Soul of a Whore and Purvis (14 page)

I'd have to say you kind of did.

[
Monitor sounds a flat reading: beeeeeeeee.
]

You pressed the goddamn button, didn't you?

JOHN
: Why'd you press it, fool?

WILL
:                                        It's what I do!

JOHN
:…NO!…Don't cover up my mother's face!

JERRY
: This woman is deceased.

JOHN
:                                      But—seven minutes!

Seven minutes! You said seven minutes!

JERRY
: In general the process takes that long—

But often Phase One stops the heart, and then—

HT
: And then they screw you out of five or six!

They gyp you!…Bring this woman back—

Dose her up with speed or something! [
To
WILL
] You!

JOHN
: That's exactly what we came here for.

…Hostage Taker, this is the very thing

That brought us here. The Reverend Jenks is powered

To deal with demons and restore the sick,

I've seen him do it with a word, a breath,

Two years I've dogged his steps, I've watched him work—

Deafness, stammering, cancer, withered limbs—

I've seen him pinch their one last mustard seed

Of faith and scatter it into blossoms—

Blindness, palsy, lunatic torments—

And I believe this man can raise the dead.

BILL JENKS
: With your permission—

HT
:                                                  Do it to it.

WILL
: She's dead. This ain't a coma.

JERRY
:                                               LET HIM TRY.

…Leave it alone, Will. Let this run its course

And you and me go get a drink at Mursky's.

Country-western, and scotch in plastic cups.

WILL
: I'm sick of cowboy music.

JERRY
:                                        Let him try.

…We've done a bunch of these.

WILL
:                                                   A couple hundred,

Right around two hundred.

JERRY
:                                          Let him try.

BILL JENKS
: No—leave the shroud.

HT
:…                                            Go on. Go on.

BILL JENKS
:…One time, when Jesus healed, he said, “Who touched

My garment? Something just went out of me—”

He stood in a crowd pressing from all sides

But knew a particular touch had drawn his power,

Sensed a healing had gone out from him…

All I have is a knack for crossing paths

With people just about to heal themselves.

A gift for sticking in my head and smiling

Just when someone's gonna snap the picture.

I've never healed one person of one thing

In all my lying life.

If I had, I'd feel it, wouldn't I?

Wouldn't it jump a little in my blood?

WILL
: This gets me in my guts. Get up from there.

JERRY
: Two hundred? Is it really as many as that?

You ever walk the rows at Joe Byrd Hill?

How many rows have we ourselves laid out?

I bet you'd hike a half a mile of graves

Fed by our work, Will Blaine, yours and mine,

And then you'd come to a couple of plywood boards

Hiding the hungry place that waits for this one.

BILL JENKS
:…Lord, it's all about that open mouth.

We don't want to die and go in there.

They claw down with a green-and-yellow John Deere

Backhoe and scoop a darkness under the grass,

Takes six or seven seconds to produce

The only thing on earth that lasts forever.

God in Heaven, we beg you to widen your eyes.

Look here at this woman put to death

By bureaucrats. See her. Remember her.

You made this woman's life—remember that.

Make her now, again. GOD, GIVE HER BREATH.

HT
[
speaks in
BESS'
s voice
]:…Don't raise me up! I want to stay in Hell!

JOHN
: No! She's not in Hell!

HT/BESS:
                                I always was.

I lived my life in Hell. But now it's simpler.

WILL
: You're channeling through the black guy, Mom.

JOHN
: There's no such thing as channeling. That's Satan

Talking in my mother's voice.

BESS
:                                                It always was.

JOHN
: It's just a trick of demons.

WILL
:                                          We have demons?

We don't have mediums, but we do have demons?

JOHN
: I just take it as it comes.

WILL
:                                    You do?

From where? You take it as it comes from where?

JOHN
: From Genesis and Exodus. No channeling.

No mediums. No ha'nts. No clanky chains.

Men and women; devils; angels; God.

HT/BESS:
Hell is full of music. Lonely music.

Hell is full of sadness. Full of truth,

Full of clarity. Hell is beautiful.

BILL JENKS
: I know this son of a bitch. It's
you
.

HT/DEMON:
[
facing
BJ
]:
C'est moi
! The one who really loves you!—

BILL JENKS
: The blue dog of Huntsville.

HT/DEMON:
                                       The demon of Simon's coma.

BILL JENKS
: The demon of money.

HT/DEMON:
                                 The demon of your fame.

BILL JENKS
: You've run me all my silly goddamn life—

Why
?

HT/DEMON:
I really can't quite say; it's just

There's something about your style that pisses me off.

BILL JENKS
: All my silly life.

HT/DEMON:
                     And now no more.

I'm all through pimping you, Jenks—you're on your own!

JOHN
cries out, flings himself against the glass. All freeze.

HT/DEMON:
Now my work of half a century

Culminates. Warden, blow the whistle!

Beloved William Jennings Bryan Jenks:

You've come to failure, and today you die.

Beloved, my most interesting project,

My signature, my sunny revelation:

Count your heartbeats. Today you die.

Your breath stops. Your sight blackens, then burns

With visions since your birth, and you'll be met

At every turning with the leering truth:

Not one prayer you've uttered ever prized

The slimmest chink in you, not one escaped

The maze. They suffocated in their coffins.

