Susannah

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Susannah Libretto

Carlisle Floyd (b. 1926)

Susannah

Opera in Two Acts

Music and libretto by Carlisle Floyd

Premiered 24 February 1955 in Ruby Diamond Auditorium at Florida State University

Susannah........... Susan Hellman Spatafora, Soprano

Olin Blitch...............Todd Donovan, Baritone

Little Bat................ Scott Wichael, Tenor

Sam.................Anthony Wright Webb, Tenor

Elder McLean................ Brian Wehrle, Bass

Elder Ott..........Benjamin Bloomfield, Bass-baritone

Elder Hayes............... Stanley Wilson, Tenor

Elder Gleaton...............Fred Frabotta, Tenor

Mrs. McLean...........Melissa Misener, Mezzo-soprano

Mrs. Ott.............Robyn Rocklein, Mezzo-soprano

Mrs. Hayes............... Stefanie Izzo, Soprano

Mrs. Gleaton............ Aleksandra Ritums, Soprano

SYSTEMACT ONE

SYSTEMSCENE 1

CHAPTER 1 – OVERTUREMelissa Misener, Mezzo-soprano Robyn Rocklein, Mezzo-soprano......... Stefanie Izzo, Soprano... Aleksandra Ritums, Soprano

SYSTEMScene: New Hope Valley in the mountains of Tennessee. It is a Monday night in mid-July, and a square dance is in progress in the yard of New Hope Church. A fiddler and caller are in the background, and downstage are the participants in the dance, the people of the community as on-lookers, the Elders and their wives. At the curtain's rise, the dance is underway. Susannah, a young girl of uncommon beauty, is conspicuous in the group by virtue of a brightly-colored dress and the gravitation of men to her square. Her face is flushed with high spirits and excitement, and she is unaware of the eyes upon her. It is early evening, and oil lanterns, hanging from trees, have been lit.

CHAPTER 2 –MRS. GLEATON: It's a hot night for dancin',

CHAPTER 2 –Ain't no breeze a-stirrin'. Them trees ain't moved all day.

CHAPTER 2 –MRS. HAYES, MRS. MCLEAN, MRS. OTT: It shore be still. It shore be still.

CHAPTER 2 –MRS. OTT: It's just like before a cloud-burst,

CHAPTER 2 –When it smells like rain an' the air be's heavy,

CHAPTER 2 –But it ain't like that tonight.

CHAPTER 2 –It's just dry and hot and still.

CHAPTER 2 –MRS. HAYES, MRS. GLEATON, MRS. OTT: It shore is, it shore is. MRS. HAYES: Seems like it's always this way at meetin' time.

CHAPTER 2 –MRS. GLEATON AND MRS. OTT: Don't it now.

CHAPTER 2 –MRS. MCLEAN: Seems like the Lord is bendin'

CHAPTER 2 –Sinners to his will,

CHAPTER 2 –Like smokin' a fox out'n his hole.

CHAPTER 2 –The Lord sends the rain

CHAPTER 2 –On the just an' unjust,

CHAPTER 2 –Jes' like the Good Book says.

MRS. HAYESAnd us as is saved has got to suffer.

MRS. HAYESMRS. McLEAN

MRS. HAYESHear tell the preacher what's comin'

MRS. HAYESIs one what can do just that:

MRS. HAYESCan bring sinners to repentance

MRS. HAYESLike none we ever had.

MRS. HAYESMRs. HAYES, MRS. GLEATON, MRS. OTT

MRS. HAYESThey say he shore hates sin.

MRS. MCLEANThey's plenty in this valley

MRS. MCLEANAnd I'm prayin' fer a rich harvest.

MRS. MCLEANThey's many a lost and wand'rin' soul

MRS. MCLEANThat's gotta be brought to the light.

MRS. MCLEANI hope Olin Blitch can smoke 'em out.

MRS. MCLEANI aim to do my part.

MRS. OTTLet's pray fer a real good meetin'

MRS. OTTWhere lots of lost souls shall be found.

A moment's pause while the women watch the dance. By this time, Gleaton, Hayes and Ott have attempted unsuccessfully to get into Susannah 's square. Seeing the efforts of the others, McLean can resist no longer.

ELDER MCLEANI think I'll step a few.

Looking up sharply

MRS. MCLEANY' got a puny heart, Bat.

ELDER MCLEANI won't be gone but a minute.

After a moment

MRS. HAYESSusannah looks mighty pretty tonight.

MRS. HAYESIt's a shame her ma cain't see her.

MRS. MCLEANIt's a blessin', you mean.

The three wives look at Mrs. McLean in sudden surprise. Then slowly they turn to observe Susannah. By the end of Mrs. McLean's outburst, they are nodding their heads in assent.

MRS. MCLEANShe's a shameless girl, she is.

MRS. MCLEANShowin' herself to all the men.

Look at her throwin' her head back

And look at the cut of her dress,

MRS. MCLEANBut what could you expect but a wench of a girl

MRS. MCLEANWho was raised by a drunken brother?

That pretty a face must hide some evil.

MRS. MCLEANThey's evil in that one, you'll see.

MRS. MCLEANShe's a shameless wench, Susannah is,

MRS. MCLEANAnd it's a blessin' her ma cain't see her.

MRS. HAYESIt's a blessin' her ma cain't see her.

There enters upstage, at first unobserved by the dancers, a tall, powerfully built man in a plaid shirt and ten-gallon hat. The people become aware of his presence gradually, the music dies out, and the dancers cease dancing. The Elders group together and move to the stranger stiffly.

MCLEANHow are y' called, stranger?

BLITCHI am the Reverend Olin Blitch.

At Blitch 's announcement of his identity, there is a general stir of voices "Olin Blitch, the meetin' preacher. Well, I do know," etc.

BLITCHAnd I've come to New Hope Valley

BLITCHTo cast out devils and conquer sin And bring sinners to repentance. To bring the Word of the Lord

BLITCHAnd the power of His judgments. O, I am the Reverend Olin Blitch And I've come to New Hope Valley. MCLEAN

Speaking

BLITCHBut we expected y'here tomorrow. BLITCH

Speaking

BLITCHI always come a day early

BLITCHFer thinkin', an' prayin', an' fastin'.

BLITCHMcLEAN We're glad to have y', brother,

BLITCHAn' you've come in the name of the Lord.

BLITCHThis here's Brother Hayes, Brother Gleaton an' Brother Ott.

BLITCHWe're the Elders of this church.

Blitch shakes hands with each in turn.

BLITCHHAYES You're welcome among us.

BLITCHBLITCH Amen.

BLITCHOTT Let's pray yer visit's gonna bless us.

BLITCHBLITCH Amen.

BLITCHGLEATON We're prayin' fer a rich harvest of souls.

BLITCHAmen. And I'm proud to be in your midst, my friends,

BLITCHAnd let's pray that the lost shall be found,

BLITCHTo be washed in the blood, that cleansin' stream,

BLITCHO, let's pray that the lost shall be found.

Overlapping

WOMENHe is the Reverend Olin Blitch

WOMENAnd he's come to New Hope Valley

WOMENTo cast out devils and conquer sin

WOMENAnd bring sinners to repentance.

WOMENTo bring the Word of the Lord

WOMENAnd the power of His judgments.

WOMENO, he is the Reverend Olin Blitch

WOMENAnd he's come to New Hope Valley.

MENOlin Blitch has come to New Hope Valley,

MENLord be praised!

MENOh yes, Olin Blitch has come to New Hope Valley,

MENLord be praised!

BLITCHI am the Reverend Olin Blitch

BLITCHAnd I've come to New Hope Valley

BLITCHTo cast out devils and conquer sin

BLITCHAnd bring sinners to repentance,

BLITCHTo bring the Word of the Lord

BLITCHAnd the power of His judgments.

BLITCHO, I am the Reverend Olin Blitch

BLITCHAnd I've come to New Hope Valley.

To dancers, immediately assuming role of moral arbiter for the community

BLITCHNow resume your steppin'

BLITCHUnder the eye of the Lord

BLITCHAnd let nothin' pass between y',

BLITCHWhat y' wouldn't want Him to see,

BLITCHFor the Lord seeth all.

The music and the dancing begin again. The Elders bring Blitch down stage to the wives, and there are pantomimed introductions and handshakings after which they all turn to watch the dancing. Susannah is once more the center of attention.

After a moment in which he has watched Susannah intently

BLITCHWho's the pretty one there in the middle

BLITCHThat's gittin' all the boys?

BLITCHMcLEAN

BLITCHSusannah Polk, who was raised by her brother

What don't draw a sober breath.

BLITCHHe's a triflin' one, that Sam is.

Sam Polk, that's the name he was give.

BLITCHHe just hunts an' traps an' fishes all day An' is allers drunk at night.

BLITCHLet's pray for his soul an' his sister's.

BLITCHI'll pray for 'em both tonight. GLEATON

BLITCHThey're pore as chitlins, them two, Bare able to live, that's all.

