprised to see his brother)

It isnt ready yet, Im still making changes.

Song:BroTherLY Love ..... FrAnK, DrAKe

(DRAKE grabs FRANK. They grapple. Suddenly theres an AMPLIFIED CRACK

SCUSE ME FOR SAYIN SO

WITH THE WAGGIN OF YOUR JAW

Song:hoW MAnY DAYS ..... Joe

(THE SHAPE scurries forward to join the fray.)

Song:hoMe AGAin ..... JennA, CAST

YOURE AMONGST FRIENDS

Song:You Are BLinD ..... DrAKe

THAT SHE IS ONLY HUMAN

Song:You DonT KnoW Me ..... MoniQue

Im goin on back to town.

YOU DONT KNOW ME

They are boys Joe, not bulls?

Could we maybelive again?

What is it, Daddy? Youre as white as a

(They move in close)

Youre BOTH the reason were here!

(DRAKE and FRANK exchange a look of mingled animosity and shame.)

Song:MY nAMe iS Joe ..... YounG Joe (appearing on forestage)

Sorry. Just thinking how to tell it.

THEY HAVE FRIENDS AROUND ALL THE TIME

AND MY NAME IS JOE

Listen to the runt.

Did we? I cant remember.

Listen to the runt. Hes tellin it.

ANDY & JACK

UNDERSCORE: MY NAME IS JOE

(DOWNSTAGE becomes the SHOOTING RANGE, flooded with OUTDOOR

(Another DEAFENING CRASH, and the remaining six targets jump.)

(finally dares to look around)

(The CROWD GOES BONKERS with APPLAUSE and WOLFWHISTLES.

TEAR THIS CABIN DOWN