TOWN SQUARE – EVENING
INT. MEETING HOUSE (CUT AWAY)
A simple room with pine benches and bare, whitewashed walls. Above a plain altar is a Crucifix. The Christ figure is entwined with roses. The altar is covered with them. The effect is disturbing, as if the roses were blood.
The MEMBERS sit patiently. FLINT stands behind the dais, perspiring. He pats his face with a red silk handkerchief.
MUSIC: “HEAVEN N HELL”  (song)
FLINT
OH LORD
SHOW ME THE WAY
KEEP EVIL FROM ME
DON’T LEAD ME ASTRAY

ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO

FLINT
GET DOWN ON YOUR KNEES
TELL YOUR STORY
LET YOURSELF GO
GET THE GLORY!

ALL
HEAVEN N HELL
COME ON WHAT DO YOU WANT?
TO DIE IN THE GUTTER
OR TO RAISE YOURSELF UP?

FLINT
GET DOWN ON YOUR KNEES
SING YOUR HEART OUT
TRUTH WILL SET YOU FREE
LET THEM ME HEAR YOU SHOUT IT

SHIRRONDA
I WENT DOWN TO THE BARN
THE HAY WAS SWEET AND WARM
I LAY DOWN IN THE HAY
AND I SHUT THE DOOR

REBECCA seems distracted. ISAAC, sitting beside her, looks at her warily as he wails on his harp.
SHIRRONDA
A BOY HE SIT BESIDE ME
AND HE PLAY WITH MY DRESS

SHIRRONDA & REBECCA
(Note: REBECCA is remote, marking the song, not her lively self)
I CLOSE BOTH MY EYES
AND HE DID THE REST

As REBECCA sings, FLINT watches her. ISAAC tugs at her sleeve. She snaps out of it.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO

FLINT
GET DOWN ON YOUR KNEES
SING YOUR HEART OUT
TRUTH MAKES YOU FREE
LET ME HEAR YOU SHOUT IT

TOMMY
MY DADDY LOST HIS MONEY
IN A CARD GAME COME HOME DRINKING
I GET SO MAD I LOSE MY HEAD
I GUESS I WASN’T THINKING
I BUST MY DADDY IN THE FACE
POOR MAMA SHE WAS SCREAMING
TELL ME AM I CRAZY LORD
WHAT IS THIS PAIN I’M FEELING?

REBECCA stands up suddenly, out of the blue. ISAAC yanks her back down.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
HEAVEN N HELL
COME ON WHAT DO YOU WANT?
TO DIE IN THE GUTTER
OR TO RAISE YOURSELF UP?

ALL EXCEPT FLINT
HEAVEN
OH OH HEAVEN…ETC.

FLINT
So today let us all praise the brothers and sisters who have come forward in humility, to share their sins and ask forgiveness. This is a small, clean, new world we have built – all the way up here in the country. A good world. A free world. Safe from the scourges of the city life. Save from the sabotage of the streets.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO

FLINT
So my friends, my beloved, we have left all that behind. And today, today, here before God…
MARIE
KEPT MY LITTLE GIRL AT HOME
I NEVER GAVE HER NOTHING
SHE NEVER SEEN A MOVIE
OR A DANCE OR CATCH A BOYFRIEND
YESTERDAY SHE RUN OFF
GET A BUS TO CINCINNATI
LOST HER OUT OF JEALOUSY
I HATE HOW SHE’S SO PRETTY

ALL
HEAVEN… OH OH HEAVEN…ETC.

Over the music we hear a solo harmonica. So does REBECCA. It’s not being played by anyone in the Meeting House. No one but REBECCA can hear it.
FLINT
My friends. Do not be disturbed in your regard for truth. When what you disclose is the heart of the matter, the heat of the moment, the height of perfection.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
HEAVEN N HELL
COME ON WHAT DO YOU WANT?
TO DIE IN THE GUTTER
OR TO RAISE YOURSELF UP?
ETC…