BLITCHMRS. McLEAN

Sharply, to counteract any sympathy

BLITCHSusannah an' Sam is evil, I say.

BLITCHThey's bad blood in that family.

BLITCHIt's too pretty a face an' wicked them eyes,

BLITCHShe'll come to no good, mark my words.

BLITCHI'll pray fer her soul tonight,

After watching a while longer

BLITCHThink I'll join the young folks.

BLITCHAin't danced in quite a spell.

OTTThey'd be pleased to have y', I'm sure.

Blitch goes into the group and eventually makes his way to Susannah 's square. The dancers in her square stop, stare, and Susannah 's partner eagerly gives his place to Blitch. Susannah is shy, then as Blitch extends his hand, she smiles, and the square begins dancing again.

Ruefully

MRS. MCLEANShe'll come to no good; mark my words.

SYSTEMSCENE TWO

SYSTEMScene: Later the same evening.

The scene is the front of the Polk farm house which possesses a rickety porch and steps. There are unpainted porch boxes of geraniums and petunias and tattered curtains in the windows. There are also an old rocker and a rusty plow point on the porch. The stage is dimly lit and quietness should pervade the scene.

Susannah and Little Bat enter. Susannah is still radiant with excitement. Little Bat is a shifty-eyed youth, not too strong mentally. He possesses instead a litheness and feline quality of movement which, coupled with his eyes, gives him a constantly expectant and alert air. He looks about him furtively upon entering. It should be apparent from the beginning of the scene that he worships Susannah.

SUSANNAHCHAPTER 3 – Was y' ever at such a nice square dance, Little Bat?

SUSANNAHI ain't never had such fun, have you?

SUSANNAHI danced an' danced 'til I was plum' wore out.

SUSANNAHI couldn'a' danced another step.

LITTLE BAT(Suddenly, after silently agreeing with Susannah's enthusiasm) Where's Sam?

SUSANNAHHe ain't home yet, or he's gone to bed.

LITTLE BATI'm scared o' Sam.

Puzzled but kindly

SUSANNAHWhy? Why you scared o' him?

LITTLE BATHe gits drunk. That's what my folks say.

SUSANNAHHe don't never hurt nobody,

SUSANNAHAn' he's awful good to me.

LITTLE BATI'm scared o' him all the same.

LITTLE BATMy folks don't like me comin' here.

LITTLE BATThey scared o' what Sam might do.

LITTLE BATMy ma says they's bad blood in yo' family

But I like to look at you.

SUSANNAHNo need to be afraid, Little Bat.

SUSANNAHNo harm's gonna come to y' here.

Brightening

LITTLE BATYou're awful pretty tonight, Susannah.

LITTLE BATYou was pretty at the square dance tonight.

LITTLE BATAll them men was shore a-courtin' you;

LITTLE BATI seed 'em, ev'ry one.

Pleased

SUSANNAHPshaw! Won't nothin' of the kind.

SUSANNAHYou're storyin' agin, that's what.

LITTLE BATThe preacher he come to yer square, I seed,

LITTLE BATAn' you's a mite pleased; I'd say;

SUSANNAHHe seems like a real nice feller,

SUSANNAH'Though he ain't much at dancin' fer true

SUSANNAHHe stepped on my feet so much o' the time,

They're bound to turn black an' blue.

(They both laugh, and then there is a pause while Susannah looks up into the

SUSANNAHnight.)

SUSANNAHAin't it a pretty night!

SUSANNAHThe sky's so dark and velvet-like And it's all lit up with stars.

It's like a great big mirror Reflectin' fireflies over a pond. Look at all them stars, Little Bat.

SUSANNAHThe longer y' look the more y' see.

SUSANNAHThe sky seems so heavy with stars

That it might fall right down out of heaven And cover us all up in one big blanket

SUSANNAHOf velvet stitched with diamon's.

SUSANNAHAin't it a pretty night.

SUSANNAHJust think, those stars can all peep down An' see way beyond where we can

SUSANNAHThey can see way beyond them mountains To Nashville and Asheville an' Knoxville.

SUSANNAHI wonder what it's like out there,

SUSANNAHOut there beyond them mountains

SUSANNAHWhere the folks talk nice, an' the folks dress nice Like y' see in the mail-order catalogs.

I aim to leave this valley some day An' find out fer myself

SUSANNAHTo see all the tall buildin's

SUSANNAHAnd all the street lights

SUSANNAHAn' to be one o' them folks myself.

SUSANNAHI wonder if I'd get lonesome fer the valley though, Fer the sound of crickets

SUSANNAHAn' the smell of pine straw

SUSANNAHFer soft little rabbits an' bloomin' things

An' the mountains turnin' gold in the fall.

SUSANNAHBut I could always come back

SUSANNAHIf I got homesick fer the valley.

So I'll leave it someday an' see fer myself. Someday I'll leave an' then I'll come back

SUSANNAHWhen I've seen what's beyond them mountains.

SUSANNAHAin't it a pretty night.

The sky's so heavy with stars tonight That it could fall right down out of heaven An' cover us up, and cover us up,

SUSANNAHIn one big blanket of velvet and diamon's.

Sam has come on unobserved during Susannah 's aria. At the end of it, he says in echo to announce himself, "Ain't it a pretty night?" At the sound of his voice Susannah looks up, surprised, while Little Bat leaps to his feet, ready for instant departure. It should be immediately apparent that the bond between the brother and sister is one of loyalty, warmth and tenderness. Sam, the uncomprehended poet and recluse, is gentle by nature and tragically passive, until the one thing of beauty left in his life is attacked. He has the same dark good looks as his sister and is in his thirties.

SAMAin't it a pretty night.

SUSANNAHSam! When did y' come?

To Little Bat who is edging off-stage

SUSANNAHSee y' tomorrow night at the picnic supper.

SUSANNAHThanks fer walkin' me home, Little Bat!

Little Bat nods quickly and runs off.

SAMHow was the square dance, little robin?

In a rush of excitement

SUSANNAHI had a real good time, Sam, a real good time.

SUSANNAHI danced an' danced 'til I was plum' wore out.

SUSANNAHI couldn'a' danced another step.

SUSANNAHAn' the meetin' preacher was there

SUSANNAHAn' he come an' danced with me

SUSANNAHAn' so did the Elders.

SUSANNAHAn' the Elders' wives all give me hard looks,

SUSANNAHBut I had a good time all the same.

Teasing

SAMAny of 'em court y'?

SUSANNAHCourse not, Sam, I ain't old enough fer that yet.

SAMSure you are, little robin,

SAMYou're goin' on nineteen.

SAMPretty soon you'll be an old maid.

SUSANNAHI ain't a-gone git married fer a long time yet.

SUSANNAHI'm gonna stay here an' cook fer you.

SAMYou're a pretty wench

SAMAn' I'm proud to have y' here,

SAMAn' I'm right proud to eat your cookin'.

Sam rises and stretches.

SUSANNAHDon't go to bed right yet, Sam.

SUSANNAHSing me the "Jaybird" song first.

SUSANNAHRemember how Pa used to always sing me "Jaybird" Afore I'd go to bed.

SUSANNAHYou ain't sung it fer me in a long time now,

SUSANNAHAn' it always makes me feel real happy.

(Sam sits down and puts his arm around her shoulders.) SAM

SUSANNAHAll right, I'll sing y' "Jaybird",

SUSANNAHAn' then we gotta git to bed.

SUSANNAH"Oh, jaybird sittin' on a hick'ry limb,

SUSANNAHHe winked at me and I winked at him.

SUSANNAHI picked up a brickbat

SUSANNAHAn' hit him on the chin.

SUSANNAH'Looka here, little boy, don't you do that agin!' " SUSANNAH AND SAM

SUSANNAH"Oh, jaybird sittin' on a hick'ry limb,

SUSANNAHHe winked at me -and I winked at him.

SUSANNAHI picked up a brickbat

SUSANNAHAn' hit him on the chin.

SUSANNAH'Looka here, little boy, don't you do that agin!' "

Susannah and Sam leap to their feet and, holding each other by the hands, dance around the yard together, laughing and shrieking happily as they do so. Then laughing and breathing heavily from their exertion, they stagger to the steps and sit down. Their breathing is easier, and there is silence while they look up at the sky.

Sighing deeply

SUSANNAHAin't it a pretty night.

SYSTEMSCENE THREE

SYSTEMScene: A woods close to the Polk place. It is the following morning. (As the curtain rises, Susannah 's voice is heard off-stage, humming the "Jaybird" song. There is also the less pronounced sound of water rushing over rocks. After some time, the Elders appear. They walk hesitantly, peering about them, obviously in search of something.) HAYES

SUSANNAHCHAPTER 4 – That crick oughta' be right about here. OTT

SUSANNAHI ain't see'd it fer some years now.

GLEATONI recollect it was on the old Polk place. It may be dried up by now. Like the

GLEATONone we used fer baptisms last summer.

