ELIZABETHTOWN ___________________________

A M USICAL WESTERN M usic By: Jason Spraggins Book & Lyrics By: Andy Brown (from an idea conceived by Jason Spraggins) 2011

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CAST OF CHARACTERS

FATHER CHARLES AUSTIN - 37 years old. PHOEBE WOODWARD/CAROLINE SHAW - 27 years old. SHERIFF COLONEL JOSEPH BAILEY - 62 years old. DEPUTY SHERIFF JOHNNY M ARTIN - 24 years old. PATRICK O' QUINN - 35 years old. CAM ILLE O' QUINN - 31 years old. SARAH O' QUINN - 19 years old. THEODORE "TEDDY" M cCAIN - 40 years old. M ARSHALL RED M ILLER/BAXTER SHAW - 34 years old.

TIM E: Summer of 1880 in Elizabethtown, Dakota Territory. SETTINGS: The Inferno Caroline's Room at the Dove's Nest St. Anima Sola Catholic Church Sheriff's Office

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M USICAL NUM BERS

ACT ONE 1. UNDER THE SURFACE - PATRICK, COM PANY 2. PAY THE PIPER - TEDDY 3. IN THE ATTIC - CAM ILLE, SARAH 4. DESERT OF GOD - CHARLES 5. PANNIN' FOR JUSTICE - RED, JOSEPH, JOHNNY 6. IN SEARCH OF A NEW LIFE - PHOEBE, PATRICK, CAM ILLE, SARAH 7. BLOOD M ONEY/SEARCH OF A NEW LIFE - PHOEBE 8. GHOST TOWN HOE-DOWN - COM PANY 9. SIN IN SENATOBIA - RED 10. WHY FEAR THE FORBIDDEN - PHOEBE, CHARLES 11. M ARSHALL LAW - COM PANY

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ACT TWO 12. DON'T - CAROLINE, CHARLES 13. SCRATCH M Y BACK - RED, CAM ILLE 14. A POUND OF FLESH - COM PANY 15. HELL ON EARTH - CHARLES, CAROLINE 16. DEAL WITH THE DEVIL - TEDDY 17. M Y LOVE, DEPARTED - PATRICK, CHARLES 18. IN SEARCH OF A NEW LIFE (REPRISE) - COM PANY

ELIZABETHTOWN ACT ONE OVERTURE

SCENE ONE As the Overture comes to an end lights rise on PATRICK O QUINN, 35 year-old owner of the local tavern, The Inferno. At rise, PATRICK is standing behind the bar polishing a beer mug. PATRICK is an Irish immigrant with a lovely brogue. PATRICK Once upon a time there was a man named Frank Barlow. Now M r. Barlow was a wealthy oil tycoon from Texas, and as well all know, the only thing a wealthy man really wants is more wealth. So when news of the Black Hills Gold Rush reached M r. Barlow he bought land in the Dakota Territory just south of Deadwood and Homestake and founded Elizabethtown in 1878. It was named for his wife Elizabeth who arrived just in time to witness her husbands most spectacular failure. You see, there was very little mineable gold to be found in Elizabethtown, but Franks greed was insatiable and only to be trumped by his pride. Against the urging of all learned mining authorities, M r. Barlow and his two youngest sons, William and Clayton, attempted to mine deep into the earth in hopes that they would find a high-yielding vein of gold ore. Sadly they perished in a cave-in. Crippled with grief, M rs. Barlow returned to Texas with her eldest son, Frank, Jr., and left Elizabethtown under the care of her late husbands right-hand man, one M r. Theodore M cCain. And that brings us up to the present. Its summer time here in Elizabethtown in the year 1880. And the town that was founded with such lofty hope and expectation has become little more than a ghost town, a stopover between Deadwood and the rest of the world, a haven for sinners trapped in Purgatory. Not exactly the happily ever after you read about in fairy tales, eh? Oh, I almost forgot to introduce myself. The names Patrick O Quinn. I own this place, you see. The Inferno and The Doves Nest are the last tavern and hotel in operation in Elizabethtown. I won them fair and square in a game of chance. Well, I won them.

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PATRICK (CONT) I cant attest to the fairness of it. (M USIC CUE) After all, nothing and no one are what they seem in this town. Take a closer look and youll discover... UNDER THE SURFACE PATRICK LOOKS ARE DECEIVING. THAT M UCH IS TRUE. SO KEEP YOUR EYES TRAINED ON THE PRIZE. ITS NOT WHAT THEY SAY BUT THAT WHICH THEY DO THATS M ADE THEM THEM SELVES DESPISE. EVERY BLEST DAY THE WORLD TAKES A SPIN. A SUCKER IS BORN WITH EACH TURN. THE GUILTY COM E HERE TO SIDE-STEP THEIR SINS. REPRIEVE TIL THE DAY THAT THEY BURN. UNDER THE SURFACE VILLAINS AND SAINTS KNOW HOW TO CHARM WITH A SM ILE. UNDER THE SURFACE ACTIONS WILL TAINT THE SOUL AND FILL IT WITH BILE. STAY FOR THE NIGHT. WELL ROLL OUT THE M AT WHEN YOU PASS THROUGH. UNDER THE SURFACE WERE NOT WHAT WE SEEM . WE M IGHT BE THE END OF YOU. M en and women spill out onto the stage as PATRICK continues. PATRICK A sorry looking lot if ever there was one. Well dont just stand there. Give us a song!

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M EN SOM E OF US CAM E HERE TO WIPE CLEAN THE SLATE. A FRESH START, THE DREAM OF ALL FOOLS. TAKE IT FROM US, IF YOURE HERE, ITS TOO LATE! NOBODY PLAYS BY THE RULES. WOM EN PEACE IS ILLUSION. YOU WONT FIND IT HERE. BUT PLEASURE AND DRINK BOTH ABOUND. IF YOU HAVE THE M ONEY, WE HAVE THE TIM E. YOULL LOSE BOTH WHILE WERE AROUND. M EN EVERY BLEST DAY THE WORLD TAKES A SPIN AND A SUCKER IS BORN WITH EACH TURN. GUILTY COM E HERE TO SIDE-STEP THEIR SINS. REPRIEVE TIL THE DAY THAT THEY BURN.

PATRICK/M EN/WOM EN UNDER THE SURFACE VILLAINS AND SAINTS KNOW HOW TO CHARM WITH A SM ILE. UNDER THE SURFACE ACTIONS WILL TAINT THE SOUL AND FILL IT WITH BILE. STAY FOR THE NIGHT. WELL ROLL OUT THE M AT WHEN YOU PASS THROUGH. UNDER THE SURFACE WERE NOT WHAT WE SEEM . WE M IGHT BE THE END OF YOU. Company disperses as PATRICK, SARAH, JOHNNY, and CAM ILLE linger for the scene.

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JOHNNY is repairing a bar stool as SARAH cleans the tables, stealing affectionate glances at JOHNNY from time to time. PATRICK Camille, my pigeon, give me some good news. Any lodgers? CAM ILLE We have had nary a lodger in a fortnight, lover. A stagecoach is due any day now. Perhaps well snag a tenant. And a customer. PATRICK Aye. The Attic is bound to be getting a mite dusty. CAM ILLE And sister Sarah is bound to be getting a mite rusty. SARAH flinches. PATRICK Easy, Pidge. A delicate flower she is. Arent you, sister? SARAH huffs in defiance. CAM ILLE Look at her all high and mighty. Hoping to impress your boyfriend? Well, beau or not, you are the only girl I have left. SARAH grunts and returns to her cleaning. PATRICK Johnny, my roof still wants patching. JOHNNY I know, sir. Sheriff Baileys been workin me to the bone at the jailhouse. PATRICK Easy, friend. Youll do it tomorrow. And I been telling you since you started working for me you neednt call me sir. Patrick will do just fine.

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JOHNNY Yes, sir. Patrick. Its just that I owe so much to Sheriff Bailey. M y daddy served under him durin the War. Colonel Baileys looked after me. M ade me his deputy. PATRICK Yes. Yes. Its a beautiful story. The thing of legends. Id tell it to my children if I had any. Camille locked my stones in a jar ages ago. Right, Pidge? CAM ILLE Your words. PATRICK Tend the counter, love. Im off to see Teddy about another extension. CAM ILLE You would have better chances convincing pigs to fly out your anus. PATRICK starts to exit as TEDDY enters. THEODORE TEDDY M cCAIN is the 40 yearold custodian of Elizabethtown. TEDDY is dressed impeccably and lords his status over the remaining residents and business owners. PATRICK Teddy, I was just on my way to the bank to see you. TEDDY I reckon I just saved you a few steps then. Howdy everyone. Deputy. ALL Hello/Howdy. PATRICK Can I get you a whiskey? On the house. TEDDY M uch obliged. PATRICK Camille, a whiskey for Teddy.

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CAM ILLE crosses behind bar to pour whiskey. TEDDY M ake it a double. CAM ILLE hands TEDDY drink. CAM ILLE There you go, M r. M cCain. TEDDY Thank you, sugar. Patty, lets get down to business. PATRICK Of course. That is what I was coming to see you about. Times are rough, Teddy. We need another week. TEDDY Say no more. PATRICK Do you mean it? TEDDY Tarnation. Of course I do. I sometimes forget that you arent from around here. M aybe in Ireland you can pay your debts in potatoes and promises, but youre in the Land of Opportunity now, Patty. And in America we pay for goods and services with money. PATRICK Elizabethtown, shes drying up. Shes done for. TEDDY And I am gonna wring every last dime out of her I can before that time comes. Starting with you. Pay up. CAM ILLE M r. M cCain, all we are asking is another week. We havent had a decent lodger in a month of Sundays.

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TEDDY Patty, Ill thank you to keep your wife outta mans business. She should have her hands full with the Attic. PATRICK Yes, sir. TEDDY Aw, hell. I hurt your feelins. Now dont be gettin all formal on me. (M USIC CUE) We have an arrangement. And as such, I want my cut. I want whats comin to me. PAY THE PIPER TEDDY I DONT WANT NO HAY-SEED, POTATO-BREED, CHEAP M EAD IRISHM AN KEEPIN M E FROM M Y DUE. DONT WANT NO PISS-ANT, SYCOPHANT TELLIN M E THAT I CANT HUSTLE WHAT I NEED FROM YOU. THE HOUR GLASS IS RUNNIN FAST, AND THERES NOT M UCH TIM E TO WASTE. JUST EM PTY OUT YOUR POCKETBOOKS CAUSE TEDDY NEEDS A TASTE. PAY THE PIPER, IF YOU KNOW WHATS GOOD FOR YOU. PAY THE PIPER. ITS THE AM ERICAN THING TO DO. YOU M ADE YOUR BED WHEN YOU HITCHED YOUR STAR TO THE LAND THAT BLEEDS BOTH GOLD AND GREEN. PAY THE PIPER. PAY THE PIPER.

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TEDDY (CONT) PAY THE PIPER. OPPORTUNITY COULDNT BE RIPER. PATRICK Teddy, I cant give you what I dont have. TEDDY I think youll find Im a reasonable man. M aybe an alternate arrangement can be made. Just this once. PATRICK Certainly. Whatever you want. TEDDY Good. I want her. Sarah. SARAH flinches. JOHNNY bristles. PATRICK and CAM ILLE share knowing looks. TEDDY I WANNA PURE-BRED, CORN-FED, NEVER IN HER LIFE WED HUSSY UP ON M Y BED. I WANNA DROP TROW, PLOW HER BOW, SQUEAL JUST LIKE A STUCK SOW TIL THE COWS COM E HOM E ALL FED. M Y DRINK AINT GONNA POUR ITSELF. ANOTHER SHOT AND THEN THE CHASE! ILL TAKE YOU ON THE WILDEST RIDE YOUVE HAD IN YOUR TINY SPACE. PAY THE PIPER, IF YOU KNOW WHATS GOOD FOR YOU. PAY THE PIPER.

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TEDDY (CONT) ITS THE AM ERICAN THING TO DO. YOU M ADE YOUR BED WHEN YOU HITCHED YOUR STAR TO THE LAND THAT BLEEDS BOTH GOLD AND GREEN. PAY THE PIPER. PAY THE PIPER. PAY THE PIPER. OPPORTUNITY COULDNT BE RIPER. CAM ILLE Sarah, be a good girl now and show M r. M cCain up to the Attic. SARAH Yes, sister. SARAH, much defeated, starts to lead TEDDY out. JOHNNY Now just a minute, Camille. Sarah is already spoken for tonight. CAM ILLE Is she now? JOHNNY Thats right. TEDDY And who is the lucky man, Deputy? JOHNNY I am. So I guess youll have to clear out, M r. M cCain. SARAH is dumbfounded, all smiles.

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TEDDY Patty, I dont know what youre playin at here, but dont think this gets you off the hook. PATRICK I dont know anything about it, I swear. JOHNNY Teddy, should I pay you or Camille? TEDDY Watch yourself, Deputy. I dont wanna have to confer with the Sheriff on this matter. CAM ILLE He didnt mean anything by it, M r. M cCain. (To Johnny) Ill take your money, pet. TEDDY Horseshit. Thats what this is. Dont you take a red cent from him, Camille. Were gonna settle this like men. TEDDY closes in on JOHNNY. JOHNNY Im not gonna fight you, Teddy. TEDDY (laughs) Tarnation! I aint gonna fight you. Im gonna drink you for that fine piece of tail. JOHNNY Im not drinking anything with you. Not for Sarah. TEDDY Listen to me, boy. Youre gonna drink, or Ill have your hick-ass out on the next stage back to Illinois. This is my town. You play by my rules. Patty, pour us some whiskey. Times a wastin. PATRICK brings the bottle of whiskey and fills two shot glasses, one for TEDDY and one for JOHNNY.

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JOHNNY I dont think this is a good idea. TEDDY Dont worry your pretty little head, Deputy. This here will stay between the two of us. Keep us full, Patty. PATRICK Youre the boss. TEDDY And dont you forget it. Now drink, boy. JOHNNY (smiles) Yes, sir. (M USIC CUE) A variation on PAY THE PIPER plays as JOHNNY and TEDDY begin their drinking contest. PATRICK keeps the shot glasses filled as JOHNNY and PATRICK match each other, shot for shot. SARAH watches with great interest. She wants JOHNNY to win. After about ten or twelve shots, TEDDY motions PATRICK to stop. TEDDY Goddamn, boy! You tryin to hustle me? JOHNNY Had enough, Teddy? TEDDY Hell no! (Slurring and staggering from the bar) Ill tell you when Ive had enough. I can keep goin til the sun comes up! TEDDY staggers between CAM ILLE and SARAH and makes his way back to JOHNNY. JOHNNY You know what I think?

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TEDDY No. (Icy) What do you think, boy? JOHNNY I think you should take my money and be on your way. TEDDY Patty! Pour us another! PATRICK refills their shot glasses. It is a miracle that TEDDY is still standing. TEDDY Im gonna learn you some respect. TEDDY hold out his shot glass, aims for his mouth, misses, and the whiskey goes over his shoulder. TEDDY passes out face first onto the floor. PATRICK hurries to his side. PATRICK I hate it when he calls me Patty. Hes out, Pidge. CAM ILLE Drag him into the parlor. Let him sleep it off. PATRICK I dont fancy having to deal with him when he wakes. CAM ILLE Nonsense. Hes nothing more than a lapdog. PATRICK Youre wrong there, Pidge. The man is a viper. And we best step lively so as not to get bit. Now where in heavens name did you ever learn to drink like that, Johnny? JOHNNY M y daddy was making moonshine as long as I could remember. M e and my friends used to steal swigs from the jug. PATRICK I reckon you taught Teddy a lesson he wont soon forget.

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JOHNNY Hell be too embarrassed not to. I think Im gonna call it a day. Sheriff Bailey is taking me out to Lakota Territory tomorrow after church. Heres the money, Camille. You can give it to Teddy when he comes to. CAM ILLE Not so fast, pet. Where do you think youre going? JOHNNY Out to the ranch. Its a two mile walk, and the whiskey isnt gonna help me any. CAM ILLE Would you get a load of that one, lover? He pays for an evening of romance but wont put his willy where his mouth is. PATRICK Aye. Seems like an awful waste of a mans wages. CAM ILLE Sarah. Come over here. JOHNNY Heck, Camille, that aint necessary. CAM ILLE But it is. Dont you think Sarah is a pretty thing to behold? JOHNNY Sure I do. But I didnt pay up to take advantage of her. I just couldnt see my way to lettin Teddy get his hands all over her. Sarahs my friend. PATRICK I think Im going to cry. CAM ILLE Hes a romantic, that one. Lucky you have a friend like Johnny around, arent you, sister? SARAH Yes. I am.

