LYRIC FOR SALE

By Edward Kenny

BEYOND ELYSIUM

Book and Lyrics By: Edward Kenny













Copyright © 2022
 

This is a work of fiction. Names, characters, business, events, and incidents are the products of the author’s imagination. Any resemblance to actual events is purely coincidental.









































 

Cast of Characters

(In order of appearance. Cast members may double in many scenes.)

ANCHOR
PRESIDENT
PREMIERE DAME
CHALLENGER
REVEREND
STARLET
MOLL
SPY
BROTHER
INVESTIGATOR
SUCCESSOR
MOBSTER
ENTERTAINER
COMMISSAR
ASSASSIN
MILITARY ADVISOR
CLUB OWNER

Company

GREEK GODS AND GODDESSES
DELEGATES
GUERRILLAS
ONLOOKERS
CABINET MEMBERS
NURSE
POLICE
DETECTIVES
REPORTERS

Note: Actors may double.









 
Musical Numbers
Act One

1. OVERTURE
2. ELYSIAN FIELDS Full Company
3. BEYOND ELYSIUM Anchor, President
4. THE SIXIES Full Company, sans Premiere Dame and the Guerrillas
5. THE CHAMPS-ÉLYSÉES President, Premiere Dame
6. PLATFORM Full Company
7. T.V. DEBATES POSTMORTEM President, Challenger, Anchor
8. INTRODUCTION Anchor
9. NEW FRONTIER President, Reverend, Brother, Full
Company
10. BIRTHDAY President, Starlet, Moll, Spy, Brother, Premiere Dame, Investigator, Challenger
11. MY FILES Investigator
12. TELL ME Brother, President, Guerrillas
13. LONG FORGOTTEN MAN Successor
14. TELL ME REPRISE Brother, Mobster
15. LUCKY STREAK Full Company
16. WORLD WAR III President, Commissar, Brother
17. DEFCON ONE President, Premiere Dame
18. THE CHAMPS-ÉLYSÉES REPRISE President, Premiere Dame
19. DEFCON ONE REPRISE President, Premiere Dame
20. WORLD WAR III REPRISE President, Commissar, Brother
21. THE CHAMPS-ÉLYSÉES SECOND REPRISE President, Premiere Dame
22. WORLD WAR III REPRISE President, Commissar, Brother
23. BERLIN Full Company
 
ACT TWO

24. IN GOD WE TRUST Reverend
25. THE SPIRIT’S FREE Reverend, President, Brother
26. OH, MY SON President
27. THE ADVISOR’S REPORT Brother, President, Military Advisor
28. TELL ME ( SECOND REPRISE) President, Cabinet Members
29. DALLAS President, Premiere Dame
30. MANNLICHER-CARCANO Assassin
31. MY FILES (REPRISE) Investigator
32. TELL ME (SECOND REPRISE) Guerrillas
33. WORLD WAR III (SECOND REPRISE) Commissar
34. MANNLICHER-CARCANO (REPRISE) Assassin
35. IN GOD WE TRUST (REPRISE) Reverend
36. TRAGEDY Premiere Dame
37. TELL ME (FOURTH REPRISE) Club Owner, Full Company
38. TELL ME (FIFTH REPRISE) Brother
39. LONG FORGOTTEN MAN (REPRISE) Successor
40. THE RIDERLESS HORSE Full Company
41. THE MAGIC BULLET Full Company
42. ONCE UPON A TIME IN HYANNIS PORT Anchor
43. ELYSIAN FIELDS (REPRISE) Full Company
44. BEYOND ELYSIUM (REPRISE) Full Company
 
Synopsis of Scenes

ACT ONE

Scene 1: PRESIDENT, as a young naval officer, is denied entry into Elysium.
Scene 2: PRESIDENT makes a speech in Boston.
Scene 3: PRESIDENT and PREMIERE DAME meet and dance in a grand ballroom, while daydreaming about being together at the Champs-Élysées.
Scene 4: The FULL Company, except for PREMIERE DAME and the GUERRILLAS discuss the decade of the 1960s.
Scene 5: The FULL COMPANY act as DELEGATES to the Democratic National Convention held at the Los Angeles Memorial Coliseum.
Scene 6: PRESIDENT and CHALLENGER discuss the effect that their television debates had on the election, with ANCHOR as the moderator.
Scene 7: ANCHOR introduces PRESIDENT who makes a speech about the New Frontier. PRESIDENT is joined by REVEREND, BROTHER and eventually the FULL COMPANY.
Scene 8: Three young women, a STARLET, a MOLL and a SPY flirt with PRESIDENT in the ballroom.
Scene 9: INVESTIGATOR with his desk and file cabinets next to the ballroom.
Scene 10: PRESIDENT and BROTHER in the Oval Office during the Bay of Pigs
expedition.
Scene 12 SUCCESSOR is at his Texas ranch lamenting his marginalized status.
Scene 13: Simultaneous with BROTHER interrogating MOBSTER at a congressional
committee hearing, PRESIDENT is enjoying a recreation visit with
ENTERTAINER and his friends in Hollywood.
Scene 14: PRESIDENT and BROTHER in the Oval Office, COMMISSAR in the KREMLIN and PREMIERE DAME at the Glen Ora estate in Virginia during the Cuban Missile Crisis.
Scene 15: ANCHOR is at his anchor desk. PRESIDENT and BROTHER are in the Oval Office. COMMISSAR is in the KREMLIN. The SPY is somewhere between the White House and the Kremlin.













 
ACT TWO

Scene 1: REVEREND at a church pulpit calling for civil rights reform.
Scene 2: PRESIDENT and BROTHER watch REVEREND leading a civil rights march on Washington, D.C. and then meet with him at the White House.
Scene 3: PRESIDENT at the hospital where his son was still born.
Scene 4: BROTHER is at a desk in his Washington D.C. office speaking to PRESIDENT about a military advisor’s report from Viet Nam.
Scene 5: PRESIDENT in the Oval Office with his CABINET MEMBERS.
Scene 7: ASSASSIN in his garage as he fantasizes about assassinating PRESIDENT. Flashback to the GUERRILLAS, INVESTIGATOR, COMMISSAR and REVEREND.
Scene 8: PREMIERE DAME at Parkland Hospital after PRESIDENT has been assassinated.
Scene 9: In the basement of the Dallas Police Station, CLUB OWNER shoots ASSASSIN.
Scene 10: BROTHER in the Oval Office trying to understand the assassination. SUCCESSOR takes over.
Scene 11: The FULL COMPANY describes the riderless horse at PRESIDENT’S in Washington D.C. funeral.
Scene 12: A federal commission is convened to investigate the assassination.
Scene 13: ANCHOR reflects on his interview with PRESIDENT at Hyannis Port, Massachusetts.
Finale: PRESIDENT, wearing slacks and a polo shirt is accepted into Elysium, a mythical state that he prays to move beyond.
 
I-1-1
ACT ONE

SCENE 1

SETTING: Three GREEK GODS and three GREEK GODDESSES stand DOWNSTAGE CENTER. The three GODS are to one side of a wooden gate and the three GODDESSES are to the other side. Behind them, UPSTAGE CENTER is a scrim. There is a sign on a scrim that reads “ELYSIUM – NOT CLEARED FOR ENTRY.” During the following number, images of the Elysian Fields of Greek mythology, as well as images of World War II and PT 109 are projected on the scrim. ANCHOR, dressed in a business suit is positioned behind a microphone at a news anchor desk DOWNSTAGE RIGHT.


AT RISE: Spotlight on ANCHOR. ENTER PRESIDENT at STAGE LEFT, wearing slacks, a white undershirt and a U.S. Navy uniform cap.

Song: ELYSIAN FIELDS

ANCHOR
THE HEROIC AND THE PURE OF HEART
WILL FIND A PLACE TO REST,
THE ELYSIAN FIELDS WILL NOT BE FOUND,
UNTIL THEY PASS THEIR TEST.

(PRESIDENT walks DOWNSTAGE CENTER and attempts
to open the gate. A GOD and GODDESS hold it
closed, while two others gently deny him entry and escort
him OFFSTAGE LEFT.

THIS TRAVELER WHO CAME TO THE DOOR,
WAS AT FIRST TURNED AWAY,
WE TOLD HIM THAT HE MUST GO BACK,
RETURN ANOTHER DAY.

 
I-1-2

FULL COMPANY
Looking at first in the direction where PRESIDENT
EXITED and then back to the audience.
HIS ADVENTURES AND VOYAGES,
HAVE BROUGHT HIM TO THIS PLACE,
WHERE WE PURSUE EUPHORIA,
IN AN ETERNAL CHASE.

THE LAND IS RICH AND BOUNTIFUL,
THE SEA EMERALD GREEN,
IN SKIES WE RIDE IN CHARIOTS,
NO CLOUDS STAND IN BETWEEN.

THE WIND BLOWS GUSTS OF BRAVERY,
SO COURAGE NEVER YIELDS,
WITH TIME AND SPACE FORGOTTEN HERE,
IN THE ELYSIAN FIELDS.

ANCHOR
BUT STILL HIS COURSE,
HAS NOT BEEN RUN,
HE MUST LIVE ON,
UNTIL IT’S DONE.

FULL COMPANY
ON A QUEST HE SWAM THE OCEAN,
SO SAILORS COULD BE SAVED,
BUT STILL THERE’S WAR AND POVERTY,
AND PEOPLE ARE ENSLAVED.

ALTHOUGH HE CAME FROM ROYALTY,
HE FACED THE BEAST ALONE,
HE MUST MEET A NEW DESTINY,
PULL THE SWORD FROM THE STONE.

THE WIND BLOWS GUSTS OF BRAVERY,
SO COURAGE NEVER YIELDS,
WITH TIME AND SPACE FORGOTTEN HERE,
IN THE ELYSIAN FIELDS. 
I-1-3

ANCHOR
BUT STILL HIS COURSE,
HAS NOT BEEN RUN,
HE MUST LIVE,
UNTIL IT’S DONE.

BUT STILL HIS COURSE,
HAS NOT BEEN RUN,
HE MUST LIVE ON,
UNTIL IT’S DONE.

(End of Scene 1.)






























 
I-2-1

ACT ONE

SCENE 2

SETTING: On a street in Boston, Massachusetts, PRESIDENT, now wearing a business suit, stands DOWN IN ONE making a speech. Scenes of Boston are projected on the scrim. A crowd of ONLOOKERS ENTERS from STAGE LEFT to listen to PRESIDENT’s speech.

Song: BEYOND ELYSIUM

PRESIDENT
GOD HAS GIVEN ME A GIFT,
THE WINGS TO FLY,
AND THEN TO FALL,
A TIME TO HAVE,
THEN LOSE IT ALL.

I WOULD NEVER BE THE SAME,
WITHOUT THE WAYS,
I’VE CHEATED DEATH,
WITHOUT THE AIR,
OF A LAST BREATH.

AND HOW FORTUNATE WAS I,
WITH HUMAN HANDS,
I HELD THE EARTH,
THEN SAW A SPECK,
OF HEAVEN’S WORTH.

IT WAS WALKING ON THIS PATH,
I LEARNED THE PHRASE,
“THY KINGDOM COME,”
TO SEE BEYOND,
ELYSIUM.






 
I-2-2

ANCHOR
(At the anchor desk. The ONLOOKERS
keep their focus on PRESIDENT.)
THERE ARE SECRET’S IN THE PAGES,
THEY’RE STILL HOLY THROUGH THE AGES,
AND IT CAN’T BE OVER STATED,
IT WAS WORTH THE TIME HE WAITED.

PRESIDENT

GOD HAS GIVEN US OUR LIVES,
WITH EVERY TWIST,
WITH EVERY TURN,
TO FIND HIS LOVE,
WE’RE THERE TO LEARN.

I COULD NOT COME BACK AGAIN,
NOW I’M AWAKE,
I WAS ASLEEP,
I HAVE A SOUL,
FOR HIM TO KEEP.

IT’S SO TERRIBLE UNTIL,
OUR EYES CAN SEE,
THROUGH ALL THE PAIN,
THE SUN WILL BURN,
AWAY THE RAIN.

IT WAS WALKING ON THIS PATH,
I LEARNED THE PHRASE,
“THY KINGDOM COME,”
TO SEE BEYOND,
ELYSIUM.

ANCHOR
BUT FOR THOSE WHO ARE STILL BLINDED,
IT IS TIME THEY WERE REMINDED,
OF THE TURMOIL THAT EXISTED,
HOW THE PATH HE TOOK WAS TWISTED.

(Fade to black.)

(End of Scene 2.)
 