OTTWe got to find it. Brother Blitch'll be needin' a baptism crick by sundown

OTTcome tomorrow. I mark him as a man what can bring in sinners. An' there's got

OTTto be a crick all ready.

OTTMcLEAN

OTTIt'll be sum'mers around here.

OTT(The Elders continue their search until Hayes suddenly looking up, shouts, "There it is!" His voice breaks off abruptly, and the other Elders look up and follow the direction of his raised arm. They all stand footed in their tracks for some time, expressions of shock on their faces being gradually supplanted by those of lust. Eventually McLean shutters the moment when he realizes what he is feeling and doing, and draws himself up indignantly. At the sound of his voice, the other Elders, horrified and deeply disturbed, too, at what they have felt, quickly adopt his outraged tone and stance. They continue to look, however.) McLEAN

OTTIt's an outrage! It's a blasphemous outrage!

OTTNaked as from her dead ma's womb!

GLEATONIt's a shameful sight to behold!

GLEATONMcLEAN

GLEATONShe's a shameless wench, this Susannah is. My wife allers said she was evil.

GLEATONAn' she was right, my brethren, She was mighty right. This girl, she belongs

GLEATONto the devil!

HAYESExposin' herself in plain view of all who care to see.

OTTThe church won't stand fer a thing like this.

OTTOur people, they must be told.

GLEATONShe must be brought to punishment.

GLEATONBrother Blitch, he must be told.

GLEATONMcLEAN

GLEATONThis woman is of the devil.

GLEATONShe is without the saving grace.

GLEATONShe must be brought to repentance

GLEATONAfore she meets God face to face.

GLEATONThis woman is of the devil.

GLEATON'Tis a shameful sight to behold.

GLEATONShe must be brought to repentance.

GLEATONAll the valley must be told.

The Elders begin retreating slowly, casting furtive glances in the direction of the pond. They chant as they leave the stage, their voices gradually fading into the distance until they are gone. When the stage is silent, we hear again the unsuspecting Susannah singing merrily to herself.

offstage

SUSANNAH"'Look a-here, little boy, don't you do that again!'"

She laughs.

SYSTEMSCENE FOUR

SYSTEMScene: The time is the same evening: The scene the same as in Scene 1. Now, however, there is a long crude table upstage laden with food. (Several women are at the table languidly keeping the flies away with fans made of paper streamers tacked to broom handles. There are people in knots of twos and threes pantomiming intense gossiping at the curtain's rise. There is a frail attempt at conviviality on the part of the young people who are oppressed by the hushed and foreboding atmosphere of the church ground.)

SUSANNAHMRS. McLEAN

Smug and gloating

SUSANNAHCHAPTER 5 – I ain't surprised.

SUSANNAHI ain't a bit surprised.

SUSANNAHIt's jest as I was sayin' last night.

SUSANNAH'Cept she was caught afore I'd a-thought.

SUSANNAHIt jes' goes to prove I was right.

MRS. HAYESYou was righter than right, that's certain.

MRS. HAYES'Twas a scandalous thing to do.

MRS. HAYESShe's a wicked girl an' a threat to the valley.

MRS. HAYESI'll bound she's evil through and through.

MRS. OTTShe shore cain't tend to my young-uns no more.

MRS. OTTShe ain't fittin' fer the job

MRS. OTTAny girl what'll do what she done,

MRS. OTTWell, it's a sad thing to think upon.

MRS. GLEATONShe always seemed such a sweet girl

MRS. GLEATONAn' pleasin' to have around.

MRS. GLEATONIt's a hard, hard thing to realize how naked she was found.

MRS. GLEATONMRS. McLEAN

Sharply

MRS. GLEATONThat's the cloak of the devil, that is, that sweetness and pretty face. Don't let that fool you, sistern.

MRS. GLEATONIt's just the devil's way.

MRS. GLEATON(The scene shifts to the Elders while the wives continue to pantomime their

MRS. GLEATONtalking. Several men from the crowd have gathered around them.) FIRST MAN

MRS. GLEATONAin't the preacher comin' tonight?

MRS. GLEATONMcLEAN

MRS. GLEATONHe's a-prayin' an' a-fastin'. Preachin' starts tonight

SECOND MANWhat's he say 'bout the Polk gal?

HAYESThe same as what we said.

HAYESShe's gotta make a public confession or out o' the church she goes. OTT

HAYESAn' outn the valley, too, maybe.

HAYESShe's a schemin' one, she is.

HAYESYoung men ain't safe with her around.

HAYESShe's an instrument of the devil.

GLEATONThe preacher's at Brother McLean's house now

GLEATONa-prayin' that her soul might be saved,

That she'll turn aside from her evil ways

GLEATONAn' be washed in the cleansin' stream.

During McLean's lines, Susannah comes in quietly upstage carrying a covered dish. She is unobserved at first, and then as she starts downstage, the conversation dies out as the various groups become aware of her presence.

GLEATONMcLEAN

GLEATONShe's a pow'rful one, this Susannah Polk,

GLEATONMy son she's lured away.

GLEATONFrom all the things that he's been teached.

GLEATONFer that she's gonna have to pay.

GLEATON(By this time, Susannah has come downstage abreast of the Elders' wives, nodding "good evening" on her way. The people have returned her greetings in some cases with fear and distrust and in others with lofty disdain. Susannah's expression has changed from one of easy cordiality to alert questioning. Superficially, however, she remains warm and friendly).

SUSANNAHHowdy. I'm sorry to be late

SUSANNAHBut Sam came home from huntin’ awful late

SUSANNAHAn' I jes' couldn't git away no sooner.

The women nod stiffly without looking up. There is total silence on the stage with all eyes on Susannah. Susannah, embarrassed, attempts more conversation, constantly growing more uneasy under the steady scrutiny of the circle of eyes.

SUSANNAHI brought a dish o' field peas.

SUSANNAHI picked an' shelled em this evenin'

SUSANNAHAn' cooked 'em jest a bit ago.

Still no response. She smiles only with her mouth now, faint flickers of smiles that hardly move her lips. Her eyes show only bewilderment and intense discomfort.

SUSANNAHI'll jes' sit 'em down over here if that's all right. I hope y' enjoy 'em.

She sets the dish down on the table, and as she turns around she is caught in her motion by the stern voice of McLean.

MCLEANSusannah, you ain't welcome here.

Susannah turns around slowly, looking hopefully from face to face, and in seeing no warmth in any of them, she brings her hand lightly up to her throat, and smiling weakly begins backing upstage. She says "excuse me" several times as she backs away, and then at the edge of the stage she clamps her fist over her mouth and runs. When she is gone, there is a long moment of strained silence, finally shattered by the clipped, strident voice of Mrs. McLean.

MCLEANMRS. McLEAN

MCLEANI wouldn't tech them peas o' her'n.

SYSTEMSCENE FIVE

SYSTEMScene: A half hour later.

Susannah is seated on the front steps of the Polk house as in Scene Two, her face in her hands. After a moment, Little Bat stealthily creeps in from stage right, craning his neck to see if Susannah is alone. She becomes aware of him suddenly and when she does, she leaps to her feet.

SUSANNAHCHAPTER 6 – Little Bat, what you doin' here?

LITTLE BATIs Sam here?

SUSANNAHHe's inside asleep.

Trembling with excitement

LITTLE BATI had to come tell y', Susannah.

SUSANNAHTell me what?

LITTLE BATI jes' had to come tell y'.

SUSANNAHTell me what?

SUSANNAHOh, you was there tonight.

SUSANNAH(He nods. She goes to him quickly and takes him by the shoulders.) What is it, Little Bat?

SUSANNAHWhat have I done?

With a certain mysterious relish.

LITTLE BATMy pa an' the other Elders,

LITTLE BATThey seen you bathin' this mornin',

LITTLE BATA-bathin' without a stitch on

LITTLE BATAn' exposin' y'-self without no shame. They gonna git y' fer doin' that.

LITTLE BATAn' they're gone run you out'n the church An' maybe the valley, too.

LITTLE BATThey say the--

SUSANNAHWhat do you mean "they seen me bathin'"?

LITTLE BATThey was lookin' fer a baptism crick

LITTLE BATAn' they found it, only you was in it,

LITTLE BATA-bathin', naked as a jay-bird.

LITTLE BATThey say it were a shameful sight.

SUSANNAHBut I been bathin' there all spring.

SUSANNAHThey ain't had a right to come aspyin'.

SUSANNAH'Twon't no harm in what I done.

SUSANNAHI been bathin' there all spring, Little Bat.

Unheeding

LITTLE BATThey told the meetin' preacher

LITTLE BATAn' he's prayed fer yer soul all day.

LITTLE BATThey told all the church folks, I reckon,

LITTLE BATAn' the whole valley know, so they say.

SUSANNAHWhy, Little Bat? Why?

SUSANNAHI ain't done nothin', I ain't.

LITTLE BATThey say they ain't a feller in these parts

LITTLE BATWhat's safe with you around.

