Charlottesville Sneaky Pete Part 7 - 10 Wanted Suspects

cavalierdaily.com/article/2017/10/charlottesville-police-seeking-10-suspects-in-aug-12-assault

youtube.com/watch?v=UP5onNjeF-M

youtube.com/watch?v=xRfh5BGWnSs

youtube.com/watch?v=jc3paNxsQ1Q

youtube.com/watch?v=pcXGpMEbh5w

youtube.com/watch?v=JnFX6pX8Sfs

We know one of the suspects is William Cory Lovell of Chicago, IL and Key West, FL. But who are the other 9?

Previous Threads:
Part 1 (404'd)
8ch.net/pol/res/10445524.html
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Part 2 (404'd)
8ch.net/pol/res/10476823.html
Archive: archive.is/nlGta
Part 3 (404'd)
8ch.net/pol/res/10487205.html
Archive: archive.is/ex8b5
Part 4 (404'd)
8ch.net/pol/res/10493494.html
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8ch.net/pol/res/10532863.html
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Part 6
8ch.net/pol/res/10582191.html
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youtube.com/watch?v=7aZNG9uUQwA
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facebook.com/pretzel.seeds
bizjournals.com/louisville/news/2017/11/22/haymarket-whiskey-bar-closes-abruptly.html
wlky.com/article/mag-bar-reopens-after-suv-crashes-through-wall-1/3744054
livestream.com/unicornriot/events/7954030
facebook.com/N2Sreports/videos/1597099990397884/
youtube.com/watch?v=afEEqn-Kj5c
news2share.com/start/2017/11/27/activists-rally-defend-inauguration-day-resistance/
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hooktube.com/watch?v=UVcrKC7-D8o
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thegatewaypundit.com/2018/01/armed-antifa-professor-admits-chasing-charlottesville-driver-rifle-deadly-crash/
infowars.com/armed-antifa-prof-admits-chasing-charlottesville-driver-before-deadly-crash/
youtube.com/watch?v=kcFfz7TtPog
web.archive.org/web/20171215032147/https://www.nytimes.com/2017/12/14/us/charlottesville-fields-white-supremists.html
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twitter.com/redpumpkitchen/status/897839988150329344
youtube.com/watch?v=3S1plV2-Cqw
twitter.com/NSFWRedditGif

...

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...

...

The Orange Shirt Sucker Puncher changed clothes multiple times.

Here are the 5 known outfits of Orange Shirt. Can anyone think of a better nickname for this cuck?

His outfit timeline:

1. White "Georgia Tech" Shirt.
2. Black Bloc(got bear maced in this outfit and was shirtless after).
3. Black "Savannah" Shirt and Mask.
4. Gray Shirt.
5. Orange Shirt.

He also wore a mask with his Gray Shirt as well.

Here's him shirtless. Gold Helmet girl appears to be his girlfriend.

Orange Shirt face closeups.

Front of Orange Shirt's face.

Pppppppbbbbbbbbbtttttttttthhhhhhhhbbbbbbpppp

Orange Shirt was also at the Torch March.

...

There are some individuals out there who don't just enjoy winding up people on newsgroups and bulletin boards - it's their sad lifestyle choice! Using every known disruptive trick in the book, these troublesome types don't go out to the pub, meet members of the opposite sex or enjoy life. They spend their time hunched over their computers trolling.
Here's how they work:

INTRODUCTION

The object of this post is to bring together a definitive document to cover the phenomena of the Usenet Troll. To many a troll is nothing more than an annoying method of defeating the killfile whereas to the heavily killfiled, trolling can be a virtual Godsend.

What I want this document to focus on is how to create entertaining trolls. I have drawn on the expertise of the writer's of some of Usenet's finest and best remembered trolls. Trolls are for fun. The object of recreational trolling is to sit back and laugh at all those gullible idiots that will believe *anything*.

Section 1: What Is A Troll?

The WWW gives this as a definition:

troll v.,n. To utter a posting on Usenet designed to attract predictable responses or flames. Derives from the phrase "trolling for newbies"; which in turn comes from mainstream "trolling";, a style of fishing in which one trails bait through a likely spot hoping for a bite.

The well-constructed troll is a post that induces lots of newbies and flamers to make themselves look even more clueless than they already do, while subtly conveying to the more savvy and experienced that it is in fact a deliberate troll.

If you don't fall for the joke, you get to be in on it.

The following extract is from a broader expansion of the defining comments given above:

In Usenet usage, a troll is not a grumpy monster that lives beneath a bridge accosting passers-by, but rather a provocative posting to a newsgroup intended to produce a large volume of frivolous responses.

The content of a "troll posting generally falls into several areas. It may consist of an apparently foolish contradiction of common knowledge, a deliberately offensive insult to the readers of a newsgroup, or a broad request for trivial follow-up postings.

There are three reasons why people troll newsgroups:

People post such messages to get attention, to disrupt newsgroups, and simply to make trouble.

Career trollers tend for the latter two whilst the former is the mark of the clueless newbie and should be ignored.

Section 2: Design Issues

A troll is no different to any other Usenet posting. That needs to be stressed.

Any article that you decide to write should be written with a view to it actually being read by large numbers of people. Simply X-posting to large numbers of irrelevant newsgroups is not creative trolling - it is just spam and should be avoided.

The experienced troller spends time carefully choosing the right subject and delivering it to the right newsgroup. With trolls, delivery is just as important as the subject.

Start the troll in a reasonable and erudite manner. You have to engage your readers' interest and draw them in.

Never give too much away at the start - although a brief abstract with hints of what's to come can work wonders.

Construct your troll in a manner to make it readable. Use short paragraphs and lots of white space. Keep line length below eighty characters. Use a liberal amount of emphasis and even the occasional illustration.

A good rule of thumb is that as your troll becomes more and more ludicrous put extra effort into the presentation - this keeps the mug punter confused. Let confusion and chaos be your goal

Section 3: Content
Make your subject a relevant one. Posting "Star Trek Sucks" into hk.forsale is not going to work very well and is liable to utterly destroy your hard earned reputation as a troller overnight.

You do not have to make the subject clear. Trolls are aimed at two audiences, the respondees and the lurkers.

The best trolls reveal their true subject only to the lurkers. In every sense those who reply to your troll are your tools. So choose a theme for your troll and stick to it.

Outwardly you need to appear sincere, but at the same time you have to tell your *real* audience that this is blatant flamebait. Your skill is shown in the easy way that you manipulate large areas of the Usenet community into making public fools of themselves.

Choice of newsgroup is as important as the subject, tone and structure of the troll. You want to appeal to each group you X-post into to ensure responses from each group.

A well delivered troll will anticipate what those responses will be and thus ensure that contradictions will arise amongst the different groups that you are setting up.

BAD:
Posting "USA Sucks" to alt.nuke.the.USA, alt.usa-sucks, aus.flame.usa
This is totally on-topic and obvious. A truly useless troll.

AVERAGE:
Posting "God Doesn't Exist" to all the alt.religion newsgroups
Here you are being too obvious. People recognise this sort of trouble making and have usually learned not to respond to it. However, if your troll is well written you can actually entrap a lot of newbies.

This, if executed correctly, can be exploited to cause great offence to those more experienced troll avoiders on the groups you are attacking. Go for it!

GOOD:
Posting an article that appears relevant to every group but with no connection between those groups other than the fact that you've just trolled them.
The best trolls go out to an average of around eight or nine newsgroups. This will stop them from becoming spam as it's not quite enough to be a real problem. However, to get by on so few groups you have to include a couple of popular ones in the list.

When posting to say seven groups you should try to break down your theme into seven areas - each of which will be of specific interest to just one of those groups.

You then write an eight paragraph troll with a paragraph for each group and a spare one for yourself with which to lob in a gratuitous insult to everyone who was dumb enough to read your troll.

It is a matter of choice whether you choose newsgroups before or after writing the troll.

Some experts claim that newsgroup selection is the key to successful trolling and should be done first, others will write general trolls and then apply the standard Perl script that trollers use for Automatic Random Newsgroup Selection.

Section 5: Know Your Audience

Remember that you have two audiences. The people who are going to get the maximum enjoyment out of your post are other trollers. You need to keep in contact with them through both your troll itself and the way you direct its effect.

It is trollers that you are trying to entertain so be creative - trollers don't just want a laugh from you they want to see good trolls so that they can also learn how to improve their own in the never ending search for the perfect troll.

The other audience is of course the little people in those newsgroups that your are attacking. Get to know them. Every newsgroup has its smartarse who will expose your troll if given half a chance.

Research your targets and learn what their arguments are. Then avoid those arguments like the plague.

Drag them off-topic - the further off-topic the better. Remember, you are trying to waste their time.

Never take sides - remember that your goal is not to win an argument, rather it is to provoke a futile one that runs forever.

If, for example you were attacking Fast Food then you should also X-post to Healthy Eating groups, Environmental Protection Groups, Animal Rights Groups etc….

You want to try to ensure that you have the broadest possible range of opinions as this is the easiest way to sow confusion.

The more confusion the less the likelihood of your troll being exposed for what it is.

It can also be shown that the inclusion of just one totally off-topic newsgroup can have dramatic effects.

The list above is taken from a genuine troll which also included an Artificial Intelligence group, the result of which was to draw Computer Guru Professor Marvin Minsky into a flamewar concerning Ronald McDonald's exploitation of the disabled - an all-time classic piece of trolling - written by a practising veggie

Section 6: Following-Up

"Even if this is true……"

That represents the perfect response to any troll. The mark of a gullible lunatic that will almost certainly believe anything you tell them. A total group embarrassment. Award yourself a Troll Gold Star every time you get one!

Other good responses include, but are not limited to….

"Although this is on-topic….."
"I disagree…."
"Yes, but….."
"Can you provide a source for this…."


Try not to follow-up to your own troll. The troll itself quickly becomes forgotten in the chaos and if you just sit back you can avoid being blamed for causing it.

Remember, if you do follow up you are talking to an idiot. Treat them with the ill-respect they deserve.

You should also learn to recognise follow-ups from your fellow trollers. Sometimes an average troll can be elevated into majestic proportions when several trollers spontaneously join forces via the medium of the follow up troll.

Ignore cries of wasted bandwidth! This is pure drivel that will always be posted by the anti-troll lobby.

These jerks fail to understand that trolls are the best way to drive people off the internet thus making available multi-mbs for the rest of us to download our porn.

Section 7: The Successful Troll

A good example of troll success is the famous "How I Envy American Students" troll.

This troll was written by an English brick-layer posing as an American student. He correctly posted it to all the college news- groups and then left american students to do all the work spreading it.

His troll ran for over a year, it is known to have generated in excess of 3,500 responses (an average of 1 response every 160 minutes for a whole year) and the greatest coup of all was when an innocent american student lost not only her internet account but was also expelled from high school for abuse of the computer systems.

Somehow she had managed to get the blame for causing the troll.

Ok, no one cares.

Yeah, woo, yeah, skrrt
M-M-M-Murda

[Chorus: Quavo]
Motorsport, yeah, put that thing in sports (skrrt, skrrt)

Shawty bad (bad), pop her like a cork (pop it)
You a dork, never been a sport (dork, yeah)
Pull up, woo, woo, jumpin' out the court (jump)
Cotton candy (drink), my cup tastes like the fair (cotton)
Straight up there (where?), we didn't take the stairs (where?)
Faced my fears (fears), gave my mama tears (mama)

Shiftin' gears (shift), on the Nawf, get serious (serious)

[Verse 1: Quavo]
Face all your fears, then get at me
Hit so many donuts on them backstreets
Sit so high in the nosebleeds (yeah)
Feel like I can fly, yeah
Xans, Perky, check (yeah), Bill Belichick
Take the air out the ball, just so I can flex
Take the air out the mall, walkin' with the sacks
Take the air out your broad (hey), now she can't go back

Xans, Perky, check (yeah), Bill Belichick
Take the air out the ball (yeah), just so I can flex
Take the air out the mall (hey), walk in with the sacks
Take the air out your broad (woo, woo, woo, E)

Michael Rennie was ill
The Day the Earth Stood Still
But he told us where we stand
And Flash Gordon was there
In silver underwear
Claude Rains was The Invisible Man
Then something went wrong
For Fay Wray and King Kong
They got caught in a celluloid jam
Then at a deadly pace
It Came From Outer Space
And this is how the message ran…
Science fiction (ooh ooh ooh) double feature
Doctor X (ooh ooh ooh) will build a creature
See androids fighting (ooh ooh ooh) Brad and Janet
Anne Francis stars in (ooh ooh ooh) Forbidden Planet
Wo oh oh oh oh oh
At the late night, double feature, picture show
I knew Leo G. Carroll
Was over a barrel
When Tarantula took to the hills
And I really got hot
When I saw Janette Scott
Fight a Triffid that spits poison and kills
Dana Andrews said prunes
Gave him the runes
And passing them used lots of skills
But When Worlds Collide
Said George Pal to his bride
I'm gonna give you some terrible thrills
Like a…
Science fiction (ooh ooh ooh) double feature
Doctor X (ooh ooh ooh) will build a creature
See androids fighting (ooh ooh ooh) Brad and Janet
Anne Francis stars in (ooh ooh ooh) Forbidden Planet
Wo oh oh oh oh oh
At the late night, double feature, picture show
I wanna go - Oh oh oh oh
To the late night, double feature, picture show
By R.K.O. - Wo oh oh oh
To the late night, double feature, picture show
In the back row - Oh oh oh oh
To the late night, double feature, picture show

Majors
Hey, Janet

Janet Weiss
Yes, Brad?

Brad Majors
I've got something to say

Janet Weiss
Uh huh?

Brad Majors
I really love the…skillful way
You beat the other girls
To the bride's bouquet
Janet Weiss
Oh…oh, Brad

Brad Majors
The river was deep but I swam it

Chorus
Janet

Brad Majors
The future is ours, so let's plan it

Chorus
Janet

Brad Majors
So please don't tell me to can it

Chorus
Janet

Brad Majors
I've one thing to say, and that's
Dammit Janet, I love you
The road was long but I ran it
Chorus
Janet

Brad Majors
There's a fire in my heart and you fan it

Chorus
Janet

Brad Majors
If there's one fool for you then I am it

Chorus
Janet

Brad Majors
I've one thing to say, and that's
Dammit Janet, I love you
Here's a ring to prove that I'm no joker
There's three ways that love can grow
That's good, bad, or mediocre
Oh J-A-N-E-T, I love you so
Janet Weiss
Oh, it's nicer than Betty Munroe had

Chorus
Oh, Brad

Janet Weiss
Now we're engaged and I'm so glad

Chorus
Oh, Brad

Janet Weiss
That you met Mom and you know Dad

Chorus
Oh, Brad

Janet Weiss
I've one thing to say, and that's
Brad, I'm mad, for you too
Oh, Brad
Brad Majors
Oh, dammit

Janet Weiss
I'm mad

Brad Majors
Oh, Janet

Janet Weiss
For you

Brad Majors
I love you too

Brad and Janet
There's one thing left to do, ah-hoo

Brad Majors
And that's go see the man who began it

Chorus
Janet

Brad Majors
When we met in his science exam-it

Chorus
Janet

Brad Majors
Made me give you the eye and then panic

Chorus
Janet

Brad Majors
Now I've one thing to say, and that's
Dammit Janet, I love you
Dammit, Janet
Janet Weiss
Oh Brad, I'm mad

Brad Majors
Dammit, Janet

Brad and Janet
I love you

...