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SARAH finds it difficult to maintain eye contact with JOHNNY. JOHNNY Theres no need to be embarrassed, Sarah. As long as Im here, you can count on me to look out for you. SARAH I can take care of myself. CAM ILLE Can you now? Id like to see that. Its settled then. Dont make a fuss, Johnny. Sister Sarahs taking you up to the Attic and giving you a night youll never forget. Patrick, my love, take Teddy out of here. Hes ruining the mood. PATRICK exits with TEDDY in tow. JOHNNY Naw, I should go. CAM ILLE Nonsense. (M USIC CUE) You dont mind if Johnny stays the night, do you, Sarah? SARAH I suppose not. (To Johnny) If you want to. JOHNNY Sarah... CAM ILLE Then we are all in agreement. He stays! IN THE ATTIC CAM ILLE EVRY M AN NOW AND THEN COM ES HERE WITH NEEDS THAT SHOULD BE GRATIFIED. ITS ONLY NATRAL. THEYRE NOT DIRTY DEEDS. YOU SHOULD BE SATISFIED. SHELL BE YOUR HARBOR, A M EASURE OF PEACE

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CAM ILLE (CONT) FOR THE NIGHT IF YOU WILL STAY. TAKE HER, DEVOUR HER, YOU RAVAGING BEAST. THEN YOU WILL BE ON YOUR WAY. IN THE ATTIC YOU ARE A KING. IN THE ATTIC YOULL FIND THAT THERE IS NARY A STRING. UP THE STAIRWAY, THROUGH THE COBWEBS, AND YOUR PASSIONS WILL TAKE WING! YOU PAID THE BOATM AN. WHY NOT TAKE THE RIDE? UNLOCK HER CHASSIS AND SEE WHATS INSIDE! IN THE ATTIC PLEASURES ARE WAITING FOR YOU. IN THE ATTIC YOU ARE A KING WHO CAN SECRETLY DO ALL YOU ARE WANTING TO DO. CAM ILLE nudges SARAH. PATRICK returns. SARAH Dont you like me, Johnny? JOHNNY Its not that, Sarah. Its just that...aw, hell. PATRICK (to CAM ILLE) Theres a girl. I think hes coming around.

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CAM ILLE Works every time, lover. And now a little seduction. LET YOUR EYES LINGER ON HER M ILKY FLESH. SHE HUNGERS FOR YOUR TOUCH. DONT KEEP HER WAITING. SHES CAUGHT IN LOVES M ESH. THE PRICE WAS NOT THAT M UCH. SHE WILL SUBM IT TO YOUR EVERY WHIM , ON HER BACK OR BENDED KNEE! TIM E IS A WASTING. WE WOULDNT WANT THAT! STILL CONFUSED? TAKE IT FROM M E... IN THE ATTIC YOU ARE A KING. IN THE ATTIC YOULL FIND THAT THERE IS NARY A STRING. UP THE STAIRWAY, THROUGH THE COBWEBS, AND YOUR PASSIONS WILL TAKE WING? YOU PAID THE BOATM AN. WHY NOT TAKE THE RIDE? UNLOCK HER CHASSIS AND SEE WHATS INSIDE! IN THE ATTIC PLEASURES ARE WAITING FOR YOU. IN THE ATTIC YOU ARE A KING WHO CAN SECRETLY DO ALL YOU ARE WANTING TO DO. SARAH Johnny? JOHNNY Sarah, I... SARAH Dont.

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SARAH REACH FOR M Y HAND. I WONT LET YOU FALL. USE M E. ABUSE M E AGAINST THE WALL. ILL BE A LADY, ALL SWEET AND DEM URE. OR ILL BE A VIXEN IF YOU WOULD PREFER. SARAH kisses JOHNNY. As the music swells, they continue kissing to the amusement of PATRICK and CAM ILLE. SARAH IN THE ATTIC PLEASURES ARE WAITING FOR YOU. IN THE ATTIC YOU ARE A KING WHO CAN SECRETLY DO ALL YOU ARE WANTING TO DO. SARAH leads JOHNNY away. PATRICK Now then. Thats settled. But we would have been wiser to let Teddy have her for the night. The money Johnny gave isnt near enough. CAM ILLE You said it yourself. Teddy is a viper. Rest assured the opportunity will present itself again. PATRICK We best be getting ready for the regulars. Teddy isnt going anywhere. We can worry about him tomorrow. PATRICK goes behind the bar and CAM ILLE starts to tidy as PHOEBE WOODWARD enters. PHOEBE, a 27 year-old woman, wears a beautiful dress that is tasteful but ostentatious for Elizabethtown. PHOEBE is fair and beautiful but not to be trifled with and has a distinct drawl.

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CAM ILLE God save the Queen...what do we have here? PHOEBE Pardon me? CAM ILLE Sorry, love. We dont often have the pleasure of such finery. Your dress. Its lovely. PHOEBE Thank you. I was told I might be able to find lodgings here. CAM ILLE That you can. PHOEBE Good. It has been a tiresome day. All I want to do is crawl into bed. CAM ILLE Will your husband be bringing in your luggage? PHOEBE I will. M y husband is dead. CAM ILLE Begging your forgiveness, madam. I just saw your ring and... PHOEBE No apologies are necessary. I havent seen fit to take it off yet. Seemed wise to leave it on while I was traveling. CAM ILLE Yes. Of course, madam. Ill go ahead and show you to your room. You can fill out the registry in the morning after youve rested. PHOEBE If its not a problem, I would like to pay up through the end of the month. (PATRICK almost drops a bottle of whiskey, hearing this.) Just until I can find something more permanent.

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CAM ILLE That wont be a problem at all. Now, if you will follow me, Ill show you the way. PATRICK Good night, madam. PHOEBE Good night. And no need for pleasantries. You and the missus can call me Phoebe. PATRICK Whatever you prefer. CAM ILLE and PHOEBE exit and PATRICK pours himself a shot of whiskey to celebrate and crosses himself as the lights dim. Transition music plays as the scene shift. BLACKOUT.

SCENE TWO It is the following morning, Sunday at St. Anima Sola Catholic Church. A very small number of people fill the pews as FATHER CHARLES AUSTIN brings the service to an end. CHARLES is 37 years old, a solid man of inner and physical strength, though he has as yet used little of the latter in his dealings with his parish. CHARLES stands behind a modest pulpit as the scene begins. A southerner by origin, CHARLES has a present drawl. CHARLES In the name of the Father, and of the Son, and of the Holy Ghost, Amen. Go now in peace, my friends. M embers of the congregation disperse and CHARLES shakes hands as they pass his pulpit on their way out.

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Two people linger behind, TEDDY and the towns sheriff, COLONEL JOSEPH BAILEY. JOSEPH is a 62 year-old man, and a celebrated veteran of the Civil War. As the last of the congregation filters out, the two men approach CHARLES. TEDDY has looked better. TEDDY That was a mighty fine homily, Charles. CHARLES How would you know, Teddy? You were sawing logs for three quarters of it. Sheriff. JOSEPH Father. You got a moment? CHARLES I reckon so. I was just going to make my way over to the Inferno for Sunday supper and a bourbon. Whats on your mind? TEDDY Tarnation, you know damn well whats on the Sheriffs mind. Youve been out to Lakota Territory again. CHARLES I dont see how thats any of your business, Teddy. JOSEPH Hes the town custodian, Father. And just this once, hes right. You have no business rubbin elbows with the Lakota. Theyre savages. CHARLES I appreciate your concern, but I answer to a higher authority. And the Lakota are not savages. They want peace. TEDDY They want their land back. CHARLES Frank Barlow took it from them.

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JOSEPH I have one of their people in my lock-up, Father. He was drunk, and he caused a ruckus at the Inferno. He couldve killed someone. CHARLES But he didnt. Way I hear it, he was provoked. JOSEPH Charles. I just need to know when I take my deputy and the prisoner out to Lakota Territory that we arent in for a scrape. CHARLES You have my word. We have an opportunity here. Teddy, why shouldnt we invite the Lakota to live among us? We could help each other. TEDDY Frank Barlow had a dream for this town. And I will sooner see Elizabethtown razed to the ground before I let a bunch of heathens set up their wigwams. CHARLES I have been working on building relations with them for two years now. I am not about to watch a self-righteous figurehead destroy that. TEDDY Watch your tone, Charles. You may be a man of the cloth, but I aint afraid to take you out and... JOSEPH Teddy! This isnt gettin us anywhere. Charles, I know you want peace. The whole damn nation wants peace. But it takes time. CHARLES No! We are out of time. (M USIC CUE) Joseph, I know you care about the people, about the community. Teddy doesnt. Hes got his hand in the honey pot so when it goes belly-up, hell be living high on the hog back in Texas as the Barlow lap dog. THE DESERT OF GOD

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CHARLES BLESSD ARE THE POOR IN SPIRIT, FOR YOU CANNOT BLEED THEM DRY. AND BLESSD ARE THEY WHO M OURN. YOUR GREED TWISTS THEIR LIVES AWRY. BLESS THOSE WHO HUNGER FOR RIGHTEOUSNESS. FROM GODS GRACE YOUD HAVE THEM STRAY. AND BLESSD ARE THE M EEK AND KIND AT HEART, PUPPETS THAT YOU GLIBLY PLAY. IN THE DESERT OF GOD NO ONES SAFE FROM THE STING OF THE SCORPION OUT FOR THE KILL. IN THE DESERT OF GOD THERES NO REFUGE IN SIGHT, JUST A HAVEN FOR VICE, DREAD, AND SWILL. I TRY TO GIVE THEM A GLIM M ER OF HOPE, AND YOU SWINDLE THEM ALL TWO BY TWO. IN THE DESERT OF GOD WE ALL CHASE THE M IRAGE THAT I HELPED BUILD WITH YOU. TEDDY I dont have to take this from you! I think you should have a little respect for the man who keeps a roof over your head. CHARLES I thank God for all my blessings, Teddy. Not you. And I will no longer be a mouthpiece for the Barlows. TEDDY If you are so damned hell-bent on defendin your friends, why dont you join their tribe? God knows I could find a replacement before your pulpit started collectin dust. CHARLES I took a vow to look out for the spiritual welfare of the people in this parish. I wont leave them. Not while youre around.

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TEDDY Im not gonna warn you again! JOSEPH Teddy. Charles. Keep a civil tongue. TEDDY Listen close, Father. The two of us is gonna have a reckonin and soon. These walls wont protect you from that. TEDDY exits. JOSEPH I have to go. Ill keep an eye on Teddy. You can be sure of that. CHARLES Thank you, Sheriff. But I can handle men like Teddy. Ive done it before. JOSEPH exits. CHARLES rails on. CHARLES BLESS THOSE WHO OFFER M ERCY. I REGRET WHEN I DID NOT. AND BLESS THOSE WHO LIVE IN PEACE. I FELT HIS BLOOD SLICK AND HOT. BLESSD ARE THE ONES WHO FOLLOW YOUR TEACHINGS, SERVING TO BOTH FOE AND FRIEND. AND BLESSD ARE THE ONES WHO SUFFER FOR YOUR SAKE. THEY WILL KNOW LIFE WITHOUT END. IN THE DESERT OF GOD NO ONES SAFE FROM THE STING OF THE SCORPION OUT FOR THE KILL. IN THE DESERT OF GOD THERES NO REFUGE IN SIGHT, JUST A HAVEN FOR VICE, DREAD, AND SWILL.

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CHARLES (CONT) I TRY TO GIVE THEM A GLIM M ER OF HOPE, AND YOU SWINDLE THEM ALL TWO BY TWO. IN THE DESERT OF GOD WE ALL CHASE THE M IRAGE THAT I HELPED BUILD WITH YOU. I THOUGHT I COULD ESCAPE IT. M Y TIM E IN PURGATORY. I THOUGHT BY COM ING OUT HERE M Y PAST I COULD DESTROY. SCRAPE OUT A M EEK EXISTENCE, INSTEAD IM SLIDING BACKWARDS, AND SINKING IN QUICKSAND! IN THE DESERT OF GOD NO ONES SAFE FROM THE STING OF THE SCORPION OUT FOR THE KILL. IN THE DESERT OF GOD THERES NO REFUGE IN SIGHT, JUST A HAVEN FOR VICE, DREAD, AND SWILL. IN THE DESERT OF GOD WE ALL CHASE THE M IRAGE THAT I HELPED BUILD WITH YOU. As CHARLES finishes the song, he kneels at the altar to pray and is unaware when PHOEBE enters the church. Her first line breaks him from his prayers. PHOEBE Father Austin? CHARLES Yes? CHARLES is struck by PHOEBES beauty. Rises to meet her.

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PHOEBE Father, my name is Phoebe Woodward. I arrived late last night on the stagecoach. I wanted to come by and introduce myself and apologize for missing services this morning. CHARLES I had no idea we had any new arrivals. Patrick and Camille usually give me fair warning. PHOEBE They werent expecting me. CHARLES Oh? What brings you out to these parts? PHOEBE I was recently widowed and well... CHARLES M y condolences, M rs. Woodward. PHOEBE Phoebe. I insist. CHARLES Very well. Welcome to Elizabethtown. I look forward to having you in the parish. PHOEBE Thank you, Father. But that is not the only reason I came here. I understand you are without a teacher. CHARLES Yes, I am. Sister M ary Francis passed on just last month, and Ive been making do the best I can. But I am no teacher. PHOEBE Then this is your lucky day. Back in M ississippi I taught a mess of students. All ages. CHARLES Well, I would be happy to have the help. Come back by tomorrow morning and meet the children. Well see how you do.

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PHOEBE Thank you. I should be on my way. CHARLES Where are you staying? PHOEBE At the Doves Nest. Just until I can find something more permanent. CHARLES I was just about to make my way to the Inferno for Sunday supper. Let me escort you back. PHOEBE Its not necessary, but I welcome the company, Father. CHARLES Its settled then. After you, Phoebe. Lights fade and transition music plays as the jailhouse is brought into position. Eight days have passed since the previous scene. It is M onday afternoon, and JOSEPH is hanging a new map of the Dakota Territory on the wall as JOHNNY enters. JOSEPH Afternoon, Johnny. Nice of you to show up. JOHNNY Im awful sorry, Colonel. Patrick had me doin more patch work on the Doves Nest and Inferno. Lost track of time. JOSEPH I understand. A mans got to make his way in the world. Just dont let it happen again. JOHNNY Yes, sir. JOSEPH And stop callin me Colonel. I havent been military since the war.

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JOHNNY Ill do my best. Its hard, though. The way you looked after me and my mama. Youre a genuine war hero. JOSEPH Im not a war hero! Your daddy was a good man. Good soldier. I owed it to him, thats all. JOHNNY I dont mean to get you riled up, sir. JOSEPH It isnt you, boy. Ive just got an itch that needs scratchin. JOHNNY Lots of folks is testy since Camilles girls up and left on her. JOSEPH Its not that kinda itch. Its just that we owe the people who live here something. Peace. Order. The opportunity to have the kinda life they never could back East. No. Ive been thinkin a lot about our visit to the Lakota last week. JOHNNY They seemed awful hospitable, given the circumstances. JOSEPH I know it. Im thinkin maybe Father Austin was onto somethin. M aybe it is time to... M ARSHALL RED M ILLER enters. He is decked out in a black longcoat, vest, dingy pants, a sturdy button-down shirt, boots, and dark wide-brimmed hat. RED is around 34 years old, has a handlebar moustache, needs a shave, and has a swagger of selfimportance. RED addresses JOSEPH. RED You the Sheriff round these parts? JOSEPH I am. The names Bailey. Sheriff Joseph Bailey.

28.

JOHNNY He was a Union Colonel in the War. JOSEPH Thatll do, Johnny. RED Pleased to meet you, Colonel. No hard feelins. M y people fought for the South. JOSEPH Water under the bridge. Im just a Sheriff now. This heres my deputy, Johnny M artin. RED Pleasure. JOSEPH Now. Who the hell are you. RED (laughs) I like you, Sheriff. You got gumption. (Shows badge) Im United States M arshall Red M iller. But most folks what get to know me just call me Red. JOSEPH What brings you to Elizabethtown? On your way to Deadwood? Thats mostly the kinda traffic we get these days. RED I wish that was the case. Im huntin myself a fugitive. JOSEPH Fugitive, eh? We havent gotten anything on the wire about any fugitives. I like to stay informed, keep things orderly in my town. Your fugitive. Whats his name. RED It aint no man. Im lookin for a woman. JOHNNY What trouble could a woman get herself into thatd stir up the dander on a U.S. M arshall?

29.

RED You ever hear of the M ississippi Black Widow? JOHNNY No, sir. RED Youre lucky. I been chasin her goin on six months now. JOSEPH Well, I reckon well do what we can to help you, M arshall. We dont want any trouble here. RED Im afraid trouble may already be here. (M USIC CUE) The woman Im lookin for aint like you or me. She dont believe in the law, in the right of a man to make his own fortune. Shes a predator. And shell take down anyone what gets in her way to get what she wants. Weve got a tough job ahead of us. But if you follow my lead, I think youll see itll all work out in the end. PANNIN FOR JUSTICE RED ACROSS THE PLAINS OF KANSAS FROM NORTH PLATTE TO CHIM NEY ROCK I FORGED AHEAD UNDAUNTED WITH JUST A RIFLE AND TOM AHAWK. THE COYOTES YIPPED AT M Y HEELS. I COULD NOT STOP TO FIGHT. I TRACKED HER TO DAKOTA. THE WIDOW RIDES BEST AT NIGHT. AND NOW IM PANNIN FOR JUSTICE, DIGGIN FOR THE INNOCENT, SIFTIN THROUGH THE RUBBISH FOR A M URDEROUS SHREW! IM PANNIN FOR JUSTICE, M ININ FOR A M ALCONTENT, DUSTIN OFF THE SHACKLES SHE WILL WEAR WHEN IM THROUGH.