While FLINT speaks, REBECCA stands. ISAAC tries to stop her. What she is doing is dangerous. No one ever leaves Meeting. But she is going to walk out, no matter what.
FLINT, in ecstasy, fails to notice.
FLINT
And it is here, here that we rise above the temptation of the flesh, the preoccupation with passion. Rise above and choose…
ISAAC (loud whisper)
No Rebecca! Don’t do this! Come back here!
She stumbles. She is in a trance. She bumps into a wall. She falters against a pew. ISAAC runs after her. He tosses his harp to EMMANUEL who catches it and plays, keeping things going.
FLINT
…in our Righteousness, in our Godliness, in the discipline of action and the action of discipline, choose God, choose Jesus, choose the Kingdom and the Glory and Heaven down here on earth! Etc…
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
TEAR YOU APART
SO YOU DON’T KNOW WHAT TO DO
HEAVEN N HELL
COME ON WHAT DO YOU WANT?
TO DIE IN THE GUTTER
OR TO RAISE YOURSELF UP?

REBECCA, feeling her way, steps out the door of the Meeting House. ISAAC, rushing around in front of her, tries to push her back inside.
REBECCA
Can you hear it?
ISAAC
Hear what?
The alien harmonica stops.
ALL
HEAVEN N HELL
THEY GONNA FIGHT OVER YOU
OH OH OH HEAVEN

REBECCA
It stopped.
ISAAC cocks his head. He takes her hand.
ISAAC
You’re creepin’ me out.
She shakes her head.
ISAAC
C’mere.
He takes her hands. They dance awkwardly in a slow circle. FLINT shadow falls across the door of the Meeting House.
FLINT
Rebecca?
She turns.
BLACKOUT

SCENE 7

IN DARKNESS
BRIAN
How about you and I pay a visit to the ‘brotherhood’ tonight? I won’t make trouble. I promise.
TUBBS
Young man…
(lighting a match and illuminating their faces)
…what you need is trouble. That where it at!
(muted shout)
Hey, fanatical biblicals – on your knees!
(stage whisper)
SHOVE IT UP YOUR OL’ STOVEPIPE!!!
TUBBS lights a pipe. He inhales and passes it to BRIAN. They look at each other in that intimate weed way.
BRIAN
I think I’m beginning to…
(sucking it in, talking through a held breath)
…like somebody.
TUBBS
She’s…
(coughing fit)
…accounted for.
BRIAN is stoned.
BRIAN
Explain.
TUBBS (exhaling)
Wrap your balls around this:
(coughing)
…Big Daddy and her man is…
(sneezing)
…the same person. Can you handle that?
BRIAN
Get outa town.
TUBBS
It get worse. Her Daddy is…
TUBBS sucks in another big hit, holding it in.
He is about to speak when he suddenly puts a finger to his lips. He and BRIAN warily turn their heads and look behind them.
Just above and to one side of the tree is a Marker. Its sudden appearance makes it seem as though it had followed them there and that it had been listening to their conversation.

