ALWAYS... PATSY CLI 6/07 [Publishing credits to be included in all Playbills} > ct HONKY TONK MERRY GO ROUND BACK IN BABYS ARMS. ANYTIME, WALKIN AFTER MIDNIGHT I FALL TO PIECES IP WASN'T GOD WHO MADE HONKY TONK ANGELS COME ON IN [AND SIT RIGHT DOWN} YOUR CHEATING HEART STUPID CUPID YOU BELONG 10 ME SAN ANTONIO ROSE LOVESICK BLUES ActIL ‘SWEET DREAMS SHE'S GOT YOU THREE CIGARETTES IN AN ASHTRAY Frank SimowStan Gardner Sony/ATV Acuif Rose Music Bob Monigomery Herbert Happy Lawson ‘Unichappel Music, Inc. Don Hecht/Alan Block Sony/ATV Acuff Rose Music Hank Cochran/Hlarlan Howard Sony/ATV Tree Publishing ID Miller Poer International, Co. VE “Poppy” Stewart SonyATV Tree Publishing Hank Williams, Sr Sony/ATV Acuff Rose Music /Warner Chappell [Neil Sedaka/Howard Greenfield EMI Musie Publishing King/Price/Stewart Ridgeway Music Bob Wills Bourne Co. Irving Mills/C. Friend Emi Music Publishing Don Gibson Sony/ATV Acuff Rose Music Hank Cochran Sony/ATV Tree Publishing Eddie MilleWS Stevenson Sony/ATV Acuff Rose MusicCRAZY SEVEN LONELY DAYS, IF 1 COULD SEE THE WORLD (THROUGH THE EYES OF A CHILD} JUST A CLOSER WALK BLUE MOON OF KENTUCKY GOTTA LOTTA RHYTHM SHAKE RATTLE AND ROLL FADED LOVE HOW GREAT THOU ART TRUE LOVE, IF YOU'VE GOT LEAVIN" ON YOUR MIND BILL BAILEY Please Not permission. Willie Nelson Sony/ATV Tree Publishing Earl Schuman/Walden Schuman! Marshall Brown Music Sales, Corp. ‘Sammy Masters/Richard Pope MCA Publishing (Traditional) Bill Monroe Peet International, Ine Barbara Ann VaughwWS Stevenson Sony/ATV Acuff Rose Music ‘Charles Calhoun Unichappel Music, Ine John WillsBob Wills Warner Chappell [Traditional] Cole Porter Warner Chappell ‘Wayne Walker/Webb Pierce Polygram International [Traditional] No recording of any kind, audio or video. Recording is strictly prohibited without writtenALWAYS... PATSY CLINE By Ted Swindley Revised June 2007 Patsy Cline-The legendary country singer, age 20-30 Louise Seger-A Texas housewife and fan of Patsy Cline, age 40-60 "The Bodacious Bobcats Band” Joe Bob-piano Jim Bob-pedal steel guitar Billy Bob-lead guitar Jay Bob-bass Ray Bob-fiddle Bob Bob-drums SETTING ‘The action of the play takes place at Louise's kitchen table and at various places from Patsy Cline’s career, including The Grand Ole Opry, The Arthur Godfrey Show, The Esquire Ballroom, and a Houston radio station. ‘The time is the past [circa 1957-63] to the present. Louise is sharing her memories of many years ago. Like her memories, Louise is timeless; stuck somewhere in the era of Patsy Cline’s short but stellar career. Se c Notes The band is upstage center on platforms. A smaller performance platform is center stage, just below the band. A circa 50's kitchen (able and two chairs are downstage left of center. A table top radio and napkin holder filled withletters are on the table. A silver percolator, a tacky ashtray, cigarettes in ladies cigarette pouch, a box of tissues and a small trash can under the kitchen table. On downstage left there is a small bar table and chair, a jukebox and a barstool are on the far stage right. A period microphone [non- practical] bearing the logo of the Grand Ole Opry is downstage center. There is a set of steps leading into the audience. Instruments Drums Bass Electric Guitar idle Piano SteelACTI [Pre-show music on tape plays in audience when house is open. Instrumental music from the period is "Bob Wills and the Texas Playboys". Pre-show music cross fades. ‘The Band enters from the wings and plays an overture: a swinging version of IT WASN'T GOD WHO MADE HONKY TONK ANGELS | Lights fade to black at the end of overture. A taped voice over [which can be take off the Live Show Rehearsal CD] is heard in the darkness. [On tape] Well, sir, friends, let's not keep you or me waiting any longer tonight. Let's have a swell Grand Ole Opry welcome for our special guest star, Miss Patsy Cline, Ladies and Gentlemen. [Music cue} IPATSY is seen standing at the Grand Ole Opry microphone. She wears a fancy cowgirl outfit and a neck scarf] PATSY Howdy everybody, and welcome to the Grand Ole Opry! Honky Tonk Merry -Go-Round PATSY I'M ON A HONKY TONK MERRY-GO-ROUND MAKING EVERY SPOT IN TOWN STARTING OUT EARLY, COMING HOME LATE EVERY NIGHT WITH A BRAND NEW DATE 1M ON A HONKY TONK MERRY-GO-ROUND ACTIN’ LIKE A FOOLISH CLOWN STILL RACIN' THOSE BLUES THAT YOU LEFT WITH ME WONDERIN' IF I'LL EVER BE FREE ROUND AND ROUND AND ROUND I GO RIDIN' HIGH AND FEELIN' LOW ROUND AND ROUND JUST LIKE A TOP I'M GETTING DIZZY BUT I CAN'T STOP TM ON A HONKY TONK MERRY-GO-ROUND ACTING LIKE A FOOLISH CLOWN STILL RACIN' THOSE BLUES THAT YOU LEFT WITH ME ‘WONDERIN' IF TLL EVER BE FREE [Instrumental Break][Spoken] Play it Hoss! [PAUSE] I'm up here having a ball all by myself, ain't 1?.PAUSE] We'te really cutting up tonight![PAUSE] ROUND AND ROUND AND ROUND I GO RIDIN' HIGH AND FEELIN’ LOW ROUND AND ROUND JUST LIKE A TOP TM GETTIN DIZZY BUT I CAN'T STOP TM ON A HONKY TONK MERRY-GO-ROUND ACTING LIKE A FOOLISH CLOWN STILL RACIN THOSE BLUES THAT YOU LEFT WITH ME. WONDERIN IF I'LL EVER BE FREE YES IM WONDERIN' IF TLL EVER BE FREE! PATSY Incver heard such a swingin’ beat in all my life. Let's keep it in the same gear as that, Hoss. We'll see what kind of damage we can do tonight. [to audience] Howdy everybody! [audience says "Howdy"] Oh it's good to see you all and it sure is good being back here on this old stage, So now I'm gonna sing a little song about being back where I belong, You tell me if you recognoz’ it! BACK IN BABY'S ARMS PATSY TM BACK IN BABY'S ARMS HOW IMISSED THOSE LOVIN’ ARMS 1M BACK WHERE I BELONG BACK IN BABY'S ARMS DON'T KNOW WHY WE QUARRELED WE NEVER DID BEFORE. SINCE WE FOUND OUT HOW IT HURTS. TLL BET WE NEVER QUARREL ANYMORE. TM BACK IN BABY'S ARMS HOW I MISSED THOSE LOVING ARMS I'M BACK WHERE I BELONG BACK IN BABY'S ARMS (Key Change] [Spoken}Play that music boys. ‘THOUGHT I DIDN'T NEED HIS LOVE ‘TIL HE TOOK IT AWAY AY AY NOW I'M BACK WHERE I BELONGAND IN MY BABY’S ARMS 1M GONNA STAY YM BACK IN BABY'S ARMS HOW I MISSED THOSE LOVING ARMS 1M BACK WHERE I BELONG BACK IN BABY'S ARMS BACK IN BABY'S ARMS BACK IN BABY'S ARMS [Band segues into "Anytime" which is played at the same tempo as “Back in Baby's Arms.) ANYTIME PATSY ANYTIME YOU'RE FEELING LONELY ANYTIME YOU'RE FEELING BLUE ANYTIME YOU FEEL DOWN-HEARTED ‘THAT WILL PROVE YOUR LOVE FOR ME IS TRUE ANYTIME YOU'RE THINKING ‘BOUT ME, THAT'S THE TIME I'LL BE THINKING OF YOU SO ANYTIME YOU SAY YOU WANT ME BACK AGAIN THAT'S THE TIME I'LL COME ON HOME TO YOU [Instrumental break] PATSY ‘This is the sweetest music this side of heaven! {LOUISE enter SL with coffee cup, crosses to SR kitchen chair, turns on radio and listens to Patsy singing. She is dressed in slacks, possibly Western boots, and a colorful loose fitting Western style shirt. Her hairstyle is reminiscent of the teased look of the 60's- apperaring to be stuck in time.] PATSY ANYTIME YOU'RE THINKING 'BOUT ME, THAT'S THE TIME ILL BE THINKING OF YOU SO ANYTIME YOU SAY YOU WANT ME BACK AGAIN THAT'S THE TIME I'LL COME ON HOME TO YOU THAT'S THE TIME ILL COME ON HOME TO YOU {Spoken]Oh I love ya! Thank you so much! [PATSY exits SL/ A band member strikes the Grand Ole Opry microphone] LOUISE,i SEE ES [Turns off the radio and addresses the audience.] Now the first time I ever heard Patsy Cline sing it wasn't on the Grand Ole Opry. No, the first time I ever heard Patsy Cline sing she was in my livin' room and I was in the kitchen. That was in January, 19 and 57. See, I was never a big fan of the Arthur Godfrey Show, fas Arthur Godfrey) "How are ya? How are ya?" Yuk! But my kids, Donna and David, they were three and five, Lord, they were. Just about every morning there they'd be waitin’ for the Arthur Godfrey morning show. I was usually right here in the kitchen doing the breakfast dishes, s We had this big ol’ Muntz black and white TV, and they'd lie there in the livin’ room with their feet stuck underneath it staring straight up. Well this particular mornin’, I was doin’ the dishes, as usual, but subconsciously, I was listening to that television, When all of sudden I heard this voice that absolutely stopped me in my tracks. I said, * My God, that sounds like I've always wanted to sing,” So, I threw the spoons and forks in the kitchen sink and went tearing into the living room to see who it was. Isaid, "Get outta my way kids.” and I looked and there was this chunky little country girl leaning back and leadin’ into a wonderful country song called "Walkin’ After Midnight" and I'll tell you I have never heard a voice that impressed me so. [Music cue] [PATSY enters SL to DSL ina stylish 50’s style cocktail dress, full skirt, with neck scarf / LOUISE acts like she's watching her on the TV] WALKIN’ AFTER MIDNIGHT PATSY - 1GO OUT WALKIN’ AFTER MIDNIGHT OUT IN THE