30.

RED (CONT) SHELL WEAVE HER WEB IF GIVEN HALF THE CHANCE. SHE KNOWS M ANS WEAKNESS LIVES WITHIN HIS PANTS. DONT FIND YOURSELF IN HER HYPNOTIC TRANCE... PANNIN FOR JUSTICE!

JOHNNY And you think shes here? RED I dont know, Deputy. But it looks like a place she would stop. Small. Out of the way. There any money in this town? JOSEPH We got a bank, if thats what youre askin. RED She aint no bank robber. The M ississippi Black Widow attracts a certain type of gentleman. The kind what shows his affection with his pocketbook. JOSEPH Nothin illegal about that. RED You aint heard the rest. SHE WED A M AN IN FAULKNER, ANOTHER ONE IN TUPELO. A THIRD SHE TOOK IN STARKVILLE THEN CUT ACROSS TO M ERIGOLD. I FOUND THE GRAVES OF EACH M AN. SHE DROPPED EM IN AND TOOK THEIR CASH. THE WIDOWS HANDS ARE DRENCHED IN BLOOD AND CLINGIN TO HER STASH.

31.

RED (CONT) AND SO IM PANNIN FOR JUSTICE, DIGGIN FOR THE INNOCENT, SIFTIN THROUGH THE RUBBISH FOR A M URDEROUS SHREW! IM PANNIN FOR JUSTICE, M ININ FOR A M ALCONTENT, DUSTIN OFF THE SHACKLES SHE WILL WEAR WHEN IM THROUGH. SHELL WEAVE HER WEB IF GIVEN HALF THE CHANCE. SHE KNOWS M ANS WEAKNESS LIVES WITHIN HIS PANTS. DONT FIND YOURSELF IN HER HYPNOTIC TRANCE... PANNIN FOR JUSTICE. RED I have to find her. Shes killed before. Shell kill again. You can count on it. JOSEPH If this woman is in Elizabethtown, well find her. Right, Johnny? JOHNNY Yes, sir. I CAM E HERE TO REPAY M Y FATHERS DEBT! JOSEPH WE WILL BAND AGAINST THIS COM M ON THREAT! RED SHE WILL CURSE THE DAY SHE TRIED TO RUN FROM M E! ALL THE ROAD FOR HER ENDS HERE, WE GUARANTEE! PANNIN FOR JUSTICE!

32.

Lights fade and transition music plays as the Inferno is brought in. SARAH is cleaning tables as the scene begins. PHOEBE is seated wearing an attractive but less ostentatious dress. PATRICK is behind the bar and CAM ILLE is on a stool near him having a drink. SARAH The children arent proving too difficult for you, are they, M iss Phoebe? PHOEBE Not at all. I know how to handle a child. I was married to one. SARAH Do you miss him? PHOEBE Oh. I suppose I do now. It gets mighty lonesome havin no one to depend on but yourself. PATRICK Hear that, Pidge? Youd be lost without me. CAM ILLE Give me the chance to find out. Its all I ask. PHOEBE Camille! (Laughs) I reckon at the end of the day, all you remember are the good times. Time has a way of washin away the unpleasant memories. At least thats what Im countin on. CAM ILLE I take it then you had a fair enough number of the unpleasant memories then. PHOEBE No more than anyone else. SARAH I would miss the nights.

33.

CAM ILLE Hear that, lover? (M ocks) I would miss the nights. It looks as if Sister Sarah has gone and given her heart away. SARAH I have not! PATRICK Careful now. A girl who wears her heart on her sleeve is likely to lose it. PHOEBE Sarah, you didnt tell me you were sweet on someone. Whats his name? CAM ILLE His name is Johnny M artin. Hes the Sheriffs Deputy, and he works as a handyman for us. Quite the gallant knight, he is. He rescued Sarah from a night of debauchery with a nasty knave and tried to flee from his reward. We practically had to force her on him. PHOEBE Camille, be nice. Tell me about him, Sarah. SARAH Oh, M iss Phoebe, he is so handsome. And strong. When he took me, I mean. Listen to me. I must sound like a fool. The words arent coming out right. PHOEBE It sounds just right to me. SARAH Was M r. Woodward like that? Kind? PHOEBE Kind isnt exactly he word I would use to describe Hubert. SARAH Oh. PHOEBE It doesnt matter. I have always felt that a woman should be able to take care of herself.

34.

CAM ILLE Truer words were never spoke. Listen to Phoebe, Sarah. You have to be your own woman. I wouldnt say this to your brother, but I am more than capable of tending my own affairs. PATRICK Why do I bother sticking around then? CAM ILLE I am too much of a lady to mention the reasons in front of our lodger. PHOEBE Dont listen to them, Sarah. I think its sweet. And you never know. Johnny may feel the same way and just doesnt know how to show it. SARAH I wish that were true. Do you think you will ever marry again? PHOEBE Oh, Sarah, honey. (M USIC CUE) The beauty of starting over is that your life is a blank slate. All you have are choices, choices that can lead you to a grand adventure. Look at you and Camille and Patrick. You made your way over here all the way from Ireland. Anything is possible. Will I marry again? Who knows? All I know for sure is this... IN SEARCH OF A NEW LIFE PHOEBE IF YOU COWER IN THE SHADOWS YOU WILL NEVER LEAVE THE DARK. IF YOU PUSH YOUR DREAM S ASIDE THEN YOU WASTE CREATIONS SPARK. ITS NOT EASY. YOU WILL STUM BLE. BUT YOULL LEARN EACH TIM E YOU FAIL. THERE ARE THINGS ON EARTH WORTH FIGHTING FOR. DO NOT STOP TIL YOU PREVAIL! IN SEARCH OF A NEW LIFE, IN SEARCH OF A JOY YOU CANT M ISS.

35.

PHOEBE (CONT) DONT SETTLE FOR ANYTHING SHORT OF THE GOAL THAT WILL LEAD TO BLISS. LOOK PAST THE HORIZON. LOOK PAST THE DEFEATS THAT YOUVE KNOWN, AND M ARCH TWARDS THE LIGHT AT THE END OF THE PATH. YOU ARE NOT ALONE. WHEN PEOPLE DEM EAN YOU, JUST KEEP YOUR HEAD HIGH. SHAKE OFF ALL FOREBODING AND REACH TO THE SKY! IN SEARCH OF A NEW LIFE. CAM ILLE Lover, I think we need to cut that one off. Shes had too much of the happy juice. PHOEBE Isnt there anything you take seriously? PATRICK Yes. M oney. AT THE BOTTOM OF THE BARREL THE ONLY PLACE TO GO IS UP. DOESNT M ATTER WHO YOURE SERVING, LONG AS YOU CONTROL THE CUP. CAM ILLE LEAVE THE BODIES IN THE ALLEY. LET THE VULTURES PICK THEM DRY. WHEN YOU SELL YOUR SOUL, THERES NOTHING LEFT. BETTER BE THE LAST TO DIE.

36.

PATRICK/CAM ILLE IN SEARCH OF A NEW LIFE, IN SEARCH OF A FOOL WE CAN CON, AS LONG AS THEIR COFFERS ARE BRIM M ING WITH GOLD, WE WILL GET ALONG. YOU ONLY GET ONE CHANCE. YOU ONLY CAN REAP WHAT YOU SEW. BUT WHO SAYS YOU CANT REAP THE FRUITS OF THE PEOPLE YOU DO NOT KNOW? KEEP THEM IN A STUPOR. FULFILL THEIR DESIRES. THEN CALL IN THE SHERIFF TO PUT OUT THE FIRES! IN SEARCH OF A NEW LIFE. SARAH I dont believe it. CAM ILLE Whats that? SARAH I dont believe the world is all bad. It cant be. Not when there are honest and decent people like Johnny in it. I WONT BE DISHEARTENED WHEN FORTUNE IS GRIM . ILL CLING TO M Y FUTURE, A FUTURE WITH HIM ! SARAH/PHOEBE IN SEARCH OF A NEW LIFE, IN SEARCH OF A JOY YOU CANT M ISS. DONT SETTLE FOR ANYTHING SHORT OF THE GOAL THAT WILL LEAD TO BLISS. PATRICK/CAM ILLE WHAT A JOKE! THESE TWO ARE A HOOT, WE SHOULD KEEP THEM AROUND. HOLY HELL, IM PISSED! NOTHINGS THERE!

LOOK PAST THE HORIZON.

37.

SARAH/PHOEBE

PATRICK/CAM ILLE

LOOK PAST THE DEFEATS THAT YOUVE KNOWN, AND M ARCH TWARDS THE LIGHT AT THE BUT SAY WHAT YOU WILL END OF THE PATH. YOU ARE NOT ALONE. SHE HAS PAID ALL OUR BILLS. SHES OUR BLARNEY STONE! ALL WHEN PEOPLE DEM EAN YOU, JUST KEEP YOUR HEAD HIGH. SHAKE OFF ALL FOREBODING AND REACH TO THE SKY! WELL M AKE OUR OWN FORTUNE. WELL M AKE IT OR DIE! IN SEARCH OF A NEW LIFE! When the song ends, CHARLES enters the Inferno. SARAH goes back to work, and CAM ILLE brings a glass of gin to PHOEBE and exits. PATRICK Good evening, Father. The usual? CHARLES Thank you, Patrick. PATRICK pours CHARLES a glass of bourbon. CHARLES crosses to PHOEBE. PHOEBE I spent eight hours with a bunch of ornery children. Whats your excuse? CHARLES It makes me a little less homesick. M ind if I join you? PHOEBE Please do. But I may have to give confession. I thought about murderin the Thompson twins today.

38.

CHARLES Already? I reckon that makes you one of us. CHARLES takes a long pull on his bourbon. PHOEBE Patrick, you heard Charles. I have been accepted into the fold. Get our spiritual leader another bourbon. PATRICK Aye. CHARLES Thank you, but no thanks. One is enough for me. PHOEBE I wont take no for an answer. Patrick? PATRICK brings CHARLES another glass of bourbon. PHOEBE tries to pay him, but CHARLES covers her hand and gives PATRICK money. CHARLES Thank you, Patrick. PHOEBE withdraws her hand and take a sip of her gin. SARAH watches the two as she cleans. PHOEBE So youre a Kentucky boy? CHARLES No. Tennessee. Nashville. But my daddy was a big bourbon drinker. You? PHOEBE Savannah, Georgia. M y daddy was a fisherman. Thats how I met Baxter. CHARLES Your husband.

39.

PHOEBE Yes. He worked the docks with my daddy. SARAH I thought you said your husbands name was Hubert. PHOEBE It was. Hubert Baxter Woodward. M ost of his friends called him Baxter, but I liked the sound of Hubert. PATRICK You best be minding your own business, Sarah. Go and tidy the Attic. PHOEBE Shes no trouble, Patrick. PATRICK Still and all, she has work to do. Go to it. SARAH Yes, brother. SARAH exits. PHOEBE What made you leave Nashville? CHARLES A priest is expected to go where the Lord leads him. This is where I was led. This is where I was needed. PHOEBE It must be nice. To have such clarity. CHARLES Yes. Clarity. (Downs bourbon) Well, if youll excuse me, I should call it a day. PHOEBE You just got here. Its early.

40.

CHARLES I have a long day ahead of me. So do you. PHOEBE I suddenly feel as if Im being scolded. Are you scolding me, Charles? CHARLES Do you need to be scolded? PHOEBE If I do, I will be sure to let you know. CHARLES Good night, Phoebe. Patrick. PATRICK Father. PHOEBE squirms a bit as CHARLES exits. PHOEBE finishes her gin and take the glass to PATRICK at the bar. PHOEBE It was a simple question. PATRICK Havent you noticed, love? Nobody around here talks about their lives before Elizabethtown. PHOEBE Oh. PATRICK One more? PHOEBE No, thank you. Ill turn in. Good night, Patrick. PATRICK Good night, Phoebe.

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PHOEBE exits. PATRICK cleans her glass and whistles a tune as transition music begins to play. BLACKOUT.

SCENE THREE The next day at St. Anima Sola Catholic Church. CHARLES is practicing his homily as JOSEPH enters with RED. CHARLES That is why in times of weakness it is to the Lord we should turn. Come unto me, all ye that labor and are heavy laden, and I will give you rest. This passage from M atthew 11:28 tells us... JOSEPH Father, sorry to interrupt. CHARLES Not at all, Sheriff. I was just going over my homily for Sunday. What can I do for you? JOSEPH Id like to introduce you to U.S. M arshall Red M iller. Red, this is our priest, Father Charles Austin. CHARLES and RED shake hands. RED Father. CHARLES M arshall. JOSEPH Red just rolled into town yesterday. Hes bunking with Johnny and me out at my ranch. I thought it would be a good idea if he spoke with you. CHARLES What brings a U.S. M arshall out to these parts?

42.

RED It aint a social call, you can be sure of that. CHARLES I figured that was the case. Can I get you something to drink? Ive got Communion wine in the back. RED No, thank you, Father. I reckon you should save it for those what need it. CHARLES So youre not a religious man. RED You could say that. CHARLES Then I reckon Sheriff Bailey didnt bring you over here for spiritual guidance. RED Im lookin for a fugitive. CHARLES We dont get many fugitives in Elizabethtown. Unless you count Teddy. Im sure hes broken a few laws in his day. JOSEPH Charles, I dont think now is the time for levity. RED Sheriff, why dont you mosey on back to the jailhouse? M e and the reverend are doin fine here. JOSEPH So long as you dont need me for anything. CHARLES I think the M arshall will see hes in good hands. Get on back, Joseph. M ake sure Johnny hasnt burned the place down. JOSEPH Hmm. Wouldnt want that to happen. Again.

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JOSEPH exits. CHARLES I believe you were going to tell me about your fugitive. RED Right. The womans name is Caroline Shaw. Back East shes known as the M ississippi Black Widow. CHARLES Black Widow. Sounds romantic. How did she get that name? RED They call her Black Widow on account shes poisonous to the men in her life. She has a nasty habit of leavin dead husbands in her wake. CHARLES You say her name is Caroline Shaw. RED Yep. CHARLES I wish I could help you, M arshall. We dont have anyone in Elizabethtown answering to the name of Caroline Shaw. RED Well, I reckon she wouldnt be travelin under her real name now. Probably got an assumed name or somethin. CHARLES Is that so? RED Yeah. I reckon it is. CHARLES What she look like, this Caroline Shaw. You ever meet her?

44.

RED Ive only seen her in pictures. Shes a beauty. Dark hair, fair skin, petite, little thing. Youd think she was a doll if she wasnt so damn deadly. CHARLES You know, my daddy was a law man. Back in Tennessee. I probably saw more criminals before I was ten than most people do in their whole lives. RED Your point? CHARLES I know a criminal when I see one. And aside from Teddy, this towns clean. RED I see. Sheriff Bailey tells me a young lady arrived on the stagecoach last week. CHARLES Yes. Shes taken over the teachers post. But her name isnt Caroline Shaw. Its Phoebe Woodward. And shes no criminal. RED I reckon Im in a better position to make that determination. Where is she? CHARLES She isnt here. School let out for the day. RED Tell me where I can find M iss Woodward, and Ill be on my way. CHARLES I could do that. Theres just one problem. RED Whats that, Preacher man? CHARLES I dont trust you. RED Come again?

45.

CHARLES I said I dont trust you. And I consider myself a decent judge of character. RED You aint gotta trust me. You just gotta tell me what I need to know. Or do you wanna spend the night at the jailhouse? CHARLES I think we both know that isnt going to happen. RED You sure about that? CHARLES Yeah. Pretty sure. Ive been around long enough to know when someones pissin in the wind. RED Im startin to lose my patience. Dont test me. CHARLES You talk awful big, M arshall. But I get the feeling thats all it is. Talk. RED You have no idea what Im capable of. CHARLES No. I guess I dont, and Im not interested in findin out. I think were finished here. RED Im the law, Preacher man. Give me one good reason I dont haul you away in shackles. CHARLES Hmm. (Smiles) I can give you more than one. But I tell you what. Theres a hoe-down at the Inferno Friday night. I have no doubt M iss Woodward will be in attendance. Cool your heels at Sheriff Baileys ranch. Avail yourself to his hospitality. You can question her on Friday. RED Alright. Well play it your way. For now. But if M iss Woodward up and vanishes afore Friday, Ill be takin it up with you.

46.