I-3-1

ACT ONE

SCENE 3

SETTING: ANCHOR is spotlighted at his desk. ENTER the FULL COMPANY, excluding PREMIERE DAME and the GUERRILLAS. Each member of the COMPANY takes a step forward when it is their turn to comment.

Song: THE SIXIES

ANCHOR
THE SIXTIES SEEMED TO CROSS A LINE,
WE SAID GOODBYE TO FIFTY-NINE,

PRESIDENT
BY THEN HAWAII WAS A STATE,

REVEREND
OUR SCHOOLS STARTED TO INTEGRATE.

CHALLENGER
WE LAUNCHED A WEATHER SATELLITE,

COMMISSAR
(Proudly)
THE U2 WAS SHOT DOWN IN FLIGHT,

BROTHER
(Looking at COMMISSAR as if to challenge
COMMISSAR’S pride, as COMMISSAR frowns.)
AND MERCURY GOT US IN SPACE,

SUCCESSOR
(Inserting himself to share the credit, as
BROTHER frowns.)
WE JOINED THE RUSSIANS IN THE RACE.

FULL COMPANT
WE USED TO WONDER IF WE WOULD GROW OLD,
WAR IS STILL WAR, EVEN IF IT IS COLD,
WE HAD AIR RAID DRILLS, CIVIL DEFENSE,
WAGING A WAR FOR THE WAR IT PREVENTS. 
I-3-2

PRESIDENT
(Pantomiming a baseball swing.)
THE SIXTIES HIT A BIG HOME RUN,

BROTHER
ROGER’S NUMBER SIXTY-ONE,

CHALLENGER
(Looking at PRESIDENT and BROTHER and
feeling buoyed by the failure of the
team from Massachusetts.)
WHILE THE RED SOCKS WOULD STILL BE CURSED,

SUCCESSOR
BALLANTINE BEER WOULD QUENCH OUR THIRST.

ANCHOR
WE STEPPED OUT OF OUR HULA HOOPS,

REVEREND
(Regretfully.)
SENT VIET NAM SOME MORE TROOPS,

STARLET, MOLL, SPY
(Flirting with the audience.)
WE SHOWED MORE SKIN AND FED OUR MINDS,
DESIGNER JEANS ON TIGHT BEHINDS.

INVESTIGATOR
(Looking at the women with provincial disapproval.)
SNEAKING IN SUBLIMINAL ADS,

STARLET
BARBIE DOLLS AND ALL OF THE FADS,

MOLL
THE MINI-SKIRTS AND GO-GO BOOTS,

SPY
MADE MILLIONAIRES OF GUYS IN SUITS.



 
I-3-3

FULL COMPANY
BUT NATURE ABHORS A VACUUM, YOU KNOW,
A TIGER BY THE TAIL WE CAN’T LET GO,
AND WHEN WE SEE SOMETHING SOMEONE INVENTS,
WE NEVER THINK ABOUT THE CONSEQUENCE.

ANCHOR
THE SIXTIES CAME IN A MIXED BAG,

STARLET, MOLL AND SPY
IT WAS A BLAST,

CHALLENGER
(Like a party-pooper.)
IT WAS A DRAG,

STARLET, MOLL, SPY
YOU COULD TAKE A TRIP AND LIVE YOUR DREAMS,

INVESTIGATOR
YOU COULD KILL YOURSELF BY EXTREMES.

ASSASSIN
(Ominously.)
A LINCOLN WAS MADE IN DETROIT,

BROTHER
AND MARKETS WERE THERE TO EXPLOIT,

REVEREND
LIKE POOR KIDS SMOKING CIGARETTES,

SUCCESSOR
AND PEOPLE IN DEBT MAKING BETS.

PRESIDENT
THE SOVIETS HAD A PLAYBOOK TO USE,

COMMISSAR
IT WAS FIRST TO CORRUPT, THEN TO CONFUSE,

PRESIDENT
SOMEBODY HAD TO LEAD US ON THROUGH,
 
I-3-3

FULL COMPANY
(Turning to face PRESIDENT.)
SOMEBODY, THAT SOMEBODY WILL BE YOU.

(Fade to black.)

(End of Scene 3.)




































 
I-4-1

ACT ONE

SCENE 4

SETTING: A Ballroom where members of the COMPANY are dressed for a formal affair. PRESIDENT and PREMIERE DAME ENTER from opposite sides and meet at CENTER STAGE to waltz together.

ANCHOR
(Spotlighted at his anchor desk and unnoticed by
PRESIDENT and PREMIERE DAME.)
It is a magic moment when PRESIDENT and PREMIERE DAME first fall in love.

Song: THE CHAMPS-ÉLYSÉES

PRESIDENT
HOW RADIANT HER FACE,
BEHOLD A WORK OF ART,
THIS GIRL OF STYLE AND GRACE,
THE ONE WHO STEALS MY HEART.

I TOUCH HER SNOW WHITE GLOVE,
HER EYES ARE JEWELS AGLOW,
WITH HER I FALL IN LOVE,
AND IT IS ALWAYS SO.

WE’RE ON THE CHAMPS-ÉLYSÉES,
ON HOLIDAY IN FRANCE,
PREMIERE DAME TAKE ME AWAY,
WHEN IN MY ARMS YOU DANCE.

PREMIERE DAME
IS THERE A CASTLE WHERE,
WE COULD JUST LIVE OUR LIFE?

PRESIDENT
YES AND I’LL TAKE YOU THERE,
IF YOU WILL BE MY WIFE.

PREMIERE DAME
UPON THE CASTLE WALLS,
I’LL PAINT WITH MY OWN HAND, 
I-4-2

ANCHOR
(Again spotlighted at his desk and unnoticed by
PRESIDENT and PREMIERE DAME.)
UNTIL THE CASTLE FALLS,
FOR IT IS MADE OF SAND.

PRESIDENT AND PREMIERE DAME
WE ARE ON THE CHAMPS-ÉLYSÉES,
ON HOLIDAY IN FRANCE,

PRESIDENT
PREMIERE DAME TAKE ME AWAY,

PRESIDENT AND PREMIERE DAME
AS IN MY ARMS YOU DANCE.

PRESIDENT AND PREMIERE DAME
WE’RE ON THE CHAMPS-ÉLYSÉES,
ON HOLIDAY IN FRANCE,

PRESIDENT
PREMIERE DAME TAKE ME AWAY,

PRESIDENT AND PREMIERE DAME
AS IN MY ARMS YOU DANCE.

(As the waltz end the COMPANY EXITS,
except for PRESIDENT, who remains on stage
as the lights fade to black.)

(End of Scene 4.)
 
I-5-1

ACT ONE

SCENE 5

SETTING: Male and female DELEGATES, who are wearing straw hats and carrying miniature American flags and colored balloons, attend the Democratic National Convention at
the Los Angeles Memorial Coliseum. Some DELEGATES ogle their counterparts, while others admonish them. Some seem to have had too much to drink. All vie for attention in a comedic fashion, insisting that their “plank” be included in the party platform.

ANCHOR
(Spotlighted at his desk.)
The Democrat Party National Convention of 1960.

Song: PLATFORM

DELEGATE ONE
WHEN YOU COME TO A CONVENTION,
THEN YOU REALLY SEE SOME SIGHTS,
DELIGATES IN FUNNY HATS,
INEBRIATED FIGHTS.

DELEGATE TWO
VOWS OF MARRIAGE IN SUSPENSION,
IF YOU’RE FROM ANOTHER STATE,
PASSING SHIPS AND LOOSENED LIPS,
AND FISH TAKING THE BAIT.

DELEGATE GROUP
(A DELEGATE turns to flaunt her derriere and
each time these words are sung..)
WE’RE HERE TO BUILD A PLATFORM,
AND SELECT OUR CANDIDATES,
NOT HERE TO CHECK OUT THAT FORM,
OR TO HUNT FOR OTHER MATES.
SO BRING ALONG A HAMMER,
SO WE CAN NAIL DOWN THE PLANKS,
THEY’LL PUT DRUNKS IN THE SLAMMER,
BUT ME I JUST SAY “NO THANKS.”
I-5-2

DELEGATE THREE
SO LET’S GET DOWN TO BUSINESS,
AND THE ISSUES OF THE DAY,
LABOR’S TOILS AND FOREIGN SOILS,
EXPENSES WE SHOULD PAY.

DELEGATE FOUR
AND THEN THERE IS IMMIGRATION,
OF COURSE, THE ECONOMY,
IT’S IN CHAINS WHICH THEN EXPLAINS,
LOW PRODUCTIVITY.

DELEGATE GROUP
WE’RE HERE TO BUILD A PLATFORM,
AND SELECT OUR CANDIDATES,
NOT HERE TO CHECK OUT THAT FORM,
OR TO HUNT FOR OTHER MATES.
SO BRING ALONG A HAMMER,
SO WE CAN NAIL DOWN THE PLANKS,
THEY’LL PUT DRUNKS IN THE SLAMMER,
BUT ME I JUST SAY “NO THANKS.”

DELEGATE FIVE
AND WHAT ABOUT DISARMAMENT?
OUR DEFENSES ARE TOO BIG.
AND THE FACTS ARE THAT THE TAX,
SYSTEM’S SOMETHING THEY RIG.

DELEGATE SIX
I HOPE YOU WILL REMEMBER,
BEFORE THEY WILL DOUSE THE LIGHTS,
TO INCLUDE AN ATTITUDE,
IN SUPPORT OF CIVIL RIGHTS.

DELEGATE GROUP
WE’RE HERE TO BUILD A PLATFORM,
AND SELECT OUR CANDIDATES,
NOT HERE TO CHECK OUT THAT FORM,
OR TO HUNT FOR OTHER MATES.
SO BRING ALONG A HAMMER,
SO WE CAN NAIL DOWN THE PLANKS,
THEY’LL PUT DRUNKS IN THE SLAMMER,
BUT ME I JUST SAY “NO THANKS.”
 
I-5-3

ANCHOR
(Spotlighted.)
THEY THINK THEY’VE GOT A WINNER,
ON THE DEMOCRATIC SLATE,
WHO’S THE MAN REPUBLICAN?
WELL, WE’LL JUST HAVE TO WAIT.

FOR NOW, MUSIC AND BALLOONS,
AND A FESTIVE ATMOSPHERE,
FILL THE HALL AS ONE AND ALL,
SAY SIXTY IS THE YEAR.

(The spotlight on ANCHOR fades and he EXITS.)

FULL COMPANY
BUT WE’RE HERE TO BUILD A PLATFORM,
AND SELECT OUR CANDIDATES,
WE’RE NOT HERE TO CHECK OUT THAT FORM,
OR TO HUNT FOR OTHER MATES.
SO BRING ALONG A HAMMER,
AND LET’S NAIL DOWN THE PLANKS,
THEY’LL PUT DRUNKS IN THE SLAMMER,
BUT ME I SAY “NO THANKS.”

FULL COMPANY
BUT WE’RE HERE TO BUILD A PLATFORM,
AND SELECT OUR CANDIDATES,
WE’RE NOT HERE TO CHECK OUT THAT FORM,
OR TO HUNT FOR OTHER MATES.
SO BRING ALONG A HAMMER,
AND LET’S NAIL DOWN THE PLANKS,
THEY’LL PUT DRUNKS IN THE SLAMMER,
BUT ME I SAY “NO THANKS.”

(Fade to black.)

(End of Scene 5.)






 
I-6-1

ACT ONE

SCENE 6

SETTING: PRESIDENT and CHALLENGER shake hands and then stand at podiums at opposite sides of the stage. DOWNSTAGE LEFT is a television camera. DOWNSTAGE CENTER ANCHOR sits at the moderator’s desk.

ANCHOR
Now that the television debates of 1960 are over, it appears that T.V. might have decided the winner.

Song: T.V. DEBATE POSTMORTEM

PRESIDENT
THERE WASN’T MUCH TO SEPARATE US,

CHALLENGER
SIMILAR IN POINTS OF VIEW,

PRESIDENT
BUT VOTERS USED SOMETHING TO RATE US,

CHALLENGER
IN THE END IT CAME DOWN TO…

PRESIDENT
NOT WHICH ONE HAD THE GRANDEST VISION,

CHALLENGER
OR WHOSE CASE WAS BEST DEFINED,

PRESIDENT
MORE HOW WE LOOKED ON TELEVISION,

CHALLENGER
AS MAKE-UP MADE UP THEIR MIND.
 
I-6-2

ANCHOR
(Turning to face the audience.)
AND NOW THE ELECTION’S OVER,
AND THEY’VE ACCEPTED THEIR FATES,
I’LL LEAVE YOU TO DEBATE OVER,
THE POWER OF T.V. DEBATES.