Janet Weiss
In the velvet darkness
Of the blackest night
Burning bright
There's a guiding star
No matter what or who you are
Brad and Janet
There's a light

Chorus
Over at the Frankenstein place

Brad and Janet
There's a light

Chorus
Burning in the fireplace

Brad and Janet
There's a light, light
In the darkness of everybody's life
Riff Raff
The darkness must go
Down the river of night's dreaming
Flow morphia slow
Let the sun and light come streaming
Into my life, into my life
Brad and Janet
There's a light

Chorus
Over at the Frankenstein place

Brad and Janet
There's a light

Chorus
Burning in the fireplace
There's a light, a light
Brad and Janet
In the darkness of everybody's life

Riff Raff
It's astounding
Time is fleeting
Madness takes its toll
But listen closely
Magenta
Not for very much longer

Riff Raff
I've got to keep control
I remember doing the Time Warp
Drinking those moments when
The blackness would hit me
Riff and Magenta
And the void would be calling

Chorus
Let's do the Time Warp again
Let's do the Time Warp again
Criminologist
It's just a jump to the left

Chorus
And then a step to the right

Criminologist
With your hands on your hips

Chorus
You bring your knees in tight
But it's the pelvic thrust
That really drives you insane
Let's do the Time Warp again
Let's do the Time Warp again
Magenta
It's so dreamy
Oh, fantasy free me
So you can't see me
No, not at all
In another dimension
With voyeuristic intention
Well secluded, I see all
Riff Raff
With a bit of a mind flip

Magenta
You're into the time slip

Riff Raff
And nothing can ever be the same

Magenta
You're spaced out on sensation

Riff Raff
Like you're under sedation

Chorus
Let's do the Time Warp again
Let's do the Time Warp again
Columbia
Well I was walking down the street
Just a having a think
When a snake of a guy gave me an evil wink
He shook-a me up, he took me by surprise
He had a pick up truck and the devil's eyes
He stared at me and I felt a change
Time meant nothing, never would again
Chorus
Let's do the Time Warp again
Let's do the Time Warp again
Criminologist
It's just a jump to the left

Chorus
And then a step to the right

Criminologist
With your hands on your hips

Chorus
You bring your knees in tight
But it's the pelvic thrust
That really drives you insane
Let's do the Time Warp again
Let's do the Time Warp again

(Eddie):
Whatever happened to saturday night?
When you dressed up sharp and you felt alright?
It donґt seem the same since the cosmic light.
You came into my life and I thought I was divine.
I used to go for a ride with a chick whoґd go
And listen to the music on the radio.
A saxophone was blowing on a rockґnґroll show
And you climbed in the back and you really had a good time!

(All):
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!

(Eddie):
My head used to swim from the perfume I smelt.
My hands kind of fumbled with her white
Plastic belt.
Iґd taste her baby pink lipstick and thatґs
When Iґd melt.
And she whispered in my ear tonight she
Really was mine.
Get back in front and put some hair oil on
Buddy Holly was singing his very last song.
With your arm around your girl youґd try
To sing along.
You felt pretty good ґcause youґd really had a good time!

(All):
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!
Hot Patootie bless my soul.
I really love that rockґnґroll!

How do you do
I see you've met my faithful handyman
He's just a little brought down because
When you knocked
He thought you were the candyman
Don't get strung out by the way I look
Don't judge a book by its cover
I'm not much of a man by the light of day
But by night I'm one hell of a lover
I'm just a sweet transvestite
From Transexual, Transylvania
Let me show you around, maybe play you a sound
You look like you're both pretty groovy
Or if you want something visual
That's not too abysmal
We could take in an old Steeve Reeves movie
Brad Majors
I'm glad we caught you at home
Could we use your phone?
We're both in a bit of a hurry
Janet Weiss
Right!

Brad Majors
We'll just say where we are
Then go back to the car
We don't want to be any worry
Dr. Frank-N-Furter
Well you got caught with a flat
Well how 'bout that
Well babies don't you panic
By the light of the night
It'll all seem alright
I'll get you a Satanic mechanic
I'm just a sweet transvestite
From Transexual, Transylvania
Why don't you stay for the night
Riff Raff
Night!

Dr. Frank-N-Furter
Or maybe a bite

Columbia
Bite!

Dr. Frank-N-Furter
I could show you my favorite obsession
I've been making a man
With blonde hair and a tan
And he's good for relieving my tension
I'm just a sweet transvestite
From Transexual, Transylvania
Hit it! Hit it!
I'm just a sweet transvestite
Chorus
Sweet Transvestite!

Dr. Frank-N-Furter
From Transexual

Chorus
Transylvania

Dr. Frank-N-Furter
So come up to the lab
And see what's on the slab
I see you shiver with antici…pation
But maybe the rain
Isn't really to blame
So I'll remove the cause
But not the symptom

The Sword of Damocles is hanging over my head
And I've got the feeling someone's gonna be cutting the thread
Oh, woe is me
My life is a misery
Oh, can't you see
That I'm at the start of a pretty big downer
I woke up this morning with a start when I fell out of bed
Chorus
That ain't no crime

Rocky Horror
And left from my dreaming was a feeling of unnameable dread

Chorus
That ain't no crime

Rocky Horror
My high is low
I'm dressed up with no place to go
And all I know
Is I'm at the start of a pretty big downer
Dr. Frank-N-Furter
Oh, Rocky!

Chorus
Sha la la la
That ain't no crime
Rocky Horror
Oh no no no

Chorus
Sha la la la
That ain't no crime
Rocky Horror
Oh no no no

Dr. Frank-N-Furter
Oh, my baby!

Chorus
Sha la la la
That ain't no crime
That ain't no crime
Rocky Horror
The Sword of Damocles is hanging over my head

Dr. Frank-N-Furter
Oh, really!

Chorus
That ain't no crime

Rocky Horror
And I've got the feeling someone's gonna be cutting the thread

Chorus
That ain't no crime

Rocky Horror
Oh, woe is me
My life is a mystery
And can't you see
That I'm at the start of a pretty big downer
Dr. Frank-N-Furter
Come here!

Chorus
Sha la la la
That ain't no crime
Rocky Horror
Oh no no no

Chorus
Sha la la la
That ain't no crime
Rocky Horror
Oh no no no

Chorus
Sha la la la
That ain't no crime
That ain't no crime
Sha la la la
That ain't no crime
Rocky Horror
Oh no no no

Chorus
Sha la la la
That ain't no crime
Rocky Horror
Oh no no no

Chorus
Sha la la la
That ain't no crime
That ain't no crime
Sha la la

Dr. Frank-N-Furter
A weakling weighing ninety-eight pounds
Will get sand in his face
When kicked to the ground
And soon in the gym
With a determined chin
The sweat from his pores
As he works for his cause
Will make him glisten
And gleam, and with massage
And just a little bit of steam
He'll be pink and quite clean
He'll be a strong man
Oh, honey!
Chorus
But the wrong man

Dr. Frank-N-Furter
He'll eat nutritious, high protein
And swallow raw eggs
Try to build up his shoulders
His chest, arms, and legs
Such an effort
If he only knew of my plan
In just seven days
Chorus
I can make you a man

Dr. Frank-N-Furter
He'll do press-ups and chin-ups
Do the snatch, clean, and jerk
He thinks dynamic tension
Must be hard work
Such strenuous living
I just don't understand
When in just seven days
Oh, baby
I can make you a man

Whatever happened to Saturday night?
When you dressed up sharp and you felt alright
It don't seem the same since cosmic light
Came into my life, I thought I was divine
I used to go for a ride with a chick who'd go
And listen to the music on the radio
A saxophone was blowing on a Rock and Roll show
We climbed in the back seat, really had a good time
Hot patootie, bless my soul
Really love that Rock and Roll
Chorus
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Eddie
(saxophone solo)

My head used to swim from the perfume I smelled
My hands kinda fumbled with her white plastic belt
I'd taste her baby pink lipstick and that's when I'd melt
She'd whisper in my ear tonight she really was mine
Get back in front and put some hair oil on
Buddy Holly was singing his very last song
With your arms around your girl, you try to sing along
It felt pretty good…Whoo!
Really had a good time
Hot patootie, bless my soul
Really love that Rock and Roll
Chorus
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
(saxophone solo)

Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll
Hot patootie, bless my soul
I really love that Rock and Roll

Dr. Frank-N-Furter: I'll tell you once
I won't tell you twice
You'd better wise up, Janet Weiss
Your apple pie don't taste too nice
You'd better wise up, Janet Weiss

I've laid the seed, it should be all you need
You're as sensual as a pencil
Wound up like an 'E' or first string
When we made it, did you hear a bell ring?
You got a block, well take my advice
You'd better wise up, Janet Weiss
The Transducer will seduce ya

Janet Weiss: My feet! I can't move my feet!

Dr. Everett v. Scott: My wheels! My God, I can't move my wheels!

Brad Majors: It's as if we're glued to the spot!

Dr. Frank-N-Furter: You are! So quake with fear, you tiny fools!

Janet Weiss: Oh, we're trapped!

Dr. Frank-N-Furter: It's something you'll get used to
A mental mind-fuck can be nice

Dr. Everett v. Scott: You won't find Earth people quite the easy mark you imagine
This sonic transducer - it is, I suppose, some kind of
Audio-vibratory, physiomolecular transport device

Brad Majors: You mean

Dr. Everett v. Scott: Yes, Brad
It's something we ourselves have been working on for quite some time
But it seems our friend here has found a means of perfecting it
A device which is capable of breaking down solid matter and then
Projecting it through space, and who knows, perhaps even time itself

Janet Weiss: You mean, he's gonna send us to another planet?

Dr. Frank-N-Furter: Planet, schmanet, Janet!
You'd better wise up, Janet Weiss
You'd better wise up
Build your thighs up
You'd better wise up

Criminologist: And then she cried out

Janet Weiss: Stop!

Dr. Frank-N-Furter: Don't get hot and flustered, use a bit of mustard

Brad Majors: You're a hot dog, but you better not try to hurt her,
Frank Furter.

Dr. Everett v. Scott: You're a hot dog, but you'd better not try to hurt her,
Frank Furter.

Janet Weiss: You're a hot dog…

But a deltoid and a bicep
A hot groin and a tricep
Makes me - Ooh! - shake
Makes me wanna take Charles Atlas by the hand
Chorus
In just seven days

Dr. Frank-N-Furter
Oh, baby

Chorus
I can make you a man

Dr. Frank-N-Furter
I don't want no dissension
Just dynamic tension
Janet Weiss
I'm a muscle fan

Chorus
In just seven days
I can make you a man
Dr. Frank-N-Furter
Dig it if you can

Chorus
In just seven days
I can make you a man

Weiss
I was feeling done in
Couldn't win
I'd only ever kissed before
Columbia
You mean she?

Magenta
Uh huh

Janet Weiss
I thought there's no use getting
Into heavy petting
It only leads to trouble
And seat wetting
Now all I want to know
Is how to go
I've tasted blood and I want more
Magenta and Columbia
More, more, more!

Janet Weiss
I'll put up no resistance
I want to stay the distance
I've got an itch to scratch
I need assistance
Touch-a touch-a touch-a touch me
I wanna be dirty
Thrill me, chill me, fulfill me
Creature of the night
Then if anything grows
While you pose
I'll oil you up
And rub you down
Magenta and Columbia
Down, down, down!

Janet Weiss
And that's just one small fraction
Of the main attraction
You need a friendly hand
And I need action
Touch-a touch-a touch-a touch me
I wanna be dirty
Thrill me, chill me, fulfill me
Creature of the night
Columbia
Touch-a touch-a touch-a touch me

Magenta
I wanna be dirty

Columbia
Thrill me, chill me, fulfill me

Magenta
Creature of the night

Janet Weiss
Oh, touch-a touch-a touch-a touch me
I wanna be dirty
Thrill me, chill me, fulfill me
Creature of the night
Rocky Horror
Creature of the night

Brad Majors
Creature of the night?

Dr. Frank-N-Furter
Creature of the night

Magenta
Creature of the night

Riff Raff
Creature of the night

Columbia
Creature of the night

Rocky Horror
Creature of the night

Janet Weiss
Creature of the night!

Once in a while, she don't want to call you
Speaking on the telephone
And once in your life, she won't want to know you
You look around
The one you've found, she is gone
And that's all the time that it takes
For a heart to turn to stone
The sweeter the wine
The harder to make the break
You hear something about someone
You'd thought you'd known
So baby don't cry like there's no tomorrow
After the night there's a brand new day
And there'll be no pain, and no more sorrow
So wash your face
And phone my place, it'll be OK
And that's all the time that it takes
For a heart to beat again
So give me a sign
That a lover makes
You look around
The one you've found is back again

From the day he was born
He was trouble
He was the thorn
In his mother's side
She tried in vain
Criminologist
But he never caused her nothing but shame

Dr. Everett v. Scott
He left home the day she died
From the day she was gone
All he wanted
Was rock and roll porn
And a motorbike
Shooting up junk
Criminologist
He was a low down cheap little punk

Dr. Everett v. Scott
Taking everyone for a ride

Chorus
When Eddie said he didn't like his teddy
You knew he was a no good kid
But when he threatened your life
With a switch blade knife
Dr. Frank-N-Furter
What a guy

Janet Weiss
Makes you cry

Dr. Everett v. Scott
And I did

Columbia
Everybody shoved him
I very nearly loved him
I said hey listen to me
Stay sane inside insanity
But he locked the door
And threw away the key
Dr. Everett v. Scott
But he must've been drawn
Into something
Making him warn me
In a note which reads
Chorus
What's it say? What's it say?

Eddie
I'm out of my head
Oh hurry, or I may be dead
They mustn't carry out their evil deeds
Chorus
When Eddie said he didn't like his teddy
You knew he was a no good kid
But when he threatened your life
With a switch blade knife
Dr. Frank-N-Furter
What a guy

Janet Weiss
Makes you cry

Dr. Everett v. Scott
And I did

Chorus
When Eddie said he didn't like his teddy
You knew he was a no good kid
But when he threatened your life
With a switch blade knife
Dr. Frank-N-Furter
What a guy

Chorus
Whoa ho ho

Janet Weiss
Makes you cry

Chorus
Hey hey hey

Dr. Everett v. Scott
And I did

Chorus
Eddie

Brad:
I've done a lot, God knows I've tried
To find the truth, I've even lied
But all I know is down inside I'm (bleeding)

Janet (with company):
And Super Heroes come to feast
To taste the flesh not yet deceased
And all I know is still the beast is (feeding)

Narrator:
And crawling on the planet's face
Some insects called the human race
Lost in time, lost in space
And meaning

Company:
Meaning

How could you!

Dr. Everett v. Scott
This way! This way!

Riff Raff
Shut up!

Dr. Frank-N-Furter
I'll tell you once
I won't tell you twice
You'd better wise up, Janet Weiss
Your apple pie don't taste too nice
You'd better wise up, Janet Weiss
I've laid the seed, it should be all you need
You're as sensual as a pencil
Wound up like an 'E' or first string
When we made it, did you hear a bell ring?
You got a block, well take my advice
You'd better wise up, Janet Weiss
The Transducer will seduce ya
Janet Weiss
My feet! I can't move my feet!

Dr. Everett v. Scott
My wheels! My God, I can't move my wheels!

Brad Majors
It's as if we're glued to the spot!

Dr. Frank-N-Furter
You are! So quake with fear, you tiny fools!

Janet Weiss
Oh, we're trapped!

Dr. Frank-N-Furter
It's something you'll get used to
A mental mind-fuck can be nice
Dr. Everett v. Scott
You won't find Earth people quite the easy mark you imagine
This sonic transducer - it is, I suppose, some kind of
Audio-vibratory, physiomolecular transport device
Brad Majors
You mean

Dr. Everett v. Scott
Yes, Brad
It's something we ourselves have been working on for quite some time
But it seems our friend here has found a means of perfecting it
A device which is capable of breaking down solid matter and then
Projecting it through space, and who knows, perhaps even time itself
Janet Weiss
You mean, he's gonna send us to another planet?