CHARLES I would expect nothin less. RED exits. CHARLES waits until RED is away to show his true concern. CHARLES Dammit, Phoebe. Lights fade as PHOEBEs room at the Doves Nest is brought in. It is late in the evening. There is a bed, a desk, a table and chair with a gas lamp, and a door unit. PHOEBE is grading papers as the scene begins. PHOEBE Oh, Billy. What am I gonna do with you? I guess you just dont have a head for figures. PHOEBE sets aside the paper and starts grading another when there is a knock at the door. PHOEBE crosses to answer it. CHARLES stands in the doorway. PHOEBE Charles! What brings you by here this time of night? CHARLES Evening, Phoebe. I came for a bourbon. Thought I might see you downstairs. Camille told me you went up early. PHOEBE Papers to grade. CHARLES I would offer to help, but Id only make more work for you. PHOEBE Where are my manners? Come in.

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CHARLES Thank you, but I wont be here that long. I just wanted to make sure things are workin out for you. At the school. PHOEBE Oh, yes. Just fine. CHARLES Good. Im glad. The children are quite taken with you. PHOEBE Thank you. Its nice to know. CHARLES So there isnt anything you need? PHOEBE No. CHARLES You would tell me, wouldnt you? PHOEBE Of course. Is somethin on your mind, Charles? CHARLES Sheriff Bailey stopped by the church today. PHOEBE I dont believe Ive had the pleasure of his acquaintance. CHARLES You should meet him. Hes a good man. PHOEBE Youll have to introduce us at the hoe-down on Friday. CHARLES Then youre still plannin on coming?

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PHOEBE Well, of course. Unless you see fit to relieve me of my duties as teacher. Then Ill be off huntin for a new job. Are you sure you dont want to come in? CHARLES No. Ill get to it. Phoebe, the Sheriff wasnt alone today. A U.S. M arshall was with him. A man named Red M iller. Hes hunting a fugitive named Caroline Shaw. He called her the M ississippi Black Widow. PHOEBE I dont see what this has to do with me. CHARLES Red heard there was a new teacher in town. Wanted to meet her. I told him hed have to wait til Friday, and I gave him my word that youd still be here. PHOEBE You neednt do me any favors, Charles. Ill be happy to meet this M arshall. Put any suspicions you might have to rest. CHARLES It isnt you I have suspicions about. Its Red. I think hes dangerous. PHOEBE And what do you think about me? PHOEBE moves closer to CHARLES. There is little distance between them. CHARLES I havent decided yet. But I know that a man with a badge isnt to be trifled with. Just be careful. PHOEBE adjusts the lapels on CHARLESs jacket. Her hands linger against his chest on his coat lapels. PHOEBE Good night, Charles. CHARLES Good night, Phoebe.

49.

CHARLES closes his hands over PHOEBEs and lets the silence linger between them before her removes her hands, backs away, and leaves. PHOEBE closes the door and goes to her bed. She pulls her suitcase out from underneath the bed and lugs it on top of the mattress. PHOEBE Oh, Charles. (M USIC CUE) PHOEBE opens the suitcase as music begins to play. She props the top section of the suitcase against the headboard of the bed and fidgets with a false back in the suitcase. As she pulls it away, paper money of all denominations falls out. PHOEBE gathers a small pile and holds it against her chest. BLOOD M ONEY/IN SEARCH OF A NEW LIFE (REPRISE) PHOEBE HOW DO I TELL HIM ? HOW DO I TELL HIM ? WHAT I AM FEELING WHEN I AM REELING OUT OF SORTS AND OUT OF OPTIONS. I AM LOST. I AM LOST. HE SEES INSIDE M E. HE SEES BEYOND ALL THE WITTY WORDS ITS SO ABSURD THAT NOW I SEEK HIS FAVOR. AT WHAT COST? AT WHAT COST?

50.

PHOEBE (CONT) I COULD RUN AWAY BUT I FINALLY HAVE A REASON TO ATTACK THE DAY AND REJOICE IN ALL SEASONS. BLOOD M ONEY! I SHOULD TAKE THIS PILE AND BURN IT. BUT IN TRUTH IT IS NOT M INE TO THROW AWAY. ITS NOT FUNNY WHAT I DID TO THOSE WHO DIED BUT THATS A DEBT THAT I WILL PAY ON JUDGM ENT DAY. HE WARM S M E HE NEEDS M E, THOUGH HE M AY NOT EVEN KNOW BUT WHEN HE FEELS M E, I BLEED... BLOOD M ONEY! YOUVE UNDONE M E! BLOOD M ONEY! PHOEBE comes to a revelation. She stuffs the money back into the suitcase and restores the false panel. PHOEBE NOW I AM HUNTED. NOW I AM HUNTED. BY A LAWM AN, RAVING M ADM AN. IS IT WHO I THINK IT IS? I M UST BE STRONG, M UST BE STRONG. HELL STOP AT NOTHING.

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PHOEBE (CONT) HELL STOP AT NOTHING. TIL THERES SORROW, NO TOM ORROW AND NO CHANCE TO BEG FORGIVENESS FOR M Y WRONGS, FOR M Y WRONGS. THERES NO TURNING BACK FROM M Y PASSION OR M Y YEARNING. BUT IF I REM AIN WILL M Y FORTUNE END UP TURNING? BLOOD M ONEY! I SHOULD TAKE THIS PILE AND BURN IT. BUT IN TRUTH IT IS NOT M INE TO THROW AWAY. ITS NOT FUNNY WHAT I DID TO THOSE WHO DIED BUT THATS A DEBT THAT I WILL PAY ON JUDGM ENT DAY. HE WARM S M E HE NEEDS M E, THOUGH HE M AY NOT EVEN KNOW BUT WHEN HE FEELS M E, I BLEED... BLOOD M ONEY! YOUVE UNDONE M E! BLOOD M ONEY! (spoken) Ill give it to Charles. To the church. All of it. IN SEARCH OF A NEW LIFE, IN SEARCH OF A JOY YOU CANT M ISS. DONT SETTLE FOR ANYTHING SHORT OF THE GOAL THAT WILL LEAD TO BLISS.

52.

PHOEBE (CONT) LOOK PAST THE HORIZON. LOOK PAST THE DEFEATS THAT YOUVE KNOWN. AND M ARCH TWARDS THE LIGHT AT THE END OF THE PATH. YOU ARE NOT ALONE. WHEN PEOPLE DEM EAN YOU, JUST KEEP YOUR HEAD HIGH. SHAKE OFF ALL FOREBODING AND REACH TO THE SKY! IN SEARCH OF A NEW LIFE. Transition music plays as scene shifts. BLACKOUT.

SCENE FOUR M usic plays as the lights rise on a party already in progress. PATRICK, CAM ILLE, JOHNNY, SARAH, PHOEBE and CHARLES are square dancing. THE GHOST TOWN HOE DOWN ALL WELCOM E TO THE GHOST TOWN HOE DOWN. NO ONES HERE, SO THE WHISKEY IS FREE. JUST ANOTHER GHOST TOWN HOE DOWN. TOSS IT BACK TIL YOU CANNOT SEE. TAKE HOLD YOUR GIRL AND SPIN HER SIDEWAYS AND PULL HER BACK AGAIN. IF SHES GOT SPUNK, SHELL TURN THE TABLES, TAKE THE LEAD, AND STRONG-ARM THE M EN! WELCOM E TO THE GHOST TOWN HOE DOWN. STEAL A KISS WHILE THE GETTIN IS GOOD.

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ALL (CONT) WHEN THE SUN COM ES UP IN THIS GHOST TOWN, SAY A LITTLE PRAYR. SEE THE FATHER THERE. DO YOUR PENANCE CAUSE YOU PROBABLY SHOULD. Dance break. At the end there is a repeat of the song. ALL WELCOM E TO THE GHOST TOWN HOE DOWN. NO ONES HERE, SO THE WHISKEY IS FREE. JUST ANOTHER GHOST TOWN HOE DOWN. TOSS IT BACK TIL YOU CANNOT SEE. TAKE HOLD YOUR GIRL AND SPIN HER SIDEWAYS AND PULL HER BACK AGAIN. IF SHES GOT SPUNK, SHELL TURN THE TABLES, TAKE THE LEAD, AND STRONG-ARM THE M EN! WELCOM E TO THE GHOST TOWN HOE DOWN. STEAL A KISS WHILE THE GETTIN IS GOOD. WHEN THE SUN COM ES UP IN THIS GHOST TOWN, SAY A LITTLE PRAYR. SEE THE FATHER THERE. DO YOUR PENANCE CAUSE YOU PROBABLY SHOULD. PATRICK Drinks all around! PATRICK crosses behind the bar. Starts filling glasses. CAM ILLE helps distribute drinks. JOHNNY and SARAH are seated near each other with CHARLES and PHOEBE. JOHNNY cant take his eyes off PHOEBE.

54.

PHOEBE Why Sarah, you are an absolute vision. Dont you think so, Johnny? JOHNNY (not taking eyes off PHOEBE) Beautiful. SARAH Thank you. CHARLES Where is the Sheriff? He doesnt miss an opportunity to make a fool of himself on the dance floor. JOHNNY Hes off with the M arshall and Teddy. I reckon theyll be by. CHARLES I reckon they will. SARAH Its awfully stuffy in here. Would you like to get some air, Johnny? JOHNNY Naw. Im good. Help yourself. Skys full of stars tonight. SARAH I never was any good at following the stars. JOHNNY Its easy if you know what to look for. PHOEBE You should show her then. JOHNNY Gosh. I reckon I could. You wanna join us, M iss Phoebe? PHOEBE And leave Charles alone with all this bourbon? I couldnt possibly.

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CHARLES I think I can resist the temptation. (PHOEBE kicks him under the table) Oh, youre right! I cant handle myself around the drink. The two of you best go on your own. Phoebe will keep me in line. SARAH Come on, Johnny. Itll be fun. JOHNNY Well, alright. Well be right back. PHOEBE Yall take your time now. A night like this one is too pretty not to be appreciated. JOHNNY and SARAH exit. CHARLES You work fast. PHOEBE Somebody has to. CAM ILLE You arent wrong there. Sarah needs all the help she can get. PATRICK Go easy on her, Pidge. Shes giving it her all. CAM ILLE I daresay I wasnt that timid when I was wooing you. PATRICK Aye. You never had any trouble using your mouth, thats for sure. CAM ILLE You never complained before, lover. PATRICK brings CHARLES another bourbon. PHOEBE Have you always been a priest, Charles?

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CHARLES No. But I have been a priest long enough that the days I wasnt are a distant memory. PHOEBE It must be refreshing not to be subject to the same longings the rest of us mortals are. CHARLES Im still human. PHOEBE Are you? CHARLES Im human enough to know that Sarahs wearing one of your dresses tonight. And if that doesnt garner Johnnys attention, I dont know what will. PHOEBE How do you know its mine? CHARLES Because I can smell you all over her. PHOEBE is caught off guard. PHOEBE Speaking of smell, I should run upstairs and freshen up. CHARLES Dont be long. PHOEBE Patrick, dont let that man have another drink. Hes liable to disgrace himself. PATRICK Yes, maam. PHOEBE exits. CAM ILLE Well, as I live and breath, Father Austin was flirting with the lonely widow.

57.

CHARLES I dont know what youre talking about, Camille. PATRICK Dont kid a kidder, Father. Theres heat in this room, and it isnt coming from the dance floor. JOSEPH, RED, and TEDDY enter. CAM ILLE exits. TEDDY If this aint the most pitiful sight I ever laid eyes on. I thought you was havin a party tonight, Patty! PATRICK We are, Teddy. Just taking a breather. TEDDY And your sister is takin liberties out on the street in plain view. With your deputy, Sheriff. JOSEPH I reckon he isnt hurtin anyone. TEDDY Listen, Patty. If your sister is gonna be throwin it around, have her do it in the Attic. And with payin customers. JOSEPH Cool off, Teddy. Have a drink or somethin. Red, what can I get you? RED Nothin just yet. I believe the Preacher man and me have some business to take care of. CHARLES Evening, M arshall. RED I aint ever knowed a preacher what drinks whiskey and keeps company with loose people.

58.

CHARLES And Ive never known a lawman to speak like he has the education of a yokel. RED You makin fun of me? CHARLES You make it pretty easy, M arshall. TEDDY You are speakin to a United States M arshall and a guest in our town, Charles. Watch your manners. CHARLES I reckon you and the M arshall are like two peas in a pod. Your mother doesnt have any sons unaccounted for, does she? TEDDY Thats it! Outside! RED Get in line. Where is she, Preacher man? You said shed be here! PHOEBE enters, spies RED and is visibly affected. She pulls herself together as JOSEPH grabs a glass and breaks it on the table to kill the ruckus. JOSEPH I have had just about enough of this nonsense! Youre all acting like a bunch of boys measuring peckers in the school yard. RED I got business here, Sheriff. JOSEPH And youre welcome to conduct it. But dont forget youre still in my town. RED Right.

59.

CHARLES M arshall, I am a man of my word. I told you M rs. Woodward would be here. Shes here. RED Then I reckon we aint got no more problems tonight. Where is she? PHOEBE Im right here. PHOEBE enters the room and joins the men. TEDDY What do we have here? Charles, when I heard you hired a new school teacher, I never imagined she would be so feminine. CHARLES Phoebe, Id like to introduce you to M arshall Red M iller. This here is our Sheriff, Joseph Bailey. And youve already heard from the town custodian and letch, Teddy M cCain. TEDDY Youre walkin on thin ice, Charles. CHARLES Its the only kind. Gentlemen, I give you M rs. Phoebe Woodward. JOSEPH/TEDDY/RED M aam. PHOEBE Pleasure. Now, M arshall, I understand you have some questions for me. RED Thats right. PHOEBE Well, I am ready whenever you are. RED I sure would hate to interrupt the festivities. Perhaps we should head on over to the Sheriffs.

60.

PHOEBE I would be more comfortable if we stayed here. JOSEPH By all means. Red, you can ask your questions just as easy here as there. TEDDY Of course. Yall grab a seat, and Ill bring over some refreshments. Whatre you drinkin, sugar? RED I appreciate your hospitality, but this is an investigation, not a cotillion. CAM ILLE enters, crosses to JOSEPH. CAM ILLE Sheriff Bailey, Im glad youre here. I have a message for you on the wire. JOSEPH Thank you, Camille. CAM ILLE joins PATRICK behind the bar. JOSEPH reads the message. CHARLES Everything alright, Joseph? JOSEPH Right as rain, Charles. Just a message I was expecting from the Sheriff in Deadwood. If youll excuse me, I need to take care of some things back at the jailhouse. Red, you know where to find me. RED I got it under control here. JOSEPH exits. TEDDY How about that drink, M iss Phoebe? PHOEBE No, thank you. M arshall, shall we get started?

61.

RED Naw. I reckon not. CHARLES Pardon me? RED Stay out of it, Preacher man. PHOEBE I can handle this, Charles. Dont you have some questions for me, M arshall? RED I thought I did. But I dont. Get me a drink, Teddy. It aint her. TEDDY Sure thing, M arshall. This calls for a celebration! Patty, a round of drinks for everyone! PATRICK and CAM ILLE start preparing drinks. SARAH and JOHNNY enter from the street. SARAH is lovelorn and JOHNNY is eager to get back to PHOEBE. TEDDY M iss Phoebe, you sure do make a grown man wish he was back in school. I bet you could teach me a thing or two. PHOEBE Like manners? How were the stars, Sarah? SARAH So lovely you could get lost in them. JOHNNY But not half as lovely as you, M iss Phoebe. PHOEBE Youre too kind. PATRICK and CAM ILLE bring drinks for everyone.

62.

CHARLES When are you shoving off, M arshall? RED Come again? CHARLES You said Phoebe isnt the woman youre looking for. Seems to me your business here is concluded. When will you be leaving Elizabethtown? RED I aint rightly decided. TEDDY You stay as long as you like, M arshall. And if the accommodations at Sheriff Baileys arent to your likin, come on out to my place. RED Thank you. I reckon I might take you up on that. TEDDY Its settled then. Alright, everybody! Drink up! Were havin a party! TEDDY throws his drink back, and the rest follow suit, some halfheartedly. JOHNNY Oh, I almost forgot. The Sheriff asked to see you back at the jailhouse, M arshall. RED You dont say. JOHNNY Yeah. It must be pretty important. He didnt stop to chew the fat or nothin. RED Then I reckon I oughta go see the Sheriff. Thanks for the drink, Teddy. TEDDY Dont mention it.

63.

RED Save some whiskey for me. Im gettin thirsty. RED exits. PHOEBE shudders. CHARLES notices. CHARLES That was a whole lot of nothing. Dont you agree, Phoebe? PHOEBE What? Oh, yes. A bunch of nonsense. JOHNNY Would you like to dance, M iss Phoebe? PHOEBE Theres no music. JOHNNY We could make our own. TEDDY The woman aint interested in dancin with you, boy. Leave her alone. PHOEBE M r. M cCain, I am more than capable of answering for myself. TEDDY Yes, maam. CHARLES The night is drawing on. Perhaps you should turn in. PHOEBE Perhaps youre right. Good night. PHOEBE exits.