CHALLENGER
I SUFFERED FROM A BAD INFECTION,
AND THE HEAT CAUSED ME TO SWEAT,
AND AT TIMES MY EYES CHANGED DIRECTION,
TO SEE HOW MUCH TIME I’D GET.

PRESIDENT
WHEN IT CAME DOWN TO THE TOPICS,

CHALLENGER
PRETTY MUCH ON THE SAME PAGE,

PRESIDENT
BUT IN THE CASE OF THE OPTICS,

CHALLENGER
WE’RE LIKE ACTORS ON A STAGE.

ANCHOR
(Turning to face the audience.)
AND NOW THE ELECTION’S OVER,
AND THEY’VE ACCEPTED THEIR FATES,
I’LL LEAVE YOU TO DEBATE OVER,
THE POWER OF T.V. DEBATES.

CHALLENGER
(Whimsically)
MAYBE A DIFFERENT STORY,
IF IT WERE JUST RADIO,
MIGHT HAVE GONE ON TO MY GLORY…

PRESIDENT
(CHALLENGER snaps his head back to PRESIDENT with a look of disapproval.)
BUT WE WILL NEVER KNOW.


 
I-6-3

ANCHOR
(Turning to face the audience.)
AND NOW THE ELECTION’S OVER,
AND THEY’VE ACCEPTED THEIR FATES,
I’LL LEAVE YOU TO DEBATE OVER,
THE POWER OF T.V. DEBATES.

(Fade to black.)

(End of Scene 6.)

































 
I-7-1

ACT ONE

SCENE 7

SETTING: ANCHOR is spotlighted at his anchor desk, DOWNSTAGE RIGHT. PRESIDENT is then spotlighted at a podium in Washington, D.C., UPSTAGE CENTER, facing the audience. The FULL COMPANY ENTERS and stands at STAGE RIGHT and STAGE LEFT, facing PRESIDENT.

Song: INTRODUCTION

ANCHOR
AND NOW, LADIES AND GENTLEMEN,
PLEASE LOOK UP FROM YOUR PLATES,
I GIVE TO YOU THE PRESIDENT,
OF THE UNITED STATES.

Song: NEW FRONTIER

PRESIDENT
A CROSSROADS LIES AHEAD,
PROSPERITY OR RUIN?
AN OPPORTUNITY,
TO MAKE HISTORY,

BY LIGHT YEARS WE’LL ADVANCE,
EVEN LAND ON THE MOON,
IT’S NOT AN EASY TASK,
BUT IT’S WHAT I ASK.

I SEE A NEW FRONTIER,
A STAR IS SHINING THERE,
A LUSH AND VERDANT FIELD,
THAT WE WILL NEVER YIELD.
I SEE A NEW FRONTIER,
THE IMAGE CAN BE CLEAR,
JUST LIMITED IT SEEMS,
BY THE SIZE OF OUR DREAMS.


 
I-7-2

WE’RE LIVING IN A TIME,
WITH A WOLF AT THE DOOR,
A MODERN ENEMY,
THREATENS HUMANITY.

THE FUTURE’S IN OUR HANDS,
WE CAN DO SO MUCH MORE,
AT PEACE AND IN DETENTE,
COMES DOWN TO WHAT WE WANT.

I SEE A NEW FRONTIER,
A STAR IS SHINING THERE,
A LUSH AND VERDANT FIELD,
THAT WE WILL NEVER YIELD.
I SEE A NEW FRONTIER,
THE IMAGE CAN BE CLEAR,
JUST LIMITED IT SEEMS,
BY THE SIZE OF OUR DREAMS.

MANY LIVES HAVE BEEN LOST,
THEY SACRIFICED FOR US,
THEY CANNOT DIE IN VAIN,
FOR OUR DUTY IS PLAIN.

OPEN UP YOUR HEARTS,
COME AND JOIN THE CHORUS,
SING ON THE SAME PAGE,
WELCOME TO A NEW AGE.

FULL COMPANY
(Turning to face the audience.}
I SEE A NEW FRONTIER,
A STAR IS SHINING THERE,
A LUSH AND VERDANT FIELD,
THAT WE WILL NEVER YIELD.
I SEE A NEW FRONTIER,
THE IMAGE CAN BE CLEAR,
JUST LIMITED IT SEEMS,
BY THE SIZE OF OUR DREAMS.
 
I-7-3

(Spotlight on REVEREND.)

REVEREND
FOR PEOPLE UNDER GOD,
A BRIGHTER LIGHT HAS SHONE,
ON LOVE INSTEAD OF HATE,
SO LET’S COOPERATE.

(Spotlight on BROTHER.)

BROTHER
ALL LIVES WILL COME TO PASS,
THEIR NAMES GO ON A STONE,
LET US DO WHAT WE MUST,
‘FORE WE TURN TO DUST.

FULL COMPANY
I SEE A NEW FRONTIER,
A STAR IS SHINING THERE,
A LUSH AND VERDANT FIELD,
THAT WE WILL NEVER YIELD.
I SEE A NEW FRONTIER,
THE IMAGE CAN BE CLEAR,
JUST LIMITED IT SEEMS,
BY THE SIZE OF OUR DREAMS.

FULL COMPANY
I SEE A NEW FRONTIER,
A STAR IS SHINING THERE,
A LUSH AND VERDANT FIELD,
THAT WE WILL NEVER YIELD.
I SEE A NEW FRONTIER,
THE IMAGE CAN BE CLEAR,
JUST LIMITED IT SEEMS,
BY THE SIZE OF OUR DREAMS.

(Fade to black.)

(End of Scene 7.)




 
I-8-1

ACT ONE

SCENE 8

SETTING: The lights come up on PRESIDENT in the ballroom, as three young and flirtatious women enter. One of the women is dressed like a Hollywood actress, another as a gangster’s moll, and yet another as a spy.)

ANCHOR
(Spotlighted.)
PRESIDENT’s personal life begins to attract attention.)

Song: BIRTHDAY

STARLET
YOU NEED TO GET AWAY,
FROM WORRIES AND STRESS,
I’VE GOT A GIFT FOR YOU,
YOU THINK YOU CAN GUESS?

MOLL
YOU NEED SOME FUN TODAY,
THE WORLD IS A MESS,
I’VE GOT A GIFT FOR YOU,
IT’S WRAPPED IN A DRESS.

STARLET
SO HAPPY BIRTHDAY,

MOLL
YEAH HAPPY BIRTHDAY,

SPY
WHAT DO YOU SAY?

STARLET
SO HAPPY BIRTHDAY,

MOLL
YEAH HAPPY BIRTHDAY,
 
I-8-2

SPY
COME OUT AND PLAY,

STARLET, MOLL AND SPY
SO HAPPY BIRTHDAY,
YEAH HAPPY BIRTHDAY,
IT’S YOUR BIRTHDAY,
EVERY DAY.

SPY
THERE’S NO CATASTROPHE,
THAT YOU CAN’T LET WAIT,
WE NEED TO MAKE SOME LOVE,
TO OFFSET THE HATE.

STARLET
YOU’RE SUCH A HANDSOME MAN,
AND A HEAD OF STATE,

MOLL
YOU’RE RICH AND POWERFUL,
SO LET’S CELEBRATE.

STARLET
SO HAPPY BIRTHDAY,

MOLL
YEAH HAPPY BIRTHDAY,

SPY
WHAT DO YOU SAY?

STARLET
SO HAPPY BIRTHDAY,

MOLL
YEAH HAPPY BIRTHDAY,

SPY
COME OUT AND PLAY,
 
I-8-3

STARLET, MOLL AND SPY
SO HAPPY BIRTHDAY,
YEAH HAPPY BIRTHDAY,
IT’S YOUR BIRTHDAY,
EVERY DAY.

(ENTER BROTHER and PREMIERE DAME at STAGE LEFT
and INVESTIGATOR, SUCCESSOR, CHALLENGER and ASSASSIN at STAGE RIGHT.)

BROTHER
BUT YOUR ACHILLES HEEL,
COULD LEAD TO DEFEAT.

PREMIERE DAME
ALTHOUGH IT BREAKS MY HEART,
AT LEAST HE’S DISCREET.

INVESTIGATOR
MY FILES COULD BRING YOU DOWN,

SUCCESSOR
AND OPEN THAT SEAT.

CHALLENGER
YOU MAY LIKE HOLLYWOOD,
BUT YOU CAN BE BEAT.

BROTHER
YOU’RE NOT IN COLLEGE NOW,
A REGULAR GUY.

INVESTIGATOR
ONE’S IN THE MAFIA,
AND ONE IS A SPY,

ASSASSIN
YOU ARE A TARGET NOW,
I JUST HAVE TO TRY.

STARLET
SO HAPPY BIRTHDAY,
 
I-8-4

MOLL
YEAH HAPPY BIRTHDAY,

SPY
WHAT DO YOU SAY?

STARLET
SO HAPPY BIRTHDAY,

MOLL
YEAH HAPPY BIRTHDAY,

SPY
COME OUT AND PLAY,

STARLET, MOLL AND SPY
SO HAPPY BIRTHDAY,
YEAH HAPPY BIRTHDAY,
IT’S YOUR BIRTHDAY,
EVERY DAY.

(The COMPANY EXITS, except for INVESTIGATOR.
Fade to black.)

(End of Scene 8.)


















 
I-9-1

ACT ONE

SCENE 9

SETTING: The lights come up on INVESTIGATOR in the ballroom. He sings down in one.

ANCHOR
One person paying attention to PRESIDENT’s personal life was INVESTIGATOR.

Song: MY FILES

INVESTIGATOR
NOW WHEN YOU MEET A MAN LIKE ME,
THERE’S A RABBIT IN MY HAT THAT YOU DON’T SEE,
THE MOVERS AND THE SHAKERS AND THE QUAKERS,
THINK THEY’RE STRONG,
BUT I’VE BEEN KEEPING TABS ON THEM ALL ALONG.

NOW WHEN YOU THINK NO ONE WILL KNOW,
I KNOW WHAT YOU DO AND I KNOW WHERE YOU GO,
THE LOVERS AND THE STARLETS AND THE HARLOTS,
CAN’T RESIST,
BUT I’VE BEEN KEEPING TABS ON EVERY TRYST.

AND JUST AS THE MONA LISA SMILES,
I’VE GOT A GRIN THAT BEGUILES,
THE EVIDENCE JUST PILES AND PILES,
GOOD FOR ME, I’VE GOT MY FILES.

NOW THERE’S NO NEED TO SPEAK AGAIN,
YOU’RE SECRET’S SAFE WITH ME UNTIL THE DAY WHEN,
YOU’RE TIRED AND I’M FIRED OR ELSE RETIRED,
THEN I GUESS,
THE PUBLIC WILL LEARN ABOUT THIS SORDID MESS.

NOW WHEN YOU DEIGN TO TAKE AN OATH,
THE POWER WILL REALLY RESIDE WITH US BOTH,
FROM BLEACHERS ALL THE TEACHERS AND THE PREACHERS,
THINK YOU’RE CUTE,
BUT STANDING NEXT TO ME YOU’RE AN EMPTY SUIT.
 
I-9-2

AND JUST AS THE MONA LISA SMILES,
I’VE GOT A GRIN THAT BEGUILES,
THE EVIDENCE JUST PILES AND PILES,
GOOD FOR ME, I’VE GOT MY FILES.


I’M THE BIGGEST THING FOR MILES AND MILES,
GOOD FOR ME, I’VE GOT MY FILES.
I’M THE BIGGEST THING FOR MILES AND MILES,
GOOD FOR ME, I’VE GOT MY FILES.

(Fade to black.)

(End of Scene 9.)





























 
I-10-1

ACT ONE

SCENE 10

SETTING: BROTHER and PRESIDENT pace slowly, restlessly in the Oval Office of the White House. Anti-Castro GUERRILLAS ENTER from STAGE RIGHT and STAGE LEFT and position themselves outside of the Oval Office set. The GUERRILLAS are not acknowledged by BROTHER and PRESIDENT. Images of the Bay of Pigs incident are projected on the scrim.

ANCHOR
k (Spotlighted.)
The aftermath of the Bay of Pigs expedition.)

Song: TELL ME

BROTHER
PROMISES GET BROKEN,
THAT’S JUST THE WAY IT GOES,
POETRY IS SPOKEN,
AND THEN REDUCED TO PROSE.

PRESIDENT
AND A COVERT ACTION,
IS SOMETIMES ILL-ADVISED,

BROTHER
MEN OF GOOD INTENTION,
SOMETIMES GET COMPROMISED.