MOONLIGHT JUST LIKE WE USED TO DO TM ALWAYS WALKIN’ AFTER MIDNIGHT SEARCHIN' FOR YOU IWALK FOR MILES ALONG THE HIGHWAY WELL THAT'S JUST MY WAY OF SAYING I LOVE YOU 1M ALWAYS WALKIN’ AFTER MIDNIGHT. SEARCHING FOR YOU 1 STOP TO SEE A WEEPING WILLOW CRYING ON HIS PILLOW MAYBE HE'S CRYING FOR ME AND AS THE SKY TURNS GLOOMY NIGHT WINDS WHISPER TO ME I'M LONESOME AS I CAN BE 1GO OUT WALKIN’ AFTER MIDNIGHT OUT IN THE MOONLIGHT JUST HOPIN' YOU MAY BE SOMEWHERE OUT WALKIN' AFTER MIDNIGHTSEARCHIN’ FOR ME ISTOP TO SEE A WEEPING WILLOW CRYING ON HIS PILLOW MAYBE HE'S CRYING FOR ME AND AS THE SKY TURNS GLOOMY NIGHT WINDS WHISPER TO ME 1M LONESOME AS I CAN BE [KEY CHANGE] 1GO OUT WALKIN’ AFTER MIDNIGHT OUT IN THE MOONLIGHT JUST HOPIN' YOU MAY BE SOMEWHERE OUT WALKIN’ AFTER MIDNIGHT SEARCHIN' FOR ME IPATSY bows excitedly and exits SR] LOUISE ‘Well she must have been on that show every morning for about two weeks, and every moming you would find me and those kids right in front of that TV, waiting. [She does the “TV pose” again as if she is watching the TV staring up, just like the kids, mesmerized] One day, Godfrey said "Now here's a litte girl from Virginia that 1 think you're going to be hearing a lot from.” ‘Then she just dropped out of sight. But I never Forgot that voice and I never forgot the feeling it gave me {LOUISE crosses behind chair and pours coffec] By 1961, I was divorced, Yahoo!, hallelujah! [To audience member] Yeah, I bet some of yall know that feclin’! And Ihad taken a job as an electronics technician. Well, we can't all be hairdressers! Anyway, the man I worked for loved country music, and he used to keep the radio in the lab tuned to KIKK, one of our leading country musie stations in Houston, kinda like [local station] is here. Are y‘all from around here? ‘Anyway, one day I was doing my work, as usual, but subconsciously 1 was listening (0 that radio. When all of a sudden I heard that voice again and it absolutely stopped me in my tracks. Well they didn't say who it was, so I called the radio station to find out and they said, “That was Patsy Cline singing "I Fall to Pieces." Well, Lealled Hal Harris, the local disc jockey, right while he was on the air [LOUISE crosses SL with coffee cup} and Isaid, "HEY [Very Bossy], you play that one again for me.", and he did. [Music cue] [PATSY enters wearing casual pants and sweater. SR to platform behind radio OR stands ‘on the band platform near the piano. There is a special “glow” on the table top, radio- lighting special. LOUISE sits on SL steps] I FALL TO PIECES PATSYIFALL TO PIECES EACH TIME I SEE YOU AGAIN 1 FALL TO PIECES HOW CAN BE JUST YOUR FRIEND YOU WANT ME TO ACT LIKE WE'VE NEVER KISSED YOU WANT ME TO FORGET PRETEND WE'VE NEVER MET. AND I'VE TRIED AND I'VE TRIED BUT HAVEN'T YET YOU WALK BY AND I FALL TO PIECES [PATSY remains in place as LOUISE crosses to SL kitchen chair-Band underscores the following} LOUISE Patsy's music made me feel so alive every time I heard it. Inearly worried that poor man at the radio station half to death. I'd cali him every afternoon four or five times a day and everyday he'd say, "Louise, I just played your song.", and I'd say, "Well, flip her over and play the other side and in an hour play my song again." And he did. [She sits} PATSY{Resumes Song] IFALL TO PIECES EACH TIME SOMEONE SPEAKS YOUR NAME LFALL TO PIECES TIME ONLY ADDS TO THE FLAME YOU TELL ME TO FIND SOMEONE ELSE TO LOVE SOMEONE WHO'LL LOVE ME TOO THE WAY YOU USED TO DO BUT EACH TIME I GO OUT WITH SOMEONE NEW YOU WALK BY AND I FALL TO PIECES YOU WALK BY AND I FALL TO PIECES [PATSY exits SR] LOUIS! ‘Well, this went on for about two months. That disc jockey, Hal Harris thought I was wacky, I was so wrapped up in Patsy Cline ‘cause I never asked for anybody else. Well one day I called in my request, as usual, and he said, "Oh, incidentally, she's coming to town," I said, "What?" He said, "That's right. She's going to be over at the Esquire Ballroom next Friday night." Well the Esquire Ballroom is this big, barn-like structure out on the Hempstead Highway. Y'all ever been to one of those big old honky tonks? Y'all don't get out much, do you? Anyway, I told my boyfriend, I said, "Patsy Cline's coming to town and we're going." He said, [note: Louise affects a big, dumb “Bubba” type voice for her boyftiend.] "Who the hell is Patsy Cline?” I said, "Don't you worry about that you're going to find out.” My boss said he kinda liked her, he thought he'd liketo go too. Isaid, "Great, I'l call and get reservations." Well I found out you don't just call and get reservations. You just go trompin’ in out there and pick you out your own damn table, So I told my bunch, I said, "We're gonna get there early, we're gonna wear our western clothes and we're gonna get there at 6:30." My boyfriend said, "For Cryin’ in a bucket, Louise, the band don’t even start until 8:00." 1 said, [emphatically "I DON'T CARE, WE'RE GONNA BE THERE 6:30." Sometimes you just have to talk to them that way, That night I wore yellow boots and a yellow and black cowgirl skirt, and it fit me like a glove [She models proudly and very sexily, particularly rubbing her bottom and teasing with a naughty little wiggle of her behind, ‘Then she turns to another part of the audience] Y'all see that over there? [She does the same modeling routine again for the benefit of those who have missed her naughty wiggle] Well it did, just like a glove. ‘Anyway, we all piled into my SEXY DUDE, that’s what I call my pink and black Pontiac. [LOUISE crosses DR] ‘And we went toolin’ on out there, {She “tools"-posing comically with attitude and moving as if she was driving a big car- and backs up} [tool real good. Let me do it again, (She does] We went toolin’ on out there [as she moves across the stage the drummer accompanics her moves with a comedic bump and grind rhythm], ‘Well I want you to know we got out there and there was niot another car in that parking lot, Tm ialking four acres of blankness. I told my bunch, "Well, hell, at least I got us a good place to park.” When we went stompin’ in out there, they were still cleaning the place, except for the people at the bar we were the only ones there. (Band members raise a beer bottle, toasts Louise and takes a swig of beer] When we went across that wooden floor you could hear our boots just a’ hollerin’. [LOUISE crosses to SL bar table and sits] Well I picked us out a table right in front of the bandstand. My boss said, (note: Louise affects a voice for her boss as a high pitched nasal old man.} "Damp, Louise, we won't ‘even be able to hear ourselves talk." I said, "HEY!- we did not come here to hear ourselves talk, We come here to hear Miss Patsy Cline.” [LOUISE takes a sip of beer from the bottle on the table] We'd been sittin’ there about 15 minutes all engrossed in beer talk when I saw this girl come in across the way. [PATSY enters through the audience to the stage and crosses to the jukebox, humming / LOUISE focus on PATSY. Patsy wears a tan raincoat, pink suit, white high heels, and is carrying a purse.] ‘She was wearing a tan raincoat and white high-heeled pumps. She just stood there looking at everything. She looked at the walls, she looked at the ceiling, she looked at the band-stand, Hell I thought she might be an agent the way she was checkin’ the place out.In a little bit she started walkin’ around hummin’, kinda singing, like she was trying to get the feel of the place. Then in a little bit she walked across the dance floor and sat down by the juke box. {PATSY sits on the barstool] She looked so lonesome sitting there. 