64.

TEDDY Tarnation! This is turnin into a regular, damn sausage party. (Notices SARAH) Well, lookie there. Come over here, sweetheart. Let Uncle Teddy buy you somethin warm to drink. SARAH awkwardly sits in TEDDYs lap, trying to make JOHNNY jealous. SARAH Ill have what youre drinking. TEDDY Patty, get this girl a whiskey! SARAH We could take our drinks up to the Attic if you like. TEDDY Oh, I would like that a lot. Uncle Teddy has been goin through a dry spell. Looks like the drought is over. CAM ILLE hands SARAH her drink. SARAH Lets go. TEDDY Bottoms up, sugar. SARAH gulps down her whiskey. Winces. JOHNNY Sarah, whatre you doin? Youre drunk! SARAH Its none of your business what I do or who I keep company with. Come on, Teddy. SARAH rises and takes TEDDYs hand. He follows behind. TEDDY See you around, boys!

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SARAH and TEDDY exit. JOHNNY Father, why didnt you say somethin? She dont know what kinda man Teddy is! CHARLES Ive lived long enough to know when to stay out of other peoples love triangles. If you care so much about Sarah, do something about it. CHARLES rises, leaves some money on the bar, and exits towards the Doves Nest. M usic plays as the scene shift to the Sheriffs Office at the jailhouse. JOSEPH is seated at is desk as RED enters. RED You wanted to see me? JOSEPH Have a seat, M arshall. RED sits down across from JOSEPH. RED Im sittin. JOSEPH I just got a wire from the M arshalls office in Kansas City. RED You dont say. JOSEPH One of the reasons I moved out to Elizabethtown was because I liked the idea of being isolated from the world. Sometimes the wire is the only way we keep pace with the rest of the country. RED You are pretty far off the beaten path.

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JOSEPH That we are. And as such, when you get newcomers in your town, you have to go with your gut sometimes to decide whether the people you welcome are worth a damn or not. RED I reckon you would have to. JOSEPH Like the day I introduced you to Father Austin, and he told me I should make sure Johnny hadnt burned down the jailhouse. I should probably tell you Johnny has never burned down the jailhouse. RED No? JOSEPH No. That was just Charless way of telling me to look into your past. And I did. RED starts to fidget with his holster. JOSEPH pulls his gun on RED. RED smiles, rises and holds his hands a short distance from his holster. RED Whatre you doin, Sheriff? JOSEPH I got in touch with the M arshalls office in Kansas City. Asked them about the M ississippi Black Widow. I asked them about you. Funny thing. They didnt have the slightest notion who the M ississippi Black Widow was. But they sure knew about Red M iller. RED I think you better put that gun down, Sheriff. Youre liable to hurt yourself. JOSEPH It seems that M arshall Red M iller was murdered just outside Kansas City. No witnesses. But the body was a mess. Someone did a number on the M arshall. So you probably know the question Im about to ask you. RED I reckon I do. But afore you ask it, I got a question of my own.

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JOSEPH Im listening. RED You ever have dreams about the Senatobia M assacre? JOSEPH, in shock, lowers his gun and RED wrests the gun from him. JOSEPH How do you know about Senatobia? RED Im a M ississippi boy, Colonel! Any southerner whats worth a damn has heard about it. How the gallant Colonel Bailey marched into little ole, Senatobia with his mighty army and butchered the whole damn town! I tip my hat to you. JOSEPH Thats not how it happened! RED Thats the beauty of oral history. It doesnt matter what happened. It just matters what gets passed on. JOSEPH Are you going to kill me? RED Kill you? Why, hell no! Im gonna use you. JOSEPH No. (M USIC CUE) RED Theres a little lady in that hotel that has somethin I want. Youre gonna help me get it, or I will knock you off that lofty pedestal this town has seen fit to place you on. YOU PUT THE SIN IN SENATOBIA

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RED HOW DO YOU SLEEP AT NIGHT? ID DRINK TO STOP THE FRIGHT! DO YOU REPLAY THE DAY YOU M URDERED ALL THOSE CHILDREN? JOSEPH It was an accident! RED IF I WAS JUST LIKE YOU, THIS IS WHAT I WOULD DO: ID KILL THEIR PARENTS, TOO. OH WAIT, YOU BEAT M E TO IT. JOSEPH It all happened so fast. RED YOURE A PIECE OF WORK. I WOULD LIKE TO SHAKE YOUR HAND AND M AKE YOU WORK FOR M E CAUSE I THINK YOU UNDERSTAND... YOU PUT THE SIN IN SENATOBIA. YOU PUT THE M ASS IN M ASSACRE. YOU PUT THE DEATH TOLL UP NEAR EIGHTY WHEN YOUR SOLDIERS SHOT M RS. HUNZEKER. NO NEED TO BE M ODEST. JUST GO AHEAD AND TAKE YOUR BOW CAUSE YOU PUT THE SIN IN SENATOBIA. JUST CROSS M E ONCE AND I WILL TELL EVERYONE HOW! JOSEPH You know that isnt true. You know my men were looking for runaway soldiers. A shot was fired, and things got out of hand. I tried to stop it!

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RED Yeah. But it sounds better my way. DID YOU THINK COM IN HERE WOULD M AKE IT DISAPPEAR? YOU LIKE TO PLAY THE SAINT BUT THEIR BLOOD HANGS ON YOU. JOSEPH Who are you? RED ILL TELL IF YOU AGREE TO LIVE AND DIE FOR M E. JUST HELP M E FIND M Y STASH AND THEN I WILL BE GOIN. JOSEPH Wait. This is about Phoebe? Shes the Widow? RED THERES NO WIDOW CAUSE HER HUSBAND ISNT DEAD. DONT BE SO SURPRISED. LOOK AT ALL THE LIES YOUVE SPREAD. YOU PUT THE SIN IN SENATOBIA. YOU PUT THE M ASS IN M ASSACRE. YOU PUT THE DEATH TOLL UP NEAR EIGHTY WHEN YOUR SOLDIERS SHOT M RS. HUNZEKER. NO NEED TO BE M ODEST. JUST GO AHEAD AND TAKE YOUR BOW CAUSE YOU PUT THE SIN IN SENATOBIA. JUST CROSS M E ONCE AND I WILL TELL EVERYONE HOW! JOSEPH and RED circle each other.

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JOSEPH I wont help you. Ill stop you. RED I was afraid youd say that. Have it your way. RED pulls a long knife from his belt. JOSEPH I reckon you aim to use that on me. RED I reckon I do. People will be more apt to believe you was murdered by the Lakota if its done with a blade. JOSEPH You know I wont go down without a fight. RED Im countin on it, old man. JOSEPH grabs a chair and uses it to advance on RED. JOSEPH manages to knock the gun out of REDs hand. JOSEPH hits RED with the chair and sends RED reeling. JOSEPH dives for his gun behind the desk. RED regains footing and goes after JOSEPH with the knife. RED makes several stabs at JOSEPH with guttural grunts and groans. RED stands with the bloodied blade and looks down at JOSEPH. RED This is gonna hurt me more than it does you, Colonel. RED starts a very precise cut on himself as the lights fade and the scene transitions. Transition music plays as PHOEBEs room is brought into position. PHOEBE is sprawled on her bed as the lights rise. There is a knock on the door.

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PHOEBE rises, primps, and goes to answer it. It is CHARLES. He pushes in past her. PHOEBE Charles, what are you doing here? CHARLES You know why Im here. PHOEBE It is late. I am tired. All I want to do is go to bed. Cant we talk about this in the morning? CHARLES If I thought you were going to be here in the morning, I would go right now. PHOEBE Whatre you talking about? CHARLES Who is he, Phoebe? PHOEBE Who? CHARLES I will not play games with you. You have to know by now that I am your friend, and that I will not let anyone or anything hurt you. But you have to tell me the truth. How do you know Red? Who is he? PHOEBE You better sit down. CHARLES I dont want to sit down. PHOEBE Sit down.

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CHARLES sits. PHOEBE goes to her bed and pulls the suitcase out from under it and puts it on the mattress. She opens it and pulls out a bottle of bourbon and a couple of glasses. She pours a glass and walks over to CHARLES. CHARLES Im not thirsty. PHOEBE I dont want to drink alone. Indulge me. CHARLES accepts the glass. PHOEBE goes back to suitcase and pours herself a drink. CHARLES Do you always travel with bourbon? PHOEBE I travel with a lot of baggage. CHARLES Phoebe. PHOEBE takes a pull on her drink. PHOEBE Red is not who he claims to be. CHARLES I know. Who is he? PHOEBE His name is Baxter Shaw. Hes my husband. CHARLES I dont understand. You said your husbands name was Hubert Baxter Woodward. PHOEBE I know I did. I had to.

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CHARLES Shaw. Shaw. Red was looking for Caroline Shaw. Called her the M ississippi Black Widow. If Red is really Baxter Shaw, then who are you? PHOEBE Im Caroline Shaw. CHARLES finishes his bourbon, rises and crosses to the door. PHOEBE Charles, where are you going? CHARLES I have to warn Joseph. PHOEBE Please. Dont leave. You have to let me explain. CHARLES I know people, Phoebe. I should have seen this. I should have known you were lying. PHOEBE It wasnt all a lie. CHARLES You murdered four men! PHOEBE No! I didnt! It was all Baxter! It was always Baxter. Please, Charles, dont leave. CHARLES How could I not see it? I didnt want to. Got distracted. And you. Youre a beautiful woman. Too beautiful. Were the other men fooled as easily? PHOEBE Im not that woman, Charles. You have to believe that. He would have killed me. I was a child when I married Baxter. He worked with my daddy on the docks in Savannah. Thats how we met. I thought Daddy was a bad man. So when I met Baxter, and he was so charming, and rugged, and strong...I thought he would get me out of that life, away from my father. I didnt know he was worse! He took me off to M ississippi, and I saw him for what he really was. A con man.

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PHOEBE (CONT) But I didnt know to what lengths he would go to get what he wanted until he made me part of the con. He said he would kill me if I didnt go along with it. I was afraid. So I did. I wooed the men. He took their money and their lives. I knew eventually he would kill me, and I ran away with the money, so he wouldnt be able to profit from his crimes. CHARLES What did you do with the money? PHOEBE I still have it. I was going to give it to you, to the Church. CHARLES How could I possibly take that money, knowing what I know? CHARLES starts to leave. PHOEBE grabs his arm. PHOEBE Please dont. CHARLES I cant stay. PHOEBE I know what I have done is wrong. Stay. Hear my confession. CHARLES This is not a Church. Caroline. PHOEBE Then dont absolve me. But at least stop lying to yourself long enough to admit youre running away, too. CHARLES What? PHOEBE Youre running from this. Us. I know you have the same feelings for me that I have for you!

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CHARLES Youre wrong. PHOEBE You say you know people. (M USIC CUE) But you dont let people know you. Let me know you. WHY FEAR THE FORBIDDEN? PHOEBE ALL THAT I ASK IS FORGIVENESS. ALL THAT I ASK IS A CHANCE AT LIFE. ALL THAT I ASK IS TO KNOW YOU. LAY WITH M E NOW AND END BOTH OUR STRIFE. CHARLES WHO IS THIS STRANGER BEFORE M E? IS SHE A FRIEND OR A DEADLY FOE? IF I REACH OUT AND EM BRACE HER WILL WE TO HEAVEN OR HELL BOTH GO? PHOEBE WHY FEAR THE FORBIDDEN? WHY NOT TRUST WHAT YOU FEEL INSIDE? LOOK INTO M Y EYES. THERE IS NOTHING LEFT TO HIDE. I DO LOVE YOU. WHY FEAR THE FORBIDDEN? DAM N ALL THE WRONGS. WE BOTH KNOW ITS RIGHT. LOSE YOURSELF IN M E AND GIVE IN TO ECSTACY. GOD M ADE M E FOR YOU. I KNOW YOURE SCARED SO ILL BE BRAVE FOR TWO. I WAS M EANT TO SPEND M Y LIFE WITH YOU.

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CHARLES No. I cant. PHOEBE You can. You want to. I see the way you look at me. CHARLES Its not that simple. PHOEBE It is simple, Charles. Its the only thing that is. CHARLES Not for me. IF I GIVE IN, I WILL CRUM BLE. IF I STAND FIRM , YOU WILL RUN FROM M E. IF I DONT FIGHT, I WILL LOSE YOU. THERE IS NO FUTURE THAT I CAN SEE. PHOEBE tries to interrupt. CHARLES stops her. CHARLES GIVE M E ONE REASON TO TRUST YOU. GIVE M E ONE REASON TO HOLD YOU NEAR. GIVE M E ONE REASON TO STAY HERE. I CANT CONFESS THAT I LOVE YOU, DEAR... PHOEBE WHY FEAR THE FORBIDDEN? WHY NOT TRUST WHAT YOU FEEL INSIDE? LOOK INTO M Y EYES. THERE IS NOTHING LEFT TO HIDE. I DO LOVE YOU. CHARLES YOU WOULDNT UNDERSTAND.

I SHOULD RUN AWAY AND HIDE. I CANT LOVE YOU.

WHY FEAR THE FORBIDDEN? I BOW TO GODS COM M ANDS. DAM N ALL THE WRONGS. WE BOTH KNOW ITS RIGHT. LOSE YOURSELF IN M E AND GIVE IN TO ECSTACY. WELL BOTH BURN FOR

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PHOEBE

CHARLES BLASPHEM Y! I CANT YIELD TO YOU. PHOEBE

GOD M ADE M E FOR YOU.

I KNOW YOURE SCARED SO ILL BE BRAVE FOR TWO. I WAS M EANT TO SPEND M Y LIFE WITH YOU. PHOEBE moves in to kiss CHARLES as the lights dim and the scene shift. Transition music plays as the Inferno is brought in. PATRICK, CAM ILLE, and JOHNNY are in the bar. JOHNNY Shes your sister, Patrick. PATRICK Is she now? Thank you for pointing out the obvious, friend. JOHNNY You know damn well that Teddy is as crooked as a dogs hind legs. You know he aint gonna do right by Sarah. CAM ILLE Whats it to you, lover boy? Seems to me you had your eye on M iss Phoebe all night. JOHNNY Thats different. Sarahs my friend. PATRICK Is there a point in there somewhere? Camille is my friend. Why do you think I married her? CAM ILLE I thought it was because we were caught together in the windmill back home.

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PATRICK That might have played into it. JOHNNY All Im sayin is that he better not do anything to hurt her. TEDDY enters the room. His hair is tousled, his shirt untucked, and there is a little blood around his collar. TEDDY Camille, you need to teach your whores how to work their trade! JOHNNY What the hell did you do to her?! TEDDY You better watch your tone with me, boy. This is still my town. JOHNNY I dont care who you are. If you hurt Sarah, youre askin for trouble. TEDDY and JOHNNY close in on each other as RED stumbles into the bar. He is cut up and bloody. PATRICK Camille, quick! Get some water! CAM ILLE exits. PATRICK grabs a chair. TEDDY M arshall! What happened to you? PATRICK brings chair over to RED. JOHNNY helps RED sit. RED It was damn awful. I didnt see it comin. JOHNNY Didnt see what comin?

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RED The Lakota. TEDDY Tarnation! I told the Sheriff they was trouble! I told him! But, no. Father Austin says they got souls in em like you and me. Wheres the Sheriff? I reckon its time we wired for some help and take care of this Lakota situation. TEDDY crosses towards the exit. RED You aint gonna find the Sheriff fit for nothin right now. JOHNNY What do you mean? What happened? RED I was meetin with the Sheriff when it happened. Damn savages come in, plant a knife in the Sheriff, and make off. I wasnt fast enough to stop em. CAM ILLE enters with water and a towel. She dabs at REDs wounds. TEDDY Joseph is dead? RED I reckon so, Teddy. PATRICK With the Sheriff dead, what does that mean for us? TEDDY Well, hell. I reckon Johnnys gonna have to step up and take up the post. At least til we can find a suitable replacement. JOHNNY Im ready. I really am. I wont let you down. RED I cant let you do that.

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JOHNNY Why not? Im the Sheriffs Deputy. Its what Colonel Bailey was trainin me for! RED The Colonel is dead, boy. Now listen good. You need somebody what has experience dealin with these savages. Im your man. They surprised me once. It wont happen again. JOHNNY What about the M ississippi Black Widow? RED She aint here, so I guess shell have to keep to herself til I can find her. Seems to me you people need me a hell of a lot more. So I aint leavin til we get the Lakota under control. TEDDY Johnny, hes right. RED Dont get your breeches up your crack, Deputy. Hell, when this is all over, youre welcome to whatever post Teddy here sees fit to grant you. But first things first. JOHNNY Right. Im here to help. RED Glad to hear it. Teddy, Im gonna need every able bodied man to form a militia. And this next thing, you might not like, but its for the safety of everyone in Elizabethtown. Im gonna need to take charge. TEDDY What exactly do you mean? RED I mean that all major decisions regardin this town need to come through me. TEDDY I dont know if I can do that. M rs. Barlow left me... RED As far as I understand, M rs. Barlow aint been round these parts in a while.