GUERRILLAS
(ANGRILY)
WHERE WERE THE PLANES,
YOU SAID WOULD SUPPORT US?
WHO’LL FEEL THE PAINS,
NOW THAT THEY HAVE CAUGHT US?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.
 
I-10-2

BROTHER
BAHIA DE COCHINOS,
WILL LIVE IN INFAMY.

PRESIDENT
AND ALL OF THOSE NINOS,
IN JAIL BECAUSE OF ME.

BROTHER
ALL OF YOUR ADVISORS,
ARE JUST PASSING THE BUCK,

PRESIDENT
OUT HAVE COME THE DAGGERS,
AND LIKE CAESAR I’M STUCK.

BROTHER
WHERE WERE THE EYES,
THAT WE HAD ON THE BAY?

PRESIDENT
WHO TAKES ADVICE,
FROM THE DAMNED C.I.A.?

PRESIDENT AND BROTHER
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

GUERRILLAS
(Despondently)
NO MORE ARE WE PLOTING,
HERE IN THE BAY OF PIGS,
WE ARE LEFT HERE ROTTING,
AND TORTURED IN THEIR BRIGS.

(Fade to black.)

(End of Scene 10.)
 
I-11-1

SCENE 11

SETTING: SUCCESSOR is in Texas, dressed as a cowboy, DOWNSTAGE, CENTER. During the following the following number, images of the desolate plains of Texas are projected on the scrim, while SUCCESSOR sets up a camp for the night.

ANCHOR
(Spotlighted.)
SUCCESSOR contemplates his status at his ranch in Texas.

Song: LONG FORGOTTEN MAN

SUCCESSOR
THEY SAY EVERYTHING IS BIGGER IN TEXAS,
AND SO I DREAMED ME SOME SUPERSIZED DREAMS,
UNTIL SOMEHOW I RODE INTO A NEXUS,
OF WHERE DREAMS COME APART AT THE SEAMS.

ONE TIME I USED TO RIDE HIGH IN THE SADDLE,
I HAD THE BIGGEST HAT IN THE RING,
BUT NOW OVER THE CREVACES I STRADDLE,
I WORRY WHAT TOMORROW WILL BRING.

COULD A POOR BY LIKE ME REACH THE SUMMIT?
WELL, FOR DECADES THAT HAS BEEN THE PLAN,
BUT MY STOCK HAS NOW STARTED TO PLUMMET,
AND I’M JUST A LONG FORGOTTEN MAN.

THERE’S A BRIDE WRAPPED IN A FLAG AT THE ALTER,
AND SHE ONCE WAS THE LOVE OF MY LIFE,
OH BUT LATELY SHE HAS STARTED TO FALTER,
I WONDER IF SHE’LL STILL BE MY WIFE.

FAR AWAY THEY HAVE SENT ME TO TRAVEL,
UPON A HORSE THAT’S NO WHERE NEAR THE RACE,
AND AS MY FUTURE BEGINS TO UNRAVEL,
THIS OLD COWBOY JUST FEELS OUT OF PLACE.
 
I-11-1

COULD A POOR BY LIKE ME REACH THE SUMMIT?
WELL, FOR DECADES THAT HAS BEEN THE PLAN,
BUT MY STOCK HAS NOW STARTED TO PLUMMET,
AND I’M JUST A LONG FORGOTTEN MAN.

(Fade to black as SUCCESSOR beds down for the night.)

(End of Scene 11.)
 
I-12-1

ACT ONE

SCENE 12

SETTING: DOWNSTAGE LEFT, BROTHER is spotlighted sitting at the anchor desk. The spotlight then widens to reveal MOBSTER sitting across from him at a table. Both men have the type microphones in front of them that are used at congressional hearings.

Song: TELL ME (FIRST REPRISE)

BROTHER
I KNOW WHAT YOU’RE DOING,
YOU’RE ORGANIZING CRIME,
WHEN I’M THROUGH PURSUING,
YOU’LL END UP DOING TIME.

MOBSTER
YOU DON’T REALLY SCARE ME,
YOU WEALTHY HYPOCRIT,
IF YOU WANT TO DARE ME,
WELL, THERE COULB BE A HIT.

BROTHER
YOUR DOWN IN THE GUTTER,
YOUR HANDS ARE FULL OF DIRT.

MOBSTER
GO TALK TO YOUR BROTHER.
BEFORE SOMEONE GETS HURT.

BROTHER
GIVE UP THE REINS,
START DOING YOUR PENANCE,
WHAT ARE THE NAMES,
OF ALL YOUR LIEUTENANTS?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.
 
I-12-2

MOBSTER
WHAT WE HAVE EARNED,
IS EXCLUSIVELY OURS,
WHO WANTED BURNED,
SOME EXPLODING CIGARS?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

MOBSTER
(The spotlight on BROTHER and MOBSTER goes
dark. ENTER the FULL COMPANY. The light come up
on a pool party scene. Projected on the scrim is scene of
palm trees and the Pacific Ocean off of the California
coast. President meets ENTERTAINER and shakes his
hand, DOWNSTAGE CENTER.

Song: LUCKY STREAK

ENTERTAINER
THE TIME HAS PASSED NOW FOR DEBATING,
AND THERE’S NO REASON TO BE WAITING,
YOU’VE AMASSED A WIN AFTER A WIN,

PRESIDENT
THE MOMENT WHEN I WAS ELECTED,
SOME REWARDS WERE TO BE EXPECTED,
SO I GUESS THE PARTY WILL BEGIN.

ENTERTAINER
NOW TAKE YOUR CHIPS, IT’S TIME FOR CASHING,
WHERE THE PACIFIC OCEAN’S CRASHING,
AND ON THE BEACH YOU CAN TAKE PEEK,
AT THE BATHING BEAUTIES WHO ARE STUNNING,
WHERE YOU CAN TAKE A BREAK FROM RUNNING,
BECAUSE YOU’RE ON A WINNING STREAK.

THERE ARE THE CELEBRITIES AND FOOLS,
BUT, THE SUNSHINE NEVER COOLS,
AND THIS IS NO TIME FOR BEING MEEK,
BECAUSE YOU’RE ON A LUCKY STREAK.
 
I-12-3

MOLL, STARLET, SPY
(Running up top surround PRESIDENT.)
CALIFORNIA IS HERE TO GREET YOU,
AND LALA LAND SAYS “PLEASED TO MEET YOU,”
YOU’RE THE KIND OF GUY THAT MAKES US SWOON,

BROTHER
(Pushing the women away and imploring President.)
BE CAREFUL OF THE FOLKS AROUND YOU,
THE F.B.I. IS BOUND TO HOUND YOU,

INVESTIGATOR
(Moving BROTHER aside and addressing PRESIDENT.)
MAYBE YOU WILL LEARN TO CHANGE YOUR TUNE.

ENTERTAINER AND MOBSTER
(Moving in front of BROTHER and INVESTIGATOR,
and then motioning for the women to join them.)
IN THE PLACE WHERE IT’S NEVER RAINING,
YOU CAN STAY A WEEKEND OR A WEEK,

MOLL, STARLET, SPY
BUT WHEN THE MOON’S UP DON’T BE TOO QUIET,
A NAUGHTY BOY CANNOT DENY IT,
ANY TIME HE’S ON A LUCKY STREAK.

FULL COMPANY (SANS PRESIDENT)
(Surrounding PRESIDENT.)
THERE ARE SO MANY PALM TREES AND POOLS,
BUT, THERE ARE NOT A LOT OF RULES,
AND THIS OPPORTUNITY’S UNIQUE,
COME ON, YOU’RE ON A LUCKY STREAK.

ENTERTAINER
THE STARLETS HERE ARE DRAWN TO POWER,

MOBSTER
THEY COME OUT IN THE WITCHING HOUR,
HUNTING THAT POLITICAL MYSTIQUE,

ENTERTAINER
WHAT BETTER PLACE FOR SOME UNWINDING?
 
I-12-4

MOBSTERR
THE CONTRACTS ARE NOT SO BINDING,
YOU HAVE FOUND THE PARADISE YOU SEEK.

FULL COMPANY (SANS PRESIDENT)
THE BARS ARE OPENED UP FOR DRINKING,
THE PRESS BLIND, EXCEPT FOR WINKING,
YOU HAVEN’T EVEN HIT YOUR PEAK,

MOBSTER
THESE ARE JUST THE PERKS FOR PRINCES,

BROTHER
AS THE SECRET SERVICE WINCES,

PRESIDENT
GUESS I’M ON A LUCKY STREAK.

FULL COMPANY (SANS PRESIDENT)
SOME MEN ARE STALLIONS AND SOME ARE MULES,
AND IT’S THE KIND MAN THAT RULES,
THAT ACTS IN WAYS THAT ARE NEVER WEAK,
HE IS ALWAYS ON A LUCKY STREAK.

(Fade to black.)

(End of Scene 12.)
 
I-13-1

ACT ONE

SCENE 13

SETTING: DOWNSTAGE LEFT, PRESIDENT sits behind his desk in the Oval Office of the White House. DOWNSTAGE RIGHT, COMMISSAR sits behind his desk in the Kremlin. As each character sings they are writing a letter. When they are not singing, they are reading a letter. UPSTAGE CENTER images of the Cuban Missile Crisis, of the Kremlin and of the White House projected on the scrim.

ANCHOR
(Spotlighted.)
The Cuban Missile Crisis.

Song: WORLD WAR III (Same music as T.V. DEBATES POSTMORTEM, except for the chorus, which requires new music.

PRESIDENT
WE HAVE EVIDENCE UNDISPUTED,
OF YOUR WARSHIPS ON PARADE,
THEIR VOYAGE WILL BE CONVOLUTED,
WHEN THEY MEET WITH OUR BLOCKADE.

COMMISSAR
YOU’D BETTER FIND A FALLOUT SHELTER,
IF YOU’RE GOING DOWN THAT PATH,
YOU KNOW RUSSIA, BUT HAVEN’T FELT HER,
HIT YOU WITH HER RAGE AND WRATH.
 
I-13-2

PRESIDENT AND COMMISSAR
AND IT DOESN’T MATTER WHAT WE EACH THINK,
IT’S MORE ABOUT WHICH ONE OF US WILL BLINK,
AND IT DOESN’T MATTER WHICH PHILOSOPHY,
BUT IT’S ABOUT WHICH ONE STARTS WORLD WAR III.

(ENTER PREMIERE DAME who is spotlighted DOWNSTAGE
RIGHT, while COMMISSAR remains in place, but fades to
black. PRESIDENT moves to a rocking chair, still in the Oval Office. PREMIERE DAME is in a living room chair at the Glen Ora
estate in Virginia. Both are talking to each other, holding
the receivers of landline telephones. UPSTAGE CENTER
images of the Cuban Missile Crisis, of the KREMLIN and
of the White House continue to be projected.)

Song: DEFCON ONE

PRESIDENT
I WANTED TO YOU TO KNOW HOW MUCH I LOVE YOU,

PREMIERE DAME
OF COURSE I DO AND I LOVE YOU TOO,

PRESIDENT
I WANT THE SKIES ALL CLEAR AND BLUE ABOVE YOU,

PREMIERE DAME
I KNOW YOU DO THE BEST YOU CAN DO.

THERE’S SOMETHING IN YOUR VOICE THAT’S UNEVEN,
TELL ME PLEASE, WHAT IS IT THAT’S WRONG?

PRESIDENT
THERE’S SOMETHING IN THIS WORLD THAT IS SO CRAVEN,
I WISH I COULD JUST SING YOU A SONG…

WE ARE ON THE CHAMPS-ÉLYSÉES, (Same music as “PREMIERE DAME”)
ON HOLIDAY IN FRANCE,
PREMIERE DAME TAKE ME AWAY,
AS IN MY ARMS YOU DANCE.




I-13-3

WE’VE SPOTTED SHIPS HEADED FOR THE CARIBBEAN,
AND THEY WILL LAND NINETY MILES AWAY,
WE KNOW WHAT NUCLEAR MISSILES MEAN,
WE DON’T KNOW THE HOUR OR THE DAY.

WE’RE MONITORING THEIR PROGRESS ON THE HIGH SEAS,
WE’RE SETTING UP A NAVAL BLOCKADE,
I’M GETTING BY ON PRAYERS AND TENDER MEMORIES,

PREMIERE DAME
THINK ABOUT THE MAGIC LIFE WE’VE MADE.

WE’RE ON THE CHAMPS-ÉLYSÉES, (Same music as “THE CHAMPS-ÉLYSÉES “)
ON HOLIDAY IN FRANCE,
PREMIERE DAME TAKE ME AWAY,
WHEN IN YOUR ARMS I DANCE.