Dr. Frank-N-Furter
Planet, schmanet, Janet!
You'd better wise up, Janet Weiss
You'd better wise up
Build your thighs up
You'd better wise up
Criminologist
And then she cried out

Janet Weiss
Stop!

Columbia
It was great when it all began
I was a regular Frankie fan
But it was over when he had the plan
To start working on a muscle man
Now the only thing that gives me hope
Is my love of a certain dope
Rose tints my world
Keeps me safe from my trouble and pain
Rocky Horror
I'm just seven hours old
Truly beautiful to behold
And somebody should be told
My libido hasn't been controlled
Now the only thing I've come to trust
Is an orgasmic rush of lust
Rose tints my world
And keeps me safe from my trouble and pain
Brad Majors
It's beyond me
Help me, Mommy
I'll be good, you'll see
Take this dream away
What this, let's see
I feel sexy
What's come over me?
Woo! Here it comes again
Janet Weiss
I feel released
Bad times deceased
My confidence has increased
Reality is here
The game has been disbanded
My mind has been expanded
It's a gas that Frankie's landed
His lust is so sincere

Whatever happened to Fay Wray?
That delicate satin draped frame
As it clung to her thigh, how I started to cry
'Cause I wanted to be dressed just the same
Give yourself over to absolute pleasure
Swim the warm waters of sins of the flesh
Erotic nightmares beyond any measure
And sensual daydreams to treasure forever
Can't you just see it. Whoa ho ho!
Don't dream it, be it
Don't dream it, be it
Chorus
Don't dream it, be it
Don't dream it, be it
Don't dream it, be it
Don't dream it, be it
Don't dream it, be it
Don't dream it, be it
Don't dream it, be it
Don't dream it, be it
Don't dream it, be it
Dr. Everett v. Scott
Ach! We've got to get out of this trap
Before this decadence saps our wills
I've got to be strong and try to hang on
Or else my mind, may well snap
And my life will be lived
For the thrills
Dr. Frank-N-Furter
Don't dream it, be it

Brad Majors
It's beyond me
Help me, Mommy
Janet Weiss
God bless Lili St. Cyr

My my my
My my my my my
My my my my
My my
I'm a wild and an untamed thing
I'm a bee with a deadly sting
You get a hit and your mind goes ping
Your heart'll pump and your blood will sing
So let the party and the sounds rock on
We're gonna shake it 'till the life has gone
Rose tint my world
Keep me safe from my trouble and pain
Chorus
We're a wild and an untamed thing
We're a bee with a deadly sting
You get a hit and your mind goes ping
Your heart'll pump and your blood will sing
So let the party and the sounds rock on
We're gonna shake it 'till the life has gone
Rose tint my world
Keep me safe from my trouble and pain
We're a wild and an untamed thing
We're a bee with a deadly sting
You get a hit and your mind goes ping
Your heart'll pump and your blood will sing
So let the party and the sounds rock on
We're gonna shake it 'till the life has gone, gone, gone
Rose tint my world
Keep me safe from my trouble and pain
Riff Raff
Frank-N-Furter, it's all over
Your mission is a failure
Your lifestyle's too extreme
I'm your new commander
You now are my prisoner
We return to Transylvania
Prepare the transit beam

On the day I went away

Chorus
Goodbye

Dr. Frank-N-Furter
Was all I had to say

Chorus
Now I

Dr. Frank-N-Furter
I want to come again and stay

Chorus
Oh my

Dr. Frank-N-Furter
Smile, and that will mean I may
'Cause I've seen blue skies
Through the tears in my eyes
And I realize I'm going home
Chorus
I'm going home

Dr. Frank-N-Furter
Everywhere, it's been the same

Chorus
Feeling

Dr. Frank-N-Furter
Like I'm outside in the rain

Chorus
Wheeling

Dr. Frank-N-Furter
Free to try and find a game

Chorus
Dealing

Dr. Frank-N-Furter
Cards for sorrow
Cards for pain
'Cause I've seen blue skies
Through the tears in my eyes
And I realize I'm going home
Chorus
I'm going home
I'm going home
I'm going home

I've done a lot
God knows I've tried
To find the truth
I've even lied
But all I know
Is down inside I'm
Chorus
Bleeding

Janet Weiss
And super heroes
Come to feast
To taste the flesh
Not yet deceased
And all I know
Is still the beast is
Chorus
Feeding

Criminologist
And crawling on the planet's face
Some insects called the human race
Lost in time, and lost in space
And meaning

Chorus
Meaning

Who are these niggers spamming my thread?

Science fiction, double feature
Frank has built and lost his creature
Darkness has conquered Brad and Janet
The servants gone to a distant planet
Wo oh oh oh oh oh
At the late night, double feature, picture show
I want to go
Oh oh oh oh
To the late night, double feature, picture show

You answered your own question

they're scared for their lives right now. Just filter the spammers, takes 2 seconds.

Alexander Hamilton" is a song from the Broadway musical Hamilton performed by Leslie Odom Jr. (Burr), Anthony Ramos (Laurens), Daveed Diggs (Jefferson), Okieriete Onaodowan (Madison), Lin-Manuel Miranda (Hamilton), Phillipa Soo (Eliza), Christopher Jackson (Washington) and other Cast.

AARON BURR:
How does a bastard, orphan, son of a whore and a
Scotsman, dropped in the middle of a forgotten
Spot in the Caribbean by Providence, impoverished, in squalor
Grow up to be a hero and a scholar?

JOHN LAURENS:
The ten-dollar Founding Father without a father
Got a lot farther by workin’ a lot harder
By bein’ a lot smarter
By bein’ a self-starter
By fourteen, they placed him in charge of a trading charter

THOMAS JEFFERSON:
And every day while slaves were being slaughtered and carted
Away across the waves, he struggled and kept his guard up
Inside, he was longing for something to be a part of
The brother was ready to beg, steal, borrow, or barter

JAMES MADISON:
Then a hurricane came, and devastation reigned
Our man saw his future drip, drippin’ down the drain
Put a pencil to his temple, connected it to his brain
And he wrote his first refrain, a testament to his pain

BURR:
Well the word got around, they said, “This kid is insane, man!”
Took up a collection just to send him to the mainland
“Get your education, don’t forget from whence you came, and
The world’s gonna know your name! What’s your name, man?"

ALEXANDER HAMILTON:
Alexander Hamilton
My name is Alexander Hamilton
And there’s a million things I haven’t done
But just you wait, just you wait

ELIZA HAMILTON:
When he was ten, his father split, full of it, debt-ridden
Two years later, see Alex and his mother, bed-ridden
Half-dead, sittin’ in their own sick
The scent thick

COMPANY:
And Alex got better but his mother went quick

GEORGE WASHINGTON and (COMPANY):
Moved in with a cousin, the cousin committed suicide
Left him with nothin’ but ruined pride, somethin’ new inside
A voice saying "(Alex) you gotta fend for yourself"
He started retreatin’ and readin’ every treatise on the shelf

BURR and (COMPANY):
There would’ve been nothin’ left to do
For someone less astute
He would’ve been dead or destitute
Without a cent of restitution
Started workin’, clerkin’ for his late mother’s landlord
Tradin’ sugar cane and rum and other things he can’t afford
(Scammin’) for every book he can get his hands on
(Plannin’) for the future, see him now as he stands on (oooh)
The bow of a ship headed for a new land
In New York you can be a new man

COMPANY and (HAMILTON):
In New York you can be a new man (Just you wait)
In New York you can be a new man (Just you wait)
In New York you can be a new man

WOMEN:
In New York
MEN:
New York

HAMILTON:
Just you wait

COMPANY and (COMPANY):
Alexander Hamilton (Alexander Hamilton)
We are waiting in the wings for you (waiting in the wings for you)
You could never back down
You never learned to take your time
Oh, Alexander Hamilton (Alexander Hamilton)
When America sings for you
Will they know what you overcame?
Will they know you rewrote the game?
The world will never be the same, oh

BURR and (COMPANY):
The ship is in the harbor now, see if you can spot him
(Just you wait)
Another immigrant comin’ up from the bottom
(Just you wait)
His enemies destroyed his rep, America forgot him

MULLIGAN/MADISON AND LAFAYETTE/JEFFERSON:
We fought with him

LAURENS/PHILLIP:
Me? I died for him

WASHINGTON:
Me? I trusted him

ANGELICA SCHUYLER, ELIZA, MARIA REYNOLDS:
Me? I loved him

BURR:
And me? I’m the damn fool that shot him

COMPANY:
There’s a million things I haven’t done
But just you wait

BURR:
What’s your name, man?

HAMILTON & COMPANY:
Alexander Hamilton!

Aaron Burr, Sir" is a song from the Broadway musical Hamilton performed by Lin-Manuel Miranda (Hamilton), Leslie Odom Jr. (Burr), Anthony Ramos (Laurens), Lafayette, Mulligan.

COMPANY:
1776
New York City

HAMILTON:
Pardon me, are you Aaron Burr, sir?

BURR:
That depends, who's asking?

HAMILTON:
Oh well sure, sir
I'm Alexander Hamilton
I'm at your service, sir
I have been looking for you

BURR:
I'm getting nervous

HAMILTON:
Sir, I heard your name at Princeton
I was seeking an accelerated course of study
When I got sort out of sorts with a buddy of yours
I may have punched him
It’s a blur, sir
He handles the financials—

BURR:
You punched the bursar?

HAMILTON:
Yes, I wanted to do what you did
Graduate in two, then join the revolution
He looked at me like I was stupid
I’m not stupid
So how’d you do it?
How’d you graduate so fast?

BURR:
It was my parents' dying wish before they passed

HAMILTON:
You're an orphan
Of course, I'm an orphan
God, I wish there was a war!
Then we could prove that we're worth more
Than anyone bargained for

BURR:
Can I buy you a drink?

HAMILTON:
That would be nice

BURR:
While we’re talking, let me offer you some free advice
Talk less

HAMILTON:
What?

BURR:
Smile more

HAMILTON:
Ha

BURR:
Don't let them know what you're against or what you're for

HAMILTON:
You can't be serious

BURR:
You want to get ahead?

HAMILTON:
Yes

BURR:
Fools who run their mouths off wind up dead

LAURENS:
Yo yo yo yo yo! What time is it?

LAURENS, MULLIGAN:
Showtime!

BURR:
…like I said…

LAURENS:
Showtime! Showtime! Yo!
I’m John Laurens in the place to be!
Uh, two pints o' Sam Adams, but I'm working on three, uh!
Those redcoats don't want it with me
Cause I will pop chick-a-pop these cops 'til I'm free!

LAFAYETTE:
Ah oui oui, mon ami, je m'appelle Lafayette!
The Lancelot of the revolutionary set!
I came from afar just to say "Bonsoir!"
Tell the king, “Casse-toi!” Who's the best? C’est moi!

MULLIGAN:
Brrrah, brraaah! I am Hercules Mulligan
Up in it, lovin’ it
Yes I heard your mother say “come again?”

LAURENS, LAFAYETTE:
Ayyyyyyyyyyyyyyyyyyyyyyyyyyyy

MULLIGAN:
Lock up your daughters and horses, of course
It's hard to have intercourse over four sets of corsets

LAFAYETTE:
Wow

LAURENS:
No more sex
Pour me another brew, son!
Let’s raise a couple more

LAURENS, LAFAYETTE, MULLIGAN:
To the revolution!

LAURENS:
Well if it ain’t the prodigy of Princeton College

MULLIGAN:
Aaron Burr

LAURENS:
Give us a verse, drop some knowledge

BURR:
Good luck with that
You’re takin’ a stand
You spit, I’mma sit
We’ll see where we land

LAFAYETTE, MULLIGAN:
Booooo/Ohhhhhh

LAURENS:
Burr, the revolution’s imminent
What do you stall for?

HAMILTON:
If you stand for nothing, Burr, what’ll you fall for?

LAURENS, MULLIGAN, LAFAYETTE:
Oooh

LAURENS:
Who are you?

MULLIGAN:
Who are you?

LAFAYETTE:
Who are you?

LAURENS, MULLIGAN, LAFAYETTE:
Who, who is this kid? What's he gonna do?

HAMILTON:
I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy, and hungry
And I'm not throwing away my shot

I'mma get scholarship to King's College
I probably shouldn't brag, but dag, I amaze and astonish
The problem is I got a lot of brains, but no polish
I gotta holler just to be heard
With every word I drop knowledge

I'm a diamond in the rough, a shiny piece of coal
Tryin' to reach my goal, my power of speech: unimpeachable
Only nineteen, but my mind is older
These New York City streets getting colder, I shoulder
Ev'ry burden, ev'ry disadvantage
I have learned to manage. I don't have a gun to brandish
I walk these streets famished
The plan is to fan this spark into a flame
But damn, it's getting dark, so let me spell out my name
I am the—

HAMILTON, LAFAYETTE, MULLIGAN, LAURENS:
A-L, E-X, A-N, D
E-R—we are—meant to be

HAMILTON:
A colony that runs independently
Meanwhile, Britain keeps shitting on us endlessly
Essentially, they tax us relentlessly
Then King George turns around, runs a spending spree
He ain't never gonna set his descendants free
So there will be a revolution in this century
ENTER ME!

LAURENS, LAFAYETTE, MULLIGAN:
(He says in parentheses)

HAMILTON:
Don't be shocked when your history book mentions me
I will lay down my life if it sets us free
Eventually you'll see my ascendancy

HAMILTON and (LAURENS):
And I am not throwing away my shot (my shot)
I am not throwing away my shot (my shot)
Hey yo, I'm just like my country
I'm young, scrappy, and hungry
[HAMILTON & LAURENS]
And I'm not throwing away my shot

HAMILTON, MULLIGAN, LAURENS, LAFAYETTE:
I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy, and hungry
And I'm not throwing away my shot
It's time to take a shot!

LAFAYETTE:
I dream of life without the monarchy
The unrest in France will lead to "onarchy"
"Onarchy?" How you say, how you s—Oh, anarchy!
When I fight I make the other side panicky
With my
HAMILTON, MULLIGAN, LAURENS, LAFAYETTE:
Shot!

MULLIGAN:
Yo, I'm a tailor's apprentice
And I got y'all knuckleheads in loco parentis
I'm joining the rebellion cuz I know it's my chance
To socially advance, instead of sewin' some pants
I'm gonna take a
HAMILTON, MULLIGAN, LAURENS, LAFAYETTE:
Shot!

LAURENS:
Eh, but we'll never be truly free
Until those in bondage have the same rights as you and me
You and I, do or die, wait till I sally in on a stallion
With the first black battalion
Have another
HAMILTON, MULLIGAN, LAURENS, LAFAYETTE:
Shot!

BURR:
Geniuses, lower your voices
You keep out of trouble, and you double your choices
I'm with you, but the situation is fraught
You've got to be carefully taught:
If you talk, you're gonna get shot!

HAMILTON:
Burr, check what we got
Mr. Lafayette hard rock like Lancelot
I think your pants look hot
Laurens, I like you a lot
Let's hatch a plot blacker than the kettle callin' the pot
What are the odds the gods would put us all in one spot
Poppin' a squat on conventional wisdom, like it or not
A bunch of revolutionary manumission abolitionists
Give me a position, show me where the ammunition is

Oh, am I talkin' too loud?
Sometimes I get over excited, shoot off at the mouth
I never had a group of friends before
I promise that I'll make y'all proud

LAURENS:
Let's get this guy in front of a crowd!