LITTLE BATThey say y' let 'em love you up all they want,

LITTLE BATAn' then send their souls to hell.

LITTLE BATThey say you've got the devil in ya'

LITTLE BATThey say they've known it fer a long time now.

LITTLE BATThey say that you're an evil gal, you are,

LITTLE BATAn' that you're boun' to get yer due.

SUSANNAH"They say. They say." Who's "they"?

LITTLE BATEverybody!

(Susannah turns her back to Little Bat, and putting her hands over her face, she shudders visibly. Little Bat who has been wildly gesticulating and boring in, suddenly slinks away, watching Susannah carefully.) They's more what you don't know.

Susannah has raised her head at the ominous sound of his words, and turning, she looks at him squarely. He cowers, and his entire attitude suggests duplicity and guilt. He moves away from her, and she stalks him.

SUSANNAHWhat is it, Little Bat?

SUSANNAHWhat don't I know?

Terror covers his face. Susannah continues to move toward him, and then Little Bat breaks, screaming and wringing his hands.

LITTLE BATThey made me say it! I swear they did!

LITTLE BATMy ma she scairt me an' pa did, too,

LITTLE BATAn' it was right in front o' the preacher

LITTLE BATAn' I was scairt, plum' scairt to death!

Shouting and still moving toward him

SUSANNAHWhat did they make you say, Little Bat?

SUSANNAHTell me, what did you say?

LITTLE BATThey made me say it, I swear they did!

LITTLE BATI was plum' scairt to death!

She lunges at him and shakes him fiercely by the shoulders.

SUSANNAHTell me what did you say? Tell me! Tell me!

With an almost luxurious abandon

LITTLE BATI said you'd let me love you up. That's what they made me say.

I said you'd let me love you up an' in the worse sort o' way.

Incredulously

SUSANNAHYou didn't! You didn't! You couldn't have! It's a lie! It's a lie! You know it is!

Completely beside himself

LITTLE BATI did! I did an' I know it's a lie.

LITTLE BATYou was allers good to me.

LITTLE BATBut they made me say it, I swear they did, An' I was scairt,

LITTLE BATOh, Lord, I was scairt!

SUSANNAHGit away from here

SUSANNAHAn' don' never come back.

SUSANNAHDon't never come back to this house!

SUSANNAHGit away, you lyin' varmint,

SUSANNAHAn' don't y' never come back!

SUSANNAHGit out. Git out. Git out. Git out.

(Little Bat runs off wailing and blubbering loudly. Susannah stands midstage with clenched fists and eyes tightly shut against tears. She continues to mutter to herself, as if in some way the continued sound of her voice would postpone the acceptance of all that has been told her. Sam, who has been standing in the door, is suddenly seen.) SAM

SUSANNAHFeeble minded idjet!

(Susannah turns sharply at the sound of his voice, and running to him, she throws her arms around him. Her tone is altered now. She is spent temporarily, and her voice has a sound of quiet desperation about it.) SUSANNAH

SUSANNAHOh, Sam, somethin' awful has happened. SAM

SUSANNAHI know. I heard it all.

Looking intently into his face

SUSANNAHWhat's it all about Sam? What's it all about? SAM

Very gently

SUSANNAHIt's about the way people is made,

SUSANNAHI reckon, an' how they like to believe what's bad. How short they are on lovin' kindness.

SUSANNAHIt must make the good Lord sad.

SUSANNAHThey don't know it ain't what you feel that counts But what you do about it.

SUSANNAHSo instead they take it out on you.

SUSANNAHIt must make the good Lord sad.

SUSANNAH'Way out yonder somewheres,

SUSANNAHThe Lord's great heart must break

SUSANNAHAt seein' how men treat one another An' say they're doin' it all fer His sake.

SUSANNAHIt's a hard, hard thing for you to realize,

SUSANNAHI know, that people want to believe what's bad

SUSANNAHAn' how short they are on lovin' kindness.

SUSANNAHIt must make the good. Lord sad.

Searching his face hopefully

SUSANNAHBut what am I gonna do Sam? What am I gonna do?

SAMYou cain't do nothin', little sparrow.

SAMIt’ s time alone what'll tell.

SAMIn the meantime, there'll be a lotta bad things.

They'll turn this valley into hell.

(Susannah continues to look deeply into Sam's eyes and gradually the realization comes to her that he has ceased talking and that there is nothing more he can say to mitigate her plight. She begins to cry, at first noiselessly, only her shoulders revealing her inner effort to control her tears. Eventually her face begins to break up, and finally, throwing

SAMher arms around Sam's neck, sobbing, she cries with desperate intensity.)

SUSANNAHSing me the "Jay-bird" song, agin.

SUSANNAHPlease sing me "Jay-bird", Sam. (CURTAIN)

SYSTEMACT TWO

SYSTEMSCENE ONE

SYSTEMSCENE: It is Friday morning.

At the rise of the curtain, Sam is discovered leaning in the doorway of the Polk house with Susannah seated on the steps. She is sitting abstractedly as if she might have been in the same position for days. Sam watches her sadly while he smokes his pipe. There is a long silence in which an atmosphere of static helplessness must be established.

Without turning to him

SUSANNAHCHAPTER 7 – How long's it gonna' last, Sam?

SAMYou know that good as I do, hon.

SUSANNAHHow long y' reckon it'll take, Sam?

SAMWhatcha mean "take", Little Sparrow?

SUSANNAHAfore somethin' happens, one way or 'nother.

SUSANNAHI don't much care which way.

SAMYou know what they's waitin' fer.

SAMThey's waitin' fer public confession.

Turning to him

SUSANNAHBut they ain't nothin fer me to confess, Sam.

SUSANNAHThere ain't nothin' fer me to confess.

SUSANNAHI've prayed an' prayed to see the light.

SUSANNAHIf somethin' I've done's been wrong,

SUSANNAHBut I still don't feel no sin in me

SUSANNAHAn' I cain't lie jes' fer them.

patiently

SAMI know that, Little Robin.

SAMWe been through all that before.

SAMThe Lord, he knows what's in yer heart,

SAMSo jes' don't fret no more.

SUSANNAHMebbe I'm all they say I am.

SUSANNAHMebbe the devil is in me.

SUSANNAHMebbe he's hidin' the sin I should feel.

SUSANNAHI jes' don't know no more.

Sharply

SAMShut up talkin' like that, Susannah,

SAMAn' don't y' think that way.

SAMThat's jes' what they're hopin' you'll feel, y' know.

SAMYour mind sounds addled, I'd say.

Bitterly

I ain't gonna leave this place no more.

SUSANNAHThat's one thing I know fer sure.

SUSANNAHI ain't a-gone let them men at the store talk to me the way they do.

SUSANNAHI ain't never taken as much in my life as I've taken since last Tuesday

SUSANNAHMen pawin' at me an' jokin' 'bout me An' boys makin' dirty' signs.

SAMI'd kill 'em all, if it'd do any good.

SAMI'd' kill 'em all, I would.

With sudden intensity

SUSANNAHWhat have I done to deserve it, Sam? Why's the good Lord punishin' me so? I never been in no meanness before.

SUSANNAHI never even killed a bird.

SAMWe gotta have faith, Little Robin.

SAMWe jest gonna have to have faith.

After a long, helpless pause

SAMThat meetin' preacher must be pow'rful one. I never seed so many people gittin' baptized. SUSANNAH

Musing sadly

SAMI hear 'em singin' ev'ry evenin'.

SAMThe crick must be plum' spoilt now

SAMWith all them people bein' baptized.

SAMIt was sich a pretty place, too.

SAMI never thought it'd bring me no shame.

SAMI seed the preacher at the store yesterday

SAMAn' he spoke to me real nice.

SAMHe said I'd oughta come to the meetin' tonight To find rest fer my sin-sick soul.

SAMThat's what he said.

Decisively

SAMI think you oughta go to the meetin' tonight

SAMTo show 'em you ain't afraid.

Protesting immediately

SUSANNAHOh no, Sam, I couldn't do that.

SUSANNAHPlease don't ask me to.

SUSANNAHI'd do 'bout anything you say, y' know,

SUSANNAHBut I couldn't do that, I couldn't!

SAMYou gotta show 'em you ain't afraid.

SAMAn' no harm would come to you there.

Besides, I gotta go 'way tonight An' I don't wanta leave y' alone. SUSANNAH

Alarmed

SAMYou ain't gonna leave me, are y', Sam?

SAMPlease don't leave me. Please don't!

SAMI'd be terrible lonesome an' scared without you. So please, don't leave me. Please don't!

SAMI gotta go 'cross the mountain

SAMTo get us some meat from my traps

SAMBut I'll be back tomorrow 'fore sun-down.

An' I'll leave you a gun to boot.

SUSANNAHYou ain't gonna go git drunk, are y', Sam? SAM

SUSANNAH'Course not, little robin. 'Course not. SUSANNAH

SUSANNAHWill y' come back as soon as y' can?