DEAR, I WANT TO BE THERE WITH YOU AND OUR TIKES,
WE MUST BE TOGETHER AT THE END,

PRESIDENT
NO, WASHINGTON WOULD BE ONE OF THE FIRST STRIKES,
YOU MUST ESCAPE THE FURY THAT THEY SEND,

SO CLOSE YOUR EYES AND HUG AND KISS THE CHILDREN,
AND MAY GOD FORGIVE MAN FOR WHAT HE’S DONE,

PREMIERE DAME
I’LL SEE YOU LONG BEFORE WE MEET IN HEAVEN,

PRESIDENT
JUST PRAY WE NEVER GET TO DEFCON ONE,
TO DEFCON ONE,
TO DEFCON ONE,
TO DEFCON ONE.

PRESIDENT AND PREMIERE DAME
WE’RE ON THE CHAMPS-ÉLYSÉES, (Same music as “PREMIERE DAME)
ON HOLIDAY IN FRANCE,
 
I-13-4

PRESIDENT
PREMIERE DAME TAKE ME AWAY,

PRESIDENT AND PREMIERE DAME
AS IN MY ARMS YOU DANCE.

(EXIT PREMIERE DAME. PRESIDENT returns to the desk, COMMISSAR spotlighted in the Kremlin and they continue their
correspondence.

PRESIDENT AND COMMISSAR
AND IT DOESN’T MATTER WHAT WE EACH THINK,
IT’S MORE ABOUT WHICH ONE OF US WILL BLINK,
AND IT DOESN’T MATTER WHICH PHILOSOPHY,
BUT IT’S ABOUT WHICH ONE STARTS WORLD WAR III.

COMMISSAR
YOU HAVE YOUR FINGER ON THE BUTTON,
AH BUT DO YOU HAVE THE WILL?

PRESIDENT
IF THE BEAR CONTINUES AS A GLUTTON,
THEN HE IS RIPE FOR THE KILL.

PRESIDENT
THE BLOCKADE IS THE PERFECT REASON,
FOR YOU TO JUST SAIL AWAY,

COMMISSAR
FOR NOW THE BEAR IS OUT OF SEASON,
HE’LL BE BACK ANOTHER DAY.

PRESIDENT AND COMMISSAR
AND IT DOESN’T MATTER WHAT WE EACH THINK,
IT’S MORE ABOUT WHICH ONE OF US WILL BLINK,
AND IT DOESN’T MATTER WHICH PHILOSOPHY,
BUT IT’S ABOUT WHICH ONE STARTS WORLD WAR III.

(COMMISSAR in the KREMLIN fades to black.
ENTER BROTHER.)
 
I-13-5

BROTHER
ALTHOUGH IT’S OVER AND HE IS LEAVING,
HE LEFT SOME MISSILES AND TROOPS,
IS THIS MORE SOVIET DECEIVING?
ARE WE BEING PLAYED FOR DUPES?

PRESIDENT
WE REMOVED MISSILES FROM HIS BORDER,
THIS WILL BE THE GAME WE PLAY,
WE’RE LIVING IN A NEW WORLD ORDER,
TO SURVIVE ANOTHER DAY.

PRESIDENT AND BROTHER
AND IT DOESN’T MATTER WHAT WE EACH THINK,
IT’S MORE ABOUT WHICH ONE OF US WILL BLINK,
AND IT DOESN’T MATTER WHICH PHILOSOPHY,
BUT IT’S ABOUT WHICH ONE STARTS WORLD WAR III.

(Fade to black.)

(End of Scene 12.)
 
I-14-1

ACT ONE

SCENE 14

SETTING: DOWNSTAGE RIGHT, ANCHOR is spotlighted behind his anchor desk. As the scene begins, images of the Conference of Yalta are projected on the scrim, UPSTAGE CENTER. As the scene progresses, images of the White House, the Kremlin and Berlin, including the Berlin Wall, are projected on the scrim.

Song: BERLIN

ANCHOR
THEY MET AT YALTA’S SHORE,
CARVED UP THE SPOILS OF WAR,
THEY THOUGHT THEY CLOSED THE DOOR,
THE BEAR STILL WANTED MORE.

(As the spotlight on ANCHOR FADES, PRESIDENT
and BROTHER are spotlighted UPSTAGE LEFT
in the Oval Office of the White House.)

PRESIDENT
BRICKS OF PAIN BUILT A WALL,
PERHAPS A WAY TO STALL,
UNTIL THE WEST WOULD FALL,
THE BEAR COULD HAVE IT ALL.

BROTHER
MEANWHILE NINETY MILES AWAY,
THERE’S DISASTER IN THE BAY.
WERE THE MISSILES JUST A PLAY,
TO DISTRACT US FROM THE PREY?

BROTHER
ALL THE ESPIONAGE AND SPIES,

PRESIDENT
TO BREAK US DOWN AND WEAR US THIN,
 
I-14-2

BROTHER
AND ALL THE SUBTERFUGE AND LIES,

PRESIDENT
TO WEAKEN US ‘TIL THEY BEGIN,

BROTHER
THE ENDGAME BEFORE OUR EYES.

PRESIDENT
THE FINAL WAR NO ONE CAN WIN.

BROTHER AND PRESIDENT
DID WE THINK CUBA WAS THE PRIZE,
WHEN ALL ALONG IT WAS BERLIN?

(COMMISSAR ENTERS and is spotlighted
DOWN STAGE CENTER.)

COMMISSAR
WHEELS OF OUR TANKS HAVE ROLLED,
WE’VE BUILT THE WALL TO HOLD,
FOR NOW THE WAR IS COLD,
THE BEAR WILL STILL BE BOLD.

ENTER the SPY who stands between COMMISSAR’S
position and that of PRESIDENT and BROTHER, unnoticed
by PRESIDENT and BROTHER, as she sings flirtatiously.)

SPY
THE EAST AGAINST THE WEST,
SO CLOSE, THE BODIES PRESSED,
CAPTURED IN HONEY NESTS,
THE BEAR SENDS YOU IT’S BEST.

BROTHER
MEANWHILE NINETY MILES AWAY,
THERE’S DISASTER IN THE BAY.
WERE THE MISSILES JUST A PLAY,
TO DISTRACT US FROM THE PREY?
 
I-14-3

SPY
ALL THE ESPIONAGE AND SPIES,

PRESIDENT
TO BREAK US DOWN AND WEAR US THIN,

COMMISSAR
AND ALL THE SUBTERFUGE AND LIES,

PRESIDENT
TO WEAKEN US ‘TIL THEY BEGIN,

BROTHER
THE ENDGAME BEFORE OUR EYES.

PRESIDENT
THE FINAL WAR NO ONE CAN WIN.

PRESIDENT AND BROTHER
DID WE THINK CUBA WAS THE PRIZE,

PRESIDENT
WHEN ALL ALONG IT WAS BERLIN?

(ENTER the FULL COMPANY.)

FULL COMPANY
ALL THE ESPIONAGE AND SPIES,
TO BREAK US DOWN AND WEAR US THIN,
AND ALL THE SUBTERFUGE AND LIES,
TO WEAKEN US ‘TIL THEY BEGIN,
THE ENDGAME BEFORE OUR EYES.
THE FINAL WAR NO ONE CAN WIN.
DID WE THINK CUBA WAS THE PRIZE,
WHEN ALL ALONG IT WAS BERLIN?

(End of Scene 14 and ACT ONE.

(The curtain falls.)
 
II-1-1
ACT TWO

SCENE 1

SETTING: REVEREND stands at a church lectern. During the following number images of the civil rights movement are projected.

ANCHOR
(Spotlighted.)
As the civil rights movement becomes a national call to action, REVEREND speaks to his extended congregation.

Song: IN GOD WE TRUST

REVEREND
LIVE BY THE WORDS,
IN GOD WE TRUST,
TO WALK WITHIN THE LIGHT,
WE’LL TAKE HIS HAND,
DO WHAT WE MUST,
AND IT WILL BE ALRIGHT.

LIVE BY THE SWORD,
THEN DIE THE SAME,
THERE’S MORE POWER IN LOVE,
DON’T LIVE IN FEAR,
JUST CALL HIS NAME,
AND HE’LL TAKE YOU ABOVE.

IT’S TIME FOR US,
TO TAKE A STAND,
NO MATTER WHAT IT BRINGS,
IT’S TIME TO FIX,
THIS BROKEN LAND,
TO HEAL ITS SUFFERINGS.

SO ON WE WALK,
AND UP WE RISE,
FOR BROTHERS WE MUST BE,
THE SOUL LIVES ON,
THE BODY DIES,
LIVE WITH HIM ETERNALLY.
 
II-1-2

IN GOD WE TRUST,
HE’S AT THE HELM,
THE SHIP WILL FIND ITS BIRTH,
IN GOD WE TRUST,
COIN OF THE REALM,
IN HEAVEN AND ON EARTH.

(Fade to black.)

(End of Scene 1.)
 
II-2-1

ACT TWO

SCENE 2

SETTING: PRESIDENT and BROTHER look out the window of the Oval Office and watch REVEREND lead a civil rights march on the Washington Mall. REVEREND is OFFSTAGE.

ANCHOR
(Spotlighted.)
PRESIDENT and BROTHER watch a march on Washington led by REVEREND.

Song: THE SPIRIT’S FREE

PRESIDENT
SO MANY MARCHERS OUT ON THE MALL.
THE OLD PLANTATION’S GOING TO FALL,

BROTHER
WE NEED TO BE ON THE RIGHT SIDE OF THE FENCE,

PRESIDENT
THE CONSTITUTION’S FOR EVERYONE,
AND FREEDOM STARTED, BUT IT’S NOT DONE,

BROTHER
AND IN THE BREAST OF MAN IT NEVER RELENTS.

PRESIDENT
PEOPLE IN HANDCUFFS ON PUBLIC GROUNDS,
THE FIRE HOSES AND BITING HOUNDS,

BROTHER
DON’T THEY THINK IT’S A LITTLE OVER THE TOP?

PRESIDENT
CROSSES BURNING BY COWARDS IN HOODS,
AND NOOSES HANGING OUT IN THE WOODS,

BROTHER
DO THEY EVER WONDER WHERE IT ALL WILL STOP?
 
II-2-2

REVEREND
(Enter REVEREND.)
THROW US IN JAIL,
AND SWALLOW THE KEY,
THEY’RE GONNA FAIL,
‘CAUSE THE SPIRIT’S FREE.

SOME DINOSAURS ASK “WHY ALL THE FUSS?”
IT’S A LONG WALK FROM BACK OF THE BUS,
WHILE OUR CHURCHES GO UP IN FLAME.
ONE SIDE SAYS COLORED, THE OTHER SAYS WHITE,
AND NOT TO SPEAK UP JUST ISN’T RIGHT,
ANYONE NOT HELPING SHARES THE BLAME.

YOU KNOW THIS IS NO TIME FOR POLITICS,
IT’S A CLARION CALL FOR HEROICS,
AND IT’S WORTH THE STRUGGLE AND STRIFE,

PRESIDENT
IT MIGHT COULD COST ME THE PRESIDENCY,

BROTHER
MAYBE JUST A ONE-TERM RESIDENCY,

PRESIDENT, BROTHER, REVEREND
BUT THIS IS BIGGER THAN ONE LIFE.

(Enter REVEREND.)
THROW US IN JAIL,
AND SWALLOW THE KEY,
THEY’RE GONNA FAIL,
‘CAUSE THE SPIRIT’S FREE.

THROW US IN JAIL,
AND SWALLOW THE KEY,
YOU’RE GONNA FAIL,
‘CAUSE THE SPIRIT’S FREE.

(Fade to black.)

(End of Scene 2.)
 
II-3-1

ACT TWO

SCENE 3

SETTING: PRESIDENT stands by a baby crib in a hospital room DOWNSTAGE CENTER.

ANCHOR
(Spotlighted.)
A personal tragedy for PRESIDENT and PREMIERE DAME…the still born birth of their son.

Song: OH, MY SON (Sung like an Irish ballad.)

PRESIDENT
I WATCH THE STARS ABOVE ME,
THAT TWINKLE IN THE SKIES,
I KNOW THAT THERE ARE ANSWERS,
BEYOND THESE HUMAN EYES.

I CHOOSE THE PATH OF LOVING,
IN SUNSHINE AND IN RAIN,
AND SO MY SON I’M PRAYING,
TO SEE YOU ONCE AGAIN.

(PRESIDENT reaches into the crib and picks up the body
of MY SON, his still born son. He holds the body in his
arms.)