COMPANY:
I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy, and hungry
And I'm not throwing away my shot

I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy, and hungry
And I'm not throwing away my shot

LAURENS and (HAMILTON, LAFAYETTE, MULLIGAN):
Everybody sing
Woah-woah, wo-oh-oh (Woah-woah, wo-oh-oh)
Hey
Wo-oh-oh (Wo-oh-oh)
Wooh!!
Wo-oh-oh (Wo-oh-oh)
Sing let 'em hear ya (Yeah)

LAURENS and (COMPANY):
Let's go! (Woah-woah, wo-oh-oh)
I said, shout it to the rooftops
(Wo-oh-oh)
Said to the rooftops
(Wo-oh-oh)
Now come on
(Yeah)
Now come on, let's go
!

LAURENS:
Rise up
When you're living on your knees, you rise up
Tell your brother that he's got to rise up
Tell your sister that she's got to rise up

LAURENS & ENSEMBLE and (COMPANY)
When are these colonies gonna rise up
(Whoa, woah)
When are these colonies gonna rise up (Woah)
When are these colonies gonna rise up (Woah)
When are these colonies gonna rise up (Woah)
Rise up

HAMILTON:
I imagine death so much it feels more like a memory
When's it's gonna get me?
In my sleep? Seven feet ahead of me?
If I see it coming, do I run or do I let it be?
Is it like a beat without a melody?

See, I never thought I'd live past twenty
Where I come from some get half as many
Ask anybody why we livin' fast and we laugh, reach for a flask
We have to make this moment last, that's plenty

Scratch that
This is not a moment, it's the movement
Where all the hungriest brothers with something to prove went
Foes oppose us, we take an honest stand
We roll like Moses, claimin' our Promised Land

And? If we win our independence?
'Zat a guarantee of freedom for our descendants?
Or will the blood we shed begin an endless
Cycle of vengeance and death with no defendants?

I know the action in the street is excitin'
But Jesus, between all the bleedin' 'n fightin'
I've been readin' 'n writin'
We need to handle our financial situation
Are we a nation of states? What's the state of our nation?

I'm past patiently waitin'! I'm passionately smashin' every expectation
Every action's an act of creation
I'm laughin' in the face of casualties and sorrow
For the first time, I'm thinkin' past tomorrow

HAMILTON & COMPANY:
And I am not throwin' away my shot
I am not throwin' away my shot
Hey, yo, I'm just like my country
I'm young, scrappy, and hungry
And I'm not throwin' away my shot

HAMILTON, MULLIGAN, LAURENS and (ENSEMBLE):
We gonna rise up; time to take a shot
(Not thrown’ away my shot)
We gonna rise up; time to take a shot
(Not throwin’ away my shot)

We gonna (rise up, rise up)
HAMILTON:
It’s time to take a shot
HAMILTON, MULLIGAN, LAURENS and (ENSEMBLE):
(Rise up, rise up)
It’s time to take a shot (rise up, rise up)
(Wo-oah) Time to take a shot (rise up)
Take a shot, a shot, a shot, (Oh-Oh, oh)
A-yo, it's time to take a shot (Woah, oh-oh oh)
Time to take a shot (Woah-oh)
And I am (And I am)
Not throwing away my

COMPANY:
Not throwing away my shot

HAMILTON:
I may not live to see our glory

LAURENS, MULLIGAN, & LAFAYETTE:
I may not live to see our glory

HAMILTON:
But I will gladly join the fight

LAURENS, MULLIGAN, & LAFAYETTE:
But I will gladly join the fight

HAMILTON:
And when our children tell our story

LAURENS, MULLIGAN, & LAFAYETTE:
And when our children tell our story

HAMILTON:
They’ll tell the story of tonight

MULLIGAN:
Let’s have another round tonight

LAFAYETTE:
Let’s have another round tonight

HAMILTON:
Let’s have another round tonight

LAURENS:
Raise a glass to freedom
Something they can never take away
No matter what they tell you

Raise a glass to the four of us

LAURENS and MULLIGAN:
Tomorrow there’ll be more of us

LAURENS, MULLIGAN, & LAFAYETTE:
Telling the story of tonight

HAMILTON:
They’ll tell the story of tonight

MULLIGAN, LAURENS, & LAFAYETTE:
Raise a glass to freedom
Something they can never take away

HAMILTON:
No matter what they tell you

MULLIGAN & LAFAYETTE:
Let’s have another round tonight

LAURENS:
Raise a glass to the four of us

MULLIGAN, LAURENS, & LAFAYETTE:
Tomorrow there’ll be more of us

HAMILTON & LAURENS:
Telling the story of tonight

MULLIGAN & LAFAYETTE:
Let’s have another round tonight

HAMILTON, LAURENS, ENSEMBLE:
They’ll tell the story of tonight
LAFAYETTE, MULLIGAN, ENSEMBLE:
Raise a glass to freedom
HAMILTON, LAURENS, ENSEMBLE:
They’ll tell the story of tonight
LAFAYETTE, MULLIGAN, ENSEMBLE:
Raise a glass to freedom
HAMILTON, LAURENS, ENSEMBLE:
They’ll tell the story of tonight
LAFAYETTE, MULLIGAN, ENSEMBLE:
They’ll tell the story of

COMPANY:
Tonight

lmao

nazis btfo

The Schuyler Sisters" is a song from the Broadway musical Hamilton performed by Renée Elise Goldsberry (Angelica), Phillipa Soo (Eliza), Leslie Odom Jr. (Burr), Peggy.

BURR:
There’s nothing rich folks love more
Than going downtown and slumming it with the poor
They pull up in their carriages and gawk at the students in the common
Just to watch ‘em talk

Take Philip Schuyler, the man is loaded
Uh oh, but little does he know that
His daughters, Peggy, Angelica, Eliza
Sneak into the city just to watch all the guys at

COMPANY: Work, work
ANGELICA: Angelica!
COMPANY: Work, work
ELIZA: Eliza!
PEGGY: And Peggy!
COMPANY: Work, work
The Schuyler sisters

ANGELICA: Angelica!
PEGGY: Peggy!
ELIZA: Eliza!
COMPANY: Work!
!

PEGGY: Daddy said to be home by sundown
ANGELICA: Daddy doesn’t need to know
PEGGY: Daddy said not to go downtown
ANGELICA: Like I said, you’re free to go

But—look around, look around
The revolution’s happening in New York
ELIZA & PEGGY: New York
COMPANY: Angelica
SISTERS & COMPANY: Work!

PEGGY: It’s bad enough Daddy wants to go to war
ELIZA: People shouting in the square
PEGGY: It’s bad enough there’ll be violence on our shore
ANGELICA: New ideas in the air

ANGELICA & MALE ENSEMBLE: Look around, look around—

ELIZA: Angelica, remind me what we’re looking for

ALL MEN: She’s looking for me!

ANGELICA and (COMPANY):
Eliza, I’m looking for a mind at work (work, work)
I’m looking for a mind at work (work, work) [x2]
Woa-oah
SISTERS: Woa-oah
SISTERS & COMPANY: Work!

BURR:
Ooh, there’s nothing like summer in the city
Someone in a rush next to someone lookin' pretty
Excuse me, miss, I know it’s not funny
But your perfume smells like your daddy’s got money
Why you slummin’ in the city in your fancy heels?
You searchin’ for an urchin who can give you ideals?

ANGELICA: Burr, you disgust me

BURR:
Ahh, so you’ve discussed me
I’m a trust fund, baby, you can trust me

ANGELICA:
I’ve been reading Common Sense by Thomas Paine
So men say that I’m intense or I’m insane
You want a revolution? I want a revelation
So listen to my declaration:

ALL SISTERS:
"We hold these truths to be self-evident
That all men are created equal"

ANGELICA and (COMPANY):
And when I meet Thomas Jefferson (unh!)
I’mma compel him to include women in the sequel

WOMEN: Work!

ELIZA:
Look around, look around at how
Lucky we are to be alive right now
ELIZA, PEGGY:
Look around, look around at how
Lucky we are to be alive right now
ALL SISTERS:
History is happening in Manhattan and we
Just happen to be in the greatest city in the world

SISTERS & COMPANY: In the greatest city in the world!

ANGELICA (ELIZA, PEGGY) ((MEN)):
Cause I’ve been reading Common Sense by Thomas Paine
(look around, look around)((hey, hey, hey, hey))
So men say that I’m intense or I’m insane
(the revolution’s happening in)((hey, hey, hey, hey))
ANGELICA (ELIZA, PEGGY) ((WOMEN)):
(New York) You want a revolution? ((look around, look around))
I want a revelation (In New York, woah)
So listen to my declaration ((the revolution's happening))

ALL SISTERS (WOMEN) ((MEN)):
We hold these truths to be self evident
(look around, look around) (hey, hey)
That all men are created equal
(at how lucky we are to be alive right now) (hey, hey)

ALL SISTERS & COMPANY:
Look around, look around
At how lucky we are to be alive right now
History is happening in Manhattan
And we just happen to be
WOMEN (MEN): In the greatest city in the world (in the greatest city)
COMPANY: In the greatest city in the world!

COMPANY: Work, work
ANGELICA: Angelica!
COMPANY: Work, work
ELIZA: Eliza!
PEGGY: And Peggy!
COMPANY: Work, work
ALL SISTERS: The Schuyler sisters
COMPANY: Work, work

ALL SISTERS (COMPANY):
We’re looking for a mind at work (work, work)
Hey (work, work)
ANGELICA (COMPANY):
Woah-ah! (work, work)
ELIZA & PEGGY (COMPANY):
Hey (work, work)
In the greatest city

ALL SISTERS:
In the greatest city
In the world!

COMPANY: In the greatest city in the world

SEABURY:
Hear ye, hear ye! My name is Samuel Seabury, and I present
"Free thoughts on the proceedings of the Continental Congress!"
Heed not the rabble who scream revolution
They have not your interest at heart

MULLIGAN: Oh my god. Tear this dude apart

SEABURY:
Chaos and bloodshed are not a solution
Don’t let them lead you astray
This congress does not speak for me

BURR: Let him be

SEABURY:
They’re playing a dangerous game
I pray the king shows you his mercy
For shame, for shame!

HAMILTON: Yo!

SEABURY:
Heed not the rabble who
HAMILTON:
He'd have you all unravel at the sound of screams
SEABURY:
Scream—

HAMILTON:
But the revolution
SEABURY:
Revolution—
HAMILTON:
Is comin'
SEABURY:
They have not your interests
HAMILTON:
The have-nots are gonna win this

SEABURY:
At heart—
HAMILTON:
It’s hard to listen to you with a straight face
!

SEABURY:
Chaos and—
HAMILTON:
Chaos and bloodshed
SEABURY:
Bloodshed are not—
HAMILTON:
Already haunt us

SEABURY:
A solution—
HAMILTON:
Honestly, you shouldn’t even talk—
SEABURY:
Don’t let them lead you astray—
HAMILTON:
And what about Boston?
Look at the cost and all that we’ve lost
And you talk about Congress?
SEABURY:
This Congress does not speak for me

HAMILTON:
My dog speaks more eloquently than thee

SEABURY:
You’re playing a dangerous game

HAMILTON:
But strangely, your mange is the same!

SEABURY:
I pray the king shows you his mercy

HAMILTON: Is he in Jersey?

SEABURY: For shame—

HAMILTON: For the Revolution!

SEABURY: For shame!

COMPANY: For the Revolution!

SEABURY: Heed—

HAMILTON:
If you repeat yourself again I’m gonna
SEABURY & HAMILTON:
Scream—

HAMILTON:
Honestly, look at me, please don’t read!

SEABURY: Not your interest—

HAMILTON and (COMPANY):
Don’t modulate the key then not debate with me (laughter)
Why should a tiny island across the sea
Regulate the price of tea?

BURR: Alexander, please!

HAMILTON:
Burr, I’d rather be divisive than indecisive
Drop the niceties

ENSEMBLE:
Silence! A message from the King!
A message from the King!
FULL COMPANY:
A message from the King

You say the price of my love's not a price that you're willing to pay
You cry in your tea which you hurl in the sea when you see me go by
Why so sad?
Remember we made an arrangement when you went away
Now you're making me mad
Remember despite our estrangement, I'm your man

You'll be back
Soon you'll see
You'll remember you belong to me
You'll be back
Time will tell
You'll remember that I served you well

Oceans rise, empires fall
We have seen each other through it all
And when push comes to shove,
I will send a fully armed battalion to remind you of my love

Da dada da da
Da dadada dayada
Dada da da dayada

Da dada da da
Da dadada dayada
Dada da da da

You say our love is draining and you can't go on
You'll be the one complaining when I am gone

And, no, don't change the subject
'Cause you're my favorite subject
My sweet, submissive subject
My loyal, royal subject
Forever and ever and ever and ever and ever

You say our love is draining and you can't go on
You'll be the one complaining when I am gone

And, no, don't change the subject
'Cause you're my favorite subject
My sweet, submissive subject
My loyal, royal subject
Forever and ever and ever and ever and ever

You'll be back
Like before
I will fight the fight and win the war
For your love
For your praise
And I'll love you till my dying days

When you're gone, I'll go mad
So don't throw away this thing we had
'Cause when push comes to shove
I will kill your friends and family to remind you of my love

Da dada da da
Da dadada dayada
Dada da da dayada

Da dada da da
Da dadada dayada
Dada da

Everybody!

Da dada da da
Da dadada dayada
Dada da da dayada

Da dada da da
Da dadada dayada
Dadada da da dayada

Da dada da da
Da dadada dayada
Dada da da dayada
But nooooooo
Da dada da da
Da dadada dayada
Dada da

Everybody!

Da dada da da
Da dadada dayada
Dada da da dayada

Da dada da da
Da dadada dayada
Dadada da da dayada

COMPANY]
British Admiral Howe’s got troops on the water
Thirty-two thousand troops in New York harbor

[ENSEMBLE 1]
Thirty-two thousand troops in [ENSEMBLE 2]
New York harbor Thirty-two thousand troops in
. New York harbor

When they surround our troops!
They surround our troops!
When they surround our troops! They surround our troops!
. They surround our troops!

HAMILTON]
As a kid in the Caribbean I wished for a war
I knew that I was poor
I knew it was the only way to—

[HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE]
Rise up!

[HAMILTON]
If they tell my story
I am either gonna die on the battlefield in glory or—

[HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE]
Rise up!

[HAMILTON]
We will fight for this land
But there’s only one man
Who can give us a command so we can—

[HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE]
Rise up!

HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE]
Rise up!

[HAMILTON]
Understand? It’s the only way to—

[HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE]
Rise up! Rise up!

[HAMILTON]
Here he comes!

[ENSEMBLE]
Here comes the General!

[BURR]
Ladies and gentlemen!

[ENSEMBLE]
Here comes the General!

[BURR]
The moment you’ve been waiting for!

[ENSEMBLE]
Here comes the General!

[BURR]
The pride of Mount Vernon!

[ENSEMBLE]
Here comes the General!

[BURR]
George Washington!

WASHINGTON]
We are outgunned ENSEMBLE:
Outmanned What?
Outnumbered
Outplanned What?
. Buck, buck, buck, buck, buck!

We gotta make an all out stand
Ayo, I’m gonna need a
right-hand man.
. Buck, buck, buck, buck, buck!

[WASHINGTON]
Check it—
Can I be real a second?
For just a millisecond?
Let down my guard and tell the people how I feel a second?
Now I’m the model of a modern major general
The venerated Virginian veteran whose men are all
Lining up, to put me up on a pedestal
Writin’ letters to relatives
Embellishin’ my elegance and eloquence
But the elephant is in the room
The truth is in ya face when ya hear the British cannons go…

[ENSEMBLE]
Boom!

WASHINGTON]
Any hope of success is fleeting
How can I keep leading when the people I’m
Leading keep retreating?
We put a stop to the bleeding as the British take Brooklyn
Knight takes rook, but look

[WASHINGTON]
We are outgunned [ENSEMBLE]
Outmanned What?
Outnumbered
Outplanned What?
. Buck, buck, buck, buck, buck!
We gotta make an all out stand
Ayo, I’m gonna need a
right-hand man
. Buck, buck, buck, buck, buck!
Incoming!