1 was the only one watching her, nobody else was paying her any attention at all. IT WASN'T GOD WHO MADE HONKY TONK ANGELS PATSY AS I SIT HERE TONIGHT THE JUKEBOX PLAYING THOSE TUNES ABOUT THE WILD SIDE OF LIFE AS I LISTEN TO THE WORDS THEY ARE SINGING IT BRINGS MEMORIES WHEN I WAS A TRUSTING WIFE. IT WASNT GOD WHO MADE HONKY TONK ANC AS YOU SAID IN THE WORDS OF YOUR SONG. TOO MANY TIMES MARRIED MEN ‘THINK THEY'RE STILL SINGLE THEY HAVE CAUSED MANY A GOOD GIRL TO GO WRONG Ss [Band continues musical underscoring as Louise speaks.] LOUIS She took off her rain coat [PATSY does so] and laid it on the back of the chair. She had on a pale pink two-piece cotton suit. Well something in my mind went DING! DING! DING! Why, it was just like our minds were talking to one another, like she was saying, “Hello, I'm, Patsy Cline, who are you?" As I looked at her sitting there in that nearly _ empty ballroom, I wondered what that honky-tonk merry-go-round life of hers is really like. [Louise watches Patsy intently] PATSY [Without noticing Louise] IT'S A SHAME THAT ALL THE BLAME IS ON US WOMEN IT'S NOT TRUE THAT ONLY YOU MEN FEEL THE SAME FROM THE START MOST EVERY HEART. THAT WAS EVER BROKEN WAS BECAUSE THERE ALWAYS WAS A MAN TO BLAME LOUISE Amen! Sister! IT WASN'T GOD WHO MADE HONKY TONK ANGELS AS YOU SAY IN THE WORDS OF YOUR SONGS TOO MANY TIMES MARRIED MENTHINK THEY'RE STILL SINGLE ‘THEY HAVE CAUSED MANY A GOOD GIRL TO GO WRONG LOUISE [Sings} SHE'S ON A HONKY-TONK MERRY-GO-ROUND LOUISE So I punched my bunch and said, "Do you know what that is at that jukebox over there?" My boss said, "Naw, Louise, what is that?” Isaid, “That is Miss Patsy Cline.” My boyftiend said, "For cryin’ in a bucket, Louise, the band doesn't even start until 8:00." | said, "Idont care.” See in my heart I knew I was right so I said, "Alright, just a minute.” My boss said, "Damn, Louise, don't go making a fool out of yourself.” said, "HEY, & fool Tam and a fool I shall always be.” So I just picked myself up [LOUISE hoists her bosom up and makes a beeline to PATSY, but then approaches her very timidly] and 1 walked right on over to her, I said, "Excuse me, Miss Cline.” She looked at me, smiled, and said, [PATSY looks up] PATSY. ‘Yes? LOUISE [excitedly, almost forgetting her own name. Patsy extends her hand for a handshake, which Louise shakes rather exuberantly] I said "My name's Louise and I just want you to know how fond Lam of your music. Why Thave "I Fall To Pieces" played every day on the radio for me, And I'm over here at this, table with some friends of mine [Looks threateningly at table}, big fans of yours also, [Then to Patsy] and I was wondering, if you don't mind and if you have the time, could you just stop by our table and say hello?” [To audience]Now yall listen up. ‘eause you ‘ain't gonna believe what she said next. PATSY Well, why don't I just come over there and sit with y'all? LOUISE [Almost fainting] Tsaid ‘Oh my God, WE WOULD BE THRILLED!" And you know what? Patsy was just as much "us" as we were, Patsy, come on over and sit down with us. {PATSY deposits as dime in the jukebox / Music cue] PATSY Well help me out with this song first. [During song, PATSY and LOUISE work both sides of stage / LOUISE sings chorus, claps and gets audience to also} COME ON IN [AND SIT RIGHT DOWNPATSY NOW COME ON IN AND SIT RIGHT DOWN AND MAKE YOURSELF AT HOME IF HAD ONE WISH I WISH COULD GO BACK TO MY OLD NEIGHBORHOOD WHERE THE GOOD FOLKS THEY ALL LOVE YOU AS THEIR OWN THEN I'D GO OVER TO MY NEIGHBOR'S HOUSE KNOCK ON THE DOOR AND THEY'D ALL SING OUT PATSY/LOUISE/BAND MEMBERS COME ON IN AND SIT RIGHT DOWN AND MAKE YOURSELVES AT HOME LOUISE [Clapping hand, working the audience] Yall put your hands together now. Help me out PATSY TD SING THEIR PRAISES LONG AND LOUD "CAUSE THEY'RE ALL MY FOLKS AND I'M MIGHTY PROUD OF THE LITTLE OLD TOWN BACK HOME WHERE I WAS BORN 1 WISH THAT I COULD HERE THEM SAY IN THAT GOOD OLD FASHIONED WAY PATSY/LOUISE/BAND MEMBERS COME ON IN AND SIT RIGHT DOWN AND MAKE YOURSELVES AT HOME PATSY [Noticing audience members} Hey, here're some nice looking folks over here. Come on over and say hello to them, Louise! [LOUISE and PATSY trade sides] LOUISE {goes into the audience} Allright. Hey ya'll! It's good to sce ya!{Goes to couple] Is that you're wife?.... You're aliar! [To another couple] I bet that’s your second husband... Yeah-he wouldn't have been my first choice neither! [Note if the woman asked the question nods that it is her first husband, Louise simply adjusts the line and says, “Well hney, he sure wouldn't have been my first choice!”To husband or date: “Just kidding, Pumpkin!”] Hey Patsy, I got an idea. We're gonna have us a sing-along [to audience]. Yeah we want to make sure you get your money's worth. Patsy's gonna sing the verse and we're all gonna join in on the chorus. Just watch me-it ‘ain't hard! WATCH ME!PATSY NOW THEY DONT LOCK THEIR DOORS AT NIC CAUSE THEY ALL KNOW THEYRE A’ DOIN’ RIGHT AND THE GOOD LORD'S BOUND TO HAVE THEM FOR HIS OWN IF I'D GO BACK TO HEAR THEM PRAY IN THE LITTLE PINE CHURCH I'D HEAR THEM SAY LOUISE Get ready! PATSY, AUDIENCE, BAND, LOUISE COME ON IN AND SIT RIGHT DOWN AND MAKE YOURSELF AT HOME [PATSY and Louise meet CS] LOUISE All right, Patsy, do-si-do with me. [They "do-si-do",} PATSY WHEN [ WAS A CHILD OF ONLY THREE TSAID MY PRAYERS AT MY MOTHER'S KNEES AND LKNEW RIGHT THEN FROM GOD I'D NEVER ROAM WHEN I HEAR THE SUMMONS ON JUDGEMENT DAY HOPE 1 CAN HEAR MY SAVIOR SAY PATSY/LOUISE/BAND MEMBERS/AUDIENCE, COME ON IN AND SIT RIGHT DOWN AND MAKE YOURSELF AT HOME LOUISE SING! [Loudly to the audience] PATSY/LOUISE/BAND MEMBERS/AUDIENCE COME ON IN AND SIT RIGHT DOWN AND MAKE YOURSELF AT HOME [end of song} IPATSY exits SR taking raincoat / LOUISE watches PATSY exit, then looks up prayerfully] ”LOUISE [Looking heavenward and speaking quietly} Lord....take me now! [Then to audience] Y'all did pretty good. But some of you were not singing, Til get you later, you know I will, too! Well, my friends nearly fell off of their chairs. Patsy come aver and sit down and ordered a Schlitz. Why in no time at all we were talking to one another like we'd known each other all of our lives, she was no stranger to us. Well in a little bit she looked around and said, "This is a damn big place isn't it?” Isaid, "Yes, ma‘am, it surely is and it's gonna be jam packed pretty soon." I called her ma'am because she was a star, to me she was the biggest star in the world. Well that was the beginning of the evening and by the end of the evening it was "Hey, gal!", and we shared every secret either one of us had ever known. You know, a secret's no fun unless you tell somebody! After a while, Patsy asked me if I knew anything about the band. I told her, [Referring to he boyfriend's constant comment]"Well, I know the band starts at 8:00.” She said she was worried about if they knew her music. Isaid, "Well surely they must.” She said she wasn't too sure about that, then she wanted to know if [knew her music. 1 told her, "Yes ma'am, every word and beat of it.” Then she asked me if I would do her a favor. [told her, "Yes ma‘am I surely would if I could, What is it?” She wanted to know if [ would go up there and stand by the drummer and make sure he didn't rush her and I told her, "YES MA’AM, I COULD SURELY DO THAT.” And she seemed greatly... relieved. [Louise crosses to bandstand] After a while Patsy was checking out the bandstand and I asked her, I said, "How long are you gonna sing?" She said she reckoned she'd sing with them all evening. Isaid, "You down here by yourself?" She told me she was, said it was the first time she'd been away since her baby had been born back in January. I said, "If you don't mind me asking, how much are they paying you?” She told me $350 dollars. Isaid, "Wait just a damn minute here. You mean to tell me a big star like yourself with a number one hit record on the radio is gonna stand up there and sing for four and one half hours with only one fifteen minute break. She said nobody told her any different. Tsaid, "You come with me.” My boss said, "Damn, Louise. Don't go making a fool out of yourself.” I said, "HEY, my daddy was a musician. Tknow about these things." [Louise crosses DR] So I grabbed Patsy by the arm and we marched right straight to that manager's office [She marches to another area of the stage . The drummer gives her a proper military accompaniment]. I said, "Hello, this is Miss Patsy Cline and Tm her manager and we want to know what time her shows are." He said, (Note: Louise affects the bar manager's speech in a gruff, good old boy country voice chewing and spitting tobacco as he talks.] "Well the band starts at..." I said, "I know what time the damn band starts but we want to know what time her shows are, We figured two shows was about right. He said that “sounds pretty fait to me, how about one at 9:30 and one at 11:30? We told him that would be just fine!" [LOUISE sits at the Bar table]And we busted out laughing all the way back to our table cause we knew we had put somethin’ over on that man [She toasts the band and they toast Louise and take a swig of beer]. See, I tell you I was fond of that lady and I didn’t like the idea of her standing up there and singing all evening. Besides, I wanted to talk to her and I couldn't let those people have her all night. Well the band finally got there at... [LOUISE turns to audience to get them to say "8:00"] No -- 9 o'clock... Patsy handed out her charts, and we went ahead as we had planned. [Arpeggio intro. Immediately begins and underscores all of the follo 1g business.] [PATSY enters SL to CS platform wearing a sequined cocktail dress. Louise runs on to the bandstand and positions herself next (o the drummer. She and Patsy nod to each other with an “okay” sign, LOUISE instructs the drummer as to the correct rhythm and gets into. the music; it is very burlesque. Louise’s physical moves are big and bold giving them “cut-offs” and using strong arm movements for