OH, MY SON, LET ME LINGER,
BEFORE YOU’RE NOT HERE TO HOLD,
BEFORE YOUR LITTLE FINGER,
TURNS TO SUCH A BITTER COLD,
OH, MY SON, LET ME HOLD YOU,
BEFORE THEY WHISK YOU AWAY,
BEFORE SOMEHOW I’M TOLD TO,
SEE A NEW AND A BRIGHTER DAY.

IF WE COULD STAY TOGETHER,
I’D SING A LULLABY,
IF YOU COULD SEE THESE TEARDROPS,
YOU’D TELL ME NOT TO CRY.
 
II-3-2

YOU’D CHOOSE THE PATH OF LOVING,
IN SUNSHINE AND IN RAIN,
YOU’D TELL ME DAD I’M PRAYING,
TO SEE YOU ONCE AGAIN.

OH, MY SON, LET ME LINGER,
BEFORE YOU’RE NOT HERE TO HOLD,
BEFORE YOUR LITTLE FINGER,
TURNS TO SUCH A BITTER COLD,
OH, MY SON, LET ME HOLD YOU,
BEFORE THEY WHISK YOU AWAY,
BEFORE SOMEHOW I’M TOLD TO,
SEE A NEW AND A BRIGHTER DAY.

AND WHEN MY LIFE IS OVER,
I HOPE IT’S NOT TOO LATE,
TO FIND THE SON THAT VANISHED,
INSIDE THE GOLDEN GATE.

WE’D CHOOSE THE PATH OF LOVING,
IN SUNSHINE AND IN RAIN,
AND THE ANSWER TO OUR PRAYING,
TOGETHER ONCE AGAIN.

(A NURSE brings a hospital bed in from STAGE LEFT.
In it is the PREMIERE DAME. PRESIDENT puts the baby back
Into the crib. He then walks over to the bed and strokes
PREMIERE DAME’S cheek, while he is still looking back at the crib.)

OH, MY SON, LET ME LINGER,
BEFORE YOU’RE NOT HERE TO HOLD,
BEFORE YOUR LITTLE FINGER,
TURNS TO SUCH A BITTER COLD,
OH, MY SON, LET ME HOLD YOU,
BEFORE THEY WHISK YOU AWAY,
BEFORE SOMEHOW I’M TOLD TO,
SEE A NEW AND A BRIGHTER DAY.

(PRESIDENT bows his head and covers his face with
His hand as the scene fades to black.

(End of Scene 3.)
 
II-4-1

ACT TWO

SCENE 4

SETTING: BROTHER stands behind
his desk where he reads a report from a
military advisor deployed to Viet Nam.
During the number, scenes of the Viet Nam
War in the early stages of U.S. advisor
involvement are projected on the scrim.

ANCHOR
BROTHER shares a report with PRESIDENT from a MILITARY ADVISOR in Viet Nam.

Song: THE ADVISOR’S REPORT

PRESIDENT
(O.S., his voice coming through a speaker
phone on BROTHER’S desk.
HELLO?
BROTHER
MR. PRESIDENT, JUST LISTEN TO THIS,
AN ADVISOR’S REPORT FROM NAM,
IT MEANS WE COULD FALL TO THE ABYSS,

PRESIDENT
AN ADVISOR’S REPORT, OH, DAMN.

BROTHER
(Holding a binder and reading the report into
the speaker phone.)
THERE’S TERROR IN THE SILENCE HERE,
BEFORE THE LEAVES START STIRRING,
BEFORE THE WHIRLIBIRDS ABOVE,
SPIN WINGS SO BLINDLY WHIRRING.

I’M NOTHING BUT A STRANGER HERE,
AND WILL REMAIN FOREVER,
THE PEOPLE AND THIS TROUBLED SOIL,
WILL NEVER FULLY SEVER.
 
II-4-2

(The spotlight on BROTHER fades and the stage
goes dark. A MILITARY ADVISOR ENTERS
and spotlighted DOWNSTAGE RIGHT. He is
surrounded by the set of a jungle in Viet Nam.
The ADVISOR takes over singing for BROTHER.)


I’M TRAINED TO BE A WARRIOR,
BUT FIGHT FROM WEAK POSITIONS,
I TEACH THEM TO BE TACTICAL,
BUT UNDER FALSE CONDITIONS.

THE HORRORS OF THE COMMUNISTS,
VERSUS A MADMAN RULING,
HE ACTS FOR GOD IN GODLESS WAYS,
THERE’S NO ONE HERE HE’S FOOLING.

I SEE THE PATH OF THE JUST,
COVERED UP BY JUNGLE VINES,
YOU QUICKLY LOSE WANDERLUST,
SEEING SOLDIERS STEP ON MINES.

AND WHILE THE DAWN OPENS UP,
TO REVEAL THE SKY OF GRAY,
BACK HOME THEY SEE BLACK AND WHITE,
BUT HERE IT IS NOT THAT WAY.

MIDDLE ROADS ARE DANGEROUS,
SELDOM ENDING VERY WELL.
THIS IS NO MAN’S COLONY,
BUT TO INTERLOPERS “HELL.”

IF WE DON’T SEEK VICTORY,
THEN THE WHOLE THING IS A SHAM,
YOU’LL MAKE OR BREAK HISTORY,
WITH THE WAR IN VIET NAM.

A WOMAN WITH A CHILD IN TOW,
IS WORKING IN THE PADDIES,
A ROCKET LAUNCHED FROM FAR AWAY,
THAT BRINGS THE FLAME OF HADES.
 
II-4-3

AS SHE LOOKS INTO LIFELESS EYES,
AFTER THE MISSILE’S LANDING,
THERE ARE NO WORDS I CAN ADVISE,
TO REACH AN UNDERSTANDING?

I KNOW WE FIGHT A BIGGER FOE,
WHOSE DRAGON IS WELL HIDDEN,
THEY HAVE RELEASED THE HOUNDS OF HELL,
THAT IS THE BEAST WE’VE RIDDEN.

BEFORE YOU SEND SOME MORE LIKE ME,
WITH A MISSION UNDEFINED,
KNOW THAT ONE DAY YOU WILL LEAVE,
AND WE’LL BE LEFT BEHIND.

PROUD TO WEAR THE UNIFORM,
THE BURDEN I CAN BEAR,
BUT DO YOU KNOW WHERE I AM?
AND DO YOU EVEN CARE?

WE NEED MORE INTELLIGENCE,
THERE’S SO MUCH WE DON’T KNOW,
UNDERSTAND THE CULTURE HERE,
BEFORE MORE BLOOD WILL FLOW.

SHOULD THESE BATTLE LINES BE DRAWN?
SHOULD WE DIE ON THIS HILL?
SHOULD WE BE CAUGHT IN A TRAP,
TO DEMONSTRATE OUR WILL?

WE LIVE IN A DIFFERENT WORLD,
AND YET IT’S LIKE THE PAST,
ONE DAY WE’LL MAKE A MISTAKE,
AND IT WILL BE OUR LAST.

(The spotlight on the ADVISOR fades to black and
BROTHER is spotlighted at his desk.)
 
II-4-3

PRESIDENT
(O.S., through the speaker phone.)
NOW, WE HAVE TO SHARE,
THIS ADVISOR’S REPORT FROM NAM,
SET UP A MEETING?

BROTHER
ALL ABOUT THIS REPORT, OH, DAMN.

(Fade to black.)

(End of Scene 4.)
 
II-5-1

ACT TWO

SCENE 5

SETTING: PRESIDENT is standing in the Oval Office of the White House. Behind him is the scrim. At the beginning of the scene, images of the Viet Nam War are projected on the scrim. When the projection ends his advisors are revealed as shadows behind PRESIDENT. As each one of the shadowy members offers an opinion, PRESIDENT acts startled and turns to the direction of where the voice is coming from.

Song: TELL ME SECOND REPRISE (Same music as “TELL ME)

CABINET MEMBER ONE
COMMUNISM’S SPREADING,
BEYOND ITS BORDER WALLS,
IF IT KEEPS ON GOING,
SOON ALL OF ASIA FALLS.

CABINET MEMBER TWO
JUST A FEW ADVISORS,
THAT’S AS FAR AS IT GOES,
GIVE THEM AID LIKE MISERS,
PROTECT OUR DOMINOES.

PRESIDENT
(Turning back to the audience.)
NOT ONE MORE TROOP,
BEYOND A SMALL LEVEL,
WHY MUST WE STOOP,
TO BED WITH THE DEVIL?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

CABINET MEMBER THREE
GUY WE’RE PROTECTING,
IS KILLING BUDDHIST MONKS,
FACTS WE’RE PROJECTING,
REALITY DEBUNKS.
 
II-4-2

CABINET MEMBER FOUR
BUT IF WE WITHDRAW THERE,
IT WILL OPEN THE DOOR,
THE RED TIDE WILL DRAW NEAR,
AND SOON BE ON OUR SHORE.

PRESIDENT
(Turning back to the audience.)
AFTER THE COUP,
WHO’LL STOP THE RED MENACE?
WHAT DO WE DO,
IF THEY BREAK THEIR PROMISE?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

(The shadows of the CABINET MEMBERS behind the scrim
fade to black.)

ALL OF THE VOICES,
NOW FADE INTO THE NIGHT,
THEY GAVE ME CHOICES,
AND NONE OF THEM SEEM RIGHT.

STAND AND DO NOTHING,
OR FULLY INTERVENE,
IT SEEMS THERE’S NOTHING,
THAT WOULD WORK IN BETWEEN.

IN SIXTY-FOUR,
THE YEAR WE’LL WITHDRAW AT,
WHY NOT BEFORE?
ASK THE ELECTORATE.
THEY’LL TELL YOU,
TELL YOU,
TELL YOU,
THEY’LL TELL YOU.

(End of Scene 5.)

(Fade to black.)
 
II-6-1

ACT TWO

SCENE 6

SETTING: PRESIDENT AND PREMIERE DAME stand close together in the Lincoln Bedroom of the White House, DOWNSTAGE CENTER.

Song: DALLAS

PRESIDENT
I KNOW YOU HOLD THE PAIN INSIDE YOU,
I KNOW I’M AN IMPERFECT MAN,
I HOPE YOU KNOW HOW MUCH I’VE TRIED TO,
ALWAYS DO THE BEST THAT I CAN.

I KNOW YOU HATE TO BE A PHONY,
STAND THERE AND SHAKE A STRANGER’S HAND,
YOU’D RATHER GO RIDE ON A PONY,
THIS TIME I HOPE YOU UNDERSTAND.

I NEED YOU BY MY SIDE IN DALLAS,
WE’LL RIDE IN A LINCOLN LIMOUSINE,
COME TAKE THE TRIP WITH ME TO DALLAS,
YOU COULDN’T KNOW HOW MUCH IT WILL MEAN.

PREMIERE DAME
PEOPLE THINK THEY SEE FROM A DISTANCE,
THE REASON WE’RE THE PERFECT TEAM,
THE WORLD COULD CHANGE IN A FEW INSTANTS,
THEY SEE US AND BELIEVE THE DREAM.

PRESIDENT
LET’S GO NOW BEFORE THE DOOR CLOSES,
FUNNY, LIFE CAN CHANGE IN A WINK,
COME, I WILL COVER YOU WITH ROSES,
COME BE MY BEAUTY QUEEN IN PINK.

I NEED YOU BY MY SIDE IN DALLAS,

PREMIERE DAME
WE’LL RIDE IN A LINCOLN LIMOUSINE,
 
II-6-2

PRESIDENT
COME TAKE THE TRIP WITH ME TO DALLAS,

PRESIDENT AND PREMIERE DAME
YOU COULDN’T KNOW HOW MUCH IT WILL MEAN.

PRESIDENT
I NEED YOU BY MY SIDE IN DALLAS,

PREMIERE DAME
WE’LL RIDE IN A LINCOLN LIMOUSINE,

PRESIDENT
COME TAKE THE TRIP WITH ME TO DALLAS,

PRESIDENT AND PREMIERE DAME
YOU COULDN’T KNOW HOW MUCH IT WILL MEAN.

(ENTER ASSASSIN, wearing dark slacks, a while undershirt and a light jacket. He is spotlighted UPSTAGE RIGHT as PRESIDENT and PREMIERE DAME EXIT.)

ASSASSIN
A RIFLE SIGHT CAN SEE FROM A DISTANCE,
AM I ALONE? PART OF A TEAM?
I’LL CHANGE THE WORLD IN A FEW INSTANTS,
JUST THINK ABOUT HOW GREAT I’LL SEEM.

I WILL BE WAITING THERE IN DALLAS,
WHEN THEY SLOW DOWN THAT LINCOLN LIMOUSINE,
WHEN THEY OPEN THE TOP IN DALLAS,
YOU COULDN’T KNOW HOW MUCH IT WILL MEAN.