SUSANNAHAs soon as you've emptied the traps?

SAMSure I will, an' don't you fret.

SAMI'll be back afore y've missed me.

SAMI'll be back with a sack full o' critters

SAMAn' we'll have food fer all next week.

After a moment

SAMAn' will ya go to the meetin' tonight? SUSANNAH

SAMPlease don't ask me to do that, Sam.

SAMI cain't. I plum' jes' cain't!

SAMYou gotta show 'em you ain't afraid

SAMAn' no harm would come to y' there.

SAMAn' I'd feel a whole lot better

SAMTo know you was there 'stead o' here.

Susannah turns away, and there is a long, anguished moment in which she struggles with herself. Finally, without turning around, she says in a low tired voice

SUSANNAHAll right, Sam, I'll try.

But if things gits bad, I'm gonna leave

SUSANNAHCain't nobody make me stay.

SAMAll right, Little Robin,

SAMAn' I'll be much obliged

SAMIf y'll jes' go fer a little while this evenin'.

SAMAn' I'll be back tomorrow by sun-down.

Susannah looks around the yard sadly.

SUSANNAHI cain't wait 'til pretty things

SUSANNAHLooks pretty agin.

They return to the attitudes in which they were found at the beginning of the scene.

SYSTEMSCENE TWO

SYSTEMScene: The same evening.

SUSANNAHThe scene is the interior of New Hope church. There are rough-hewn benches and oil lamps suspended from the ceiling. There is also a crude pulpit which is slightly elevated, and an altar rail. There is a bench behind the pulpit

SUSANNAHwhich seats the choir. In the congregation are the Elders and their wives, seated conspicuously Little Bat with his parents. Also present are mothers, straddle-legged, rocking babies on their knees, young children moving about,

SUSANNAHand generally an air of some confusion. In evidence everywhere are the paste-board fans, slowly in motion against the

SUSANNAHhot, still, July night air. Men are constantly removing bandanas and soggy handkerchiefs from hip-pockets to mop sweat from their faces. All this activity should be present, more or less, during the entire scene, increasing in speed and agitation as the scene builds into its climaxes.

(As the curtain rises, the action has already begun. The choir is singing lustily, and the preacher's voice is heard shouting over them. Two of the Elders are moving about the congregation with white, scarred dishpans, taking up the collection. Susannah, a small, huddled figure, sits alone on the last bench. The scene in no way should be a parody but, instead, at all times should aim at projecting the tension, effrontery and above all the terror implicit in the revival meeting of this nature.) CONGREGATION

SUSANNAHCHAPTER 8 – Are you saved from sin,

SUSANNAHReady to meet your Lord?

SUSANNAHHas His blood made you free

SUSANNAHFrom the avenging sword?

overlapping with Blitch

SUSANNAHGet down upon your knees, Accept the saving grace. Are you ready to meet Your Savior face to face?

SUSANNAHFree from sin, yes Lord! Free from sin, am I

SUSANNAHAnd I'm going to meet Him With the saints on high.

SUSANNAHAre you saved from sin, Ready to meet your Lord? Has His blood made you free

SUSANNAHFrom the avenging sword?

SUSANNAHGet down upon your knees, Accept the saving grace.

SUSANNAHAre you ready to meet Your Savior face to face?

SUSANNAHFree from sin, yes Lord! Free from sin am I.

SUSANNAHAnd I'm going to meet Him With the saints on high. (The Congregation hums) BLITCH

Spoken

SUSANNAHI don't want to hear no sound of pocket change in them dishpans. Let's praise the Lord with what we give to His servants. Remember the widder's mite, brethren! Remember the widder's mite. She give all she had. 'Twarn't much but it was all she had. The Lord knows what you made on last year's cotton crops. So don't try to short change the Lord. Bless Him now with your benefits.

Joining the singing

SUSANNAHFree from sin, yes Lord!

SUSANNAHFree from sin am I.

SUSANNAHAnd I'm going to meet Him

SUSANNAHWith the saints on high.

The Elders have come down to the front and put the dishpans on the table in front of the pulpit. Blitch raises his hand as soon as the Elders have returned to their seats, and, lifting his head, he closes his eyes tightly to pray. The choir hums in the background.

BLITCHWe thank Thee, O Lord,

BLITCHFor these good people

BLITCHAn' their off'rin'

BLITCHTo Thy servant.

BLITCHBless them an' let this meetin' tonight

BLITCHBring all the lost an' wand'rin'

BLITCHHome to the fold.

BLITCHSend down the tongue of fire

BLITCHUpon the heads of the damned

BLITCH'Til they won't find no peace

BLITCH'Cept in Thy cleansin' blood.

MCLEANAmen. Amen..

The choir becomes silent, and Blitch faces the congregation with a stern look for a moment before he begins his sermon. When he starts speaking, his voice is low and ominous.

Speaking

BLITCHI ain't gonna take no text tonight, an' I ain't gonna preach no reg'lar sermon. The Lord, He spoke to me this afternoon, an' He said "Blitch, there's gonna be lost souls at that meetin' tonight. Don't take no text I'll put the words in yer mouth. This week's drawin' to a close, and there's still some to be brought to salvation. So close yer Bible an' speak through me." So the Lord spoke to me this afternoon, an' that's what I aim to do. I wanna see the biggest baptism yet tomorrow evenin' when we gather at the usual place at sundown.

BLITCHHAYES, GLEATON, McLEAN, OTT

BLITCHAmen. Grant it, Lord, Grant it, Lord.

The following narrative should be begun half-spoken, half-sung, gradually using more vibrato, working into full singing voice.

BLITCHI'm fixin' to tell y' 'bout a feller I knowed

BLITCHWhat was young an' smart an' rich.

BLITCH'Cept he never put much thought

BLITCHOn his poor, lost soul

BLITCHOr where he'd spend eternity.

BLITCHOne time when I was preachin' in Texas I was called to his home one night.

BLITCHAn' there he lay all sweatin'

BLITCHWith his eyes all starin' with fright.

BLITCHHe grabbed me by the hand and said "They tell me I'm a dyin' man

BLITCHAn' I might not git through the night.

OTTSeems like my pore heart's done run down too soon An' I wanta make ev'rything right.

OTTI ain't lived sich a bad life.

OTTI ain't drank, nor smoked, nor swore,

OTTBut I'm all a-feared o' dyin'.

OTTI'm sure they's somethin' more."

OTTWell, they was, brethren and sister'n, they was. He won't saved.

OTTThat was it.

OTTAn' he died that night plum' scared to death An' his soul went to eternal fire.

OTTAn' there's many o' you this very night What's in the same fix as this poor man. Where would your soul be tonight

OTTIf you was suddenly took away?

OTTWhere will you spend eternity?

OTTWith the saved of the Lord what surround his throne Or down below where they's screamin'

OTTAn' wailin' an' gnashin' of teeth.

OTTDown in the bottomless pit

OTTWhere they holler fer water To ease parched tongues An' they ain't none to be had. (Screaming)

OTTIs that where y'd be? Is that where y'd be?

Blitch pauses a moment, breathing heavily, and mops his forehead. His eyes gleam with excitement. The congregation is hushed. When he begins again, his voice is husky and low but still menacing.

OTTYes, my brethren, y'd better think on it.

OTTThey ain't a one of us

OTTWhat couldn't be took at any time.

OTTNot one of us an' I'm includin' myself.

OTTAre you prepared?

OTTWhen they open them judgment books up there Which side of the page will you be on?

OTTTonight ain't too soon

OTTAn' tomorrow might be too late.

OTTTomorrow might be too late.

Spoken

OTTSo while the congregation sings a hymn, I wanta see all those whose souls wants savin' an' what wants to become free of the heavy burden of sin come down and meet the Lord an' I here at the altar.

OTT(Blitch nods to the choir, and they begin the hymn. Once again Blitch intermittently shouts over them. Where before there was a strong element of the showman about him, now the showman has been tempered somewhat by an unexpected earnestness. Immediately after the "call", one or two boys and girls in their early teens shyly, with terrified eyes, leave their seats and trance-like walk down the aisle and kneel at the altar. Blitch lays his hands on their heads, throws his own back, and with closed eyes, speaks with the Almighty.) CONGREGATION

OTTCome, sinner, tonight's the night

To take a stand for God and the right. Cast Satan out, regain your sight. Come, sinner, tonight's the night. (Overlapping with Blitch)

OTTCome, sinner, salvation is free,

OTTA gift from God on Calvary.

OTTThat cross it sheds redeeming light Don't tarry, sinner, tonight's the night.

OTTCome, yes, come and meet Him here.

Be washed in the blood that was bought so dear. Don't wait till darkness turns into light.

OTTCome, sinner, tonight's the night.