SCENE 8

TOWN SQUARE – NIGHT
A bonfire illuminates the Square, reflecting light on the MEMBERS as they mill about.
MARIE, age 55, fat and pretty, is playing acoustic guitar with SHIRRONDA. They take it seriously. Some MEMBERS nearby dance eurythmically.
A crowd of kids watch ISAAC dance. REBECCA is braiding BETSY’S hair. EMMANUEL, elderly, is with an older group. He is playing harmonica in compliment to MARIE and SHIRRONDA.
ENTER
BRIAN and TUBBS stumbling into the glow of the bonfire, giggling.
ISAAC
Hey guys!
He scurries over to a secret place underneath the front porch of the Kingdom House and pulls out a paper bag. He looks inside, looks up and winks at TUBBS. BETSY takes notice.
ISSAC skips over towards TUBBS and bumps into FLINT. The package is knocked out of his hands. ISAAC picks it up and hides it behind his back. FLINT, watching BRIAN, misses the whole thing.
ISAAC
Sorry sir. Go with God.
FLINT
Amen, little brother.
ISAAC jumps into TUBBS’S arms, happy to see him.
ISAAC (whispering)
You chill?
Hands him the bag.
TUBBS
What a considerate young man. Yes, yes, yes.
He reaches into the bag, uncorks the bottle and takes a long obvious swig.
BESTY, extricated from REBECCA, has stationed herself on the porch of the Candy Store. Seeing the exchange, she sits down with a thump, mouth agape.
BRIAN is way stoned and unabashedly staring at REBECCA.
SHIRRONDA
Say Judge…
FLINT
Yes?
SHIRRONDA
Could you perhaps perform some of your old-fashioned ballroom dancing?
FLINT
Why sister Shirronda, I haven’t danced in years.
SHIRRONDA
Yes sir. Last harvest. Remember?
The MEMBERS quiet down, picking up on the conversation. FLINT enjoys the ritual.
FLINT (coyly)
I shall need a partner.
BRIAN plays the lead melody to “TALK TO ME” on his harp. REBECCA cocks her head. BRIAN pockets the harmonica. ISAAC runs over and takes REBECCA’S hand.
ISAAC
Rebecca! You dance! You do it!
REBECCA
Don’t be silly.
ISAAC
You can! I seen you!
MARIE
Oh please, Rebecca honey? It would be lovely.
EMMANUEL
It would be a joy.
TOMMY
You all make me sick.
TUBBS takes a belt out of the bagged bottle.
TUBBS
I’d agree with that.
Encouraged by all, REBECCA stands and ISAAC leads her to the center of the gathering circle. He presents her, bowing, to the JUDGE.
ISAAC
Here she is, sir.
BETSY makes a face. FLINT bows deeply. At first, without music, they dance. REBECCA moves awkwardly, but not without appeal.
EMMANUEL
She may not be able to see, but the Good Lord gave her courage.
MUSIC: “TALK TO ME”  (song)
As FLINT and REBECCA begin dance we notice that for FLINT something a bit more erotic than ballroom dancing is going on. REBECCA is simply having fun.
Her face is turned towards BRIAN as if she can ‘see’ him. She is dancing with FLINT, but she is looking at BRIAN.
REBECCA
I’M RIGHT HERE
AND I CAN’T STOP
LOOKING AT YOU

FLINT
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM

MEMBERS
TALK TO ME…ETC.

REBECCA (to BRIAN)
WHY DON’T YOU TALK TO ME?

BRIAN
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM

BRIAN moves closer, to cut in. He hesitates.
REBECCA (to FLINT)
WHY DON’T YOU TALK TO ME?

BRIAN
ALL I WANNA DO IS ASK YOU

REBECCA
IF YOU FEEL THE SAME AS I DO

FLINT disengages from REBECCA. No one is dancing with anybody, although it is clear who wants to be with whom. TUBBS taps ISAAC’S shoulder. He bows. They do a do-si-do, high five. They mouth the lyrics and laugh.
REBECCA
I’M RIGHT HERE
AND I CAN’T STOP LOOKING AT YOU

BRIAN
I JUST WANNA DANCE

BRIAN catches her hand – instant electricity. Her smile lights up the place.
FLINT (odd man out)
I’M RIGHT HERE
AND I CAN’T STOP LOOKING AT YOU

REBECCA
I JUST WANNA DANCE

It is as if she can actually see. Her dancing
improves vastly over her turn with FLINT. She and BRIAN move together marvellously, as one. BRIAN never takes his eyes off her. They are beautiful to watch.
BRIAN
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM

REBECCA
WHY DON’T YOU TALK TO ME?

MEMBERS
TALK TO ME…ETC.

FLINT
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM

REBECCA
WHY DON’T YOU TALK TO ME?

BRIAN
ALL I WANNA DO IS ASK YOU
IF YOU FEEL THE SAME AS I DO

The MEMBERS get into it.
TUBBS
Hey, little Poncho, more ginseng for th’ old bagpipe, whadda say?
ISAAC crawls back under the Kingdom House. BETSY takes note.
BRIAN, REBECCA, FLINT (WITH TUBBS AND ISAAC)
COME A LITTLE CLOSER, BABY
SO I DON’T HAVE TO SAY IT
COME A LITTLE CLOSER, BABY
SO I DON’T HAVE TO SAY IT

BRIAN takes REBECCA’S hand and guides her away from FLINT.
BRIAN
I’M RIGHT HERE

REBECCA
I’M RIGHT HERE WITH YOU

BRIAN
WITH YOU

Delicately, tremulously, they dance. The MEMBERS watch. FLINT stalks around the circle, arms behind his back. SHIRRONDA offers to dance with him. He rejects her.
REBECCA
I’M RIGHT HERE