tempo and lots of hip and leg movements for additional comic affect. Note: ‘There is a corded practical microphone center stage for Patsy to sing all of the Esquire Ballroom concert songs.) YOUR CHEATING HEART PATSY. YOUR CHEATING HEART WILL MAKE YOU WEEP YOU'LL CRY AND CRY AND TRY TO SLEEP. BUT SLEEP WON'T COME THE WHOLE NIGHT THROUGH YOUR CHEATING HEART WILL TELL ON YOU WHEN TEARS COME DOWN LIKE FALLING RAIN YOU'LL TOSS AROUND AND CALL MY NAME YOU'LL WALK THE FLOORS THE WAY IDO YOUR CHEATING HEART WILL TELL ON YOU WHEN TEARS COME DOWN LIKE FALLING RAIN YOU'LL TOSS AROUND AND CALL MY NAME YOU'RE GONNA WALK THE FLOORS THE WAY 1 DO YOUR CHEATING HEART IS GONNA TELL ON YOU. (Note: Louise holds the final “cut-off” for the band for a very long time before ending the song for a final big comic move.) PATSY [laughing] Good job, Louise.LO Almost nonchalantly to Patsy. She's too busy now, instructing the band, in her new role as manager and “music director”) Thanks, Patsy. You did good, too. PATSY Aw, bless your heart, That song's a real frog strangler! Let's slow ‘er down a bit, Gotta catch my wind. Don't got much wind tonight. (Obviously the next song is faster, Louise remains on the bandstand now going to each musician individually checking out the Playing conducting and “jiving” to the rhythm of the song. ] Stupid Cupid PATSY STUPID CUPID YOU'RE A REAL MEAN GUY I'D LIKE TO CLIP YOUR WINGS SO YOU CANT FLY TM IN LOVE AND THAT'S A CRYING SHAME AND I KNOW THAT YOU'RE THE ONE TO BLAME, HEY, HEY SET ME FREE STUPID CUPID, STOP PICKING ON ME ICAN'T DO MY HOMEWORK AND I CAN'T THINK STRAIGHT IMEET HIM EVERY MORNI ING ABOUT HALF PAST EIGHT TM NOTHING BUT A LOVESICK FOOL, HE'S EVEN GOT ME CARRYING HIS BOOKS TO SCHOOL HEY, HEY SET ME FREE STUPID CUPID, STOP PICKING ON MB WELL YOU MIXED ME UP BUT GOOD RIGHT FROM THE VERY START HEY, GO PLAY ROBIN HOOD WITH SOMEONE ELSE'S HEART YOU'VE GOT ME JUMPING LIKE A CRAZY CLOWN, AND I DON'T FEATURE WHAT. YOU'RE PUTTING DOWN SINCE | KISSED HIS LOVIN’ LIPS OF WINE THE THING THAT BOTHERS IS THAT I LIKE IT FINE HEY, HEY SET ME FREE, STUPID CUPID STOP PICKIN' ON ME Unstrumental break} IPATSY introduces the Band. Each member plays a solo] PATSY jidies and Gentlemen, Td like to take this opportunity to introduce my band to you. Here on piano we got Joe Bob [piano solo}. Right here on the pedal steel is Jim Bob {pedal steel solo]. Right here on the guitar is Billy Bob [guitar solo], Back there on the bass is Jay Bob[bass solo]. Playing that fiddle there is Ray Bob [fiddle solo]. And here on the drums is Bob Bob-That’s right, Bob Bob! He's so nice his mama named him twice! [drum solo) They're all known together as the Bodacious Bobcats, Give ‘ein a nice hand! Oh, and this here's my new manager, Louise. Take a bow, Louise. [LOUISE 20bows / As she bows, the drummer does a comedic rim shot / LOUISE comes up and gives him a warming sign, then she continues to conduct the band) WELL YOU MIXED ME UP BUT GOOD RIGHT FROM THE VERY START HEY, DON'T PLAY ROBIN HOOD WITH SOMEONE ELSES HEART. YOU'VE GOT ME JUMPING LIKE A CRAZY CLOWN AND 1 DON'T FEATURE WHAT YOU'RE PUTTING DOWN SINCE I KISSED HIS LOVIN' LIPS OF WINE ‘THE THING THAT BOTHERS IS THAT I LIKE IT FINE HEY, HEY SET ME FREE, STUPID CUPID STOP PICKIN' ON ME HEY, HEY SET ME FREE, STUPID CUPID STOP PICKIN' ON ME LOUISE [on intro of You Belong To Me} Oh, this is my favorite one. PATSY Well, honey, why don't you just sit down and enjoy this one, [LOUISE sits at bar table and listens intently] You Belong To Me SEE THE PYRAMIDS ALONG THE NILE WATCH THE SUNRISE ON A TROPIC ISLE JUST REMEMBER DARLING ALL THE WHILE, YOU BELONG TO ME ‘SEE THE MARKET PLACE IN OLD ALGIERS SEND ME PHOTOGRAPHS AND SOUVENIRS JUST REMEMBER WHEN A DREAM APPEARS YOU BELONG TO ME TLL BE SO ALONE WITHOUT YOU MAYBE YOU'LL BE LONESOME TOO AND BLUE, *FLY THE OCEAN IN A SILVER PLANE SEE THE JUNGLE WHEN IT'S WET WITH RAIN JUST REMEMBER TIL YOU'RE HOME AGAIN YOU BELONG TO ME I'M GONNA BE SO ALONE WITHOUT YOU AND IM HOPING MAYBE YOU'LL BE LONESOME TOO AND BLUE* FLY THE OCEAN IN A SILVER PLANE SEE THE JUNGLE WHEN IT'S WET WITH RAIN JUST REMEMBER TIL YOU'RE HOME AGAIN 21YOU BELONG TO ME “{Optional key change ¥ step up; not indicated in the score} PATSY [To audience and Louise. Louise reacts heartily to her comments/jokes.] Lord's a mercy, I hate to stop. I hate to even go home ‘cuz this music's got to stop - that’s the bad part. But I ain't doing too bad for a girl who can't even read notes and don't even know what key she sings in. I feel like I've come a long way from working in a drug store during the day to help support my momma and then singing in clubs at night in Winchester Virginia. You know them cowgirl outfits | used to wear? My momma sewed each and every one of them by hand. I look different now, don't I? [She models her cocktail dress; steel guitar plays a “wolf” whistle} Well, thank you Hoss. Next week I go to Trenton, New Jersey and North Carolina and tomorrow I go on over to Dallas - I think 1 got enough time in between bookings to change my drawers. [drummer does rim shot.] ‘And next month I go up to Las Vegas. I think I'l take this dress with me. Ill be doing four shows a day seven days a week. And I'll tell ya, this cat's ass will be draggin’ the bottom out of that desert. [Patsy and Louise share a Jaugh] Oh, i's a great life. I don't want to get rich, I just want to live good. Right, Louise? LOUISE You betcha! BAND MEMBER Hey Patsy, how ‘bout doing a Texas song? PATSY Well, the boss just gave me an order. Well, honey child, you can boss me around anytime ‘you want to. BAND MEMBER Well, its just a request. [pronounced RE-quest; emphasis on RE] : PATSY Well alright. Here's a request. This is an old one. You've alll heard it, but we're gonna damage it anyhow. Les put it in the gear of about "F” [piano plays a chord] Is that an “F'? Lord I'm off key tonight. Louise, this song's for all those good lookin’ cowboys out there tonight! LOUISE God bless Texas! SAN ANTONIO ROSE PATSY DEEP WITHIN MY HEART LIES A MELODY, A SONG OF OLD SAN ANTONE, 2WHERE IN DREAMS I LIVE WITH A MEMORY, BENEATH THE STARS, ALL ALONE WELL IT WAS THERE I FOUND, BESIDE THE ALAMO ENCHANTMENT STRANGE AS THE BLUE UP ABOVE ON THAT MOONLIT PASS, THAT ONLY HE WOULD KNOW STILL HEARS MY BROKEN SONG OF LOVE [PATSY encourages LOUISE to go into the audience to find a dance partner. LOUISE goes into the audience and picks out a man and dances with him] MOON IN ALL YOUR SPLENDOR, KNOWN ONLY TO MY HEART CALL BACK MY ROSE, ROSE OF SAN ANTONE. LIPS SO SWEET AND TENDER, LIKE PETALS FALLING APART. SPEAK ONCE AGAIN OF MY LOVE, MY OWN. BROKEN SONG, EMPTY WORDS I KNOW STILL LIVE IN MY HEART ALONE, FOR THAT MOONLIT PASS BY THE ALAMO, AND ROSE, MY ROSE OF SAN ANTONE. [Instrumental break -LOUISE dances with her partner.] PATSY ‘What ‘cha got down there Louise? LOUISE Honey, I got me atiger by the tai! PATSY ‘A tiger by the tail? Well, swing it. And if any of the rest of ya'll out there want to shake a leg - go right ahead. We don't care which one itis! PATSY, BROKEN SONG, EMPTY WORDS I KNOW STILL LIVE IN MY HEART ALL ALONE FOR THAT MOONLIT PASS BY THE ALAMO. AND ROSE, MY ROSE OF SAN ANTONE, AND ROSE, MY ROSE OF SAN ANTONE AND ROSE, MY ROSE OF SAN ANTONE, 23[End of song} PATSY Let's have a round of applause for Louise and her partner! [LOUISE bows with her partner and returns to SL table and sits] PATSY Yall having a good time out there tonight? {audience cheers} Tcan't hear you! I said Ate ya'll having a good time out there tonight!? [Cheers again] That's better! Well why don't you let your hait down and let’s see what ya look like! LOVE SICK BLUES PATSY, GOT A FEELING CALLED SOME BLUES. © LORD SINCE MY DADDY SAID GOOD-BYE, 1 DON'T KNOW WHAT I'M GONNA DO ALL IDO IS SIT AND SIGH © LORD THAT LAST LONG DAY HE SAID GOOD-BYE O LORD I THOUGHT I WOULD DIE HE'D DO 'YA, HE'D DO ME. HE'S GOT THE KIND OF LOVIN’ LORD I LOVE TO HEAR HIM WHEN HE CALLS ME. SWEET BA-BY WHAT A BEAUTIFUL DREAM HATE TO THINK IT ALL OVER ILOST MY HEART IT SEEMS T'VE GROWN SO USED TO THAT MAN SOMEHOW AND I'M NOBODY'S SUGAR BABY NOW I'M LONESOME I'VE GOT THE LOVESICK BLUES [Spoken]Listen to this, Louise. NOW IM IN LOVE IM IN LOVE WITH A WONDERFUL GUY THAT'S WHATS THE MATTER WITH ME, WELL I'M IN LOVE I'M IN LOVE WITH A 24WONDERFUL GUY BUT HE DON'T CARE ABOUT ME WELL I'VE TRIED AND I'VE TRIED. TO KEEP HIM SATISFIED BUT HE JUST WOULDN'T STAY BUT NOW THAT HE IS LEAVING ‘THIS IS ALL I'VE GOT TO SAY: I'VE GOT A FEELIN’ CALLED SOME BLUES OH LORD SINCE MY DADDY SAID GOOD-BYE 1 DON'T KNOW WHAT I'M GONNA DO. I LOST MY HEART IT SEEMS I'VE GROWN SO USED TO THAT MAN SOMEHOW AND I'M NOBODY'S SUGAR BABY NOW CUZ TM LONESOME I'VE GOT THE LOVESICK BLUES [Spoken]How about another nice round of applause for those Bodacious