Speaking over the congregation

Come an' fall on yer knees and ask the Lord fer forgiveness. It's a humblin' thing to do but you won't never be sorry fer humblin' yerself this way. I plead with y', friends. Put aside yer swearin', yer drunken ways, yer fornication, an' meet God here. Hallelujah. Praise the Lord... (The choir drones its plea again and again. The more intense their voices become, the more impassioned is the sound of Blitch's. Several more people come down to the altar with varying degrees of eagerness and hesitation. After a while the exodus to the altar ceases in spite of the continued protestations and urging of Blitch.)

Overlapping with Blitch

CONGREGATIONCome, sinner, tonight's the night

To take a stand for God and the right. Cast Satan out, regain your sight. Come, sinner, tonight's the night.

CONGREGATIONCome, yes, come and meet Him here.

Be washed in the blood that was bought so dear. Don't wait till darkness turns into light.

CONGREGATIONCome, sinner. Come sinner. Come sinner. Come!

Spoken

BLITCHI plead with you, friends, accept the savin' grace of the Lord Almighty an' right now.

BLITCHTomorrow may be too late! Tomorrow may be too late! Are there others?

BLITCHDon't pass this opportunity by! Are there others? This may be yer last chance.

BLITCHTomorrow might be too late! Tomorrow might be too late!

Blitch suddenly turns to the choir and holding out his hand orders them to stop. He turns back around slowly to the congregation, breathing hard from his emotion.

BLITCHThere's one in, our midst tonight who pays no mind to the wooin' o' God in her heart.

The congregation, as a body, slowly turns around and stares at Susannah while Blitch continues to speak. There is no pity or concern in their looks; only the hard, cold stare of silent coercion. Susannah is immediately in great discomfort and looks straight ahead of her at the figure of Blitch.

BLITCHI've wrestled with the devil

BLITCHFer her soul and prayed

BLITCHThat she'd accept the savin' grace O' the Lamb.

An' put aside her sinful an' shameful ways

BLITCHAn' still she don't heed my pleadin'.

Speaking

BLITCHGive over, sister, while the choir sings one more verse. Publicly confess yer sins an' ask forgiveness o' the Lord an' these folks present tonight.

The choir begins to sing its "invitation" hymn once again, and Blitch fixes his gaze upon Susannah. Slowly into his eyes and face comes an expression of intense desire bordering on lust. His voice also reflects what is happening inside him instead of its heretofore peremptory and commanding quality, it now possesses a distinctly cajoling, almost caressing sound. Susannah watches him, transfixed.

Overlapping with Blitch

CONGREGATIONCome, sinner, salvation is free.

CONGREGATIONA gift from God on Calvary.

CONGREGATIONThat cross it sheds redeeming light.

CONGREGATIONDon't tarry, sinner,

CONGREGATIONTonight's the night.

CONGREGATIONCome, yes, come and meet Him here.

CONGREGATIONBe washed in the blood that was bought so dear.

Don't wait till darkness turns into light. Come, sinner, tonight's the night.

BLITCHCome, dear sister, it's a short piece to walk To find rest fer yer weary soul.

BLITCHThe Lord will receive you with open arms An' hold y' fast, fast in His grace.

BLITCHIt's only a short, short piece to walk

BLITCHTo find rest fer yer storm-tossed, sin-sick soul.

BLITCHCome, dear sister, an' jes' let go.

BLITCHMeet God and I right here.

Susannah moves slowly into the aisle and trance-like walks toward Blitch, a confusion of fear, bewilderment and protest on her face. The only sign of life about her is the periodic shaking of her head from side to side in weak dissent. The congregation is hushed and tense. A smile of triumph comes over Blitch's face as Susannah comes abreast of him and the change of expression in an instant shatters the spell for Susannah. She immediately comes to life and looks around her as if trapped. Suddenly she screams "no" and runs down the aisle and out into the night.

CONGREGATIONCome, yes, come and meet Him here.

CONGREGATIONBe washed in the blood that was bought so dear.

Don't wait till darkness turns into light.

Overlapping with Susannah

CONGREGATIONCome, sinner. Come sinner. Come sinner. Come!

SUSANNAHNo! No!

Blitch's initial reaction is one of shock. He immediately regains control of himself, however, and the situation. Raising his hand and with a new note of anger, born of frustration, in his voice, he pronounces the benediction.

Shouting

BLITCHReceive the benediction. The Lord bless an' keep you. The Lord make his face to shine on you, etc.

SYSTEMSCENE THREE

SYSTEMScene: About an hour later. The scene is once more the front porch of the Polk house.

Susannah is singing to herself as the curtain rises.

SUSANNAHCHAPTER 9 – The trees on the mountains are cold and bare. The summer just vanished an' left them there

SUSANNAHLike a false-hearted lover jes' like my own

SUSANNAHWho made me love him, then left me alone.

SUSANNAHThe coals of the hearth have turned gray and sere The blue flame jes' vanished an' left them there, Like a false-hearted lover jes' like my own

SUSANNAHWho made me love him, then left me alone.

SUSANNAHCome back, O summer, come back, blue flame. My heart wants warmin', My baby a name. Come back, O lover, if jes' fer a day.

Turn bleak December once more into May.

SUSANNAHThe road up ahead lies lonely an' far.

SUSANNAHThere's darkness around me an not even a star To show me the way or lighten my heart.

SUSANNAHCome back, my lover, I fain would start.

SUSANNAHThe pore baby fox lies all cold in his lair. His mama jes' vanished an' left him there, Like a false-hearted lover, jes' like my own, Who made me love him, then left me alone;

SUSANNAHCome back, O summer, come back, blue flame!

SUSANNAHMy heart wants warmin', my baby a name. Come back, O lover, if jes' fer a day.

Turn bleak December once more into May.

SUSANNAHCome back, O summer! Come back, blue flame! My heart wants warmin', my baby a name. Come back, O lover, if jes' fer a day.

Turn bleak December once more into May.

SUSANNAHCome back! Come back! Come back!

Who has come onstage and stood listening

BLITCHThat's mighty pretty singin', Susannah;

Turning, startled

SUSANNAHWho is it?

Agreeably

BLITCHIt's yer frien', the preacher. Do you allers sing so pretty?

SUSANNAHI sing to myself when I'm sad or lonesome.

SUSANNAHIt keeps me company.

BLITCHThat's a right sad song.

BLITCHDon't look like it'd do y' much good.

SUSANNAHMy mama taught it to me a long time ago.

Susannah takes a firm stance with her back against the post and eyes Blitch suspiciously.

SUSANNAHWhat do y' want here, Preacher Blitch?

BLITCHThis is what y' might call a social visit. I wanta talk to y' 'bout yer soul. SUSANNAH

BLITCHThere ain't nothin' to say

BLITCHSo you're wastin' yer time.

Beginning to exhort

BLITCHYou're a hard-headed one, Susannah.

BLITCHThe devil's in you.

BLITCH"Pride goeth before destruction,'' sister.

Let's kneel an' pray to God fer yer soul.

SUSANNAHNo need to pray.

SUSANNAHI've done prayed enough fer us both.

SUSANNAHThe Lord would'a told me

SUSANNAHIf I'd done somethin' wrong.

BLITCHYou still say exposin' yerself

BLITCHWon't no sin against the Lord?

Belligerently

SUSANNAHI been bathin' in that crick all spring

SUSANNAHAn' won't no harm in it at all

SUSANNAH'Til them Elders seen me there

SUSANNAHAn' started makin' up their tales.

BLITCHThey didn't make up no tales, Susannah.

Protesting vehemently, near tears

SUSANNAHLittle Bat come over here

SUSANNAHThe very night after it happened

SUSANNAHAn' tol' me that he lied about me.

SUSANNAHTold me that he lied,

SUSANNAHA-screamin' an hollerin'

SUSANNAHAll over the yard.

SUSANNAHHe ain't never set a hand on me.

SUSANNAHSam would'a killed him if he had.

Genuinely

BLITCHI wish I could believe y'.

SUSANNAHDon't believe it! Don't believe it!

SUSANNAHBut it's the truth!

SUSANNAH(Beginning to break and lashing out bitterly) And I'll tell y' somethin' else.

SUSANNAHI ain't never spent such a week as this.

SUSANNAHNot never in all my life.

SUSANNAHI don't know what it'd be like

SUSANNAHTo feel happy agin,

SUSANNAHOr to wake up in the mornin' Without this awful thing Weighin' down on me

SUSANNAHSo's I don't even wanta git up An' see what the day's like.

SUSANNAHAn' all the things people's said about me An' the looks people's give me

SUSANNAHAn' the way they treated me

SUSANNAHAt the picnic supper,

SUSANNAHAn' the way you treated me tonight.

SUSANNAHI don't know what it'd be like

SUSANNAHTo be happy agin.

SUSANNAHAnd if I thought this was the way The rest o' my life was gonna be, I'd kill myself right now!

Seeing her anguish as an opening

BLITCHIt's the sin in yer heart,

BLITCHThat weight you speak of,

BLITCHIt's the sin in yer heart!

BLITCHThe sin in yer heart!