BRIAN
RIGHT HERE

REBECCA
AND I CAN’T STOP

FLINT
I JUST WANNA DANCE

BRIAN
CAN’T STOP

REBECCA
LOOKING AT YOU

FLINT
I’M RIGHT HERE

BRIAN
I’M RIGHT HERE

FLINT
AND I CAN’T STOP LOOKING AT YOU

BRIAN
AND I CAN’T STOP, I CAN’T STOP LOOKING AT YOU

REBECCA
I JUST WANNA DANCE

FLINT stands by himself, left out, embarrassed and upset.
BRIAN
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM

REBECCA
WHY DON’T YOU TALK TO ME?

FLINT moves off the ‘dance floor’ and joins BETSY on the porch of the Kingdom House.
FLINT
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM

REBECCA
WHY DON’T YOU TALK TO ME?

BRIAN lets REBECCA go, drifts back towards TUBBS, yet remains ‘connected’ to her.
BRIAN
ALL I WANNA DO IS ASK YOU
IF YOU FEEL THE SAME AS I DO

FLINT approaches the iron triangle at the far end of the Kingdom House porch.
REBECCA
I JUST WANNA DANCE

FLINT (to BETSY)
I WANT YOU TALKING TO ME
DON’T WANT YOU LOOKING AT HIM

REBECCA
I JUST WANNA DANCE

BRIAN
I WANT YA TALKING TO ME

REBECCA
I JUST WANNA DANCE…

REBECCA’S connection with BRIAN is unbroken still until FLINT, using his cane, rings the triangle violently.
FLINT
Formation! Line formation!
REBECCA
I’m sorry, Brian. I think you should go now.
BRIAN
Why? What’s going on?
Two lines form, equal MEMBERS to a side, with an opening at the far end that leads to the platform with the whipping post. FLINT jumps up on it in a rage.
TUBBS
Good Christ, get me outa here! Brian!
ISAAC pushes an old wheelbarrow up behind TUBBS. TUBBS falls down in it, too drunk, stoned and upset to stand up.
FLINT
Brethren, you and I know that from time to time the Path to the Spirit is blocked when a sister or a brother take issue with the Rules.
MEMBERS
AMEN.
The congas begin.
FLINT
And how does one return the Lamb unto the Fold?
MEMBERS
WITH PRAYER.
FLINT
With prayer and forgiveness. Quite true.
MEMBERS
PRAISE THE LORD.
The bass line to “CITY GOT A BROKEN HEART” is added to the congas.
TUBBS
Haul my overalls outa here, Brian and be quick about it!
BRIAN ignores him, transfixed.
FLINT
And who gives prayer?
MEMBERS
THE TRUE KINGDOM.
FLINT
And if the Devil is stubborn, and persists in the body?
TUBBS hides his eyes.
TUBBS
I can’t stand it no more. Brian. Please! He means business! Wheel me out!
BRIAN can’t move.
FLINT
In the bright fire of pain.
MEMBERS
IN THE CENTER OF PAIN.
FLINT
We strike.
FLINT smacks his cane against his palm. The MEMBERS being to chant the background vocals to “CITY GOT A BROKEN HEART” – AY OH, AY OH, AY OH, AY OH, AY OH…etc.