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TEDDY No, but she put me in charge. RED And as soon as we get rid of the Lakota, youll be in charge again. TEDDY Alright. So long as its temporary. RED After we form the militia, we need to keep everybody in Elizabethtown. It aint safe for people to be travelin out of the town proper. PATRICK What about people getting in? (M USIC CUE) We make little enough money as it is! RED Dont worry none. By the time were done here, Elizabethtown will be boomin again. M ARSHALL LAW RED WE GOT A DUTY TO THOSE WHAT LIVE HERE TO FEND OFF A SAVAGE ATTACK. WELL NEED THE FARM ERS, AND BANKERS, AND DRUNKARDS, AND WOM EN TO TAKE UP THE SLACK. PEOPLE WILL DIE. THEY USUALLY DO. JUST M AKE SURE YOU AINT ON THE LIST. THE ENEM YS TOUGH, WILL SHOW LITTLE M ERCY. WELL FIGHT EM WITH FIRE, GUN, AND FIST. M ARSHALL LAW IF YOU VALUE YOUR FREEDOM YOULL TURN IT RIGHT OVER TO M E. M ARSHALL LAW WHAT YOU GET IN RETURN IS A HELPIN OF SERENITY.

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RED (CONT) ITS A CHOICE THAT YOU M UST M AKE FOR THE SAKE OF THE TOWN. WHEN THE DUST SETTLES, ILL STAND WITH YOU. M ARSHALL LAW LETS SEND EM TO HELL! M ARSHALL LAW OUR HISTRY WILL TELL M ARSHALL LAW SAVED THE GOD FEARIN FEW! TEDDY/JOHNNY WELL ROUND UP HORSES FROM ALL THE STABLES AND RIDERS WITH M USKETS AND SPEARS. RED WELL ALSO NEED M ONEY TO PAY FOR GUN POWDER AND SADDLES TO CUSHION OUR REARS. PATRICK/CAM ILLE STOCK THE BASE CAM P WITH PLENTY OF FOOD AND DRINK FOR WHEN SPIRITS ARE LOW. RED YOULL TAKE UP ARM S. YOULL LIVE BY THE SWORD OR DIE IF YOU GO IT ALONE. M ARSHALL LAW IF YOU VALUE YOUR FREEDOM YOULL TURN IT RIGHT OVER TO M E. M ARSHALL LAW WHAT YOU GET IN RETURN IS A HELPIN OF SERENITY.

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RED (CONT) ITS A CHOICE YOU THAT M UST M AKE FOR THE SAKE OF THE TOWN. WHEN THE DUST SETTLES, ILL STAND WITH YOU. M ARSHALL LAW LETS SEND EM TO HELL! M ARSHALL LAW OUR HISTRY WILL TELL M ARSHALL LAW SAVED THE GOD FEARIN FEW! RED Are yall with me? PATRICK Aye. CAM ILLE Aye. TEDDY Sure thing, M arshall. JOHNNY Yes, sir. But Teddy, when this is over, youre gettin yours for whatever you did to Sarah. ALL (EXCEPT SARAH, PHOEBE, CHARLES) M ARSHALL LAW CAUSE WE VALUE OUR FREEDOM WELL TURN IT RIGHT OVER TO YOU. M ARSHALL LAW WE GAVE UP OUR CHOICES CAUSE IT SEEM ED LIKE THE RIGHT THING TO DO. ITS A CHOICE WE M UST M AKE FOR THE SAKE OF THIS TOWN.

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ALL (CONT) WHEN THE DUST SETTLES, WELL STAND WITH YOU. Lights rise on CHARLES and PHOEBE who are kissing passionately. Another light rises on SARAH who is tending her wounds. Her face is bruised and a little bloody. This happening as the act comes to a close. ALL (EXCEPT SARAH, PHOEBE, CHARLES) M ARSHALL LAW LETS SEND EM TO HELL! M ARSHALL LAW OUR HISTRY WILL TELL M ARSHALL LAW SAVED THE GOD FEARIN FEW! BLACKOUT. END OF ACT ONE.

85.

ELIZABETHTOWN ACT TWO ENTR'ACTE

SCENE ONE As the ENTR'ACTE comes to an end, a light rises on PATRICK behind the bar at the Inferno. A week has elapsed since the events of the Act One finale. At rise, PATRICK is sipping on a mug of beer. It is early evening. PATRICK Hello, there. It is truly amazing what can happen in the span of a week. After the Lakota murdered the Sheriff, M arshall M iller saw fit to have the town proper locked down tighter than a bastille. Nary a soul enters or leaves Elizabethtown now without his approval. You would think in all this time that we would have heard some sort of war declaration from the Lakota, what with the savage way they dispatched Sheriff Bailey. And you would be wrong. We havent seen nor heard from them once. It gets a man to wondering. Is there any real danger at all? A pool of light rises on JOHNNY and SARAH. They are in their own world, warm and affectionate. PATRICK Arent they sweet? M y teeth are rotting out of my mouth, theyre so sweet. Nothing like a damsel in distress to make a lovesick fool show his true colors. But when that viper Teddy raised a hand to my sister, thats all it took. Johnny was done for. And we all have to suffer because of it. No, its alright. Theres still a chance the Lakota will attack. Lights rise on the rest of the Inferno as PATRICK is pulled back into the world of the play. JOHNNY And one day youll get to meet my mama. SARAH Do you think shell like me?

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JOHNNY Aw, heck, Sarah. If yall get on half as good as we do, youll be closer than sisters. PATRICK Or lovers. SARAH I hope she doesnt think Im too common. Doing what I do. JOHNNY That isnt gonna be a problem. Youre not gonna be doin that anymore. SARAH But I have to do my part to help the family. JOHNNY Patrick, talk some sense into your sister. PATRICK I cant. Shes right. JOHNNY Now, Patrick, no girl of mine is gonna trade favors with the trash that stops off in Elizabethtown for the night. PATRICK Is that so? Well how do you reckon we keep up our payments to Teddy then? JOHNNY Easy. You stop makin them. PATRICK Thats mighty big talk for a Sheriffs deputy and handyman. JOHNNY Its not always gonna be that way. Im gonna make somethin of myself. SARAH Of course you are. I believe in you. SARAH and JOHNNY kiss.

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PATRICK Here we go again. JOHNNY I never shouldve let you make off with that man. SARAH Whats done is done. Besides, Im almost all healed up. JOHNNY I promise you he will never lay another finger on you again. When I think of what couldve happened... SARAH Dont. Just think of us. They kiss. TEDDY enters. TEDDY Tarnation! You ever come up for air? PATRICK Evening, Teddy. Get you a drink? TEDDY Naw. I just came for my money. PATRICK About that. You see the thing is... JOHNNY He isnt paying you anymore, Teddy. TEDDY I know I didnt just hear the deputy piss-ant chime in on business that dont concern him. Wheres my damn money, Patty? JOHNNY M aybe you dont bathe regular enough and your ears are clogged with shit. I said Patrick isnt payin you anymore.

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TEDDY squares off with JOHNNY. They stand face to face. TEDDY Fine. Ill just take it out of Sarah. Seems I owe her for the other night. JOHNNY Like hell you will. TEDDY Whos gonna stop me? You? JOHNNY Try it and find out. From what I hear, you couldnt even get it up. TEDDY You goddamn whore! TEDDY pushes JOHNNY out of the way and rails towards SARAH. He slaps her with the back of his hand and she goes reeling to the floor. JOHNNY Dont you touch her, you sonuvabitch! JOHNNY and TEDDY fight. JOHNNY punches TEDDY in the face. TEDDY blocks a punch and gets JOHNNY in the gut twice. JOHNNY doubles over and rushes TEDDY, tackles him and showers TEDDY in a barrage of punches. TEDDY reaches for a glass that has fallen and strikes JOHNNY over the head with it. JOHNNY falls backwards. TEDDY rises and reaches for the gun in his holster. TEDDY aims the gun at JOHNNY. TEDDY Heres whats gonna happen. Im gettin tired of this place. I think its high time I head on back to Texas. And maybe just maybe Ill take Sarah with me as back payment. Yeah, I think thats exactly what Ill do. What do you think about that? Any last words?

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PATRICK pulls a gun from behind the bar and aims it at TEDDY. PATRICK Drop it. TEDDY Whatre you doin, Patty? PATRICK I aim to defend the Deputy Sheriff and my sister. Now drop your gun, and get out of my bar. TEDDY You aint got the stones. PATRICK I think I do. PATRICK cocks his gun. RED enters, assesses the situation, raises his gun in the air and fires off a shot. TEDDY cowers, checking to make sure he hasnt been shot. RED What the hell is goin on here? TEDDY Dammit, M arshall, you half scared the life outta me! JOHNNY gets up and helps SARAH to her feet. RED I asked a question. It aint been answered. TEDDY The Deputy and I had a little misunderstandin is all. Nothin to worry about. RED Is that so, Deputy?

90.

JOHNNY Yes, sir. RED Then I reckon we aint gonna have a repeat of tonights events. Teddy? TEDDY I reckon not. RED Good. We got enough to worry about with the Lakota. Dont need to be killin our own. Now get outta here. Both of you. TEDDY walks over to JOHNNY and extends his hand. TEDDY No hard feelins. JOHNNY wipes the blood from his mouth and shakes TEDDYs hand. JOHNNY No hard feelins. JOHNNY exits. SARAH follows after him. TEDDY starts to exit, stops at the door. TEDDY We still got business to attend to, Patty. Ill be back. TEDDY exits. RED sits at the bar. RED Pour me a whiskey. Im thirsty. Lights dim and transition music plays as the scene shifts from the Inferno to the Church. CHARLES is kneeling at the altar when CAROLINE enters.

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CAROLINE Evening, Charles. CHARLES Caroline, whatre you doing here? CAROLINE You have been avoiding me. CHARLES I still have a parish to look after. CAROLINE Dont hide behind your pulpit. CHARLES I crossed a line. CAROLINE Get up. CHARLES What? CAROLINE Get up. Come here. CHARLES rises and crosses to CAROLINE. She takes his hand and places it over her heart. CHARLES Caroline... CAROLINE Charles, this is natural. This is right. Everything in Elizabethtown is wrong except for this. CHARLES pulls his hand away. CHARLES You still have a husband.

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CAROLINE Im leaving. I want you to come with me. CHARLES I wont do that. CAROLINE Its not safe for us here. CHARLES Thats why I have to stay. I think Baxter killed Joseph. As long as hes masquerading as a U.S. M arshall, I have to look out for the people of this town. CAROLINE I dont want you getting yourself killed. CHARLES I wont. You know what hes capable of. He has to be stopped. CAROLINE Please, Charles. (M USIC CUE) Come with me. I dont want to lose you. CHARLES Caroline... CAROLINE Stop fighting your own heart. Listen to it. DONT CHARLES YOU M AKE M E QUESTION EVERYTHING I AM OR THOUGHT TO BE. AND THOUGH I KNOW THAT YOU ARE SPOKEN FOR, TABOO TO M E. I RELISH EVER TASTE AND TOUCH, THE VERY THOUGHT OF YOU. IT DOESNT M ATTER THAT WERE DAM NED TO HELL WHEN I M ELT IN YOU. WHAT DO YOU WANT FROM M E? WHY DO YOU ENCROACH ON M E?

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CHARLES (CONT) WHAT IS IT THAT I GET FROM YOU THAT M AKES M E FEEL THE WAY I DO? DONT DONT DONT DONT LINGER TOO NEAR TO M E. DISCLOSE YOUR HEART TO M E. YOU KNOW THAT I ACHE FOR YOU. YOU KNOW THAT I DREAM OF YOU.

DONT STAND SO CLOSE. YOUR TOUCH IT BURNS. DONT PRETEND THAT I, I DONT YEARN. DONT HOLD BACK BECAUSE OF FEAR. DONT M ISTAKE. I WANT YOU, DEAR. EVERY IM PULSE IN M E SCREAM S... DONT. CAROLINE Ive got it all mapped out. CHARLES Are you blind? Baxter is not going to let you up and walk away. CAROLINE Everybody has a price. I will pay off the militia guards if I have to. CHARLES And what then? How many people do you think Baxter will kill to get to you? CAROLINE We wont let that happen. You have to trust me. CHARLES I HOLD YOU AT A DISTANCE, THOUGH I WANT YOU BY M Y SIDE. AND THINK OF FIGHTING KILLERS WHEN IN GOD I SHOULD ABIDE. COULD I BE ENOUGH FOR YOU, SOLACE WHEN THE DAY IS THROUGH? COULD I BE THE OATH YOU TAKE AND THE HEART YOU NEVER BREAK?

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CHARLES (CONT) WHAT DO YOU SEE IN M E? WILL YOU REVIVE M Y HEART FOR M E? WHEN YOU ARE WIDE AWAKE AT NIGHT, JUST KNOW I LONG TO HOLD YOU TIGHT. OUR LIVES ARE NOT THE ONES THAT HAVE TO BE CONSIDERED. I WONT STAND BY WHILE BAXTER TAKES A LIFE OR TWO. I WANT TO TRUST YOU, BUT THATS NO EXCUSE FOR SINNING. BUT SAY THE WORD, AND I WILL FOLLOW YOU. DONT LINGER TOO NEAR TO M E. DONT DISCLOSE YOUR HEART TO M E. DONT YOU KNOW THAT I ACHE FOR YOU. DONT YOU KNOW THAT I DREAM OF YOU. DONT STAND SO CLOSE. YOUR TOUCH IT BURNS. DONT PRETEND THAT I, I DONT YEARN. DONT HOLD BACK BECAUSE OF FEAR. DONT M ISTAKE. I WANT YOU, DEAR. EVERY IM PULSE IN M E SCREAM S... DONT. CHARLES takes CAROLINE in his arms and kisses her as the music plays out. CAROLINE Does this mean youre coming with me? CHARLES No. It means Ill think about it. CAROLINE Dont take too long. Im leaving in two days. With or without you. Lights fade and transition music plays as the scene shifts to REDs office at the jailhouse. RED is seated at his desk, feet propped up as the lights rise. CAM ILLE enters.

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CAM ILLE You asked to see me, M arshall? RED That I did. Take a load off. CAM ILLE Ill stand, thank you. I have to be getting back to the Inferno soon. Were a mite busier than usual. I suppose I should be thanking you for that. RED How do you reckon? CAM ILLE People drink more when they dont know what the future holds. RED People what drink more do it cause they aint got the gumption to take hold of their own future. CAM ILLE What can I do for you then? RED The teacher lady what lives in the Doves Nest. What room is she stayin in? CAM ILLE I dont see how thats any business of yours. RED As long as the Lakota are takin lives, I reckon I oughta know where the townsfolk is shacked up. That way I can better protect their interests. CAM ILLE Dont you think it odd that we havent had a single attack from the Lakota since the Sheriff was murdered? RED Whatre you gettin at, Camille?

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CAM ILLE Nothing at all, M arshall. Now supposing I were to tell you what room Phoebe is staying in, how would that help you protect her better? RED I reckon I would want to have a look at her room. M ake sure its safe from those what might want to hurt her. CAM ILLE So you want to traipse through her room now. RED When you put it like that, I dont much like the sound of it, either. Come on, Camille. Dont make this any more difficult than it needs to be. (M USIC CUE) SCRATCH M Y BACK RED EVERYONES GOT A PRICE. WHATS YOURS? IM TRYIN TO PLAY NICE. WHATS M ORE IS IFFIN I DONT GET INSIDE OF THAT ROOM THERES GONNA BE HELL TO PAY. IVE LAID M Y CARDS ON THE TABLE. ARE YOU GONNA TURN TAIL OR PLAY? SCRATCH M Y BACK AND ILL RETURN THE FAVOR. TIT FOR TAT. ILL M AKE AN OFFER YOU CAN SAVOR. THERE IS NO REASON YOU CANT PROFIT FROM THIS RUSE. ALL I NEED IS THE GAL-DARN NUM BER. TURN YOUR HEAD OR TAKE A SLUM BER. ILL BE SURE TO LET YOU KNOW WHEN IM THROUGH. SCRATCH M Y BACK IFFIN YOU KNOW WHATS GOOD FOR YOU.

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RED So, whats it gonna be? CAM ILLE Fine. Ill tell you what room Phoebe is in. But its going to cost you. I want half. RED I reckon I dont know what youre talkin about. CAM ILLE I reckon you do. Phoebe paid a handsome sum of money in advance to stay through the end of the month. The way I figure there has to be more where that came from. RED And supposin I was lookin for money, what makes you think I would give away that much of it to you? CAM ILLE The way I see it, its the only way youll be able to keep me from telling everyone what I know about you. RED What is it you think you know about me? CAM ILLE I read all the communications that come in on the wire. I know youre not Red M iller. I WASNT BORN YESTERDAY, M Y FRIEND. BUT YOU ARE GOING TO HAVE TO BEND. AND IFFIN YOU DONT ILL END YOUR CHARADE. DONT TAKE M E FOR SOM EONE WEAK. THOSE ARE THE TERM S. ARE YOU ABLE TO PART WITH THE FORTUNE YOU SEEK? SCRATCH M Y BACK AND ILL RETURN THE FAVOR. TIT FOR TAT. THERES NO TIM E FOR YOU TO WAVER. THERE IS NO REASON YOU CANT PROFIT FROM THIS RUSE.