SUSANNAHIt ain't! It ain't! It ain't!

She breaks and sobs, fully released now for the first time, her face turned away from Blitch. He watches her and is momentarily defeated. Something akin to pity comes over his face, and when he speaks finally, his voice is heavy with weariness.

BLITCHI've wrestled fer yer soul night after night.

BLITCHMaybe tomorrow you'll come to the light

Susannah has covered her face with her hands, and although her body is still shaken with sobbing, she is quieter, a pathetic figure silhouetted against the post, crumpled, helpless and alone. Blitch looks at her sadly a long time. Finally with weary hesitance and obviously fighting himself, he walks up the steps to her and puts his hands cautiously on her shoulders. Susannah stands inert and spent and in no way reacts to his closeness. The remainder of the scene should be weighted with exhaustion and defeat.

BLITCHI'm a lonely man, Susannah,

BLITCHAn' ever now an' then it seems

BLITCHI gotta have somebody, Somebody I can love

BLITCHLike other folks do,

BLITCH'Cause it's a lonesome work I do.

BLITCHMy reward it be's in heaven

BLITCHAn' there's little reward here below. But ever now and then I near go mad, I need a woman so.

BLITCHI'm a lonely man, Susannah,

BLITCHAn' made out o' flesh an' blood an' bone

BLITCHAn' I need somebody I can love

BLITCHLike other folks

BLITCH'Cause it's a lonesome work I do.

He brings her hand to rest on his shoulder and puts an arm around her. Susannah 's arms hang slackly at her side. There is little sign of life about her, only the slow, weary shaking of her head while her eyes remain closed.

BLITCHWill yer brother be home tonight? SUSANNAH

BLITCHNo.

Almost a whisper

BLITCHLet's go inside. SUSANNAH (To herself) I'm so tired.

BLITCHI jes' cain't fight no more.

Blitch with his arm around her and her head on his shoulder moves her slowly to the door and into the shadows of the house.

SYSTEMSCENE FOUR

SYSTEMScene: Saturday morning. It is once again the interior of New Hope church.

As the curtain rises, Blitch is found kneeling. He is praying, and there is a terrible earnestness and anguish in the sound of his voice as well as an element of fear. His hands are clasped tightly together and they from time to time emphasize his desperate sincerity. It should be immediately apparent that here is Blitch for the first time stripped of his bravado and evangelical trappings, a man terrified by his own image of a vengeful God.

BLITCHCHAPTER 10 – Hear me, O Lord, I beseech Thee. I have called upon Thee all night in vain.

BLITCHThou hast gone from me

BLITCHAnd my spirit has wilted

BLITCHLike a mornin' glory when the sun comes.

BLITCHReturn, O Lord, and harken to my plea fer fergiveness.

BLITCHReceive my confession, O Lord, an' hear the words o' my repentance.

BLITCHIt's a horrible thing I have done.

BLITCHFergive the weakness o' my flesh,

BLITCHO Lord, An' condemn me not to the eternal fire Fer my sin against Thee an' the woman.

BLITCHShe was untouched, O Lord!

BLITCHShe was untouched before her young body Was defiled by my hands, defiled by my lust. Fergive me, O Lord, an' grant her Thy peace.

BLITCHO, fergive me; dear Lord, an' return unto me. Thou hast gone far away

BLITCHBeyond the sound of my callin'.

BLITCHReturn and grant my tortured soul

BLITCHThe balm of Thy forgiveness.

BLITCHWhat shall I do if Thou desert me?

Leave me not with this weight

BLITCHOf sin oppressin' me an' condemn me not To the fires of hell.

BLITCHReturn, O Lord, I pray Thee, O return!

BLITCHAnd let this cup, if it be Thy will,

BLITCHPass from me.

Blitch continues to kneel, his hands clasped, when the Elders and their wives come in the back door of the church, and watching Blitch, with a puzzled look, they slowly walk down the aisle. Susannah comes in quietly behind them, unobserved, seating herself as before on the back bench. She sits stiffly, her face expressionless, and there is nothing about her to suggest the youthfulness and softness that has been apparent previously. As the Elders and their wives seat themselves, Blitch looks up, startled and immediately gets to his feet. He sees Susannah, and she returns his look evenly, without disdain or embarrassment. Blitch comes around in front of the altar and stands in front of the group.

BLITCHBrethren an' sister'n,

BLITCHI asked you to come here

BLITCHThis morning fer the purpose Of rightin' a terrible wrong.

BLITCHIt's a blessed privilege fer the Lord

BLITCHTo let us make restitution fer our errors

BLITCHWhile we are alive.

The group looks at him curiously, some immediately bridling.

BLITCHAn' we have all been in error,

BLITCHBrethren an' sister'n, bad error.

BLITCHThe young woman what sits in the rear

BLITCHHas been the victim of our error.

All heads turn in shock toward Susannah. She returns their look unflinchingly. The heads return to Blitch and regard him with disbelief and some antagonism.

BLITCHShe is innocent of the charges against her

BLITCHAn' grievous are the things she's endured

BLITCHI ask y' to beseech her fergiveness

BLITCHAn' humbly ask her pardon fer your misjudgment.

BLITCH(There is genuine shock at this and murmurs of severe disapproval.) McLEAN

BLITCHHow you know she's innocent, preacher?

Without hesitation

BLITCHThe Lord spoke to me in the night

BLITCHWhile I was a-prayin' fer her soul.

The group stares at him, completely unconvinced and shake their heads in pity for his credulity.

BLITCHMRS. McLEAN

BLITCHThe devil works in queer ways.

As a body they rise and begin walking out of the church.

Calling after them

BLITCHBut I swear to you she's innocent!

BLITCHShe's innocent of the charges you've made.

BLITCHMake restitution now, brethren!

BLITCHMcLEAN

Turning at the door

BLITCHWe'll see you at the baptism, preacher.

They leave haughtily ignoring Susannah who stares straight ahead. Blitch watches them go, his body taut and his face bewildered; unable to believe that he has failed to convince them. After a moment, Susannah begins laughing to herself, short laughs that hardly rise out of her throat and do nothing to alter the immobility of her face. Blitch, hearing the strange laughter, looks at her and brokenly walks down the aisle, gesturing helplessly. Susannah looks straight ahead.

BLITCHI tried, Susannah; y' heard me.

Flatly, without looking at him

SUSANNAHYeah. I heard y'.

BLITCHI'll make it up to y'.

BLITCHI swear I will.

Speaking

SUSANNAHHow?

Blitch starts to answer, then realizes that there is nothing to say. Susannah stands up and moves into the aisle. Blitch puts his hand on her shoulder as if to detain her, and she jerks away from him with a shudder.

Venomously

SUSANNAHDon't tech me.

She starts out, and Blitch calls after her in a broken voice

BLITCHFergive me, Susannah.

BLITCHPlease try an' fergive me.

Turning to Blitch, speaking

SUSANNAHFergive? I've forgot what that word means.

Susannah exits, and Blitch watches her go. Falling on his knees, sobbing, he grasps the arm of the pew for support and cries out in an anguished voice

SUSANNAHBLITCH O Lord, if it be Thy will, Let this cup pass from me.

SYSTEMSCENE FIVE

SYSTEMScene: The front porch of the Polk house. It is sundown of the same day.

Susannah is discovered standing stiffly against one of the porch posts, staring vacantly ahead of her. There is a time of silence in contrast to her singing in Scene Three and this, coupled with the rather rigid, in-grown stance, suggests something of the change which has taken place in her since the previous scene. After a moment, Sam comes on-stage with a bulging croker sack slung over one shoulder and a shotgun carried under the other arm. He is slightly drunk, and his spirits are high.

SAMCHAPTER 11 – Hey there, little robin, I'm back agin,

With a bag full o' hides and food;

SAMHow y' been while I was gone?

SAMDid y' miss me?

SAMDid y' miss me a lot?

He goes up the steps clumsily and leaning towards her, kisses her on the cheek. Susannah stares ahead.

Flatly, without turning to him

SUSANNAHYou're drunk, Sam.

Sam looks at her curiously, immediately aware that something is the matter but continues speaking in his jovial fashion. He goes into the house and leaves his sack, then reappears on the porch.

SAMJest a mite, hon, just a mite,

SAMBut not enough fer you

SAMTo fret your pretty head about.

Lightly, walking over and putting gun in rack on porch

SAMAnything happen while I was gone?

Susannah doesn't answer and Sam turns slowly and looks at her, puzzled. He crosses and puts his hand on her shoulder.

SAMWhat's wrong, little robin?

Susannah shudders, drawing away. Sam, stunned, shouts

SAMWhat's wrong, Susannah? What's happened?

Turning to him, vehemently

SUSANNAHEv'rything! That's what!

Abruptly sobered, his voice low

SAMWhat do y' mean, Susannah? What do y' mean?