[HAMILTON]
They’re battering down the Battery check the damages

[MULLIGAN]
Rah!

HAMILTON]
We gotta stop ‘em and rob ‘em of their advantages

[MULLIGAN]
Rah!

[HAMILTON]
Let’s take a stand with the stamina God has granted us
Hamilton won’t abandon ship
Yo, let’s steal their cannons—

[MULLIGAN] [COMPANY]
Shh-boom! Boom!

[WASHINGTON]
Goes the cannon, watch the blood and the shit spray and…

[COMPANY]
Boom!

[WASHINGTON]
Goes the cannon, we’re abandonin’ Kips Bay and…

[COMPANY]
Boom!

[WASHINGTON]
There’s another ship and…

[COMPANY]
Boom!

[WASHINGTON]
We just lost the southern tip and…

[COMPANY]
Boom!

WASHINGTON]
We gotta run to Harlem quick, we can’t afford another slip
Guns and horses giddyup
I decide to divvy up
My forces, they’re skittish as the British cut the city up
This close to giving up, facing mad scrutiny
I scream in the face of this mass mutiny:
Are these the men with which I am to defend America?
We ride at midnight, Manhattan in the distance
I cannot be everywhere at once, people
I’m in dire need of assistance…

[BURR]
Your excellency, sir!

[WASHINGTON]
Who are you?

[BURR]
Aaron Burr, Sir?
Permission to state my case?

[WASHINGTON]
As you were

[BURR]
Sir
I was a captain under General Montgomery
Until he caught a bullet in the neck in Quebec
And well, in summary
I think that I could be of some assistance
I admire how you keep firing on the British
From a distance

[WASHINGTON]
Huh

BURR]
I have some questions, a couple of suggestions
on how to fight instead of fleeing west

[WASHINGTON]
Yes?

[BURR]
Well—

[HAMILTON]
Your excellency, you wanted to see me?

[WASHINGTON]
Hamilton, come in, have you met Burr?

[HAMILTON]
Yes, sir

[HAMILTON AND BURR]
We keep meeting

[BURR]
As I was saying, sir, I look forward to seeing your strategy play out

[WASHINGTON]
Burr?

[BURR]
Sir?

[WASHINGTON]
Close the door on your way out

[HAMILTON]
Have I done something wrong, sir?

[WASHINGTON]
On the contrary
I called you here because our odds are beyond scary
Your reputation precedes you, but I have to laugh

[HAMILTON]
Sir?

WASHINGTON]
Hamilton, how come no one can get you on their staff?

[HAMILTON]
Sir!

[WASHINGTON]
Don’t get me wrong, you’re a young man, of great renown
I know you stole British cannons when we were still downtown
Nathanael Greene and Henry Knox wanted to hire you…

[HAMILTON]
To be their Secretary? I don’t think so

[WASHINGTON]
Why’re you upset?

[HAMILTON]
I’m not—

[WASHINGTON]
It’s alright, you want to fight, you’ve got a hunger
I was just like you when I was younger
Head full of fantasies of dyin’ like a martyr?

[HAMILTON]
Yes

WASHINGTON]
Dying is easy, young man. Living is harder

[HAMILTON]
Why are you telling me this?

[WASHINGTON]
I’m being honest
I’m working with a third of what our Congress has promised
We are a powder keg about to explode
I need someone like you to lighten the load. So?

[COMPANY (EXCEPT HAMILTON)]
I am not throwin’ away my shot!
I am not throwin’ away my shot!
Ayo, I’m just like my country, I’m young
Scrappy and hungry!

[HAMILTON]
I am not throwing away my shot!

[WASHINGTON]
Son

[WASHINGON AND COMPANY]
We are outgunned, outmanned!

[HAMILTON]
You need all the help you can get
I have some friends. Laurens, Mulligan
Marquis de Lafayette, okay, what else?

[WASHINGTON AND COMPANY]
Outnumbered, outplanned!

[HAMILTON]
We’ll need some spies on the inside
Some King’s men who might let some things slide

HAMILTON] [COMPANY] [ELIZA/ANGELICA/PEGGY]
I’ll write to Congress Boom!
and tell ‘em we need Whoa, whoa, whoa…
supplies, you rally
the guys, master the
element of surprise Whoa, whoa, whoa…

Chicka-boom!
I’ll rise above my
station, organize
your information, ‘til
we rise to the occasion Whoa, whoa, whoa…
of our new nation. Sir!

. [ENSEMBLE] [LAURENS/LAFAYETTE/MULLIGAN]
. Here comes the General! What?

[HAMILTON]
Rise up!

[ENSEMBLE] [LAURENS/LAFAYETTE/MULLIGAN]
Here comes What?
the General!


[HAMILTON] [SCHUYLER SISTERS]
Rise up! Rise up!

[ENSEMBLE]
Here comes the General!

[HAMILTON]
Rise up!

[FULL COMPANY]
Here comes the General!

[HAMILTON]
What?

[WASHINGTON]
And his right hand man!

[FULL COMPANY]
Boom!

HAMILTON] [COMPANY] [ELIZA/ANGELICA/PEGGY]
I’ll write to Congress Boom!
and tell ‘em we need whoa Whoa, whoa, whoa…
supplies, you rally
the guys, master the
element of surprise Whoa, whoa, whoa…

Chicka-boom!
I’ll rise above my
station, organize
your information, ‘til
we rise to the occasion Whoa, whoa, whoa…
of our new nation. Sir!

. [ENSEMBLE] [LAURENS/LAFAYETTE/MULLIGAN]
. Here comes the General! What?

[HAMILTON]
Rise up!

[ENSEMBLE] [LAURENS/LAFAYETTE/MULLIGAN]
Here comes What?
the General!


[HAMILTON] [SCHUYLER SISTERS]
Rise up! Rise up!

[ENSEMBLE]
Here comes the General!

[HAMILTON]
Rise up!

[FULL COMPANY]
Here comes the General!

[HAMILTON]
What?

[WASHINGTON]
And his right hand man!

[FULL COMPANY]
Boom!

Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey
Hey

WOMEN]
. [ELIZA] Helpless!
[HAMILTON] I do I do I do I do!
Eliza…
. Helpless!
. I do I do I do I do!
I’ve never felt so—
. Helpless!
. Hey, yeah, yeah!
. Down for the count
. I’m down for the count And I’m drownin’ in ‘em
. I’m—
My life is gon’
be fine cuz Helpless!
Eliza’s in it.
. I look into your eyes,
. and the sky’s the limit
. I’m
. Helpless!
. Down for the count
. …drownin’ in ‘em. And I’m drownin’ in ‘em.

(Wedding march plays)

[ALL WOMEN]
In New York, you can be a new man…
In New York, you can be a new man…
In New York, you can be a new man…

[ELIZA]
Helpless

Limit I’m
Helpless! Helpless!
Hoo! Down for the count
. And I’m drownin’ in
. ‘em I’m
. Helpless!
That boy is mine
That boy is mine! Look into your eyes
. And the sky’s the
. Limit I’m
Helpless! Helpless! Helpless!
Down for the count Down for the count
And I’m drownin’ in em And I’m drownin’ in em
.
[HAMILTON]
Eliza, I don’t have a dollar to my name
An acre of land, a troop to command, a dollop of fame
All I have’s my honor, a tolerance for Paine
A couple of college credits and my top-notch brain
Insane, your family brings out a different side of me
Peggy confides in me, Angelica tried to take a bite of me
No stress, my love for you is never in doubt
We’ll get a little place in Harlem and we’ll figure it out
I’ve been livin’ without a family since I was a child
My father left, my mother died, I grew up buckwild
But I’ll never forget my mother’s face, that was real
And long as I’m alive, Eliza, swear to God
You’ll never feel so

[ANGELICA]
I’m just sayin’, if you really loved me, you would share him

[ELIZA]
Ha!
Two weeks later [ALL WOMEN]
In the living room stressin’ Stressin’
My father’s stone-faced
While you’re asking for his blessin’ Blessin’
I’m dying inside, as
You wine
And dine
And I’m tryin’ not to cry
‘cause there’s nothing
that your mind can’t do Oooh
My father makes his way across the room
To you
I panic for a second, thinking
“we’re through” Oooh
But then he shakes your hand and says
“Be true” Oooh
And you turn back to me, smiling, and I’m
Helpless

(Hamilton).

[HAMILTON/BURR/LAURENS]
Hey
Hey
Hey hey

[HAMILTON/BURR/LAURENS/ALL WOMEN (EXCEPT ELIZA)]
Hey hey hey hey

[ELIZA] [ALL WOMEN]
Ohh, I do I do I do I Hey hey hey hey
Dooo! Hey! Hey hey hey hey
Ohh, I do I do I do I Hey hey hey hey
Dooo! Boy you got me Hey hey hey

[ELIZA AND WOMEN]
Helpless!
Look into your eyes, and the sky’s the limit I’m helpless!
Down for the count, and I’m drownin’ in ‘em

[ELIZA]
I have never been the type to try and grab the spotlight
We were at a revel with some rebels on a hot night
Laughin’ at my sister as she’s dazzling the room
Then you walked in and my heart went “Boom!”
Tryin’ to catch your eye from the side of the ballroom
Everybody’s dancin’ and the band’s top volume

[ELIZA AND WOMEN]
Grind to the rhythm as we wine and dine

[ELIZA]
Grab my sister, and
Whisper, “Yo, this
One’s mine.” [ALL WOMEN]
. Oooh
My sister made her way across
the room to you Oooh
And I got nervous,
thinking “What’s she gonna do?” Oooh
She grabbed you by the arm,
I’m thinkin’ “I’m through” Oooh
Then you look back at me
and suddenly I’m Helpless! Helpless!

Oh, look at those eyes Look into your eyes
. And the sky’s the limit
Oh! I’m
Yeah, I’m Helpless!
Helpless, I know Down for the count
. And I’m drownin’ in ‘em
.
. I’m helpless!

I’m so into you Look into your eyes
I am so into you And the sky’s the limit I’m helpless!


I know I’m down for the count Down for the count
And I’m drownin’ in ‘em. And I’m drownin’ in ‘em.

[HAMILTON]
Where are you taking me?

[ANGELICA]
I’m about to change your life

[HAMILTON]
Then by all means, lead the way

[ELIZA]
Elizabeth Schuyler. It’s a pleasure to meet you

[HAMILTON]
Schuyler?

[ANGELICA]
My sister

[ELIZA]
Thank you for all your service

[HAMILTON]
If it takes fighting a war for us to meet, it will have been worth it

[ANGELICA]
I’ll leave you to it

[ELIZA AND WOMEN]
One week later

[ELIZA]
I’m writin’ a letter nightly
Now my life gets better, every letter that you write me
Laughin

LAURENS:
Alright, alright.
That’s what I’m talkin’ about! Now everyone give it up for the maid of honor, Angelica Schuyler!
ANGELICA:
A toast to the groom! ALL MEN:
. To the groom!
. To the groom! ALL WOMEN:
. To the groom! To the groom!
To the bride!
. To the bride!
. To the bride!
. To the bride!
. To the bride!
From your sister,
. Angelica!
. Angelica! ELIZA AND WOMEN:
. Angelica! Angelica!
Who is always
by your side.
. By your side! By your side!
To your union, To the union! To the union!
. To the revolution! To the revolution!
and the hope that you provide.
. You provide! You provide!
. You provide!
May you always…
.

LAURENS:
Alright, alright.
That’s what I’m talkin’ about! Now everyone give it up for the maid of honor, Angelica Schuyler!
ANGELICA:
A toast to the groom! ALL MEN:
. To the groom!
. To the groom! ALL WOMEN:
. To the groom! To the groom!
To the bride!
. To the bride!
. To the bride!
. To the bride!
. To the bride!
From your sister,
. Angelica!
. Angelica! ELIZA AND WOMEN:
. Angelica! Angelica!
Who is always
by your side.
. By your side! By your side!
To your union, To the union! To the union!
. To the revolution! To the revolution!
and the hope that you provide.
. You provide! You provide!
. You provide!
May you always… always
.

HAMILTON AND MEN
. Always– Always–
be satisfied.
. Rewind– Rewind–
ANGELICA:
I remember that night, I just might regret that night for the rest of my days.
I remember those soldier boys tripping over themselves to win our praise.
I remember that dreamlike candlelight like a dream that you can’t quite place,
but Alexander, I’ll never forget the first time I saw your face.
I have never been the same, Intelligent eyes in a hunger-pang frame,
And when you said “Hi,” I forgot my dang name, set my heart aflame, ev’ry part aflame,
FULL COMPANY:
This is not a game…
HAMILTON:
You strike me as a woman who has never been satisfied.
ANGELICA:
I’m sure I don’t know what you mean. You forget yourself.
HAMILTON:
You’re like me. I’m never satisfied.
ANGELICA:
Is that right?
HAMILTON:
I have never been satisfied.
ANGELICA:
My name is Angelica Schuyler.
HAMILTON:
Alexander Hamilton.
ANGELICA:
Where’s your fam’ly from?
HAMILTON:
Unimportant. There’s a million things I haven’t done but just you wait, just you wait…
ANGELICA:
So so so— so this is what it feels like to match wits with someone at your level!
What the hell is the catch? It’s the feeling of freedom, of seein’ the light,
it’s Ben Franklin with a key and a kite! You see it, right? The conversation lasted two minutes,
maybe three minutes, ev’rything we said in total agreement, it’s a dream and it’s a bit of a dance,
a bit of a posture, it’s a bit of a stance. He’s a bit of a flirt, but I’m ‘a give it a chance.
I asked about his fam’ly, did you see his answer? His hands started fidgeting, he looked askance?
He’s penniless, he’s flying by the seat of his pants.
Handsome, boy, does he know it! Peach fuzz, and he can’t even grow it!
I wanna take him far away from this place, then I turn and see my sister’s face and she is…
ELIZA
Helpless…
ANGELICA
And I know she is…
ELIZA
Helpless…
ANGELICA
And her eyes are just…
ELIZA
Helpless…
ANGELICA
And I realize
ANGELICA AND COMPANY
Three fundamental truths at the exact same time…
HAMILTON
.

