A Walk to Remember

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Authors: Nicholas Sparks
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“Y-y-yes, a-a-absolutely,” he said, stuttering. “I—I—I un-un-understand.” It took him practically ten seconds to get the words out.
    For his generosity, however, Miss Garber gave him the role of the bum, and we knew he’d do fairly well in that role. The bum, yousee, was completely mute, but the angel always knew what he was thinking. At one point in the play she has to tell the mute bum that God will always watch out for him because God especially cares for the poor and downtrodden. That was one of the tip-offs to the audience that she’d been sent from heaven. Like I said earlier, Hegbert wanted it to be real clear who offered redemption and salvation, and it certainly wasn’t going to be a few rickety ghosts who just popped up out of nowhere.
    Rehearsals started the next week, and we rehearsed in the classroom, because the Playhouse wouldn’t open their doors for us until we’d got all the “little bugs” out of our performance. By little bugs, I mean our tendency to accidentally knock over the props. The props had been made about fifteen years ago, when the play was in its first year, by Toby Bush, a sort of roving handyman who had done a few projects for the Playhouse in the past. He was a roving handyman because he drank beer all day long while he worked, and by about two o’clock or so he’d really be flying. I guess he couldn’t see straight, because he’d accidentally whack his fingers with the hammer at least once a day. Whenever that happened, he’d throw down the hammer and jump upand down, holding his fingers, cursing everyone from his mother to the devil. When he finally calmed down, he’d have another beer to soothe the pain before going back to work. His knuckles were the size of walnuts, permanently swollen from years of whacking, and no one was willing to hire him on a permanent basis. The only reason Hegbert had hired him at all was because he was far and away the lowest bidder in town.
    But Hegbert wouldn’t allow drinking or cursing, and Toby really didn’t know how to work within such a strict environment. As a result, the work was kind of sloppy, though it wasn’t obvious right off the bat. After a few years the props began to fall apart, and Hegbert took it upon himself to keep the things together. But while Hegbert was good at thumping the Bible, he wasn’t too good at thumping nails, and the props had bent, rusty nails sticking out all over, poking through the plywood in so many places that we had to be careful to walk exactly where we were supposed to. If we bumped them the wrong way, we’d either cut ourselves or the props would topple over, making little nail holes all over the stage floor. After a couple of years the Playhouse stage had to be resurfaced, and thoughthey couldn’t exactly close their doors to Hegbert, they made a deal with him to be more careful in the future. That meant we had to practice in the classroom until we’d worked out the “little bugs.”
    Fortunately Hegbert wasn’t involved with the actual production of the play, because of all his ministering duties. That role fell to Miss Garber, and the first thing she told us to do was to memorize our lines as quickly as possible. We didn’t have as much time as was usually allotted for rehearsals because Thanksgiving came on the last possible day in November, and Hegbert didn’t want the play to be performed too close to Christmas, so as not to interfere with “its true meaning.” That left us only three weeks to get the play just right, which was about a week shorter than usual.
    The rehearsals began at three o’clock, and Jamie knew all her lines the first day there, which wasn’t really surprising. What was surprising was that she knew all my lines, too, as well as everyone else’s. We’d be going over a scene, she’d be doing it without the script, and I’d be looking down at a stack of pages, trying to figure out what my next line should be, and whenever I looked up she had this

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