Her voice charged with accusation, fury and hurt

SUSANNAHI went to preachin' like you asked me to,

SUSANNAHAn' he called me down to the altar

SUSANNAHWith all them eyes starin' at me,

SUSANNAHAn' then he followed me here

SUSANNAHSoon after I come back.

SAMWho?

SUSANNAHThe preacher.

SAMWhy?

SUSANNAHTo make me repent.

SAMOh.

SUSANNAHOnly he stayed on.

SUSANNAHHe stayed near all night,

SUSANNAHAn' where was you?

SUSANNAHYou was out gittin' drunk!

Fiercely

SAMWhat did he do?

SAMDid he lay a hand on y'? SUSANNAH

SAMSure he did!

SAMHe stayed near all night

SAMAn' the worst you're thinkin' is true! SAM

Shaking her and shouting

SAMWhy, Susannah? Why, Susannah? Why did you let him do it? SUSANNAH

SAMWhy? Why?

SAM'Cause I was tired!

SAMThat's why!

SAMTired o' fightin' an tired o' livin'

SAMIn a world where the truth has to fight So hard to git itself believed -

SAMAn' on top o' that, I plum' didn't care.

SAMIf people were gonna believe

SAMThe worst anyway, then I didn't see

SAMWhat diff'rence it made.

SAMBut most of all, I was tired.

Turning away

SAMThe bastard! The filthy bastard!

SUSANNAHAn' where was you, Sam?

SUSANNAHWhere was you?

SUSANNAHA gun ain't much protection some time.

Susannah starts towards the door

SAMThe sneakin' hypocrite.

SAMDown there baptizin' people right now

SAMAfter what he's done to you.

Wildly

SAMI'll kill him! That's what l'll do!

SAMI'll kill him afore the day's through.

Sarcastically over her shoulder as she goes into the house

SUSANNAHThat'd do a lot o' good.

(Sam is left standing tensely on the porch, his face a study of cold fury and hate, his mind obviously working with machine-like precision. Suddenly and decisively he turns, walks over to the rack and takes the shotgun down. He

SUSANNAHthen walks steadily down the steps and increasing his pace to a run, he disappears offstage. The stage is left empty for some time, and the distant sound of "Come, sinner" is heard. Susannah calls from inside.) SUSANNAH

SUSANNAHCome on in, Sam, an' wash up.

SUSANNAHSupper's ready.

Again from the inside

SUSANNAHSam, supper's ready.

More insistently

SUSANNAHSam! Sam!

With no response, she walks to the front of the house and appears in the door. It should be apparent that she senses something. Tentatively, as if not expecting to be answered

SUSANNAHSam... Sam...

Susannah walks slowly onto the porch, trance-like, her whole attitude revealing growing terror. She pauses at the steps and screams.

SUSANNAHSam!

Her body stiffens, and her face becomes mask-like. She stands immobilized and rooted, awaiting with a terrible certainty the inevitable.

(A shot blasts the night air in the distance and Susannah stands transfixed for a moment. Then slowly moving only her head, she turns toward the rack where the gun had lain. Seeing it gone, she arrests her

motion and once again stands rigid. Slowly her hands rise and cover her face. Suddenly, she breaks, falling to her knees and crying out)

SUSANNAHO Lord, I never meant him to do it! O Lord, I never meant him to do it! If I'd a-thought he'd a-done it,

SUSANNAHI'd a-killed him first.

SUSANNAHFergive me, O Lord, fergive me

SUSANNAHFor whatever I've done to bring

SUSANNAHThis misery on us all.

SUSANNAHO Lord, I never meant to harm nobody.

Little Bat is heard shrieking "Susannah" offstage. He runs on stage wildly, talking and gesticulating as he does so. There is an ominous hush in the distance. Susannah rises immediately and stands facing Little Bat. Her former hardness returns.

LITTLE BATSusannah! Susannah! Susannah! Susannah, Sam killed him!

LITTLE BATSam shot the preacher

LITTLE BATWhile he was in the crick baptizin'.

LITTLE BATHe snuck up behind some bushes

LITTLE BATAnd nobody seed him

But we all seed him when he run away.

LITTLE BATAn' the preacher sank right down in the crick With a pool of blood around him.

LITTLE BATAn' before they could drag him out,

LITTLE BATHe was dead.

LITTLE BATAn' he was prayin' real hard afore he died, Askin' fergiveness fer his sins,

LITTLE BATAn' askin' the Lord to bless you.

LITTLE BATIt was a terrible thing to hear. (CONGREGATION hums off stage) LITTLE BAT

LITTLE BATAn' the folks is comin' here to git y'.

LITTLE BATThey say you put Sam up to it,

LITTLE BATAn' they say they're gonna run you

LITTLE BATOut'n the valley, an' hang Sam, too, If they catch him.

LITTLE BATThey're a-comin', Susannah. Don't you hear 'em?

LITTLE BATWhat y' gonna do, Susannah, What y' gonna do?

The sound of voices is heard in the distance. Susannah stands rigidly against the porch post, her face becoming stern and set.

LITTLE BATY' better run, Susannah. They're gittin' close! They're gittin' close!

LITTLE BATY' better run, Susannah! Y' better run!

(Little Bat runs off stage, and Susannah stands immobile against the post. The voices are close and are heard chanting as they enter.) CONGREGATION

LITTLE BATGit out'n the valley, Susannah.

LITTLE BATGit out! Git out tonight!

LITTLE BATY've caused us too much bloodshed. Y've caused us too much strife.

LITTLE BATGit out'n the valley, Susannah! Git out! Git out tonight!

LITTLE BATY'd better be a-leavin'

LITTLE BATA-fore they's daylight. MCLEAN

LITTLE BATOf all the sins which lay on yer soul

LITTLE BATThis was the worst of all to behold.

OTTThe preacher was yer friend he was, fer true.

OTTYer name he called with the last breath he drew.

Susannah begins to laugh mockingly and the laughter continues through the succeeding lines.

HAYESY'd might as well o' killed him yerself

HAYESAs had him killed,

HAYESJes' so his voice against you'd be

HAYESForever stilled.

GLEATONYou're mockin' us with yer laughter.

GLEATONY'll regret it, y'll see,

GLEATONWhen yer brother's caught

GLEATONAn' strung on a tree.

The mob begins to move toward Susannah who is shrieking with laughter. Their mood becomes angrier. As they close in on her, she abruptly stops laughing and shouts.

SUSANNAHGit out! Git out!

SUSANNAHYou cain't run me off my place

Till I'm ready to leave,

SUSANNAHAn' that'll be some time to come.

SUSANNAHSo git out! Git out!

The mob stops suddenly, surprised at her vehemence, and then begins coming towards her again. She whirls, runs into the house and is immediately out again with the gun Sam left her. She points it menacingly at the mob.

SUSANNAHGit away from here afore I blast you all To kingdom come!

SUSANNAHAn' don't come 'round here agin

SUSANNAHLess y' don't care nothin' 'bout livin'. McLEAN

SUSANNAHYou cain't settle ev'rything with a gun, wench.

SUSANNAHThere's a higher court o' justice!

The mob takes up McLean's threat, and with raised fists, they slowly begin retreating, backing offstage. When Susannah sees them leaving, she once more begins her derisive laughter and continues it, rocking back and forth, until they have disappeared.

CONGREGATIONThere'll come a reckonin' time.

CONGREGATIONThere's a higher court of justice.

CONGREGATIONThere'll come a reckonin' time,

CONGREGATIONThere's a higher court of justice.

As the crowd disappears, Susannah walks over and puts the gun on the rack. As she does so, she notices Little Bat who has sneaked upstage, and her laughing stops. Little Bat looks at her wide-eyed and frightened. Slowly Susannah walks to the post and leans against it, seductively. Her tone of voice now completely changes, and her manner is spuriously soft and helpless, obscuring only for Little Bat, her fierce contempt for him.

SUSANNAHCome on over, Little Bat.

SUSANNAHDon't be scared.

SUSANNAHI won't hurt y'.

SUSANNAHI'm lonesome.

SUSANNAHCome an' love me up some.

He comes over to her tentatively.

SUSANNAHCome on, Don't be afraid.

SUSANNAHI'm all by myself now

SUSANNAHAn' y' know I was allers good to y'.

Little Bat walks hesitantly up the steps and stops momentarily. As he comes nearer to her, Susannah fights a loathing and revulsion to his closeness.

SUSANNAHY' said so yerself,

SUSANNAHSo come on. Come on.

(He goes to her and puts his arms around her, and as he does so, Susannah slaps him viciously across the face. Little Bat, holding his cheek, runs yelping down the steps and across the yard. Susannah once again reels with laughter and holding her sides moves to the door, watching Little Bat as she does so. When he is gone, her strident laughter vanishes as quickly as it began. She turns around, straightens

SUSANNAHher body in the doorway and remains standing there, an inviolably strong and inexorably lonely prisoner of a self-imposed exile.)

SUSANNAHCHAPTER 12 – CURTAIN CHAPTER 13 – Credits