Where are you taking me?
ANGELICA
I’m about to change your life.
HAMILTON
Then by all means, lead the way.
COMPANY (EXCEPT ANGELICA)
Number one!
ANGELICA
I’m a girl in a world in which my only job is to marry rich.
My father has no sons so I’m the one who has to social climb for one,
so I’m the oldest and the wittiest and the gossip in New York City is insidious,
Alexander is penniless, Ha! That doesn’t mean I want him any less.
ELIZA
Elizabeth Schuyler. It’s a pleasure to meet you.
HAMILTON
Schuyler?
ANGELICA
My sister.
COMPANY
Number two!
ANGELICA
He’s after me cuz I’m a Schuyler sister. That elevates his status, I’d have to be naïve to set that aside,
maybe that is why I introduce him to Eliza, now that’s his bride.
Nice going, Angelica, he was right, You will never be satisfied.
ELIZA
Thank you for all your service.
HAMILTON
If it takes fighting a war for us to meet, it will have been worth it.
ANGELICA
I’ll leave you to it.
COMPANY
Number three!
ANGELICA
I know my sister like I know my own mind, you will never find anyone as trusting or as kind.
If I tell her that I love him she’d be silently resigned, he’d be mine. She would say, “I’m fine”
ANGELICA AND COMPANY
She’d be lying.
ANGELICA
But when I fantasize at night it’s Alexander’s eyes,
as I romanticize what might have been if I hadn’t sized him up so quickly.
At least my dear Eliza’s his wife; at least I keep his eyes in my life…
ANGELICA AND ALL MEN (EXCEPT HAMILTON)
To the groom! To the groom! To the groom!
ANGELICA:
To the bride!
ALL WOMEN (EXCEPT ELIZA)
To the bride! To the bride! To the bride!
ANGELICA
From your sister,
ELIZA ANDWOMEN
Angelica! Angelica!
ANGELICA
who is always by your side.
WOMEN:
By your side.
By your side.
ANGELICA
To your union,

To the union! To the union! To the revolution!
To the revolution!
and the hope that you provide.
You provide! You provide! You provide!
May you always
HAMILTON AND MEN
Always– Always-
be satisfied.
Be satisfied,
be satisfied.
be satisfied, And I know MEN Be satisfied. WOMEN
Be satisfied. Be satisfied. Be satisfied. She’ll be happy as
Be satisfied.
Be satisfied. Be satisfied.
his bride. And I know Be satisfied. Be satisfied. Be satisfied. Be satisfied. Be satisfied. Be satisfied.
ANGELICA
He will never be satisfied. I will never be satisfied

Where are you taking me?
ANGELICA
I’m about to change your life.
HAMILTON
Then by all means, lead the way.
COMPANY (EXCEPT ANGELICA)
Number one!
ANGELICA
I’m a girl in a world in which my only job is to marry rich.
My father has no sons so I’m the one who has to social climb for one,
so I’m the oldest and the wittiest and the gossip in New York City is insidious,
Alexander is penniless, Ha! That doesn’t mean I want him any less.
ELIZA
Elizabeth Schuyler. It’s a pleasure to meet you.
HAMILTON
Schuyler?
ANGELICA
My sister.
COMPANY
Number two!
ANGELICA
He’s after me cuz I’m a Schuyler sister. That elevates his status, I’d have to be naïve to set that aside,
maybe that is why I introduce him to Eliza, now that’s his bride.
Nice going, Angelica, he was right, You will never be satisfied.
ELIZA
Thank you for all your service.
HAMILTON
If it takes fighting a war for us to meet, it will have been worth it.
ANGELICA
I’ll leave you to it.
COMPANY
Number three!
ANGELICA
I know my sister like I know my own mind, you will never find anyone as trusting or as kind.
If I tell her that I love him she’d be silently resigned, he’d be mine. She would say, “I’m fine”
ANGELICA AND COMPANY
She’d be lying.
ANGELICA
But when I fantasize at night it’s Alexander’s eyes,
as I romanticize what might have been if I hadn’t sized him up so quickly.
At least my dear Eliza’s his wife; at least I keep his eyes in my life…
ANGELICA AND ALL MEN (EXCEPT HAMILTON)
To the groom! To the groom! To the groom!
ANGELICA:
To the bride!
ALL WOMEN (EXCEPT ELIZA)
To the bride! To the bride! To the bride!
ANGELICA
From your sister,
ELIZA ANDWOMEN
Angelica! Angelica!
ANGELICA
who is always by your side.
WOMEN:
By your side.
By your side.
ANGELICA
To your union,

To the union! To the union! To the revolution!
To the revolution!
and the hope that you provide.
You provide! You provide! You provide!
May you always
HAMILTON AND MEN
Always– Always-
be satisfied.
Be satisfied,
be satisfied.
be satisfied, And I know MEN Be satisfied. WOMEN
Be satisfied. Be satisfied. Be satisfied. She’ll be happy as
Be satisfied.
Be satisfied. Be satisfied.
his bride. And I know Be satisfied. Be satisfied. Be satisfied. Be satisfied. Be satisfied. Be satisfied.
ANGELICA be
He will never be satisfied. I will never be satisfied

LAURENS
I may not live to see our glory!

MULLIGAN/LAFAYETTE
I may not live to see our glory!

LAURENS
But I've seen wonders great and small.

MULLIGAN/LAFAYETTE
I've seen wonders great and small.

LAURENS
Cuz if the tomcat can get married,

MULLIGAN/LAFAYETTE
If Alexander can get married-

LAURENS
There's hope for our ass, after all!

LAFAYETTE
Raise a glass to freedom.

LAURENS/MULLIGAN
Hey!
Something you will never see again!

MULLIGAN
No matter what she tells you.

LAFAYETTE
Let's have another round tonight!

LAURENS
Raise a glass to the four of us!

LAFAYETTE/HAMILTON
Ho!

MULLIGAN
To the newly not poor of us!

LAURENS/LAFAYETTE/HAMILTON
Woo!

LAFAYETTE
We'll tell the story of tonight.

LAURENS
Let's have another round-

HAMILTON
Well, if it isn't Aaron Burr.

BURR
Sir!

HAMILTON
I didn't think you would make it.

BURR
To be sure.

MULLIGAN/LAFAYETTE
Burr!
.

BURR
I came to say congratulations.

MULLIGAN
Spit a verse, Burr!

BURR
I see the whole gang is here.

LAFAYETTE
You are the worst, Burr!

HAMILTON
Ignore them. Congrats to you, Lieutenant Colonel.
I wish I had your command instead of manning George's journal.

BURR
No, you don't.

HAMILTON
Yes, I do.

BURR
Now, be sensible.
From what I hear, you've made yourself indispensable.

LAURENS
Well, well, I heard
You've got a special someone on the side, Burr.

HAMILTON
Is that so?

LAURENS
What are you tryin' to hide, Burr?

BURR
I should go.

HAMILTON
No, these guys should go.

LAFAYETTE
What?

LAURENS
No!

HAMILTON
Leave us alone.

MULLIGAN
Man…

HAMILTON
It's alright, Burr.
I wish you'd brought this girl with you tonight, Burr.

BURR
You're very kind, but I'm afraid it's unlawful, sir.

HAMILTON
What do you mean?

BURR
She's married.

HAMILTON
I see.

BURR
She's married to a British officer.

HAMILTON
Oh shit…

BURR
Congrats again, Alexander. Smile more.
I'll see you on the other side of the war.

HAMILTON
I will never understand you.
If you love this woman, go get her!
What are you waiting for?

BURR
I'll see you on the other side of the war.

HAMILTON
I'll see you on the other side of the war

BURR
She's married.

HAMILTON
I see.

BURR
She's married to a British officer.

HAMILTON
Oh shit…

BURR
Congrats again, Alexander. Smile more.
I'll see you on the other side of the war.

HAMILTON
I will never understand you.
If you love this woman, go get her!
What are you waiting for?

BURR
I'll see you on the other side of the war.

HAMILTON
I'll see you on the other side of the warburrrr

BURR
Theodosia writes me a letter ev'ry day.
I'm keeping her bed warm while her husband is away.
He's on the British side of Georgia.
He's tryin' to keep the colonies in line.
He can keep all of Georgia.
Theodosia, she's mine.

Love doesn't discriminate
between the sinners
and the saints,
it takes and it takes and it takes
and we keep loving anyway.

We laugh and we cry
and we break
and we make our mistakes.
And if there's a reason I'm by her side
when so many have tried
then I'm willing to wait for it.
I'm willing to wait for it.

My grandfather was a fire and brimstone preacher,

MEN (interjected)
Preacher
Preacher
Preacher

BURR
But there are things that the homilies and hymns won't teach ya.

MEN (interjected)
Teach ya
Teach ya
Teach ya

BURR
My mother was a genius

WOMEN (interjected)
Genius

BURR
My father commanded respect.
..

MEN (interjected)
Respect
Respect

BURR
When they died they left no instructions.
Just a legacy to protect.

BURR/ENSEMBLE
Death doesn't discriminate
Between the sinners and the saints,
it takes and it takes and it takes
and we keep living anyway.
We rise and we fall
and we break
and we make our mistakes.
And if there's a reason I'm still alive
when everyone who loves me has died
I'm willing to wait for it.
I'm willing to wait for it.
Wait for it.

ENSEMBLE
Wait for it
Wait for it
Wait for it

BURR
I am the one thing in life I can control

ENSEMBLE
Wait for it
Wait for it
Wait for it
Wait for it

BURR
I am inimitable
I am an original
.

ENSEMBLE
Wait for it
Wait for it
Wait for it
Wait for it

BURR
I'm not falling behind or running late

ENSEMBLE
Wait for it
Wait for it
Wait for it
Wait for it

BURR
I'm not standing still,
I am lying in wait

ENSEMBLE
Wait
Wait
Wait

BURR
Hamilton faces an endless uphill climb

ENSEMBLE
Climb
Climb
Climb

BURR
He has something to prove
He has nothing to lose

ENSEMBLE
Lose
Lose
Lose
Lose

BURR
Hamilton's pace is relentless
he wastes no time

ENSEMBLE
Time
Time
Time

BURR
What is it like in his shoes?
Hamilton doesn't hesitate.
He exhibits no restraint.
He takes and he takes and he takes
and he keeps winning anyway.
He changes the game.
He plays and he raises the stakes.
And if there's a reason
he seems to thrive when so few survive,
then God dammit

I'm willing to wait for it.

I'm willing to wait for it…
Life doesn't discriminate
between the sinners and the saints
it takes and it takes and it takes
We rise.

We fall
And if there's a reason I'm still alive
When so many others have died,
then I'm willin' to-

COMPANY (at the same time)
I'm willing to wait for it.
Wait for it
Wait for…
I'm willing to-

Life doesn't discriminate
between the sinners and the saints
it takes and it takes and it takes
and we keep living anyway,
we rise and we fall and we break
and we make our mistakes
and if there's a reason
I'm still alive
when so many have died,
then I'm willing' to-

BURR
Wait for it…

WOMEN
Wait for it…

MEN
Wait for it…

BURR
Wait for it…

WOMEN
Wait for it…

MEN
Wait for it…

WOMEN
Wait for it…

MEN
Wait for it…

WOMEN
Wait for it…

MEN
Wait for it…

WOMEN
Wait for it…

MEN
Wait

ELIZA:
Stay alive…

ELIZA/ANGELICA/ENSEMBLE WOMEN:
Stay alive…

HAMILTON:
I have never seen the General so despondent
I have taken over writing all his correspondence
Congress writes, “George, attack the British forces.”
I shoot back, we have resorted to eating our horses
Local merchants deny us equipment, assistance
They only take British money, so sing a song of sixpence

WASHINGTON:
The cavalry’s not coming

HAMILTON:
Sir!

WASHINGTON:
Alex, listen. There’s only one way for us to win this
Provoke outrage, outright

HAMILTON:
That’s right

WASHINGTON:
Don’t engage, strike by night
Remain relentless ‘til their troops take flight

HAMILTON:
Make it impossible to justify the cost of the fight

WASHINGTON:
Outrun

HAMILTON:
Outrun

WASHINGTON:
Outlast

HAMILTON:
Outlast

WASHINGTON:
Hit ‘em quick, get out fast

HAMILTON:
Chick-a-plao!

WASHINGTON:
Stay alive ‘til this horror show is past
We’re gonna fly a lot of flags half-mast

HAMILTON/LAURENS/LAFAYETTE:
Raise a glass!

MULLIGAN:
I go back to New York and my apprenticeship

LAFAYETTE:
I ask for French aid, I pray that France has sent a ship

LAURENS:
I stay at work with Hamilton
We write essays against slavery
And every day’s a test of our camaraderie
And bravery

HAMILTON:
We cut supply lines, we steal contraband
We pick and choose our battles and places to take a stand
And ev’ry day
“Sir, entrust me with a command,”
And ev’ry day

WASHINGTON:
No

HAMILTON:
He dismisses me out of hand

HAMILTON: ELIZA/ANGELICA:
Instead of me Stay alive…
He promotes LEE:
Charles Lee Charles Lee.
Makes him second-in-command:

LEE:
I’m a General. Whee!!!!

HAMILTON:
Yeah. He’s not the choice I would have gone with

HAMILTON/LAURENS/LAFAYETTE:
He shits the bed at the Battle of Monmouth

WASHINGTON:
Ev’ryone attack!

LEE:
Retreat!

WASHINGTON:
Attack!

LEE:
Retreat!

WASHINGTON:
What are you doing, Lee? Get back on your feet!

LEE:
But there’s so many of them!

WASHINGTON:
I’m sorry, is this not your speed?!
Hamilton!

HAMILTON:
Ready, sir!

WASHINGTON:
Have Lafayette take the lead!

HAMILTON:
Yes, sir!

LAURENS:
A thousand soldiers die in a hundred degree heat

LAFAYETTE:
As we snatch a stalemate from the jaws of defeat

HAMILTON:
Charles Lee was left behind
Without a pot to piss in
He started sayin’ this to anybody who would listen:

LEE:
Washington cannot be left alone to his devices
Indecisive, from crisis to crisis
The best thing he can do for the revolution
Is turn n’ go back to plantin’ tobacco in Mount Vernon

COMPANY:
Oo!!

WASHINGTON:
Don’t do a thing. History will prove him wrong

HAMILTON:
But, sir!

WASHINGTON:
We have a war to fight, let’s move along

LAURENS:
Strong words from Lee, someone oughta hold him to it

HAMILTON:
I can’t disobey direct orders

LAURENS:
Then I’ll do it
Alexander, you’re the closest friend I’ve got

HAMILTON:
Laurens, do not throw away your shot

MEN:
One, two, three, four

FULL COMPANY:
Five, six, seven, eight, nine…

BURR/HAMILTON/LAURENS/LEE:
It’s the Ten Duel Commandments

FULL COMPANY:
It’s the Ten Duel Commandments
Number one!

LAURENS:
The challenge: demand satisfaction
If they apologize, no need for further action

COMPANY:
Number two!

LAURENS:
If they don’t, grab a friend, that’s your second

HAMILTON:
Your lieutenant when there’s reckoning to be reckoned

COMPANY:
Number three!

LEE:
Have your seconds meet face to face

BURR:
Negotiate a peace…

HAMILTON:
Or negotiate a time and place

BURR:
This is commonplace, ‘specially ‘tween recruits

COMPANY:
Most disputes die, and no one shoots
Number four!

LAURENS:
If they don’t reach a peace, that’s alright
Time to get some pistols and a doctor on site

HAMILTON:
You pay him in advance, you treat him with civility

BURR:
You have him turn around so he can have deniability!

COMPANY:
Five!

LEE:
Duel before the sun is in the sky

COMPANY:
Pick a place to die where it’s high and dry
Number six!

HAMILTON:
Leave a note for your next of kin
Tell ‘em where you been. Pray that hell or heaven lets you in

COMPANY:
Seven!

LEE:
Confess your sins. Ready for the moment of adrenaline when you finally face your opponent

COMPANY:
Number eight!

LAURENS/LEE/HAMILTON/BURR:
Your last chance to negotiate
Send in your seconds, see if they can set the record straight…

BURR:
Alexander

HAMILTON:
Aaron Burr, sir

BURR:
Can we agree that duels are dumb and immature?

HAMILTON:
Sure
But your man has to answer for his words, Burr

BURR:
With his life? We both know that’s absurd, sir

HAMILTON:
Hang on, how many men died because Lee was inexperienced and ruinous?

BURR:
Okay, so we’re doin’ this

COMPANY:
Number nine!

HAMILTON:
Look ‘em in the eye, aim no higher
Summon all the courage you require
Then count

MEN:
One two three four

FULL COMPANY:
Five six seven eight nine

HAMILTON/BURR:
Number

COMPANY:
Ten paces!

HAMILTON/BURR:
Fire

HAMILTON:
Lee, do you yield?

BURR:
You shot him in the side!
Yes, he yields!

LAURENS:
I’m satisfied

BURR:
Yo, we gotta clear the field!

HAMILTON:
Go! We won

COMPANY:
Here comes the General!

BURR:
This should be fun

WASHINGTON:
What is the meaning of this? Mr. Burr, get a medic for the General

BURR:
Yes, sir

WASHINGTON:
Lee, you will never agree with me
But believe me, these young men don’t speak for me
Thank you for your service

BURR:
Let’s ride!