(Fade to black.)

(End of Scene 6.)
 
II-7-1

ACT TWO

SCENE 7

SETTING: ASSASSIN stands DOWNSTAGE CENTER holding a rifle.

Song: MANNLICHER-CARCANO

ASSASSIN
(Fondling the rifle and singing with an ominous,
chanting and self-comforting cadence.)
I LEARNED TO SHOOT,
IN THE MARINES,
I ALSO LEARNED,
TO CLEAN LATRINES.

I TOOK A WIFE,
A SOVIET,
I’LL BE SOMEONE,
THEY WON’T FORGET.

MANNLICHER-CARCANO,
WON’T BE LONG ‘TIL THEY ALL KNOW,
SO LISTEN UP FRIEND OR FOE,
MANNLICHER-CARCANO.

ONE DAY I’LL BE,
SOMEONE SO GREAT,
BUT WHO SHOULD I,
ASSASSINATE?

VIOLENT MARRIAGE,
AND DEAD END JOBS,
INFESTED FLATS,
WE LIVED LIKE SLOBS.

MANNLICHER-CARCANO,
WON’T BE LONG ‘TIL THEY ALL KNOW,
SO LISTEN UP FRIEND OR FOE,
MANNLICHER-CARCANO.
 
II-7-2

THIS CAMPAIGN TRIP,
THIS MOTORCADE,
A PUBLISHED ROUTE,
THE PLAN IS MADE,

I WON’T ADORE,
PRETENDER KINGS,
IN LANDS THAT CAUSED,
MY SUFFERINGS.

MANNLICHER-CARCANO,
WON’T BE LONG ‘TIL THEY ALL KNOW,
SO LISTEN UP FRIEND OR FOE,
MANNLICHER-CARCANO.

DO YOU RECALL,
AN ACTIVIST?
DID YOU SUSPECT,
A COMMUNIST?

THE SUN IS BRIGHT,
THE TOP IS DOWN,
YOU’LL NEED MY NAME,
SO WRITE IT DOWN.

MANNLICHER-CARCANO,
WON’T BE LONG ‘TIL THEY ALL KNOW,
SO LISTEN UP FRIEND OR FOE,
MANNLICHER-CARCANO.

(The GUERRILLAS ENTER and are spotlighted.)

Song: TELL ME (THIRD REPRISE)

GUERRILLAS
(ANGRILY)
WHERE WERE THE PLANES,
YOU SAID WOULD SUPPORT US?
WHO’LL FEEL THE PAINS,
NOW THAT THEY HAVE CAUGHT US?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME. 
II-7-3

The GUERRILLAS EXIT.

(INVESTIGATOR ENTERS and is spotlighted.)

Song: MY FILES (REPRISE)

INVESTIGATOR
AND JUST AS THE MONA LISA SMILES,
I’VE GOT A GRIN THAT BEGUILES,
THE EVIDENCE JUST PILES AND PILES,
GOOD FOR ME, I’VE GOT MY FILES.

(INVESTIGATOR EXITS.)

(COMMISSAR ENTERS and is spotlighted.)

Song: WORLD WAR III (SECOND REPRISE)

COMMISSAR
YOU’D BETTER FIND A FALLOUT SHELTER,
IF YOU’RE GOING DOWN THAT PATH,
YOU KNOW RUSSIA, BUT HAVEN’T FELT HER,
HIT YOU WITH HER RAGE AND WRATH.

(COMMISSAR EXITS.)

Song: MANNLICHER-CARCANO (REPRISE)

ASSASSIN
MANNLICHER-CARCANO,
WON’T BE LONG ‘TIL THEY ALL KNOW,
SO LISTEN UP FRIEND OR FOE,
MANNLICHER-CARCANO.

MANNLICHER-CARCANO,
WON’T BE LONG ‘TIL THEY ALL KNOW,
SO LISTEN UP FRIEND OR FOE,
MANNLICHER-CARCANO.

(Fade to black as three rifle shots ring out.)

(Spotlight on ANCHOR at his anchor desk.)
 
II-7-4

Song: BULLETIN (Same music as INTRODUCTION.)

ANCHOR
THERE ARE NO WORDS TO BLUNT THE SHOCK,
OR MAGIC WAY IT’S SAID,
I MUST REPORT AT THIS O’CLOCK,
THE PRESIDENT IS DEAD.

(Fade spotlight on ANCHOR.
Spotlight on REVEREND.)

Song: IN GOD WE TRUST (REPRISE)

REVEREND
IT’S TIME FOR US,
TO TAKE A STAND,
NO MATTER WHAT IT BRINGS,
IT’S TIME TO FIX,
THIS BROKEN LAND,
TO HEAL ITS SUFFERINGS.

SO ON WE WALK,
AND UP WE RISE,
FOR BROTHERS WE MUST BE,
THE SOUL LIVES ON,
THE BODY DIES,
LIVES WITH HIM ETERNALLY.

(Fade to black.)

(End of Scene 7.)
 
II-8-1

SCENE 8

SETTING: PREMIERE DAME stands by a gurney in Parkland Hospital, DOWNSTAGE CENTER. On the gurney is PRESIDENT, covered by a white sheet.

Song: TRAGEDY

PREMIERE DAME
DID I STEP UPON A FAULT?
THE BEGINNING OF A QUAKE,
FROM A SECRET IN A VAULT,
THAT WOULD CAUSE MY HEART TO BREAK?

DID I MOVE BEYOND A LINE,
THAT I WAS NOT MEANT TO CROSS?
AND SHOULD I HAVE SEEN A SIGN,
I WOULD SUFFER SUCH A LOSS?

(A NURSE ENTERS. PREMIERE DAME kisses her own hand and
and then places it on PRESIDENT’S body. The NURSE takes
PRESIDENT’s body offstage on the gurney.)

AND DID I DREAM A DREAM TOO GREAT?
ARE SUCH THINGS NEVER MEANT TO BE?
AND SO AS LONG AS THERE IS HATE,
SHOULD MY LOVE END IN TRAGEDY?

DOES LOVE HAPPEN ONLY ONCE?
CAN THINGS BE JUST WHAT SEEM?
CAN A PRINCESS AND A PRINCE,
LIVE IN AN ENTERNAL DREAM?

COULD WE EVER FIND A LAND,
A LIFE PEACEFUL AND SERENE?
WALK FOREVER HAND IN HAND?
WHAT IS STANDING IN BETWEEN?

AND DID I DREAM A DREAM TO GREAT?
ARE SUCH THINGS NEVER MEANT TO BE?
AND SO AS LONG AS THERE IS HATE,
SHOULD MY LOVE END IN TRAGEDY?
 
II-8-2

SOMETIMES WHEN I CLOSE MY EYES,
I FEEL I AM BEING KISSED,
AND NO LIVING PROOF DENIES,
THAT OUR LOVE CAN STILL EXIST.

AND DID I DREAM A DREAM TO GREAT?
ARE SUCH THINGS NEVER MEANT TO BE?
AND SO AS LONG AS THERE IS HATE,
SHOULD MY LOVE END IN TRAGEDY?

(She lowers her head. Fade to black.)

(End of Scene 8.)
 
II-9-1

ACT TWO

SCENE 9

SETTING: The basement of the Dallas Police
Station is crowded with reporters and policeman. Two detectives hold ASSASSIN’s arms as the walk him through the crowd. CLUB
OWNER filters unnoticed through the crowd, moving in the direction of ASSASSIN.

Song: TELL ME (FOURTH REPRISE)

ANCHOR
They’re bringing in ASSASSIN in now.

CLUB OWNER
WE DON’T NEED SOME COMMIE,
TO MAKE THE COLD WAR HOT,
YEAH, HE’S GOT A MOMMIE,
BUT LOOK AT WHO HE’S SHOT.

EVERYBODY KNOWS ME,
MY STRIPPERS AND MY PUB,
MEN LIKE ME CAN WALK FREE,
A MEMBER OF THE CLUB.

BUT WILL HIS TRIAL,
AND GET AN ACQUITTAL?
WILL HE JUST SMILE,
AND MAKE ME FEEL LITTLE?
TELL ME,
TELL ME,
PLEASE TELL ME.

I LIVE IN THE MILIEU,
OF REPORTERS AND COPS,
I CAN MAKE MY WAY THROUGH,
AND I’LL PASS ALL THE STOPS.

DON’T THINK I’M A ZERO,
A GO-FOR FOR THE MOB,
I WILL BE A HERO,
AFTER I DO THE JOB.
 
II-9-2

(CLUB OWNER moves next to ASSASSIN
and draws a gun.)
WHO ELSE WOULD SHOOT,
SOMEONE ON LIVE T.V.?
THE POINT IS MOOT,
WHO ELSE COULD BE LIKE ME?
TELL ME,
TELL ME,
PLEASE TELL ME.

ASSASSIN
DIDN’T SHOOT ANYONE.
I JUST GOT A BLACK EYE,
MY WIFE MAY BE RUSSIAN,
BUT I AM NOT A SPY.

(CLUB OWNER sticks the gun against
ASSASSIN’S side and fires one shot. ASSASSIN
collapses and the basement falls into chaos.
CLUB OWNER is wrestled to the ground by
the detectives and the escorted OFFSTAGE.
ASSASSIN is then carried OFFSTAGE.

FULL COMPANY
(To CLUB OWNER.)
IF HE SHOULD DIE,
THE TRUTH WILL DIE WITH HIM,
CAN YOU SAY WHY?
AND ARE YOU IN WITH HIM?
TELL US,
TELL US.
PLEASE TELL US.

(Fade to black.)

(End of Scene 9.)
 
II-10-1

ACT TWO

SCENE 10

SETTING: BROTHER stands by the empty rocking chair in the Oval Office of the White House, DOWNSTAGE CENTER.

Song: TELL ME (FIFTH REPRISE) (Same music as “TELL ME)

BROTHER
(Feeling distraught.)
CONSPIRACY THEORIES,
LIKE PIECES OF PUZZLES,
THE UNANSWERED QUERIES,
THAT HISTORY MUZZLES.

MYSTERIOUS FACES,
LIKES ROCKS IN THE SHALLOWS,
LEAVE HANGING VAGUE TRACES,
LIKE NOOSES IN GALLOWS.

WAS IT A HIT,
BY SOME TOP BANANA?
HOW DOES IT FIT,
WITH THINGS IN HAVANNA?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

THE PIECES OF MATTER,
FROM A BRAIN THAT BECKONS,
HOW CAN A DREAM SHATTER,
IN JUST A FEW SECONDS?

AN OPEN DOOR CLOSES,
BLOOD IS NOW RAINING,
AND CRUSHED ARE THE ROSES,
A PINK DRESS IS STAINING.
 
II-10-2

HOW MANY SHOTS,
RANG OUT IN THE SUNLIGHT?
LINE UP THE DOTS,
WHY WAS THIS NOT DONE RIGHT?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

FROM WINDOWS AND MIRRORS,
THAT ARE DRIVING US BLIND,
RELIVING THE TERRORS,
HERETOFORE UNDEFINED.

THE ECHOES AND SHADOWS,
SCREAMS OF CONFUSION,
THE BUILDINGS AND MEADOWS,
TRICKS OF ILLUSION.

SET UP THE TESTS,
COULD IT HAPPEN THAT WAY?
WHO’D THEY ARREST?
AND THEN WHO GOT AWAY?
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

THE ARMY AND NAVY,
AND THE C.I.A.,
WE THINK WE’RE SAVVY,
BUT NO ONE CAN SAY.

HOSPITAL CHAOS,
AND DOUBTFUL REPORTS,
EMOTIONS BETRAY US,
AND CLOUD UP OUR THOUGHTS.
 
II-10-3

HE WAS ONE MAN,
BUT TO ME ANOTHER,
SAY IF YOU CAN,
WHO HAS KILLED MY BROTHER.
TELL ME,
TELL ME,
TELL ME,
PLEASE TELL ME.

(Fade to black as BROTHER EXITS. ENTER
SUCCESSOR, who is spotlighted.)

SUCCESSOR
COULD A POOR BOY LIKE ME REACH THE SUMMIT?
WELL, FOR DECADES THAT HAS BEEN THE PLAN,
BUT MY STOCK HAS NOW STARTED TO ROCKET,
NO LONGER A LONG FORGOTTEN MAN.

(Fade to black.)

(End of Scene 10.)
 
II-11-1

ACT TWO

SCENE 11

SETTING: ANCHOR is spotlighted at his anchor desk as image of the funeral procession and the riderless horse are projected on the scrim.