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CAM ILLE (CONT) ILL GIVE YOU THE GAL-DARN NUM BER. WHILE YOURE IN, ILL TAKE A SLUM BER. ILL JUST NEED THE CASH IN HAND WHEN YOURE THROUGH. SCRATCH M Y BACK OR ILL HAVE TO EXPOSE YOU. CAM ILLE Do we have a deal? RED That depends on you. What room is Phoebe in? CAM ILLE Shes on the second floor. Room 207. RED (extends his hand) Its a pleasure doin business with you, Camille. You got spunk. CAM ILLE and RED shake hands and sing their own choruses. CAM ILLE SCRATCH M Y BACK AND ILL RETURN THE FAVOR. TIT FOR TAT. THERES NO TIM E FOR YOU TO WAVER. THERES NO REASON YOU CANT PROFIT FROM THIS RUSE. ILL GIVE YOU THE GAL-DARN NUM BER. WHILE YOURE IN, ILL TAKE A SLUM BER. RED SCRATCH M Y BACK AND ILL RETURN THE FAVOR. TIT FOR TAT. ILL M AKE AN OFFER YOU CAN SAVOR. THERES NO REASON YOU CANT PROFIT FROM THIS RUSE. ALL I NEED IS THE GAL-DARN NUM BER. TURN YOUR HEAD OR TAKE A SLUM BER.

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CAM ILLE ILL JUST NEED THE CASH IN HAND, WHEN YOURE THROUGH. SCRATCH M Y BACK...

RED ILL BE SURE TO LET YOU KNOW WHEN IM THROUGH. SCRATCH M Y BACK...

RED pulls the blade that he killed JOSEPH with and savagely slits CAM ILLEs throat. The music comes to a halt as she falls to the ground, dead. RED Dammit. I was just startin to heal, too. Lights fade as the scene transitions to the Inferno. It is later in the evening, and everyone has all buy cleared out. PATRICK, JOHNNY, and SARAH are at a table as the lights rise on them. PATRICK Where the hell is Camille? She should have been back an hour ago. JOHNNY M aybe Red sent her off on an errand. Seemed mighty important he get to meet with her. He didnt even tell me what it was about. PATRICK Errand or not, this cant wait any longer. SARAH What cant wait? PATRICK Ive been giving it some thought. What Teddy threatened when he was in here earlier. JOHNNY I done told you I wasnt gonna let that happen.

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PATRICK I know it. And youre a good man to say so, Johnny, but theres nothing keeping Teddy from tryin to make off with Sarah. And if he gets Red on his side... JOHNNY Red wouldnt do that. PATRICK M aybe he wouldnt. But maybe he would. And I cant take that chance. Not with Sarahs life. SARAH Patrick, theres nothing to be afraid of. Not with you and Johnny here to protect me. And we can always turn to Father Austin. PATRICK What does a man of God know about guns and violence? Father Austin is a righteous man. But hes no fighter. JOHNNY Wait a minute. Father Austin is exactly who we need. PATRICK I dont follow you. JOHNNY Teddy might be able to come in here and try and take your sister away. But he cant take a mans wife. SARAH What? JOHNNY Sarah, I want to spend out my days in Elizabethtown with you. Will you marry me? SARAH Patrick? PATRICK What are you looking at me for? If this is what you want, you have my blessing.

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SARAH Then yes, Johnny. Ill marry you. SARAH and JOHNNY kiss. PATRICK Its settled then. (M USIC CUE) Well see Father Austin about it first thing tomorrow. Get you two married and then Teddy will have nary a claim to you. Debt be damned! A POUND OF FLESH PATRICK THE SWEAT OF M Y BROW WASNT ENOUGH FOR THIS CUR. HED BLEED M E EACH WEEK, OR TRY TO TAKE IT OUT OF HER. BUT IM FINISHED WITH THAT! NARY A DIM E WILL HE SEE. THE LINE IN THE SANDS BEEN DRAWN. JUST TRY AND TAKE A PIECE OF M E. A POUND OF FLESH IS DUE. BUT WELL STAND, THE HAPPY FEW, AGAINST HIS TYRANNOUS GLARE, AND HIS TEM PER THAT FLARES. THIS IS THE DAY HELL RUE. THE BATTLE LINES ARE FORM ING. THE FACE OF FRIEND AND FOE ARE SKEWED. BUT AT THE END OF THE DAY... A POUND OF FLESH IS DUE. Lights dim on the Inferno and rise on the jailhouse. TEDDY enters and finds CAM ILLE on the floor where RED left her. RED is near his desk, bloody and cut up but still alive. TEDDY Red! Red, wake up!

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RED mumbles and comes to. RED Where are they?! TEDDY Who? RED The Lakota! I was meetin with Camille and the Lakota come in after me. They aim to kill me like they did the Sheriff. Cut off all authority what can stand against em. (Sees CAM ILLE) Camille! RED struggles to get to his feet. TEDDY helps him. TEDDY You sit down, M arshall. Ill check on Camille. TEDDY guide RED to a chair and goes to CAM ILLE. He checks for breathing or sign of life. RED She gonna be alright, Teddy? TEDDY Shes dead. Looks like the damn Lakota slit her throat. (TEDDY spies REDs bloody blade on the floor.) How many of them were there? RED Two. Three. It happened quick. I cut up one of em good afore they whooped up on me. I just dont understand it. Why leave me alive? TEDDY M aybe they figure they can do more harm that way. Scare you into submission. RED Ill be goddamned afore I let a bunch of savages put the fear in me. Come on. We gotta get Camille to the Inferno. Her lovin man is gonna want to know about this. Sooner than later.

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RED struggles to his feet as the music swells. TEDDY Right. We got to mount some sort of front. (aside) WAS IT A SAVAGE ATTACK OR HAS THE M ARSHALL DRAWN BLOOD? AM I LOSIN M Y FAITH OR ARE WE HEADED FOR A FLOOD? DID HE KILL ONCE BEFORE, LET THE TOWN FEED ON FEAR? ILL HAVE TO STAY ON M Y TOES TIL I CAN GET AWAY FROM HERE! A POUND OF FLESH IS DUE. BUT WELL STAND, THE HAPPY FEW, TIL ALL THE INJUNS HAVE DIED, OR I FIND THAT RED LIED. THIS IS THE DAY HELL RUE. THE BATTLE LINES ARE FORM ING. THE FACE OF FRIEND AND FOE ARE SKEWED. BUT AT THE END OF THE DAY... A POUND OF FLESH IS DUE. Lights fade on the jailhouse and the scene shifts to the Church where CHARLES is packing some of his personal belongings into a box. CAROLINE enters. CAROLINE Charles, I had to come back. (Notices box) What are you doing? CHARLES Im packing. If figure if Im going to be damned, I may as well be damned with you. CAROLINE You are not going to be damned. Im just happy you came to your senses.

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CHARLES Im doing this on one condition. We have to deal with Baxter first. CAROLINE No! We cant. Hell kill us, Charles. If you believe nothing I tell you, believe that. CHARLES I will not sneak off into the night and leave Elizabethtown to his mercy. These people are more than just parishioners to me. Theyre my friends. CAROLINE What about me? What am I to you? CHARLES Youre my love. And my damnation. CAROLINE You sure do know how to sweet talk a girl. CHARLES Caroline... CAROLINE I know. Im just afraid. For both of us. M usic swells as CHARLES takes CAROLINE in his arms. CHARLES A DEBT M UST BE PAID TO GOD ON HIGH. CAROLINE YET I STILL HAVE FEARS THAT WE BOTH WILL DIE. CHARLES I WONT LET BAXTER HARM YOU. THIS I SWEAR.

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CAROLINE I KNOW THE M AN TOO WELL, AND HE WILL FIND US ANYWHERE! Lights fade as the scene shifts to the Inferno. PATRICK is behind the bar. SARAH is sitting in JOHNNYs lap snuggling when TEDDY and RED enter with CAM ILLEs body. PATRICK Camille! PATRICK bounds over to where TEDDY and RED deposit her body. SARAH and JOHNNY join them. RED Im sorry, Patrick. Theres nothing what can be done for her. PATRICK Who did this?! Who did this to my Pidge?! RED It was the Lakota again. Im sorry. PATRICK Sorry? Youre sorry?! Why are you still alive! PATRICK crumbles to the floor and takes CAM ILLE in his arms. TEDDY We think they left the M arshall alive as a way to let us know they can get to anyone they want. JOHNNY M arshall, whatre we gonna do? RED We aint waitin for em to come back. In two days, were takin the battle to them. Its time.

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M usic swells and lights rise on CAROLINE and CHARLES in the Church. ALL A POUND OF FLESH IS DUE BUT WE WILL STAND, THE HAPPY FEW, TIL ALL THE WRONGS ARE AVENGED, THOSE THAT KILLED ON A BINGE WILL KNOW THIS DAY THEYLL RUE. THE BATTLE LINES ARE FORM ING. THE FACE OF FRIEND AND FOE ARE SKEWED. BUT AT THE END OF THE DAY... A POUND OF FLESH IS DUE! BLACKOUT.

SCENE TWO It is the following night. CHARLES and CAROLINE are in the Church. As the lights rise, CHARLES is reclined with his head in CAROLINEs lap. She is running her fingers through his hair. CHARLES is no longer wearing his cleric collar. There are a few packed boxes around them. CHARLES I cant believe shes gone. CAROLINE Its all my fault. I never should have come here. CHARLES You thought you would be safe. CAROLINE Still. Camille and Joseph would be alive if Baxter hadnt followed me here.

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CHARLES rises and crosses to one of the packed boxes. CHARLES I was really looking forward to starting over in California. CAROLINE You cant change your mind. Not now! CHARLES I have no choice. CAROLINE You always have a choice. You might not like it, but its there. CHARLES Youre right. I dont like this one bit. CHARLES pulls a revolver from the box. CAROLINE Charles, where did you get that gun? CHARLES You once asked me why I left Nashville. This is why. CAROLINE I dont understand. CHARLES I wasnt always a priest. M y father was a lawman in Nashville. He was a detective, the best there was, and I wanted to be just like him when I grew up. So I tagged along, learned from him and before long I was old enough to join up. I did a lot of interrogating. Thats how I learned about people, how to read them and tell the good ones from the bad ones. (M USIC CUE) Like Baxter. CAROLINE Or me. CHARLES No. Youre one of the good ones.

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CAROLINE Charles, if you were so intent on being a lawman, why did you become a priest? CHARLES Because I killed one. HELL ON EARTH CHARLES I WAS M AKING M Y ROUNDS AT THE CUSP OF TOM ORROW, CHECKING OUT ST. M ARY'S OF THE SEVEN SORROWS, TIL I SAW A SHADOW M OVE, AND I TOLD IT TO HALT. THOUGH I HAD NO DOUBTS, IT WAS M Y FAULT. SO I FIRED M Y GUN, AND THE FIGURE WENT DOWN. I LIT A CANDLE. THAT WAS WHEN I SAW THE HEM OF HIS GOWN. HELL ON EARTH. I KILLED GODS SERVANT. HELL ON EARTH, M Y PRAYER WAS FERVENT. BUT IT WASNT ENOUGH TO SAVE THE LIFE OF A M AN WHO LIVED TO SERVE AND PRESERVE THE HIGH AND HOLY FATHERS PLAN. SO I TURNED IN M Y BADGE, AND I HOLSTERED M Y GUN, AND I VOWED TO LIVE M Y LIFE ON EARTH TO PRAISE HIS ONLY SON. BUT IVE FALTERED AGAIN AND IM DOOM ED TO... HELL ON EARTH. CAROLINE Charles, what happened in that church was an accident! You dont have to keep torturing yourself. CHARLES But theres still so much to answer for. And two more innocent people have died.

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CAROLINE You have to forgive yourself. When we get to California, you can start over. CHARLES It feels like running away. CAROLINE What if it is? THERE'S A CHANCE WE CAN THRIVE IF WE LEAVE HERE TOGETHER. THERE WILL BE NO TRIALS THAT WE CANNOT WEATHER. WELL BUILD A M ODEST HOUSE, GROW OLD BY THE SEA WITH OUR CHILDREN AND THEIR FAM ILIES. BUT THE DREAM WON'T COM E TRUE LEST WE LEAVE HERE TODAY. THE CHOICE IS YOURS, M Y LOVE. PLEASE DON'T LET BAXTER STAND IN OUR WAY. CHARLES HELL ON EARTH, I KILLED GODS SERVANT. HELL ON EARTH, M Y PRAYER WAS FERVENT. BUT IT WASNT ENOUGH TO SAVE THE LIFE OF THE M AN WHO LIVED TO SERVE AND PRESERVE THE HIGH AND HOLY FATHERS PLAN. SO I TURNED IN M Y BADGE, AND I HOLSTERED M Y GUN, AND I VOWED TO LIVE M Y LIFE ON EARTH TO PRAISE HIS ONLY SON. BUT IVE FALLEN IN LOVE, AND YOULL HAVE TO SAVE M E FROM ... HELL ON EARTH. CAROLINE Charles... CHARLES Patrick came to see me today. Tomorrow at daybreak I am going to marry Sarah and Johnny at the Inferno. Come to the ceremony. Theyll need witnesses.

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CAROLINE And then well leave? CHARLES And then well leave. I promise. CAROLINE Ill go pack. CHARLES Ill have the horses ready in the morning. Itll take us about a week to get into Nebraska, and then we can hop a train there. That should get us the rest of the way to California. Now go. They kiss. CHARLES And Caroline. Be careful. Lights dim as transition music plays. Scene shifts to the jailhouse. RED is whittling at his desk as TEDDY enters. RED Teddy. TEDDY M arshall. RED I been expectin you all evenin. Its gettin late. TEDDY I reckon its a good thing youre not far from home. RED puts down the piece of wood he was whittling and drives the blade into the table. RED You got the deed?

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TEDDY I do. I dont know what you hope to find in it. RED Let me worry about that. TEDDY hands RED the deed to Elizabethtown. TEDDY Im leavin for Texas day after tomorrow. I aim to take Sarah with me. RED Is that so? TEDDY Yep. RED Gettin wistful for your homeland, are you? TEDDY You could say that. RED I have a notion Sarah aint gonna come along with you to Texas on her own steam. TEDDY Youd be right to think it. Thats why I come to you. RED I see. TEDDY Patty and Johnny aint gonna part company with Sarah without a fight. Im expectin a little assistance in the matter. RED You can expect all you want, but I reckon Ill have to pass. TEDDY And what if I told you I wasnt givin you an option?

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RED smiles, takes a look at the deed. RED I tell you what. Ill make you a deal. You sign over Elizabethtown to me, and Ill help you with your lady problems. TEDDY Come again? RED You heard me. Youre goin back to Texas. Thats fine. Stay there. Dont come back. Ill take good care of Elizabethtown for you. I reckon Ill do a mite better job than you done with it. TEDDY Thats a mighty generous offer, Red. How about this instead? You do what I tell you, and Ill keep both Sarah and the deed. RED The thing is I got plans for this town. Big plans. TEDDY I reckon you do. But heres the thing. I got your number, Red. I dont know how or why, but I know youre responsible for Joseph and Camille gettin killed. (TEDDY pulls gun on RED) So this is what were gonna do. In two days, were gonna mosey on over to the Inferno, and Im takin Sarah. I dont care if I have to hog-tie the damn whore, shes comin with me. Youll take care of Patty and Johnny. And after that, if you know whats good for you, youll get the hell outta my town. Now hand over the deed. RED Yes, sir. RED hands deed over to TEDDY. TEDDY No hard feelins. RED No hard feelins. M ind if I pour me a whiskey? Im thirsty.

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TEDDY Do what you need to. Im sorry it had to come to this, Red. You and mes cut from the same cloth. But I been at this racket a lot longer than you have. (M USIC CUE) And Ive learned a few tricks along the way. DEAL WITH THE DEVIL TEDDY OH... Before TEDDY can react, RED pulls his gun on TEDDY and fires off a shot right between TEDDYs eyes. TEDDY falls to the ground and the music comes to an abrupt end. RED crosses to TEDDY and pulls the deed from TEDDYs dead hand. RED Sombitch. Lights dim and transition music plays as the scene shifts to CAROLINEs room. At rise, CAROLINE is hurrying around her room packing essentials into saddle bags. Her suitcase is on the bed, open, and she starts stuffing money into her saddle bags. CAROLINE stops and pulls herself together. CAROLINE Breathe. Charles knows what hes doing. There is a knock at the door. CAROLINE Just a minute. (M USIC CUE) CAROLINE closes the saddle bags and restores the suitcase to its position under the bed. CAROLINE goes to the door and opens it. THE FLICKERING FLAM E (Orchestral)

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RED stands in the doorway. RED Hello, darlin. I missed you. RED with one deft movement backhands CAROLINE and sends her reeling into the room. RED slowly enters the room, closes the door behind him, and locks it. CAROLINE Baxter, what are you doin here? RED Aint a husband got a right to pay his own wife a visit? CAROLINE Weve not been husband and wife for a long time now. RED Not accordin to the law. CAROLINE When did you ever give a damn about the law? RED You got me there. Got any red eye? Daddy needs a drink. CAROLINE You know I do. RED Pour us up one then. We got a lot of catchin up to do. CAROLINE pours two glasses of whiskey, gives one to RED. CAROLINE I know why youre here, Baxter. And youre wasting your time. I dont have it.