Bobcats? [Instrumental break] Bring it on home, Hoss. I'VE GROWN SO USED TO THAT MAN SOMEHOW, AND I'M NOBODY'S SUGAR BABY NOW ‘CUZ IM LONESOME I'VE GOT THE LOVESICK BLUES [PATSY takes a bow at the piano and then crosses to Piano and chats with Player. She takes off her high heels} LOUISE ‘Well Patsy brought the House down. That place was filled with people just screaming and yelling. Well then after that first set we took our break [proudly] as we had planned, ‘And you know what? I'm gonna let you take one, too. Come on Patsy, let's go get a Schlitz PATSY Isure could use one! [Both exit SL arm in arm. ‘The Band plays Louise re-enters briefly with a victorious gesture, then exits to Patsy. Audience out with "Lovesick Blues"] 25(Taped music plays throughout] End of Act INTERMISSION 26ACTIL [Taped intermission music plays / House lights (o half, musicians enter from through the audience, greeting the audience members with handshakes and “howdies”. Musicians come to front of the stage, form a line and take a bow, tipping their hats to the crowd. Intermission taped music fades out. House lights fade to black. Band plays an entre act of "I Fall To Pieces”. Stage lights fade to black. During blackout, PATSY enters SR and crosses to CS / Music starts before lights come up with mitror ball /Louise is not on stage. Patsy is in the same dress as in the end of ACT I, as though she is concluding her second and last show at the Esquire Ballroom on the corded microphone. ] SWEET DREAMS PA SWEET DREAMS OF YOU EVERY NIGHT [GO THROUGH WHY CANT I FORGET YOU, AND START MY LIFE ANEW INSTEAD I'M HAVING SWEET DREAMS ABOUT YOU YOU DON'T LOVE ME IT’S PLAIN ISHOULD KNOW I'LL NEVER WEAR YOUR RING ISHOULD HATE YOU THE WHOLE NIGHT THROUGH INSTEAD OF HAVING SWEET DREAMS ABOUT YOU [SEGUES TO|SHE'S GOT You I'VE GOT YOUR PICTURE THAT YOU GAVE ME AND IT'S SIGNED WITH LOVE JUST LIKE IT USED TO BE ‘THE ONLY THING DIFFERENT, THE ONLY THING NEW I'VE GOT YOUR PICTURE, SHE'S GOT YOU. I'VE GOT THE RECORDS THAT WE USED TO SHARE AND THEY STILL SOUND THE SAME AS WHEN YOU WERE HERE THE ONLY THING DIFFERENT, THE ONLY THING NEW I'VE GOT YOUR RECORDS, SHE'S GOT YOU I'VE GOT YOUR MEMORY, OR HAS IT GOT ME IREALLY DON'T KNOW, BUTI KNOW IT WON'T LET ME BE PeI'VE GOT YOUR CLASS RING THAT PROVED YOU CAREI AND IT STILL LOOKS THE SAME AS WHEN YOU GAVE IT DEAR ‘THE ONLY THING DIFFERENT, THE ONLY THING NEW I'VE GOT YOUR CLASS RING, SHE'S GOT YOU. {Song segues back into SWEET DREAMS] PATSY [YOU] DON'T LOVE ME, IT’S PLAIN I SHOULD KNOW I'LL NEVER WEAR YOUR RING WHY CAN'T I FORGET THE PAST START LOVING SOMEONE NEW INSTEAD OF HAVING SWEET DREAMS ABOUT YOU {Lights fade to black. Patsy exits. Lights then come up on Louise at bar table.) LOUISE Well, our second show Patsy blew the roof off of that honky tonk. People were stomping and hollering for more. She signed autographs and a lot of her fans took pictures...including my boss. Then she said, "Louise, honey, I have got to go, I've got to get back to that hotel, I've got to catch a plane to Dallas tomorrow.” | asked her how she got out here. Said she took a taxi. She didn’t know much about Houston, that's about the only way she knew to get around. Said she was staying way downtown at the Montague Hotel, Anybody know that one? Well, we're just gonna have to have us a little road trip down to Texas. See, the Montague was where most of the big acts stayed when they played Houston back then, Well I tell you something, I thought it was absolutely terrible that Decca Records sent her all that way out here by herself like that and I told her, I said "You're never going to get a taxi out here this time of night. We'll take you, but first we're going to my house for some bacon and eggs.” She said, "Lordy she'd love that.” And she seemed greatly relieved. [LOUISE crosses to DSL] So we all piled into my Sexy Dude and tooled on back to my house [LOUISE "tools" again to DR. The drummer accompanies her with a bump and grind beat], and I want you to know that lady come right in my kitchen and stood right alongside me frying up the bacon and eggs, just as big as you please, Tlet her wear one of my aprons so she wouldn't get greasy spots all over her pretty pink suit, We was standing in my kitchen just laughing and chattering away. ‘Why, it was just like finding the sister I never had. Fd long quit calling her ma'am, hell I ‘was only four months older than she was! [Audience reacts] BELIEVE IT! When we finished eating I put my boy to bed and then me and Patsy just sat around my Kitchen table and poured our hearts out. [LOUISE crosses and sits on SL kitchen chait] 28We talked about children...and husband problems, broken hearts, loves lost, loves found [LOUISE waves to her dance partner in the audience}. Hell, we must of covered about everything, We sounded like two people writing country songs. [PATSY enters SR and sits in SR kitchen chair. She is wearing her pink suit again without the jacket, and has on one of Louise's aprons. She carries a coffee cup. The song is performed as a dialogue of Patsy and Louise talking late at night at the kitchen table. Louise smokes a cigarette comedically during the song. NOTE: If the theatre does not allow smoking onstage or if the actress playing Louise is uncomfortable smoking, Louise can simply put an unlit cigarette in her mouth and pick up a Zippo lighter with no fluid in itso it just sparks. She gets frustrated about not getting the cigarette lit and then breaks the cigarette in half and throws itis the ashtray, somewhere in the middle of the song, around “men are pigs” line]. THREE CIGARETTES ings) TWO CIGARETTES IN AN ASHTRAY LOUISE [speaks] ‘Aw, sing it Patsy. PATSY MY LOVE AND IIN A SMALL CAFE, LOUISE That happened to me one time. PATSY THEN A STRANGER CAME ALONG AND EVERYTHING WENT WRONG NOW THERE'S THREE CIGARETTES IN THE ASHTRAY LOUISE He just left me sitting there. PATSY I WATCHED HE! ‘TAKE HIM FROM ME LOUISE ‘She was a SLUT! 29PATSY AND HIS LOVE IS NO LONGER MY OWN LOUK Men are pigs. PATSY NOW THEY ARE GONE AND I SIT ALONE AND WATCH ONE CIGARETTE BURN AWAY, LOUISE Well It tell you what, it really burned me up. PATSY IWATCHED HER TAKE HIM FROM ME, LOUISE Tean someone else. PATSY AND HIS LOVE IS NO LONGER MY OWN, LOUISE You're damn right I can! [LOUISE begins to get weepy]. PATSY NOW THEY ARE GONE AND I SIT ALONE LOUISE ‘You're damn right! (LOUISE begins to cry. She puts out her cigarette.] PATSY AND WATCH ONE CIGARETTE BURN AWAY [LOUISE is really "boo-hooing" at the end of the song}. LOUISE [After applause ends, she takes a tissue and blows her nose loudly] Oh, Patsy, Ididn’t even know you smoked, PATSY Louise, you're crazy! LOUISE 30Yeah! You're right about that! [LOUISE offers Patsy more coffee/Patsy refuses and crosses behind kitchen table with back to audience.) LOUISE She asked me where my little girl was and I told her she was spending the night with a Itiend. She said it must be tough being divorced and having to aise two kide by yourself, I said, ‘Yeah, it's tough and it's crazy.’ Patsy told me about her marriage. She said she and Charlie weren't getting along too well. She told me about the hell raising arguments they Would have and I knew only too well how she must be feeling. [Patsy turns back in the scene. She sings the song as an internal monologue about her troubled marriage ] CRAZY PATSY CRAZY, IM CRAZY FOR FEELING SO LONELY IM CRAZY, CRAZY FOR FEELING SO BLUE 1 KNEW, YOU'D LOVE ME AS LONG AS YOU WANTED AND THEN SOMEDAY YOU LEAVE ME FOR SOMEBODY NEW IPATSY turns to LOUISE and questions her in song} WORRY, WHY DO ILET MYSELF WORRY WONDERING WHAT IN THE WORLD DID 1D0? [Patsy turns away from Louise} CRAZY FOR THINKING THAT MY LOVE COULD HOLD YOU IM CRAZY FOR TRYING AND CRAZY FOR CRYING AND IM CRAZY FOR LOVING YOU [Key Change. Patsy crosses to center stage.] CRAZY FOR THINKING THAT MY LOVE COULD HOLD YOU TM CRAZY FOR TRYING AND CRAZY FOR CRYING AND IM CRAZY FOR LOVING YOU {She crosses away from Louise o up stage away from the audience] LOUISE, 31 Fame Eman eae egg See Eee egg EEE HEEShe said that sometimes she'd get so mad at her husband she'd like to hit him over the head with a skillet but she was afraid she'd break it. She said she'd go to pick something up to throw at him, and say to herself, ‘Uh ub, Patsy. You just paid for that.’ We traded stories until the wee hours of the morning. IPATSY crosses to US of kitchen table by LOUISE.] SEVEN LONELY DAYS PATSY. [Spoken}Louise, let me tell you what it's like living with that man of mine! SEVEN LONELY DAYS MAKE ONE LONELY WEEK SEVEN LONELY NIGHTS MAKE ONE LONELY ME EVER SINCE THE TIME YOU TOLD ME WE WERE THROUGH SEVEN LONELY DAYS I CRIED AND I CRIED FOR YOU NOW MY DARLING YOU'RE CRYING LOUISE BOO HOO HOO HOO PATSY, THERE'S NO USE IN DENYING I CRIED FOR YOU IT WAS YOUR FAVORITE PAST TIME MAKING ME BLUE LAST WEEK WAS THE LAST TIME I CRIED FOR YOU [Spoken]Now listen here. IPATSY crosses to SL of LOUISE. Patsy picks up a Kleenex box and throws tissues around the kitchen area. Louise picks them up. They are having a ball as Patsy declares her independence. [Key Change] SEVEN HANKIES BLUE I FILLED WITH MY TEARS SEVEN LETTERS TOO I FILLED WITH MY FEARS GUESS IT NEVER PAYS TO MAKE YOUR LOVER BLUE SEVEN LONELY DAYS I CRIED AND I CRIED FOR YOU OH MY DARLING YOU'RE CRYING LOUISE Boo Hoo Hoo Hoo. PATSY THERE'S NO USE IN DENYING I CRIED FOR YOU 2[PATSY and LOUISE dance; having fun together doing the "Twist”] IT WAS YOUR FAVORITE PAST TIME MAKING ME BLUE LAST WEEK WAS THE LAST TIME I CRIED FOR YOU LAST WEEK WAS THE LAST TIME I CRIED FOR YOU [PATSY and LOUISE share a big laugh and hug and then Patsy exits SR] LOUISE ‘Then Patsy said, "Louise, honey, I truly have enjoyed it but I've really gotta go, I've gotta catch a plane to Dallas tomorrow.” | said, "Patsy, you will never know how much this evening has meant to me. But hey, wait a minute. Since it's so late, why don’t you just spend the night here? And if you don't mind getting up early, I've got a dise jockey friend that I just know would love to meet you, and interview you on the radio!” She said, "Well, why not?" And she seemed greatly... [Louise gets audience and band members to say "relieved"} All right! [LOUISE crosses to SL} So, I went quietly to the phone and called Hal Harris... at home, His wife answered the phone, and she was none too pleased let me tell you. When Hal finally got on the line I said, "Hal, this is Louise and I got Patsy Cline at my house." “He said, "Louise, honey what the hell have you been drinking?” I said, "No, now Hal, I ain't been drinking, I'm telling you I got Patsy right here, and I'm gonna bring her by your station in the morning for an interview." He said, "Sure you are, honey, and I've got Marilyn Monroe right here in bed with me. Now go to bed, Louise, and sleep it off, and Til play "I Fall to Pieces” for you first thing in the morning, which I believe it already is.” Isaid, "For cryin’ in a bucket, Hal, you better listen to me, I'm telling you, T've got Patsy right here." He said, "Goodnight, Louise." And I said, "Give my best to Marilyn, Hal!" And he hung up on me. [Now telling a lic] Well I told Patsy everything was set. So she went on to sleep in my kids’ room where my little boy David was already fast asleep. [Patsy is heard humming offstage] But as Patsy was getting ready for bed, I could hear her singing the sweetest lullaby to my little boy and I knew she must have really been missing her baby back home who must have really been missing his Momma, too. 33(PATSY re-enters in a pastel house robe. She is holding a small/medium brown Teddy Bear / LOUISE sits on SL kitchen chair] IF I COULD SEE THE WORLD THRU THE EYES OF A CHILD PATSY IF TCOULD SEE THE WORLD THRU THE EYES OF A CHILD WHAT A WONDERFUL WORLD THIS WOULD BE THERE'D BE NO TROUBLE AND NO STRIFE JUST A BIG HAPPY LIFE. AND A BLUEBIRD IN EVERY TREE I COULD SEE RIGHT, NO WRONG I COULD SEE GOOD, NO BAD 1 COULD SEE ALL THE GOOD THINGS IN LIFE INEVER HAD IF [COULD SEE THE WORLD THRU THE EYES OF A CHILD WHAT A WONDERFUL WORLD THIS WOULD BE [Instrumental / PATSY crosses center] [Spoken]I miss you, baby. I COULD SEE RIGHT, NO WRONG I COULD SEE GOOD, NO BAD I COULD SEE ALL THE GOOD THINGS, IN LIFE I NEVER HAD IF [COULD SEE THE WORLD THRU THE EYES OF A CHILD WHAT A WONDERFUL WORLD THIS WOULD BE [LOUISE crosses to PATSY, they hug; music segues to intro of JUST A Cl WALK] LOUISE Goodnight Patsy. PATSY Thank you for everything, Louise. [ Gives LOUISE the Teddy Bear] [LOUISE exits SL} JUST A CLOSER WALK 4[Patsy sits on the steps and prayerfully sings. She is a woman with many struggles and her life is not as easy as it may seem} PATSY TAM WEAK BUT THOU ART STRONG JESUS, KEEP ME FROM ALL WRONG: I'LL BE SATISFIED AS LONG AS | WALK LET ME WALK CLOSE TO THEE WHEN MY FEEBLE LIFE IS O'ER TIME FOR ME WILL BE NO MORE GUIDE ME GENTLY, SAFELY O'ER TO THY KINGDOM'S SHORE TO THY SHORE [Key change} JUST A CLOSER WALK WITH THEE GRANT IT, JESUS, IS MY PLEA. DAILY WALKING CLOSE TO THEE. LET IT BE, DEAR LORD, LET IT BE LET IT BE, DEAR LORD, LET IT BE (PATSY exits USR] LOUISE [Re-enters to downstage right center] ‘Then I set the alarm for 5:00 so Patsy could get a little sleep. So at 5:00, I got up and ‘went to call Hal Harri al the station. [LOUISE crosses SL] He had just gotten there. He said, "Damn, Louise, have you been to bed at all?” Isaid, "Don't you worry about that, but you just tell me quick, what's the earliest Patsy Cline record you've got?” He said, "Hell I don’t know but I guess I can look and find out.” I said, "Well, {surely would appreciate it and would you play it next for me?” He said, "Well, I guess I will if ! want any peace for the rest of my life." Then I hung up on him! I put on a pot of coffee while I Waited for Hal to play one of Patsy's earliest hits, And then I snuck into my kids' room where Patsy was still sleepin’. And I tuned in the radio that was right next to her bed. T knew David would sleep though anything. [Chord and intro] BLUE MOON OF KENTUCKY PATSY [Offstage] ISAID BLUE MOON OF KENTUCKY KEEP ON SHINING SHINE ON THE ONE WHO'S GONE AND LEFT ME BLUE 35[Band continues to underscore} LOUISE So when Hal started playin’ Patsy's record, I turned the volume way up. She bolted up like a shot and said [PATSY enters, still wearing the robe, sleepily collapsing into the kitchen chair.] PATSY My God, who in the hell is that? LOUISE Isaid, Well, don't you know? PATSY No, but she sure as hell is loud, ‘Why that’s you, you fool!’ Good morning Patsy. {LOUISE serves PATSY coffee] BLUE MOON OF KENTUCKY [Band plays intro to song / PATSY comes back in on the bridge} PATSY WELL IT WAS ON ONE MOONLIT NIGHT STARS SHINING BRIGHT WHISPERED ON HIGH YOUR LOVER SAID GOOD-BYE ISAID BLUE MOON OF KENTUCKY KEEP ON SHINING : SHINE ON THE ONE WHO'S GONE AND LEFT ME BLUE, [Band continues underscore for "Blue Moon of Kentucky") PATSY When the hell did J ever cut that record? LOUISE | Tdon't know, but you better get dressed, we have to get you packed, go to the radio station and then get you to the airport. Shoo! Shoo! Shoo! [She hurries Patsy offstage] Lord have mercy! [PATSY exits hurriedly as LOUISE gently pushes her offstage then LOUISE rushes over to stage right area,] 36When we got to her hotel room we tore through there like greased lightning. While Patsy was getting dressed, I started picking up her things from all over the place - hair rollers, underwear, shoes, and literally threw everything in her suitcase. Patsy said, "Pack everything carefully!" Isaid, "Carefully? Honey, it looks like a hurticane ran through here last night when you were getting dressed." [LOUISE moves toward center stage.] ‘Oh, incidentally, I was wearing my yellow western slacks that fit me like a glove, well they did, just like a glove, and a printed yellow western shirt and cream colored squaw boots. When Patsy came out of the bathroom, we could have passed for identical twins, [Band stops abruptly with a loud crash, bang, boom from all the players! Patsy comes ‘out wearing an outfit of gold lame western slacks, a fancy western style shirt and boots. She carries a cowgir! hat and a small suitcase.} BAND [In unison to Louise in disbelief] They ain't no way LOUISE Well only the colors were different! PATSY Come on honey, let's show ‘em! [Keychange] (LOUISE and PATSY sing duet / LOUISE sings harmony, she is a star with PATSY and loves it] PATSY AND LOUISE SAID BLUE MOON OF KENTUCKY KEEP ON SHINING SHINE ON THE ONE WHO'S GONE AND LEFT ME BLUE 1SAID, BLUE MOON OF KENTUCKY KEEP ON SHINING SHINE ON THE ONE WHO'S GONE AND LEFT ME BLUE WELL IT WAS ON ONE MOONLIT NIGHT STARS SHINING BRIGHT WHISPERED ON HIGH YOUR LOVER SAID GOOD-BYE [SAID BLUE MOON OF KENTUCKY KEEP ON SHINING SHINE ON THE ONE WHO'S GONE AND LEFT ME BLUE. LEFT ME BLUE LEFT ME BLUE LEFT ME BLUE, 37[Patsy places the cowgirl hat on Louise's head at the end of song. LOUISE scoots PATSY off / PATSY exits USR] LOUISE Anyway, we got in my SEXY DUDE and speeded all the way to the radio station [She poses as though she's in her car and "speeds" across the stage with appropriate drum accompaniment} and when we got there, there was only one lonely little sports car in the parking lot. J said to myself, "Ah-ha you fool, are you in for a surprise. Patsy and I snuck in through a side door that was unlocked. [She sneaks across the stage to another area and pantomimes opening a door. The fiddle player makes a squeaking sound like a door hinge. Then Louise's eyes fall on Hal for the first time.]