The start to finish of your life's design

Tributes nothingness. And now the dark.

HT
opens his fingers. Grenades fall.

BILL JENKS
: Liar! Liar!—I never raised the dead.

BESS
sits upright and the shroud falls away.

BESS
: AMY?…Where'd she go? She was right here—

Silence. Blinding light.

BLACKOUT

Epilogue

Corner of Tenth and J, later that night.

STEVIE
stands behind a microphone,
JOHN'
s cross nearby. Light from video crews, flashbulbs.

 

STEVIE
: Can't we get this monstrosity out of here?

People are tripping over it left and right.

This is blasphemy. This thing's a scandal. [
VOICES
ad lib…
]

Quiet!—I'm sorry.—Goddamn you!—I'm sorry.

Here is the information we've got for you.

This evening, shortly after five p.m., an as-yet-unidentified prisoner overcame and stabbed to death a guard in the Walls Unit, who remains nameless until notification of family. Thereafter this prisoner gained access to the execution chamber in this corner of the unit, right behind me, and…

You have the statement. You have the statement…

[
VOICES
ad lib…
]

Now, Mrs. Blaine has asked to say a word, wife of William Blaine, who supervised our Teams in the unit there—She's the wife of Will Blaine, a very special employee of, a very…

The wife of Will Blaine, the widow, the wife, the widow…President of the Texas Citizens for Victims' Rights, Marsha Hollings Blaine.

MASHA
comes up, well dressed, with well-coiffed, abundant hair.

VOICES
ad lib…

MASHA
: I say today an innocent has been killed!

Today is a Day of Judgment on us all!

[
VOICES
ad lib…
]

Look at you all!—like wasps on watermelon!

[
VOICES
ad lib…
]

Rahr! Rahr! Rahr!—like
curs
on
carrion
.

I LOST MY HUSBAND IN THAT PLACE TODAY.

…Maybe he's in a better place. Who knows?

…Some people go around with this idea

The Milky Way is just some big machine,

And we're being eaten alive by this machine,

Trodden down and gutted out and gobbled

And scattered out along beside the road

To fertilize the ditch, and that's our fate:

And I say, God above, let it be so!

Let there be no Resurrection Day!

[
VOICES
ad lib…
]

LET THERE BE NO RESURRECTION DAY!

If Bill Jenks thinks that he can raise the dead—

Let him raise himself! WE'RE WAITING, BILL.

Let him raise
someone
, and then I'd say

That he was onto something—wouldn't you?

[
Of the cross
] Look here, look where someone's set up the means

Of execution in the gory Bible days.

Here they hung them after they'd been scourged.

You know what scourging was? They whipped the skin

Until it ripped, and then they whipped the muscles

Underneath, until their whips licked bone.

And then they hammered what was left up here,

And broke the legs of what was left, so that,

Without support, it slowly suffocated.

And that's the boy the power of whose blood

You plead, an executed criminal…

[
VOICES
ad lib…
]

LET MY HUSBAND ROT IN THE GROUND UNTIL HE'S MUSH,

Let him rot in the ground till he's gravy,

Until he clarifies like honey in the heat

And dribbles into dirt that doesn't feel

A thing or think a thought.

May the dirt I called my husband never wake,

May that dirt stay dead until the whole

Universe collapses into cinders,

May the weight of general emptiness

Strive and grind against itself and work

The cinders down to black, stupefied darkness,

May he be dead until the final thought of God,

As long as his assassins stay dead, too.

…When Texas trips the lever of the blade,

And that blade dives down through a killer's neck,

And that neck pumps that evil blood six feet,

And that head goes rollin' into the world,

What drives that blood is the beautiful heart of Texas,

And staring out of that head are the eyes of Texas.

The dead face of the killer we have killed—

This is the face of liberty and justice.

This is the beautiful face of liberty and justice!

Weeping, she makes a smile and strikes a pose.

BLACKOUT

- END -

Purvis
 

Purvis
was developed by Campo Santo, the resident theater company for San Francisco's Intersection for the Arts (executive director Deborah Cullinan; founders Margo Hall, Luís Saguar, Sean San José, Michael Torres), and premiered at Intersection in February 2006, with the following cast:

Cully Fredrickson

Lyndon Johnson; Ohio State Patrolman

Catherine Castellanos

J. Edgar Hoover

Michael Shipley

Clyde Tolson; Pretty Boy Floyd

Daryl Luzopone

Melvin Purvis

Danny Wolohan

John Dillinger

Michael Torres

Job Interviewer

Vanessa Cota

Blanche; Captured Woman

Delia MacDougall

Baby Face Nelson

Collaborative Team: Nancy Benjamin (vocal director), Michael G. Cano (stage director), Jim Cave (lighting design), Valera Coble (costume design), James Faerron (set design), Jeff Fohl (video/photography), Dan Hamaguchi (graphic design), David Molina (sound design), Jennifer Orr (properties design).

 

Production Team: Nora Hailey (assistant stage manager), Vanessa Cota, Melyssa Jo Kelly, Courtney Luna, Lorrie Jean Marinas (production team), Kevin Heverin (research advisor), John Ingle (violin music), Adam Palafox (research).

 

Directed by Delia MacDougall

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