WASHINGTON:
Hamilton!

HAMILTON:
Sir!

WASHINGTON:
Meet me inside

COMPANY:
Meet him inside! Meet him inside!
Meet him inside, meet him, meet him inside!

WASHINGTON:
Son—

HAMILTON:
Don’t call me son

WASHINGTON:
This war is hard enough
Without infighting

HAMILTON:
Lee called you out. We called his bluff

WASHINGTON:
You solve nothing, you aggravate our allies to the south

HAMILTON:
You're absolutely right, John should have shot him in the mouth
That would’ve shut him up

WASHINGTON:
Son

HAMILTON:
I’m notcha son

WASHINGTON:
Watch your tone
I am not a maiden in need of defending, I am grown

HAMILTON (OVERLAPPING):
Charles Lee, Thomas Conway
These men take your name and they rake it
Through the mud

WASHINGTON:
My name’s been through a lot, I can take it

HAMILTON:
Well, I don’t have your name. I don’t have your titles
I don’t have your land
But, if you

WASHINGTON:
No

HAMILTON:
If you gave me command of a battalion, a group of men to lead,
I could fly above my station after the war

WASHINGTON:
Or you could die and we need you alive

HAMILTON:
I’m more than willing to die

WASHINGTON:
Your wife needs you alive, son, I need you alive

HAMILTON:
Call me son one more time

WASHINGTON:
Go home, Alexander
That’s an order from your commander

HAMILTON:
Sir

WASHINGTON:
Go home

ELIZA:
Look around, look around at how lucky we are
To be alive right now
Look around, look around…

HAMILTON:
How long have you known?

ELIZA:
A month or so

HAMILTON:
Eliza, you should have told me

ELIZA:
I wrote to the General a month ago

HAMILTON:
No

ELIZA:
I begged him to send you home

HAMILTON:
You should have told me

ELIZA:
I’m not sorry

ELIZA:
I knew you’d fight HAMILTON:
Until the war was won The war’s not Done.

But you deserve a chance to meet your son
Look around, look around at how lucky we are
To be alive right now.

HAMILTON:
Will you relish being a poor man’s wife
Unable to provide for your life?

ELIZA:
I relish being your wife
Look around, look around…

Look at where you are
Look at where you started
The fact that you’re alive is a miracle
Just stay alive, that would be enough

And if this child
Shares a fraction of your smile
Or a fragment of your mind, look out world!
That would be enough

I don’t pretend to know
The challenges you’re facing
The worlds you keep erasing and creating in your mind

But I’m not afraid
I know who I married
So long as you come home at the end of the day
That would be enough

We don’t need a legacy
We don’t need money
If I could grant you peace of mind
If you could let me inside your heart…

Oh, let me be a part of the narrative
In the story they will write someday
Let this moment be the first chapter:
Where you decide to stay
And I could be enough
And we could be enough
That would be enough

BURR:
How does a ragtag volunteer army in need of a shower
Somehow defeat a global superpower?
How do we emerge victorious from the quagmire?
Leave the battlefield waving Betsy Ross’ flag higher?
Yo. Turns out we have a secret weapon!
An immigrant you know and love who’s unafraid to step in!
He’s constantly confusin’, confoundin’ the British henchmen
Ev’ryone give it up for America’s favorite fighting Frenchman!

COMPANY:
Lafayette!

LAFAYETTE:
I’m takin this horse by the reins makin’
Redcoats redder with bloodstains

COMPANY:
Lafayette!

LAFAYETTE:
And I’m never gonna stop until I make ‘em
Drop and burn ‘em up and scatter their remains, I’m

COMPANY:
Lafayette!

LAFAYETTE:
Watch me engagin’ em! Escapin’ em!
Enragin’ em! I’m—

COMPANY:
Lafayette!

LAFAYETTE:
I go to France for more funds

COMPANY:
Lafayette!

LAFAYETTE:
I come back with more

LAFAYETTE AND ENSEMBLE:
Guns
And ships
And so the balance shifts

WASHINGTON:
We rendezvous with Rochambeau, consolidate their gifts

LAFAYETTE:
We can end this war at Yorktown, cut them off at sea, but
For this to succeed, there is someone else we need:

WASHINGTON:
I know

WASHINGTON AND COMPANY:
Hamilton!

LAFAYETTE:
Sir, he knows what to do in a trench
Ingenuitive and fluent in French, I mean—

WASHINGTON AND COMPANY:
Hamilton!

LAFAYETTE:
Sir, you’re gonna have to use him eventually
What’s he gonna do on the bench? I mean—

WASHINGTON AND COMPANY:
Hamilton!

LAFAYETTE:
No one has more resilience
Or matches my practical tactical brilliance—

WASHINGTON AND COMPANY:
Hamilton!

LAFAYETTE:
You wanna fight for your land back?

COMPANY:
Hamilton!

WASHINGTON:
I need my right hand man back!

WOMEN:
Hamilton!

LAFAYETTE: MEN:
Ah! Uh, get ya right hand man back Get your right hand man back!
You know you gotta get ya right hand man back Your right hand man back!

I mean you gotta put Hamilton!
some thought into the letter Ha—
but the sooner the better Ha—
To get your right hand man back!

WOMEN, MEN:
Hamilton, Hamilton!
Ha— ha—!

WASHINGTON:
Alexander Hamilton
Troops are waiting in the field for you
If you join us right now, together we can turn the tide
Oh, Alexander Hamilton
I have soldiers that will yield for you
If we manage to get this right
They’ll surrender by early light
The world will never be the same, Alexander

WASHINGTON:
I was younger than you are now
When I was given my first command
I led my men straight into a massacre
I witnessed their deaths firsthand
I made every mistake
I felt the shame rise in me
And even now I lie awake

WASHINGTON: LAURENS/MULLIGAN:
Knowing history has its eyes on me Whoa…
. Whoa…
. Whoa…
. Yeah

HAMILTON/WASHINGTON: COMPANY:
History has its eyes on me. Whoa…
. Whoa…
. Whoa…
. Yeah

WASHINGTON:
Let me tell you what I wish I’d known
When I was young and dreamed of glory:
You have no control:

WASHINGTON AND COMPANY:
Who lives, who dies, who tells your story

WASHINGTON:
I know that we can win
I know that greatness lies in you
But remember from here on in

WASHINGTON/HAMILTON AND MEN:
History has its ENSEMBLE:
Eyes on you. Whoa…
. Whoa…
. Whoa…

FULL COMPANY:
History has its eyes on you

COMPANY:
The battle of Yorktown. 1781

LAFAYETTE:
Monsieur Hamilton

HAMILTON:
Monsieur Lafayette

LAFAYETTE:
In command where you belong

HAMILTON:
How you say, no sweat
We're finally on the field. We’ve had quite a run

LAFAYETTE:
Immigrants:

HAMILTON/LAFAYETTE:
We get the job done

HAMILTON:
So what happens if we win?

LAFAYETTE:
I go back to France
I bring freedom to my people if I’m given the chance

HAMILTON:
We’ll be with you when you do

LAFAYETTE:
Go lead your men

HAMILTON:
See you on the other side

LAFAYETTE:
‘Til we meet again, let’s go!

ENSEMBLE:
I am not throwin’ away my shot!
I am not throwin’ away my shot!
Hey yo, I’m just like my country, I’m young
Scrappy and hungry
And I’m not throwin’ away my shot!
I am not throwin’ away my shot!

HAMILTON:
‘Til the world turns upside down…

ENSEMBLE:
‘Til the world turns upside down!

HAMILTON:
I imagine death so much it feels more like a memory
This is where it gets me: on my feet
The enemy ahead of me
If this is the end of me, at least I have a friend with me
Weapon in my hand, a command, and my men with me
Then I remember my Eliza’s expecting me…
Not only that, my Eliza’s expecting
We gotta go, gotta get the job done
Gotta start a new nation, gotta meet my son!
Take the bullets out your gun!

ENSEMBLE:
What?

HAMILTON:
The bullets out your gun!

ENSEMBLE:
What?

HAMILTON:
We move under cover and we move as one
Through the night, we have one shot to live another day
We cannot let a stray gunshot give us away
We will fight up close, seize the moment and stay in it
It’s either that or meet the business end of a bayonet
The code word is ‘Rochambeau,’ dig me?

ENSEMBLE:
Rochambeau!

HAMILTON:
You have your orders now, go, man, go!
And so the American experiment begins
With my friends all scattered to the winds
Laurens is in South Carolina, redefining brav’ry

HAMILTON/LAURENS:
We’ll never be free until we end slavery!

HAMILTON:
When we finally drive the British away
Lafayette is there waiting—

HAMILTON/LAFAYETTE:
In Chesapeake Bay!

HAMILTON:
How did we know that this plan would work?
We had a spy on the inside. That’s right

HAMILTON/COMPANY:
Hercules Mulligan!

MULLIGAN:
A tailor spyin’ on the British government!
I take their measurements, information and then I smuggle it

COMPANY:
Up

MULLIGAN:
To my brother's revolutionary covenant
I’m runnin’ with the Sons of Liberty and I am lovin’ it!
See, that’s what happens when you up against the ruffians
We in the shit now, somebody gotta shovel it!
Hercules Mulligan, I need no introduction
When you knock me down I get the fuck back up again!

COMPANY:
Left! Right! Hold!
Go!
What! What! What!

HAMILTON:
After a week of fighting, a young man in a red coat stands on a parapet

LAFAYETTE:
We lower our guns as he frantically waves a white handkerchief

MULLIGAN:
And just like that, it’s over. We tend to our wounded, we count our dead

LAURENS:
Black and white soldiers wonder alike if this really means freedom

WASHINGTON:
Not. Yet

!

HAMILTON:
We negotiate the terms of surrender
I see George Washington smile
We escort their men out of Yorktown
They stagger home single file
Tens of thousands of people flood the streets
There are screams and church bells ringing
And as our fallen foes retreat
I hear the drinking song they’re singing…

ALL MEN:
The world turned upside down

FULL COMPANY:
The world turned upside down
The world turned upside down
The world turned upside down
Down
Down, down, down

LAFAYETTE:
Freedom for America, freedom for France!

COMPANY:
Down, down, down

HAMILTON:
Gotta start a new nation
Gotta meet my son

COMPANY:
Down, down, down

MULLIGAN:
We won!

LAFAYETTE:
We won!

MULLIGAN/LAFAYETTE/LAURENS:
We won!

MULLIGAN/LAFAYETTE/LAURENS/HAMILTON/WASHINGTON:
We won!

COMPANY:
The world turned upside down

They say,
The price of my war is not a price that they are willing to pay
Insane
You cheat with the French
Now I am fighting with France and with Spain
I am so blue
I thought that we made an arrangement when you went away
You were mine to subdue
Well, even despite our estrangement
I got a small query for yooouu
What comes next?
You've been freed
Do you know how hard it is to lead?
You're on your own
Awesome…wow
Do you have a clue what happens now?
Oceans rise
Empires fall
It's much harder when it's all your call
All alone
Across the sea
When your people say they hate you
Don't come crawling back to me
Da da da da da
Da da da da daye da
Da da da da daye da
You're on your own…

They say,
The price of my war is not a price that they are willing to pay

Insane
You cheat with the French
Now I am fighting with France and with Spain
I am so blue
I thought that we made an arrangement when you went away
You were mine to subdue
Well, even despite our estrangement
I got a small query for yooouu
What comes next?
You've been freed
Do you know how hard it is to lead?
You're on your own
Awesome…wow
Do you have a clue what happens now?
Oceans rise
Empires fall
It's much harder when it's all your call
All alone
Across the sea
When your people say they hate you
Don't come crawling back to me
Da da da da da
Da da da da daye da
Da da da da daye da
You're on your own…

]
Dear Theodosia what to say to you
You have my eyes
You have your mother's name
When you came into the world you cried and it broke my heart

I'm dedicating everyday to you
Domestic life was never quite my style
When you smile, you knock me out I fall apart and I thought I was so smart

You will come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday x2
Yeah you'll blow us all away
Someday x2

[Hamilton]
Oh, Phillip when you smile I am undone, my son
Look at my son
Pride is not the word I'm looking for
There is so much more inside me now

Oh, Phillip you outshine the morning sun, my son
When you smile, I fall apart and I thought I was so smart

My father wasn't around

[Burr]
My father wasn't around

[Hamilton]
I swear that

[Both]
I'll be around for you

[Hamilton]
I'll do whatever it takes

[Burr]
I'll make a million mistakes

[Both]
I'll make the world safe and sound for you

You'll come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday x2
Yeah, you'll blow us all away
Someday, someday

Only reason this fucking thread is even getting any attention. Don't know why they're getting such a hard on this late in the fucking game.

]
Dear Theodosia what to say to you
You have my eyes
You have your mother's name
When you came into the world you cried and it broke my heart

I'm dedicating everyday to you
Domestic life was never quite my style
When you smile, you knock me out I fall apart and I thought I was so smart

You will come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday x2
Yeah you'll blow us all away
Someday x2

[Hamilton]
Oh, Phillip when you smile I am undone, my son
Look at my son
Pride is not the word I'm looking for
There is so much more inside me now

Oh, Phillip you outshine the morning sun, my son
When you smile, I fall apart and I thought I was so smart

My father wasn't around

[Burr]
My father wasn't around

[Hamilton]
I swear that

[Both]
I'll be around for you

[Hamilton]
I'll do whatever it takes

[Burr]
I'll make a million mistakes

[Both]
I'll make the world safe and sound for you

You'll come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday x2 x2
Yeah, you'll blow us all away
Someday, someday

jesus christ look at all these shills.

]
Dear Theodosia what to say to you
You have my eyes
You have your mother's name
When you came into the world you cried and it broke my heart

I'm dedicating everyday to you
Domestic life was never quite my style
When you smile, you knock me out I fall apart and I thought I was so smart

You will come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday x2
Yeah you'll blow us all away
Someday x2

[Hamilton]
Oh, Phillip when you smile I am undone, my son
Look at my son
Pride is not the word I'm looking for
There is so much more inside me now

Oh, Phillip you outshine the morning sun, my son
When you smile, I fall apart and I thought I was so smart

My father wasn't around

[Burr]
My father wasn't around

[Hamilton]
I swear that

[Both]
I'll be around for you

[Hamilton]
I'll do whatever it takes

[Burr]
I'll make a million mistakes

[Both]
I'll make the world safe and sound for you

You'll come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday
Yeah, you'll blow us all away
Someday, someday

]
Dear Theodosia what to say to you
You have my eyes
You have your mother's name
When you came into the world you cried and it broke my heart

I'm dedicating everyday to you
Domestic life was never quite my style
When you smile, you knock me out I fall apart and I thought I was so smart

You will come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday x2
Yeah you'll blow us all away
Someday x2

[Hamilton]
Oh, Phillip when you smile I am undone, my son
Look at my son
Pride is not the word I'm looking for
There is so much more inside me now

Oh, Phillip you outshine the morning sun, my son
When you smile, I fall apart and I thought I was so smart

My father wasn't around

[Burr]
My father wasn't around

[Hamilton]
I swear that

[Both]
I'll be around for you

[Hamilton]
I'll do whatever it takes

[Burr]
I'll make a million mistakes

[Both]
I'll make the world safe and sound for you

You'll come of age with our young nation
We'll bleed and fight for you
We'll make it right for you
If we lay a strong enough foundation
We'll pass it on to you
We'll give the world to you and you'll blow us all away
Someday x3
Yeah, you'll blow us all away
Someday, someday

BURR:
After the war I went back to New York

HAMILTON:
A-After the war I went back to New York

BURR:
I finished up my studies and I practiced law

HAMILTON:
I practiced law, Burr worked next door

BURR:
Even though we started at the very same time
Alexander Hamilton began to climb
How to account for his rise to the top?
Maaaaan, the man is ENSEMBLE:
Non-stop! Non-stop!