They do not watch as FLINT prepares. Instead they mimic his movement in unison.
FLINT
In compassion we strike!
MEMBERS
IN COMPASSION.
FLINT
That the Path may be cleared, and the Devil driven out!
MEMBERS
PRAISE GOD.
Silence. Music and voices come to a complete halt.
FLINT
Come forward, little sister.
BESTY leaves her place in line and walks triumphantly up to the platform.
FLINT
Name for us Sin and Sinner.
BETSY
Sin of Lying. Sin of Vice. Twice hidden.
FLINT
In who’s heart lives these Devils?
BETSY marches sternly from one end of the line to the other. ISAAC is last, next to REBECCA. BETSY seizes his hand with a hard jerk.
ISAAC
No!
FLINT
Come forward, little brother.
ISAAC
I been good, honest!
BETSY point to TUBBS.
BETSY
You gave him booze and you knows it. I seen you!
ISAAC
No sir! It was soda I brung him!
BETSY runs to a spot in the middle of the square and picks up a paper bag. She pulls out a bottle.
BESTY
You’re obviously lying!
ISAAC
I ain’t never lied in my whole life.
FLINT
You climbed the Big Tree.
ISAAC
The Rope was down.
FLINT
Did you climb it?
ISAAC (meekly)
Yes.
FLINT
And did you bring whiskey to that man?
ISAAC
No!
FLINT
Do you take responsibility!
ISAAC (fearfully)
Yes sir.
The MEMBERS murmur and whisper.
FLINT
And the Devil lives in you heart?
ISAAC
I guess.
FLINT
Come to me.
ISAAC is trembling. BRIAN is confused, wanting to do something but not knowing what. TUBBS is covering his eyes.
The MEMBERS shut their eyes and bow their heads.
MEMBERS (acappella)
AY OH, AY OH, AY OH, AY OH, AY OH…etc

ISAAC approaches the platform and climbs the steps. FLINT lashes his wrists to the post with the black leather thongs.
The MEMBERS close in. ISAAC cannot be seen. FLINT towers above them all. The chanting stops. FLINT raises his cane.
FLINT
In the name of the Father.
ISAAC
In the name of the Father.
FLINT brings the cane down sharply. ISAAC cries out. BRIAN’S arms shoot rigidly into the air. His mouth opens. FLINT raises his cane again.
FLINT
In the name of the Son.
ISAAC (barely audible)
In the name of…
FLINT brings the cane down a second time. ISAAC makes no sound. He has passed out.
BRIAN’S fingers splay. A fierce wind whips though the square, blowing up scarves, skirts, leaves, hair, etc. FLINT raises his cane for the third time.
FLINT
In the Name of the Holy…
He is interrupted by a deafening thunderclap, followed by a bolt of lightening. His arm-with-cane remains upraised, stiff overhead. He cannot move it. The MEMBERS also have their arms lifted, in parallel.
BRIAN’S arms quiver as FLINT’S arm bends backwards, grotesquely. He is screaming, but all we can hear is thunder and wind. The MEMBERS are left alone, unhurt, but everyone remains immobilized, freeze framing the patterns of skirts, hair, leaves, etc.
An OWL lands on the WIDOW’S WALK (a railed, rooftop landing on top of the Kingdom House for the purpose of observing approaching strangers). The OWL flaps his wings and, in a puff of smoke, transforms into ROSE.
A bolt of lightening leaps from her hands and strikes the ground in front of BRIAN, breaking the spell. ROSE disappears in a burst of white light. BRIAN collapses backwards on top of TUBBS.
FLINT, his pain increasing his rage, continues beating ISAAC mercilessly. REBECCA feels her way over to them.
REBECCA
Father, stop!
FLINT continues. He is obsessed.
REBECCA
You’re killing him!
FLINT’S arm drops. He gives the cane to BETSY who wipes the blood off on her dress. FLINT smiles weirdly, as if after sex.
FLINT
Yes, daughter?
BRIAN (to TUBBS)
So it’s true, everything you said.
TUBBS
‘A Perfect and Holy Vision of the Putrid.’
REBECCA falls to her knees.
REBECCA
I respect your wisdom, my Father-In-Heaven, and your courage in bringing us the Punishment. Have mercy upon us.
FLINT
Have mercy upon us all.
MEMBERS
AMEN.
BRIAN looks to the Widow’s Watch, shaking his head, backing up. He EXITS, into the forest.
TUBBS watches FLINT and BETSY walk right over the trap he set earlier, but nothing happens to them. They do not fall in. BETSY jumps into FLINT’S arms.
BETSY
I love you, Judge.
He bounces her. The surface of the trap gives way, but only a little. They walk safely inside the Kingdom House.
The MEMBERS disperse. REBECCA carries ISAAC into the Kingdom house. He is unconscious. TOMMY is leading her.
TUBBS, weak from horror, whiskey and pot, climbs out of the wheelbarrow and tests the trap. He jumps up and down on it cautiously. Then hard. It collapses. He falls through.
BLACKOUT