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RED Oh, darlin, I think we both know that aint true. You wouldnt be this far off the beaten path if you didnt still have the money. Why, I have it on good authority that you paid a handsome sum of money to stay here through the end of the month. I reckon those were Camilles words. If I have to be completely honest, I wasnt payin close attention. CAROLINE throws her whiskey in REDs face. RED pulls out a handkerchief and dabs the whiskey dry. CAROLINE Bastard! You had no right to kill Camille! Or the Sheriff. RED You never did have a stomach for the violence. I reckon thats why Is always stuck with finishin the job. CAROLINE If youre finished with your whiskey, Id thank you kindly to leave. RED notices saddle bags flung over the bed. RED Nice saddle bags. Goin somewhere? RED makes a move towards the bed. CAROLINE cuts him off and grabs the saddle bags. CAROLINE Thats none of your damn business! RED I reckon it is. See, as Im the only voice of authority left in this town, I have to look out for wayward citizens like yourself. Youre liable to get yourself in a mess of trouble. CAROLINE Get out. RED I seen the way you and Preacher man carry on. You makin off with him and my money?

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CAROLINE I dont know what youre talkin about. RED Hand over the saddle bags, Caroline. And dont make me ask you twice. You know I dont like repeatin myself. CAROLINE reluctantly hands over the saddle bags. RED opens the bags, finds money and some of CAROLINEs personal belongings. RED pulls out a frilly piece of lingerie. RED Has Preacher man seen you in this get-up? I remember when I bought this for you in St. Louis. Cost me a pretty penny. CAROLINE Just take the money and go. RED Oh, darlin, you know I cant do that. Youve been a bad girl. I cant rightly let you get off without some sort of discipline. Asides, this aint all the money. CAROLINE reaches for the bottle of whiskey. CAROLINE Fine! The rest of its in the suitcase. Take it. I dont want it anymore. I just want to live my own life. I never want to see you again, Baxter. Please. Let me go. RED People what kill together should live out their days together. Youre mine. I cant just up and let you take off with another man. RED closes in on CAROLINE. CAROLINE No! Get away from me! CAROLINE attacks RED with the bottle of whiskey. He manages to dodge and the bottle is broken on his right shoulder.

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He cries out in pain as CAROLINE hurries past him. She fumbles with the lock on the door and cant get it open before RED overtakes her. RED You damn whore! RED backhands CAROLINE and sends her reeling towards the bed. He rushes her and forces her down on the bed. CAROLINE No! Get your hands off me! Stop it! Baxter, stop it! CAROLINE struggles to no avail. RED strangles CAROLINE. She wriggles and fights to get free. RED bears down on her and continues choking her as her hands flail at his face trying to break free. Finally, her body goes limp and her arms fall to the bed. RED breathes heavily as he leaves CAROLINE. He finds the suitcase under the bed and pulls it out. RED finds the rest of the money. He slowly and deliberately fills the saddle bags with the rest of the money and leaves the suitcase on the floor. RED walks to the door, unlocks it, and looks back at CAROLINEs body on the bed as the music comes to an end. RED Sorry, darlin. Thanks for the drink. Transition music plays as the scene shifts. BLACKOUT.

SCENE THREE It is daybreak of the next morning in Elizabethtown. The lights rise on the Inferno. TEDDYs body is hanging from the bar.

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As the scene begins, PATRICK, SARAH, and JOHNNY enter from the Doves Nest. PATRICK M ary mother and Joseph! Johnny, give me a hand! JOHNNY and PATRICK rush to TEDDY whose body is tied to the bar with cords of rope. JOHNNY Hes dead. PATRICK Figure that out all on your own, did you? JOHNNY You think it was Lakota? PATRICK Not likely. Teddy was shot. The Lakota havent used guns. Not yet. SARAH Can I help? PATRICK Go find something to cover the body with. SARAH exits. JOHNNY It aint safe here no more. PATRICK I know. Johnny... JOHNNY I didnt do this. Teddy may have been a weasel, but he deserved better than this. PATRICK I had to ask.

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JOHNNY and PATRICK loosen the cords and lower TEDDYs body to the floor. SARAH enters with a blanket. CHARLES enters from the exterior. CHARLES Patrick, what happened? PATRICK We found him like this. Hes dead. CHARLES How long you think hes been like this? JOHNNY All night? Hes pretty stiff. PATRICK Sarah, love, give me the blanket. SARAH hands PATRICK the blanket. PATRICK covers TEDDYs body with it. CHARLES Do you still want to go through with this? JOHNNY M ore than ever. Sarah, youre safe now. Ill understand if you dont want to marry me. SARAH Shut up, you. M arry us, Father. CHARLES Alright. PATRICK I wish Camille could be with us today. She loved you, Sarah. And you, too, Johnny. I cant tell you how many nights the two of us would talk about your future together. We knew it was love between you before you did. Who did this, Father? Who took her away from me?

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CHARLES Im sorry, Patrick. I know its difficult. Are you up for this? PATRICK You damn well know I am. I wouldnt deprive Sarah and Johnny a fraction of the joy I knew with my Pidge. Do it. Ill be fine. CHARLES Caroline should have been here by now. SARAH Who? CHARLES Phoebe. She was going to be the other witness. Shes late. Ill go see if I can rustle her up. JOHNNY Hurry if you can. The M arshall wants to meet with me this mornin about strategy against the Lakota. CHARLES I bet he does. CHARLES exits. SARAH Are you going to be alright? PATRICK I miss her is all. When we decided to come to America, I never dreamed she would be the first to go. (M USIC CUE) A pool of light rises on CHARLES entering CAROLINEs room. All that follows is silent. CHARLES finds CAROLINEs lifeless body. He cradles her in his arms as the music swells. M Y LOVE, DEPARTED

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PATRICK WHY NOT BLOT OUT THE SUN? WHY TURN THE NIGHT TO DAY WHEN THE ONE I HAVE KNOWN FROM THE TIM E I LEARNED HOW TO LOVE WENT AWAY? WHY TAKE ANOTHER BREATH? WHY TAKE ANOTHERS LIFE WHEN THE PAIN THAT IT CAUSES CAN CUT YOU IN PIECES LIKE A KNIFE? M Y LOVE, DEPARTED, M Y HEART YEARNS FOR YOU. AND I WILL TRY TO GO ON THOUGH I DONT WANT TO. M Y LOVE, DEPARTED, I WOULD STOP THE WORLD AND THEN ID BUILD IT AGAIN WITH YOU BESIDE M E... Lights fade on the Inferno as CHARLES sings. CHARLES GOD, GRANT HER TO YOUR CARE. GOD, PLEASE SAFEGUARD HER SOUL. THOUGH I THOUGHT I WAS FAR FROM THE SAVIORS GRACE, THROUGH HER LOVE, I WAS WHOLE. GOD, M AKE YOUR JUDGM ENT SWIFT. GOD, GUIDE M E THROUGH THIS FIGHT. M AY THE GUILTY BE PUNISHED. JUST STRIKE THEM DOWN WITH ALL YOUR M IGHT. Lights rise on PATRICK and he joins CHARLES in song.

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CHARLES/PATRICK M Y LOVE, DEPARTED, M Y HEART YEARNS FOR YOU. AND I WILL TRY TO GO ON THOUGH I DONT WANT TO. M Y LOVE, DEPARTED, I WOULD STOP THE WORLD AND THEN ID BUILD IT AGAIN WITH YOU BESIDE M E STILL. Lights fade on the Inferno and CAROLINEs room as transition music plays. When the lights rise, it is evening of the same day. CAROLINEs room has been removed and only the Inferno remains. TEDDYs body is gone. At rise, PATRICK is behind the bar, and JOHNNY and SARAH are seated on stools along the bar. PATRICK What time is it? JOHNNY What difference does it make what time it is? Sorry. PATRICK Its alright. Were all tense. Can I get you a drink? JOHNNY Naw. I dont reckon it would do me any good now. Sarah, are you sure you didnt see Father Austin come down? SARAH I promise. He never came back down with M iss Phoebe. JOHNNY That just dont make sense. What is he doin holed up in M iss Phoebes room all day? SARAH He is a man, Johnny. And Phoebes very lovely. JOHNNY Dont be silly. Hes a priest. He probably wouldnt know where to put it. PATRICK swats JOHNNY with his drying towel. RED enters the Inferno.

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RED Awful quiet in here. Patrick. PATRICK M arshall. Whiskey? RED Yeah. Im thirsty. PATRICK pours RED a whiskey and slides it over to him. JOHNNY Whats the plan, M arshall? When are we gonna attack the Lakota? RED We aint. JOHNNY What do you mean we aint gonna attack. They killed the Sheriff! PATRICK And Camille! SARAH And Teddy. You were saying? RED Yeah, I reckon you aint sheddin no tears on account of Teddy. (Downs his whiskey) What if I was to tell you that the Lakota wasnt responsible for any of the killins? PATRICK What are you getting at, M arshall? RED Last night I found out Teddy was behind all the killins. He was plannin on leavin Elizabethtown with all the money and Sarah to boot. The Sheriff mustve found out, so Teddy had him knocked off. Same with Camille as far as I know. She had access to all the wire communications. JOHNNY Teddy did say he was gonna head back to Texas.

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PATRICK And he was pretty insistent on getting all the money he could out of us. SARAH But if the Lakota didnt kill Teddy, who did? RED I did. SARAH and JOHNNY back away from RED. JOHNNY M arshall, whyd you kill him? If Teddy was responsible, you shouldve brought him to justice. RED Justice? The only justice we get out here is what we make for ourselfs! I had a shot, and I took it. Hed just asoon see me on the ground instead of him. JOHNNY It wasnt right. Sheriff Bailey wouldnt have killed him. RED Boy, you are thick. You dont know what sorta people you got livin in town with you! Workin with you! Bossin you round like theyre so superior! Well, I tell you what. You might not like the way I run things, but at least Im up front about it. So listen good. I got the deed to Elizabethtown from Teddy afore he died. And theres gonna be some changes round here. PATRICK goes for his rifle behind the bar. RED levels his own gun at PATRICK. RED Dont even try it, Patrick! Youll be on the ground afore you cock the rifle. PATRICK lowers the rifle. CHARLES enters from the Doves Nest. CHARLES Dont listen to a word he tells you. Hes lying. All of it.

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SARAH Father Austin, where is Phoebe? CHARLES Shes dead. (Indicates RED) He killed her! RED M ighty bold words. I reckon you got proof to back that up? JOHNNY Father, the M arshall just told us that Teddy was responsible for all the killings. M aybe he killed Phoebe, too. CHARLES Johnny, that man is no M arshall. His name is Baxter Shaw. Hes a con man and a murderer. And he killed them all. Joseph. Camille. Phoebe. And Teddy. Their blood is on his hands. RED raises his gun at CHARLES. RED I heard about all I want outta you, Preacher man. I think its time you join your whore. Before RED can get off a shot, CHARLES pulls his own gun and shoots the gun out of REDs hand. RED Goddammit, you shot my hand, you bastard! CHARLES Johnny, grab his gun! Dazed, JOHNNY doesnt react quickly enough. SARAH goes to retrieve the gun. RED grabs SARAH and with his wounded hands pulls a blade from his belt and holds it against SARAHs neck. SARAH Johnny! Help me!

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JOHNNY Sarah! You let go of her! (M USIC CUE) PATRICK grabs his rifle and comes out from behind the bar and aims it at RED. JOHNNY and CHARLES both have their guns trained on RED. THE DUEL (Orchestral) RED I didnt see that comin, Preacher man. Where you learn to shoot like that? CHARLES I told you my father was a lawman. He taught me everything he knew. RED Johnny, if you aim to have your sweetheart walk away from this alive, I reckon you better grab the Preacher mans gun and bring it to me. CHARLES Let her go, Baxter. This is between you and me. RED Except theres three guns aimed at me right now. Hardly seems like a fair fight. PATRICK raises his rifle above his head and slowly lowers it to rest on the bar. PATRICK I dont care who you are or what you want. Let my sister go, and Ill give you everything I have. RED You aint got nothin I want. Just give me my damn gun. PATRICK retrieves REDs gun from the floor and hands it to him. PATRICK Youve got your gun. Now please. Let her go.

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RED In a minute. RED fires off a shot at PATRICK. It nails him in the shoulder and he goes down. JOHNNY and CHARLES move in closer. RED Get the hell back! Ill empty her innards all over the floor iffin you come any closer! CHARLES Youre a coward, Baxter. Whatre you going to do? Kill everyone in the town? RED No. Just you. RED pushes SARAH out of the way and opens fire. JOHNNY dives to SARAHs defense and covers her. CHARLES gets off a shot or two. Neither of their shots make contact. CHARLES uses a table as a barricade and RED takes cover behind the bar. JOHNNY and SARAH pull PATRICK to safety. CHARLES Come on out, Baxter. Its just you and me. Last man standing. RED You first. CHARLES emerges from behind the table. RED comes out from behind the bar. They take positions across from each other. CHARLES Alright, Baxter. Draw. RED and CHARLES draw their guns and fire at the same time. Theyre both out of bullets. RED Goddammit.

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RED dives for PATRICKs rifle. CHARLES Johnny! Your gun! JOHNNY tosses CHARLES his gun. RED and CHARLES fire simultaneously. RED is shot in the chest several times and CHARLES is shot in the gut. RED slumps over dead at the bar and CHARLES falls to the ground. PATRICK, JOHNNY and SARAH go to check on him as the music ends. They surround him on the floor and PATRICK supports CHARLES in his arms. PATRICK Father? Charles, can you hear me? CHARLES comes to. CHARLES Are you safe? Is Baxter...? JOHNNY Hes dead, Father. You got him good. CHARLES Im sorry. PATRICK For what? CHARLES Everything. Take care of each other. CHARLES loses consciousness. PATRICK Father? Charles. Charles, wake up. Its going to be alright. Johnny will fetch the doctor. Just hang on! SARAH Hes gone, Patrick.

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PATRICK lowers CHARLES to the floor with reverent care. The three survey the bodies and look to each other in disbelief. JOHNNY What happens now? (M USIC CUE) PATRICK What happens at the end of every nightmare? You wake up. You start over. Thats what well do. Elizabethtown. Shes ours now. And hopefully well get it right this time. IN SEARCH OF A NEW LIFE (REPRISE) PATRICK WHEN YOU SAY GOODBYE TO LOVED ONES, LAY THEIR M EM ORIES TO REST. YOU M UST FORGE AHEAD UNFETTERED. EACH NEW DAY HOLDS ITS OWN TEST. ITS NOT EASY. YOU WILL STUM BLE. BUT YOULL LEARN EACH TIM E YOU FAIL. THERE ARE THINGS ON EARTH WORTH FIGHTING FOR. DONT STOP TIL YOU PREVAIL! IN SEARCH OF A NEW LIFE, IN SEARCH OF A JOY YOU CANT M ISS. DONT SETTLE FOR ANYTHING SHORT OF THE GOAL THAT WILL LEAD TO BLISS. LOOK PAST THE HORIZON. LOOK PAST THE DEFEATS THAT YOUVE KNOWN, AND M ARCH TWARDS THE LIGHT AT THE END OF THE PATH. YOU ARE NOT ALONE. WHEN PEOPLE DEM EAN YOU, JUST KEEP YOUR HEAD HIGH. SHAKE OFF ALL FOREBODING AND REACH TO THE SKY! IN SEARCH OF A NEW LIFE...

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As PATRICK completed the chorus, the entire COM PANY comes from various parts of the stage to join a final chorus. ALL IN SEARCH OF A NEW LIFE, IN SEARCH OF A JOY YOU CANT M ISS. DONT SETTLE FOR ANYTHING SHORT OF THE GOAL THAT WILL LEAD TO BLISS. LOOK PAST THE HORIZON. LOOK PAST THE DEFEATS THAT YOUVE KNOWN, AND M ARCH TWARDS THE LIGHT AT THE END OF THE PATH. YOU ARE NOT ALONE. WHEN PEOPLE DEM EAN YOU, JUST KEEP YOUR HEAD HIGH. SHAKE OFF ALL FOREBODING AND REACH TO THE SKY! IN SEARCH OF A NEW LIFE! BLACKOUT. END OF ACT TWO.