Song: RIDERLESS HORSE

ANCHOR
(The image PREMIERE DAME and her children
are projected.)
THE BOOTS WERE FACING BACKWARDS IN THE STIRRUPS,
THE CAISSON ROLLED ALONG THROUGH THE CROWD,
THE LITTLE BOY SALUTED ON HIS TOE TIPS,
HIS MOTHER HELD OUR TEARS LIKE A CLOUD.

SHE STOOD THERE LOOKING BEAUTIFUL AND STOIC,
A BLACK VEIL, OLD GLORY IN HER HANDS,
SOMETIMES IT’S THE PRINCESS WHO IS HEROIC,
ALL BECAUSE THE PRINCE NO LONGER STANDS.

(The FULL COMPANY, excluding
PRESIDENT and PREMIERE DAME enter from both
sides of the stage.

FULL COMPANY
WE HEARD THE BEAT,
OF HORSE SHOES ON THE STREET,
THE ONLY SOUND,
WITH SILENCE ALL AROUND,
ALL AS TIME WOULD RUN ITS COURSE,
MOVING BY SOME GREATER FORCE,
ON A RIDERLESS HORSE,
ON A RIDERLESS HORSE.

(Spotlight on REVEREND)
 
II-11-2

REVEREND
APOLLO STRUCK A SPARK UPON THE SABER,
BLACK JACK BUCKED AT THE SOUND OF A GUN,
AND HE’D NOT RELAX FROM THIS SOLEMN LABOR,
‘TIL THE LAST SHOT COUNTED TWENTY-ONE.

AND THEN THEY NO LONGER PULLED AT HIS BRIDAL,
AND THEN AT LAST THEY LOOSENED THE REINS,
AND QUIET WERE THE SIGNS THAT ONCE WERE VITAL,
FOR REASONS THAT NO HISTORY EXPLAINS.

FULL COMPANY
WE HEARD THE BEAT,
OF HORSE SHOES ON THE STREET,
THE ONLY SOUND,
WITH SILENCE ALL AROUND,
ALL AS TIME WOULD RUN ITS COURSE,
MOVING BY SOME GREATER FORCE,
ON A RIDERLESS HORSE,
ON A RIDERLESS HORSE.

(ENTER PREMIERE DAME, who is spotlighted.)

PREMIERE DAME
IN TUFTS OF SMOKE,
A GHOST HOVERS ABOVE,
THEN FADES AWAY,
WITH MEMORIS OF LOVE,
“WHAT MIGHT HAVE BEEN,”
ARE JUST WORDS OF REMORSE,
THAT RIDE AWAY,
ON A RIDERLESS HORSE.

FULL COMPANY
WE HEARD THE BEAT,
OF HORSE SHOES ON THE STREET,
THE ONLY SOUND,
WITH SILENCE ALL AROUND,
ALL AS TIME WOULD RUN ITS COURSE,
MOVING BY SOME GREATER FORCE,
ON A RIDERLESS HORSE,
ON A RIDERLESS HORSE.

(Fade to black. End of Scene 10.)
 
II-12-1

ACT TWO

SCENE 12

SETTING: The FULL COMPANY is in
sitting chairs and forming an oval shape to
convey the image of a commission sitting
around a conference table.. Each character
is spotlighted when they sing solo. The spotlight fades when they go silent. During FULL COMPANY singing, the actors are in shadows.

Song: MAGIC BULLET

ANCHOR
THEY APPOINTED A COMMISSION,
TO ANALYZE THESE ACTS,
PERHAPS WITH AN ADMISSION,
THE COUNTRY COULD RELAX,

FULL COMAPNY
IT HAD BRASS FROM EACH DIVISION,
TO PIN UP ALL THE TACKS,
IT DID FULFILL A MISSION,
PILING PAPERS IN STACKS.

AND THEY CAME TO A CONCLUSION,
MORE FICTION THEN OF FACTS,
RAISING QUESTIONS AND SUSPICION,
DOWN DARK AND SCARY TRACKS,
LIKE A SWIFTLY DEALT CONTUSION,
BRUISING THE PEOPLE’S BACKS,
FEELING THE HAND OF COLLUSION,
FROM EVIDENCE THAT SMACKS.
 
II-12-2

BROTHER
THERE ONCE WAS A MAGIC BULLET,
IT COULD TURN AN D IT COULD TWIST,
‘THOUGH YOU MIGHT TRY TO FOOL IT,
IT COULD JUST SHATTER YOUR WRIST,
THERE ONCE WAS A MAGIC BULLET,
YOU CAN ADD IT TO THE LIST,
PIXIE DUST AND UNICORNS,
AND OTHER THINGS THAT DON’T EXIST.

FULL COMPANY
SO THE MAGIC BULLET THEORY,
IS WHAT YOU MUST BELIEVE,
IN TIME YOU WILL GROW TOO WEARY,
TO ASK WHAT’S UP THEIR SLEEVE,
IT’S WHEN PEOPLE ARE ALL TEARY,
THEY’RE EASY TO DECEIVE,
AND IF YOU STILL FEEL LEARY,
THEN WE’LL ASK YOU TO LEAVE.

AND THE BASIC LAWS OF SCIENCE,
HAVE NO ROLE IN THIS CASE,
AND WE’RE LOOKING FOR COMPLIANCE,
TO TAKE THIS ON ITS FACE,
AND IN THE LAND OF THE GIANTS,
A DAVID HAS NO PLACE,
FACTS THAT SHOW DEFIENCE,
ARE FACTS WE CAN ERASE.

BROTHER
THERE ONCE WAS A MAGIC BULLET,
IT COULD TURN AN D IT COULD TWIST,
‘THOUGH YOU MIGHT TRY TO FOOL IT,
IT COULD JUST SHATTER YOUR WRIST,
THERE ONCE WAS A MAGIC BULLET,
YOU CAN ADD IT TO THE LIST,
PIXIE DUST AND UNICORNS,
AND OTHER THINGS THAT DON’T EXIST.
 
II-12-3

FULL COMPANY
AND WAS THE MAN THAT THEY ARRESTED,
PART OF A LARGER PLOT?
TO BE ETENALLY CONTESTED,
A SKILLED OR LUCKY SHOT?
NOW WITH THE EVIDENCE MOLESTED,
THE TRUTH WE HAVEN’T GOT,
ONCE THE DEFENSE MIGHT HAVE RESTED,
NOW SURELY CANNOT.

BROTHER
THERE ONCE WAS A MAGIC BULLET,
IT COULD TURN AN D IT COULD TWIST,
‘THOUGH YOU MIGHT TRY TO FOOL IT,
IT COULD JUST SHATTER YOUR WRIST,
THERE ONCE WAS A MAGIC BULLET,
YOU CAN ADD IT TO THE LIST,
PIXIE DUST AND UNICORNS,
AND OTHER THINGS THAT DON’T EXIST.

(Fade to black.)

(End of Scene 12.)
 
II-13-1

ACT TWO

SCENE 13

SETTING: In a FLASHBACH sequence, ANCHOR is spotlighted at his Anchor desk. Scenes of him interviewing PRESIDENT at Hyannis Port and other scenes of Hyannis Port are projected on the scrim.

Song: ONCE UPON A TIME IN HYANNIS PORT

ANCHOR
IT WAS ONCE UPON A TIME IN HYANNIS PORT,
I REMEMBER, I HAD TO FILE A NEWS REPORT,
BACK THEN, HOW COULD WE EVER KNOW,
THAT OUR TIME WOULD BE SO SHORT?

IT WAS ONCE UPON A TIME IN HYANNIS PORT,
WE WATCHED AS A SUNFISH SAILED ACROSS THE SEA,
BACK THEN, I JUST CHATTED WITH HIM,
JUST AS HE CHATTED WITH ME.

AND THERE WAS HOPE,
IF NOT PERFECTION,
IF ONLY THERE,
WERE MORE PROTECTION,
AND NOW WE’VE DRIFTED AWAY,
SO VERY FAR FROM THAT DAY.
AND NOW WE’VE DRIFTED AWAY,
SO VERY FAR FROM THAT DAY.

IT WAS ONCE UPON A TIME IN HYANNIS PORT,
WHEN THERE WERE SO MANY PROBLEMS THAT WE HAD TO SORT,
BUT NOW, A NEW FRONTIER WILL COME,
HE HAS REACHED ELYSIUM.

(ANCHOR stands and his desk is taken OFFSTAGE.
Transition to the Finale.)

(End of Scene 13.)
 
II-F-1
ACT TWO

FINALE

SETTING: The lights come up to reveal the same setting that was in place for ACT ONE, Scene 1, in which three GREEK GODS and three GREEK GODDESSES stand DOWNSTAGE CENTER. The three GODS are to one side of a wooden gate and the three GODDESSES are to the other side. Behind them, UPSTAGE CENTER is a scrim. There is a sign on the gate that reads “ELYSIUM – READY FOR ENTRY.” During the following the number, images of the Elysian Fields of Greek mythology, as well as images of PRESIDENT’S life are projected on the scrim. The FULL COMPANY ENTERS and stands behind the gates. PRESIDENT ENTERS last and walks through the gates. He is dressed in slacks, a polo shirt and a sweater. PRESIDENT is greeted by PREMIERE DAME, who is also
dressed casually. She greets him with a kiss. Next BROTHER and the rest of the COMPANY welcome PRESIDENT with hugs and handshakes.

Song: ELYSIAN FIELDS (REPRISE)

FULL COMPANY
(To PRESIDENT, who is not singing.)
THE HEROIC AND THE PURE OF HEART
WILL FIND A PLACE TO REST,
THE ELYSIAN FIELDS ARE YOURS TO RUN,
FOR YOU HAVE PASSED THEIR TEST.

FAIR TRAVELER WHO CAME TO THE DOOR,
WHO WAS ONCE TURNED AWAY,
WE SAID YOUNG PRINCE THAT YOU MUST GO BACK,
BUT THIS TIME YOU MAY STAY.
 
II-F-2

YOUR ADVENTURES AND VOYAGES,
HAVE BROUGHT YOU TO THIS PLACE,
WHERE WE PURSUE EUPHORIA,
IN AN ETERNAL CHASE.

THE LAND IS RICH AND BOUNTIFUL,
THE SEA IS EMERALD GREEN,
IN SKIES WE RIDE IN CHARIOTS,
NO CLOUDS STAND IN BETWEEN.

THE WIND BLOWS GUSTS OF BRAVERY,
SO COURAGE NEVER YIELDS,’
WITH TIME AND SPACE FORGOTTEN HERE,
IN THE ELYSIAN FIELDS.

ANCHOR
AND NOW YOUR COURSE,
HAS WELL BEEN RUN,
COME ENTER IN,
YOUR WORK IS DONE.

FULL COMPANY
ON A QUEST YOU LED A NATION,
SO PEOPLE COULD BE FREE,
AND YOU BROUGHT A GENERATION,
PEACE AND PROSPERITY.

ALTHOUGH YOU CAME FROM ROYALTY,
YOU HELPED THE COMMON GOOD,
IF NOT ALWAYS PERFERCTLY,
YOU DID THE BEST YOU COULD.

THE WIND BLOWS GUSTS OF BRAVERY,
SO COURAGE NEVER YIELDS,
WITH TIME AND SPACE FORGOTTEN HERE,
IN THE ELYSIAN FIELDS.
 
II-1-3

ANCHOR
AND NOW YOUR COURSE,
HAS WELL BEEN RUN,
COME ENTER IN,
YOUR WORK IS DONE.

AND NOW YOUR COURSE,
HAS WELL BEEN RUN,
COME ENTER IN,
YOUR WORK IS DONE.

Song: BEYOND ELYSIUM (REPRISE)

PRESIDENT
(Turning to face the scrim at a forty-five degree
angle. Images of the overwhelming light of
heaven are projected.)

AND AS HAPPY AS I AM,
THERE IS A WORLD,
BEYOND THIS PLACE,
I TURN TO GOD,
TO SEE HIS FACE.

THIS IS THE MOMENT TO TRANSCEND,
DISPEL THE MYTH,
FOR SO MUCH MORE,
MAY WE ALL STEP,
THROUGH HEAVEN’S DOOR.

AT THE ENDING OF THIS PATH,
ETERNALLY,
THY KINGDOM COME,
TAKE US BEYOND,
ELYSIUM.

FULL COMPANY
(First facing the scrim and then back to the
audience.)
 
II-1-3

AT THE ENDING OF THIS PATH,
ETERNALLY,
THY KINGDOM COME,
TAKE US BEYOND,
ELYSIUM.

AT THE ENDING OF THIS PATH,
ETERNALLY,
THY KINGDOM COME,
TAKE US BEYOND,
ELYSIUM.

(The curtain falls.)

THE END.