/ There was Hal sitting in his studio wearing a wrinkled up blue wool sweater that looked like it had been left in the dryer for a week. He had on an old pair of Bermuda shorts, no socks and a pair of old tennis shoes with holes cut in them so his toes could breathe. He sounded so sexy on the radio and he looked like death eatin’ a cracker. I tapped on the glass and he whirled around. He did a double take then ran to the door and he could not say a word. I said, "Hal Harris, I'd like you to meet Miss Patsy Cline. Patsy, this is my friend that plays your records for me. Well, I want you to know, that man could have fallen through his butt hole and hung himself (She laughs at her own joke. There is a steel guitar lick descending with a drum button]. Paints quiet a picture, don't it? He ran around that studio like an armadillo in heat. Finally, he found one of her 45's from his files, turned on this microphone and made this announcement: [Imitating Hal Harris on the center stage mic] “Ladies and Gentlemen, I'm going to play a record for you by a young lady who was here in town last night. And I have a big surprise for you. We have her in the studio this morning. Here's Miss Patsy Cline singing "GOTTA LOTTA RHYTHM IN MY SOUL" [PATSY enters in the same outfit as_before. She takes the center stage microphone from Louise.] GOTTA LOTTA RHYTHM IN MY SOUL PATSY COME ON BACK, GET WITH THE JIVE LET'S LET 'EM KNOW THAT WERE ALIVE UNTIL THE BREAK OF DAWN WE'LL YELL FOR MORE, MORE, MORE GONNA LIVE IT UP, AND TEAR IT DOWN GET IN THE GROOVE AND PAINT THE TOWN GOTTA LOTTA RHYTHM IN MY SOUL, WELL NOW BABY, BABY LET'S GO TONIGHT TOGETHER YOU AND ME BABY, BABY WHEN YOU HOLD ME TIGHT 8000 WEE, WATCHA DO TO ME BIG BLACK HAND ON THE CLOCK ‘TELLING ME THAT IT’S TIME TO ROCK GOTTA LOTTA RHYTHM IN MY SOUL {Instrumental Break/LOUISE dances wildly and then hurts her back. and calms down a Bit but continues fo do her own creative choreography to the song.) [Song segues into SHAKE RATTLE AND ROLL] SHAKE RATTLE AND ROLL PATSY GET INTO THAT KITCHEN AND RATTLE THOSE POTS AND PANS GET INTO THAT KITCHEN AND RATTLE THOSE POTS AND PANS ROLL MY BREAKFAST ‘CAUSE IM A HUNGRY MAN TM LIKE A ONE EYED CAT PEEPING IN A SEAFOOD STORE TM LIKE A ONE EYED CAT PEEPING IN A SEAFOOD STORE. AND ICAN LOOK AT YOU AND TELL YOU DON'T LOVE ME NO MORE | SAID SHAKE, RATTLE, AND ROLL 1SAID SHAKE, RATTLE, AND ROLL, DADDY O 1SAID SHAKE, RATTLE, AND ROLL 1 SAID SHAKE, RATTLE, AND ROLL NOW, YOU DONT DO NOTHING TO SAVE A DOG GONE SOUL NOW, [BELIEVE YOU'RE DOING ME WRONG AND NOW I KNOW NOW I BELIEVE YOU'RE DOING ME WRONG AND NOW I KNOW THE HARDER I WORK THE FASTER MY MONEY GOES [Key Change} 1 SAID SHAKE, RATTLE, AND ROLL J SAID SHAKE, RATTLE, AND ROLL [SAID SHAKE, RATTLE, AND ROLL {SAID SHAKE, RATTLE, AND ROLL NOW, YOU DONT DO NOTHING TO SAVE YOUR DOG GONE SOUL, {Song segues back to GOTTA LOTTA RHYTHM] [DIG THAT BEAT WITH A CRAZY BOP WHEN THE LIGHTS ARE LOW AND THE MUSIC IS HOT DANCE FROM TWO TO THREE AND THEN AT HALF PAST FOUR WHEN THE SUN COMES OVER THE HILL WON'T STOP I'LL BE ROCKING STILL. 39GOTTA LOTTA RHYTHM IN MY SOUL, GOTTA LOTTA RHYTHM IN MY SOUL. [PATSY remains onstage with back to the audience} LOUISE Hal and Patsy did a 15 minute interview. Then finally we had to say good bye to Hai Harris so we got in to the SEXY DUDE and headed for the airport, Patsy said, "Louise, honey, I want your address cause I don't want us to lose touch." So we exchanged addresses, but you know how itis, you figure, yeah, well, that will be the end of that. Tl never hear from her again. Well, finally, we made it to the airport. And Patsy walked up the steps to the plane and turned and waved a big good-bye. [LOUISE turns to PATSY and waves (Louise takes off the cowgirl hat and motions to Patsy-Patsy motions back for her to keep it, then blows her a kiss goodbye./ PATSY exits. Louise then goes to the kitchen table and silently sits the hat on kitchen chair.] And you know what? In less than two weeks, I received the first in a long series of letters and telephone calls from Miss Patsy Cline. 1 tell you something, that country gal was a winner, [Music cue / LOUISE retums to kitchen / She gets a letter out of the napkin holder where she keeps her collection of letters, next to the radio] I received my first letter May 29, 1961. And 1 want to read it to you. [LOUISE takes out letter and reads while band underscores with "Faded Love] Dear Louise and All, Wanted to take time to write a line or two to thank you folks for the nice way you treated this old country gal while I was there. I sure do appreciate all you done, because if you hadn't been so nice I wouldn't have been able to go to the radio station... My sincere thanks and hope I can be as nice to you all sometime. Tell Hal "Hello" for me. Hope this finds you well and things going great. As for me, the kids and myself are fine and hell is still poppin’ of course. Ha. Don't know how much longer I can stand this way of living, but the little ones always come first with me. Till then Ill grin and bear it. Ha. Now for the really big news. Well, Im nearly up on the moon and didn’t need a rocket. My record sold 10,000 in Detroit last week alone and is hitting best seller at Decca and is already being put in 3 premium albums right away of different artists, [PATSY singing offstage. LOUISE reflects on her memories for a moment] FADED LOVE 40 jPATSY ASILOOK AT THE LETTERS THAT YOU WROTE TO ME IT'S YOU THAT LAM THINKING OF AS TREAD THE LINES THAT TO ME WERE SO DEAR 1 REMEMBER OUR FADED LOVE. [Music underscore continues as LOUISE finishes letter] LOUISE T go to the 5 Star Jubilee (Friday Nights, NBC-TV, Springfield, Missouri, Ozark Jubilee] on July 7th, and it’s in color. Swingin’, huh? I think I told you I'm getting things in shape for the Dick Clark show but don't know the day yet. Il let you know. I'm going home next Tuesday and while there, they are proclaiming a Patsy Cline Day in my home town. ‘Ain’t that a kick in the head? I wish they would have just left it like it was, but Ido appreciate the noise they are kicking up. So I guess I'll have to do what they want that day. ‘The Mayor is gonna be there and recognize me and so on, Anyway, it sure is a good feeling, I can't really believe it. Guess I'd better close and get busy with this ironing I've got here. Be sure to kiss the boy for me. He sure is a doll and tell the couple that was there that night hello and I hope T didn’t bore them with my troubles. I think they are wonderful folks. [PATSY enters DL, with pad and pen, writing the letter to Louise,, wearing casual slacks, blouse or sweater] I still want all of you to come down and see us at the Opry. So write soon and thanks agai By the way, Dallas was a swinging date. Hope to see you again soon. PATSY and LOUISE [together] Love, Always...Patsy Cline. {LOUISE continues to look at the letter as PATSY finishes} PATSY AS I THINK OF THE PAST AND ALL THE PLEASURES WE HAD 4aAS I WATCH THE MATING OF THE DOVE IT WAS IN THE SPRINGTIME THAT WE SAID GOOD-BYE 1 REMEMBERED OUR FADED LOVE, IMISS YOU DARLING MORE AND MORE EVERY DAY AS HEAVEN WOULD MISS THE STARS ABOVE WITH EVERY HEART BEAT. ISTILL THINK OF YOU AND REMEMBER OUR FADED LOVE AND REMEMBER OUR FADED LOVE. [Song does not end - segues into her next speech} [PATSY exits ] LOUISE One morning about two years later, I was driving to work and as usual I was waiting for Hal Harris to play my favorite Patsy Cline record [Musical tag of Faded Love ends herel. Instead they come on the radio and said that Patsy Cline had been killed in an airplane crash on her way back to Nashville. She was thirty years old. It had only been six years since 1 first heard Patsy sing on the Arthur Godfrey show. [Band underscoring for “How Great Thou Art” begins here.) That Saturday night I tuned in my radio to a live broadcast of the Grand Ole Opty. {A Crew Person in westem outfit or a band member quietly and slowly resets the Grand Ole Opry mic DC. The Band underscores and hums "How Great ‘Thou Art") They had a silent prayer for Patsy and the others who died in the crash. And then the Jordanaires came out on that very same stage where Patsy had performed so many times and sang that beautiful old hymn, "How Great Thou Art" [The lights come up on the empty Grand Ole Opry microphone. On the last phrase of the underscoring as the band quietly sings the final phrase “How Great Thou Art” SILENCE. There is a pause before LOUISE continues. Lights fade on Opry microphone, then lights slowly come back fo LOUISE at the kitchen table.] Thats been a long time ago but I stil call that radio station and I still ask them to play Patsy Cline for me, And as I look at the letters that she wrote to me, I remember... and I Know she meant it when she signed each and every one of them Love...Always.. Patsy Cline, [Louise remains at the table. She lovingly puts the letter back into the envelope.) 2{Music cue, PATSY enters. She is wearing a beautiful paste! chiffon, with rhinestones ‘gown, semi-formal length-looking very angelic. No full length gowns please.] TRUE LOVE PATSY WHILE I GIVE TO YOU AND YOU GIVE TO ME ‘TRUE LOVE, TRUE LOVE SO ON AND ON IT WILL ALWAYS BE TRUE LOVE, TRUE LOVE [PATSY turns and sings to LOUISE who sees her as a guardian angel, always nearby in spirit] FOR YOU AND I HAVE A GUARDIAN ANGEL ON HIGH WITH NOTHING TO DO BUT TO GIVE TO YOU AND TO GIVE TO ME LOVE FOREVER TRUE HUM HUM HUM {LOUISE exits with her letter / PATSY crosses DC to the Grand Ole Opry mic, appearing at the Grand Ole Opry one final time] BUT TO GIVE TO YOU AND TO GIVE TO ME LOVE FOREVER TRUE LOVE FOREVER AND ALWAYS [The word "Always" should be on a sound reverb effect / Lights fade to black] END OF ACT II 43CURTAIN CALLS (Note: Play first part ANYTIME for bows, PATSY joins the last refrain without the stop time ending. Louise dances with her partner from the audience one more time] ANYTIMI PATSY ANYTIME YOU'RE THINKING 'BOUT ME ‘THAT'S THE TIME I'LL BE THINKING OF YOU. SO ANYTIME YOU SAY YOU WANT ME BACK AGAIN THAT'S THE TIME I'LL COME ON HOME TO YOU THAT'S THE TIME I'LL COME ON HOME TO YOU ‘Thank you so much! [Patsy starts to Jeave the stage. Band “rumbles” a chord underneath.) LOUISE If you want to hear Patsy sing one more song, keep your hands together and let her know. Come on Patsy, just one more. [Patsy re-enters to Grand Ole Opty mic, cuts the "rumble" off. Then they play the intro to the next song.) IF YOU GOT LEAVIN’ ON YOUR MIND PA IF YOU'VE GOT LEAVIN’ ON YOUR MIND LOUISE [Sits at a bar table, During song she occasionally tums back to drummer giving him some “instruction” like she did during the song “Your Cheating Heart” } Honey, we ain’t goin’ nowhere! PATSY TELL ME NOW, GET IT OVER HURT ME NOW, GET IT OVER IF YOU'VE GOT LEAVIN’ ON YOUR MIND IF THERE'S A NEW LOVE IN YOUR HEART ‘TELL ME NOW, GET IT OVER HURT ME NOW, GET IT OVER IF THERE'S A NEW LOVE IN YOUR HEART DON'T LEAVE ME HERE IN A WORLD. BIULT ON DREAMS THAT MIGHT HAVE BEENHURT ME NOW, GET IT OVER IMAY LEARN TO LOVE AGAIN IF THERE'S A NEW LOVE IN YOUR HEART TELL ME NOW, GET IT OVER IF THERE'S A NEW LOVE IN YOUR HEART. HURT ME NOW,GET IT OVER IF THERE'S A NEW LOVE IN YOUR HEART. ‘Thank you so much! {Patsy bows and tries to exit again, but Louise stops her.] LOUISE ‘Oh, Patsy...ust one more-just for me, PATSY Well-okay honey, just for you! [To Band] Okay boys, give me an BAND MEMBERS, “Ant PATSY mean an A" chord you bunch of smart alecks, BILL BAILEY, WON'T YOU PLEASE COME HOME PATSY [She goes toCenterstage corded mic.] WELL, WON'T YOU COME HOME BILL BAILEY WON'T YOU COME HOME IMOAN THE WHOLE NIGHT LONG 'M A GONNA DO YOUR COOKING, HONEY PAY THE RENT IKNOW THAT I'VE DONE YOU WRONG REMEMBER THAT RAINY EVE THAT I THROWED YOU OUT [Patsy puts the mic in front of Louise who sings tentatively} LOQUISE WITH NOTHIN' BUT A FINE TOOTH COMB PATSY Sing out, Louise! 45|... ....,,. =| LOUISE [Runs down to Opry mic, IKNOW THAT I'M TO BLAME, WELL AIN'T IT A DIRTY LOWDOWN SHAME BILL BAILEY WON'T YOU PLEASE COME HOME ings and moves like “Elvis” [Musical Turnaround. Patsy and Louise dance then work the audience from both sides of the stage} PATSY WON'T YOU COME HOME BILL BAILEY WON'T YOU COME HOM I CRIED THE WHOLE NIGHT LO-OO-NG I'M GONNA DO THE COOKIN' HONEY, I'LL PAY THE RENT 1 KNOW I DONE YOU WRONG REMEMBER THAT RAINY EVENIN' I THREW YOU OUT WITH NOTHIN' BUT A FINE TOOTH COMB. I KNOW IM TO BLAME NOW 'AINT THAT A DIRTY LOW DOWN SHAME, BILL BAILEY WON'T YOU PLEASE COME HOME COME HOME BILL BAILEY BILL BAILEY WON'T YOU PLEASE COME HOME, [BAND goes into a "slow bombastic” type finish. PATSY and LOUISE “shimmy” to centerstage Grand Ole Opry microphone.) BILL BAILEY WON'T YOU PLEASE COME HOME! [Spoken]Come on home! LOUISE [To audience] ‘We all want to thank you so much for coming here tonight. If you had a good time-tell your mamas and daddies, your friends and neighbors to come and see us. And I want you to be extra careful driving home tonight. And do not hit the SEXY DUDE on your way out of the parking lot. Now I'm gonna’ take this gal home for some bacon and eggs. PATSY Good night everybod: {Women exit arm in arm and band starts the playoff music. As soon as Louise and Patsy exit , Louise rushes back onstage briefly to do her wild “victory gesture” as she did at the end of ACT 1 and the exits, Band continues with playoff music as audience exits the theatre.] 46END OF CURTAIN CALLSAPC Technical Information Props -On Kitchen Table 60's style radio plastic flowers or fruit arrangement 2 placemats ashtray salt and pepper shakers letter holder w/ old letters small Kleenex box cigarette lighter cigarettes silver percolator for coffee small trash can under kitchen table Patsy's letter to Louise Reading glasses for Louise -On Bar Table one longneck beer bottle one ashtray -For Band six longneck beer bottles -Offstage white purse [for Patsy] compact [For Patsy] small 60's suitcase two coffee cups [1 for Patsy, one for Louise] medium size Teddy Bear [Patsy] stationary, pad, and pen [matches Louise's letter to Patsy] Furniture 1950-60's style dinette table with 2 matching chairs area rug or linoleum jukebox barstool [by jukebox] bar table 2 chairs for bar table barstool [on bandstand next to piano] one non-practical silver 50's type mic. Stand with a Grand Ole Opry sleeve 48LightEffects 2 hazers for smoke effect [not heavy fog] 24” mirror ball 2 follow spots Other Scenery Notes band platforms [Up center] singer platform [Center stage-one step down from band] Kitchen table [right of center stage} bar table [left of center stage] jukebox and barstoo! [downstage right] ‘The surrounding environment may be as elaborate or simple as the designer likes. The show can be played within these bare essentials or can incorporate elements from the Grand Ole Opry., a Texas honky tonk with beer signs-western signs-free flowing, non realistic in style. Band Piano/keyboard Pedal/Steel guitar Fiddle Lead Guitar Bass (upright or electric) Drums Band members should also sing back-up vocals ‘Sound [Other than necessary amplification for the band] 2 body mics {one Patsy, one Louise] 1 corded microphone on bandstand for Patsy with20' cable with clip and stand Cassette or CD player for opening voice over and intermission music 3-4 vocal microphones for back-up vocals Onstage monitors for Band and Patsy | offstage cordless hand-held mic for emergencies 2 additional back-up body mics headsets for backstage personnel and board operators Running crew 1 dresser / assistant stage manager 2 follow spot operators 1 light board operator 1 sound board operator 1 monitor engineer [if possible} 1 stage manager 49ALWAYS... PATSY CLINE SUGGESTED COSTUME PLOT NOTE: Patsy will need a quick change area on each side of the stage. OUISE PATSY ACTI Red or blonde wig-60's style parlor hairdo Colorful western style blouse Slacks or nice western jeans Western boots or flat gold shoes Colorful earrings No changes during show} Opening Red cowgicl outfit with white fringe White western boots Earrings White neck scarf Black/dark brown 50°s wig [Note: She does not wear a cowgirl hat.) Walkin’ Afier Midnight Late 50"s style cocktail dress High heels Rhinestone jewelry Neck scarf 50's style black wig I Fall To Pieces Late 50's style sweater/Neck scarf Pegged Slacks lat shoes or heels Repeat 50's wig Earrings It Wasn't God Who Made Honky Tonk Angels 2 piece tailored pastel pink cotton suit w/ jacket circa 1960 ‘Simple white blouse White heels Tan “trench style” raincoat Pearl necklace Peatl Earrings 60°s style wig ‘Your Cheatin’ Heart (Esquire Ballroom Concert} 60's style semi-formal: vibrant color with lots of sequins Rhinestone jewelry High heels Repeat 60's wig ACT II 50She's Got YouSweet Dreams Repeat Esquire Ballroom Coneert-No Change Pink suit from ACT 1 without jacket Kitchen apron Repeat 60's wig IL Could See The World Through The Eyes OF A Child Simple pastel, full length bathrobe House Shoes Repeat 60's wig Second “Blue Moon Of Kentucky" verse [*identical twins” bit] Western fringe shirt Gold lame pants White boots White neck scarf White cowgirl hat [carried on not worn} Jewelry Repeai 60°s style wig Faded Love (60's style sweater Matching neck scarf ‘Simple pegged stacks ‘Simple flat shoes Repeat 60°s wig True Love [Finale] Blue chiffon semi-formal with rhinestones scattered on skirt Rhinestone jewelry High heels ‘Wig should be a later “patsy” style: clegant, short [optional] sce All hemlnes shouldbe atthe knee or just below the knee, No fll-ength gowns or ‘mid-tength dresses. Colors of dresses are suggestions Band Members/Backup singers Western shirts Neck scarves or string ties Black jeans or slacks Boots Cowboy hats st