HAMILTON:
Gentlemen of the jury, I’m curious, bear with me
Are you aware that we’re making hist’ry?
This is the first murder trial of our brand-new nation

HAMILTON:
The liberty behind
Deliberation— ENSEMBLE:
. Non-stop!

HAMILTON:
I intend to prove beyond a shadow of a doubt
With my assistant counsel
!

BURR:
Co-counsel
Hamilton, sit down
Our client Levi Weeks is innocent. Call your first witness
That’s all you had to say!

HAMILTON:
Okay!
One more thing—

BURR:
Why do you assume you’re the smartest in the room?
Why do you assume you’re the smartest in the room?
Why do you assume you’re the smartest in the room?
Soon that attitude may be your doom!

ENSEMBLE:
Awwww!

BURR: ENSEMBLE:
Why do you write like you’re Why do you write like you’re
running out of time? running out of time?
Write day and night like you’re
running out of time?
Ev’ry day you fight, like you’re Ev’ry day you fight, like you’re
running out of time running out of time

Keep on fighting. In the meantime—
. Non-stop!

HAMILTON:
Corruption’s such an old song that we can sing along in harmony
And nowhere is it stronger than in Albany
This colony’s economy’s increasingly stalling and

HAMILTON:
Honestly, that’s why public service BURR AND ENSEMBLE:
Seems to be calling me. He’s just
. Non-stop!

HAMILTON:
I practiced the law, I practic’ly perfected it
I’ve seen injustice in the world and I’ve corrected it
Now for a strong central democracy
If not, then I’ll be Socrates

HAMILTON:
Throwing verbal rocks
At these mediocrities. ENSEMBLE:
. Awww!

BURR:
Hamilton, at the Constitutional Convention:

HAMILTON:
I was chosen for the Constitutional Convention

BURR:
There as a New York junior delegate:

HAMILTON:
Now what I’m going to say may sound indelicate…

COMPANY:
Awwww!

BURR:
Goes and proposes his own form of government!

COMPANY:
What?

His own plan for a new form of government!

COMPANY:
What?

BURR:
Talks for six hours! The convention is listless!

ENSEMBLE MAN:
Bright young man…

ANOTHER ENSEMBLE MAN:
Yo, who the f is this?

BURR:
Why do you always say what you believe? COMPANY:
Why do you always say what Why do you always say what
you believe? you believe?
Ev’ry proclamation guarantees free
ammunition for your enemies!
. Awww!
BURR AND MEN:
Why do you write like it’s ALL WOMEN:
Going out of style? Going out of style, hey!
Write day and night like it’s
Going out of style? Going out of style, hey!

BURR AND COMPANY:
Ev’ry day you fight like it’s
Going out of style
Do what you do

BURR:
Alexander?

HAMILTON:
Aaron Burr, sir

BURR:
It’s the middle of the night

HAMILTON:
Can we confer, sir?

BURR:
Is this a legal matter?

HAMILTON:
Yes, and it’s important to me

BURR:
What do you need?

HAMILTON:
Burr, you’re a better lawyer than me

BURR:
Okay

HAMILTON:
I know I talk too much, I’m abrasive
You’re incredible in court. You’re succinct, persuasive
My client needs a strong defense. You’re the solution

BURR:
Who’s your client?

HAMILTON:
The new U.S. Constitution?

BURR:
No

HAMILTON:
Hear me out

BURR:
No way!

HAMILTON:
A series of essays, anonymously published
Defending the document to the public

BURR:
No one will read it

HAMILTON:
I disagree

BURR:
And if it fails?

HAMILTON:
Burr, that’s why we need it

BURR:
The constitution’s a mess

HAMILTON:
So it needs amendments

BURR:
It’s full of contradictions

HAMILTON:
So is independence
We have to start somewhere

BURR:
No. No way

HAMILTON:
You’re making a mistake

BURR:
Good night

HAMILTON:
Hey
What are you waiting for?
What do you stall for?

BURR:
What?

HAMILTON:
We won the war
What was it all for?
Do you support this constitution?

BURR:
Of course

HAMILTON:
Then defend it

BURR:
And what if you’re backing the wrong horse?

HAMILTON:
Burr, we studied and we fought and we killed
For the notion of a nation we now get to build
For once in your life, take a stand with pride
I don’t understand how you stand to the side

BURR:
I’ll keep all my plans
Close to my chest ENSEMBLE:
. Wait for it, wait for
. It, wait…
I’ll wait here and see
Which way the wind Which way the wind
Will blow Will blow
I’m taking my time I’m taking my time
Watching the Watching the
Afterbirth of a nation Afterbirth of a nation
Watching the tension grow. Watching the tension grow.

ANGELICA:
I am sailing off to London. I’m accompanied by someone
Who always pays
I have found a wealthy husband who will keep
Me in comfort for all my days
He is not a lot of fun, but there’s no one who
Can match you for turn of phrase
My Alexander

HAMILTON:
Angelica

ANGELICA:
Don’t forget to write

ELIZA:
Look at where you are
Look at where you started
The fact that you’re alive is a miracle
Just stay alive, that would be enough
And if your wife could share a fraction of your time
If I could grant you peace of mind
Would that be enough?

BURR:
Alexander joins forces with James Madison and John Jay to write a series
of essays defending the new United States Constitution,
entitled The Federalist Papers.
The plan was to write a total of twenty-five essays,
the work divided evenly among the three men. In the end,
they wrote eighty-five essays,
in the span of six months. John Jay got sick after writing five.
James Madison wrote twenty-nine. Hamilton wrote the other fifty-one!

BURR:
How do you write like you’re

ALL WOMEN:
Running out of time? Running out of time?
Write day and night like you’re
Running out of time? Running out of time?

BURR AND MEN:
Ev’ry day you fight
Like you’re
Running out of time Running out of time?
Like you’re
Running out of time Running out of time?
Are you
Running out of time? Awwww!

FULL COMPANY (EXCEPT HAMILTON):
How do you write like tomorrow won’t arrive?
How do you write like you need it to survive?
How do you write ev’ry second you’re alive?
Ev’ry second you’re alive? Ev’ry second you’re alive?

WASHINGTON:
They are asking me to lead
I am doing the best I can
To get the people that I need
I’m asking you to be my right hand man

HAMILTON:
Treasury or State?

WASHINGTON:
I know it’s a lot to ask

HAMILTON:
Treasury or State?

WASHINGTON:
To leave behind the world you know…

HAMILTON:
Sir, do you want me to run the Treasury or State department?

WASHINGTON:
Treasury

HAMILTON:
Let’s go

ELIZA:
Alexander…

HAMILTON:
I have to leave

ELIZA:
Alexander—

HAMILTON:
Look around, look around at how lucky we are to be alive right now

ELIZA:
Helpless…

HAMILTON:
They are asking me to lead

ELIZA:
Look around, isn’t this enough?

ANGELICA:
He will never
be satisfied ELIZA:
He will never What would
be satisfied be enough

. To be
. Satisfied
Satisfied Satisfied WASH:
Satisfied… Satisfied… History has BURR:
. its eyes… Why do you
. On… assume

. You! you’re the
. smartest in ENSEMBLE:
. the room? Non-stop!
. Why do you
. Look around assume
. Look around! you’re the
. smartest in Non-stop!
. the room?
. Why do you
He will never assume
be satisfied you’re the
. smartest in Non-stop!
. Isn’t this the room?
Satisfied enough? Soon that at
. What would WASH/ titude’s
. be enough? MULL/ gonna be
Satisfied… LAUR/LAF: your doom!
. History has Why do you
. its eyes… fight like
. On… you’re run
. You… ning out of
. time? Non-stop!
ANGELICA, ELIZA, BURR:
Why do you fight like

ANGELICA, ELIZA, BURR, WASH & ENSEMBLE:
History has its eyes on you…

HAMILTON:
I am not throwin’ away my shot!

MEN:
Just you wait!

HAMILTON:
I am not throwin’ away my shot!
. FULL COMPANY:
I am Alexander Hamilton! Just you wait! Alexander Hamilton
. Hamilton just you wait!
HAMILTON:
I am not throwin’ away my shot

COMPANY:
Seventeen. Se- se- seventeen…
Se- se- seventeen…

BURR:
1789
How does the bastard orphan
Immigrant decorated war vet
Unite the colonies through more debt?
Fight the other founding fathers til he has to forfeit?
Have it all, lose it all
You ready for more yet?
Treasury Secretary. Washington’s the President
Ev’ry American experiment sets a precedent
Not so fast. Someone came along to resist him
Pissed him off until we had a two-party system
You haven’t met him yet, you haven’t had the chance
‘cause he’s been kickin’ ass as the ambassador to France
But someone’s gotta keep the American promise
You simply must meet Thomas. Thomas!

COMPANY:
Thomas Jefferson’s coming home!
Thomas Jefferson’s coming home!
Thomas Jefferson’s coming home!
Thomas Jefferson’s coming home!
Thomas Jefferson’s coming home Lord he’s
Been off in Paris for so long!
Aaa-ooo!
Aaa-ooo!

JEFFERSON:
France is following us to revolution
There is no more status quo
But the sun comes up and the world still spins

ENSEMBLE:
Aaa-ooo!
?

JEFFERSON:
I helped Lafayette draft a declaration
Then I said, ‘I gotta go
I gotta be in Monticello.’ Now the work at
Home begins…

ENSEMBLE:
Aaa-ooo!

JEFFERSON:
So what’d I miss?
What’d I miss?
Virginia, my home sweet home, I wanna give you a kiss
I’ve been in Paris meeting lots of different ladies…
I guess I basic’lly missed the late eighties…
I traveled the wide, wide world and came back to this…

ENSEMBLE:
Aaa-ooo!

JEFFERSON:
There’s a letter on my desk from the President
Haven’t even put my bags down yet

Sally be a lamb, darlin’, won’tcha open it?
It says the President’s assembling a cabinet
And that I am to be the Secretary of State, great!
And that I’m already Senate-approved…
I just got home and now I’m headed up to New York

ENSEMBLE:
Headin’ to New York!
Headin’ to New York!

JEFFERSON:
Lookin’ at the rolling fields ENSEMBLE:
I can’t believe that we are free Believe that we are free

Ready to face
Whatever’s awaiting
Me in N.Y.C. Me in N.Y.C.

JEFFERSON:
But who’s waitin’ for me when I step in the place?
My friend James Madison, red in the face

JEFFERSON:
He grabs my arm and
I respond
“What’s goin’ on?”

MADISON:
Thomas, we are engaged in a battle for our nation’s very soul
Can you get us out of the mess we’re in?

ENSEMBLE:
Aaa-ooo!

MADISON:
Hamilton’s new financial plan is nothing less
Than government control
I’ve been fighting for the South alone
Where have you been?

JEFFERSON:
Uh…France.

ENSEMBLE:
Aaa-ooo!

MADISON:
We have to win

JEFFERSON:
What’d I miss?

ENSEMBLE:
Wha? Wha? What’d I miss?

JEFFERSON:
What’d I miss?

ENSEMBLE:
I’ve come home to this?

JEFFERSON:
Headfirst into a political abyss!

ENSEMBLE:
Headfirst, into the abyss!

JEFFERSON:
I have my first cabinet meeting today

ENSEMBLE:
Chik-a-pow!

JEFFERSON:
I guess I better think of something to say
I’m already on my way
Let’s get to the bottom of this…

ENSEMBLE:
What did I miss? Ahhh ah!

WASHINGTON:
Mr. Jefferson, welcome home

HAMILTON:
Mr. Jefferson? Alexander Hamilton

WASHINGTON AND ENSEMBLE:
Mr. Jefferson, welcome home

COMPANY:
Mr. Jefferson, welcome home
Sir, you’ve been off in Paris for so long!

JEFFERSON:
So what did I miss

JEFFERSON:
Uh…France.

ENSEMBLE:
Aaa-ooo!

MADISON:
We have to win

JEFFERSON:
What’d I miss?

ENSEMBLE:
Wha? Wha? What’d I miss?

JEFFERSON:
What’d I miss?

ENSEMBLE:
I’ve come home to this?

JEFFERSON:
Headfirst into a political abyss!

ENSEMBLE:
Headfirst, into the abyss!

JEFFERSON:
I have my first cabinet meeting today

ENSEMBLE:
Chik-a-pow!

JEFFERSON:
I guess I better think of something to say
I’m already on my way
Let’s get to the bottom of this…

ENSEMBLE:
What did I miss? Ahhh ah!

WASHINGTON:
Mr. Jefferson, welcome home

HAMILTON:
Mr. Jefferson? Alexander Hamilton

WASHINGTON AND ENSEMBLE:
Mr. Jefferson, welcome home

COMPANY:
Mr. Jefferson, welcome home
Sir, you’ve been off in Paris for so long!

JEFFERSON:
So what did I miss miss

JEFFERSON:
Uh…France.

ENSEMBLE:
Aaa-ooo!

MADISON:
We have to win

JEFFERSON:
What’d I miss?

ENSEMBLE:
Wha? Wha? What’d I miss?

JEFFERSON:
What’d I miss?

ENSEMBLE:
I’ve come home to this?

JEFFERSON:
Headfirst into a political abyss!

ENSEMBLE:
Headfirst, into the abyss!

JEFFERSON:
I have my first cabinet meeting today

ENSEMBLE:
Chik-a-pow!

JEFFERSON:
I guess I better think of something to say
I’m already on my way
Let’s get to the bottom of this…

ENSEMBLE:
What did I miss? Ahhh ah!

WASHINGTON:
Mr. Jefferson, welcome home

HAMILTON:
Mr. Jefferson? Alexander Hamilton

WASHINGTON AND ENSEMBLE:
Mr. Jefferson, welcome home

COMPANY:
Mr. Jefferson, welcome home
Sir, you’ve been off in Paris for so long!

JEFFERSON:
So what did I miss paris

pretty dumb shills to be honest. they appear to be posting manually, and they aren't changing IDs. pretty trivial to filter them out.

they are just ass blasted that a lot of them are going to be charged for rioting and spend 10+ years in prison having their assholes culturally enriched.

WASHINGTON:
Ladies and gentlemen, you coulda been anywhere in the world tonight,
but you’re here with us in New York City.
Are you ready for a cabinet meeting???

The issue on the table: Secretary Hamilton’s plan to assume state debt
and establish a national bank.
Secretary Jefferson, you have the floor, sir

JEFFERSON:
‘Life, liberty and the pursuit of happiness.’
We fought for these ideals; we shouldn’t settle for less
These are wise words, enterprising men quote ‘em
Don’t act surprised, you guys, cuz I wrote ‘em

JEFFERSON & MADISON:
Oww

JEFFERSON:
But Hamilton forgets
His plan would have the government assume state’s debts
Now, place your bets as to who that benefits:
The very seat of government where Hamilton sits

HAMILTON:
Not true!

JEFFERSON:
Ooh, if the shoe fits, wear it
If New York’s in debt—
Why should Virginia bear it? Uh! Our debts are paid, I’m afraid
Don’t tax the South cuz we got it made in the shade
In Virginia, we plant seeds in the ground
We create. You just wanna move our money around
This financial plan is an outrageous demand
And it’s too many damn pages for any man to understand
Stand with me in the land of the free
And pray to God we never see Hamilton’s candidacy
Look, when Britain taxed our tea, we got frisky
Imagine what gon’ happen when you try to tax our whisky

WASHINGTON:
Thank you, Secretary Jefferson. Secretary Hamilton, your response

HAMILTON:
Thomas. That was a real nice declaration
Welcome

to the present, we’re running a real nation
Would you like to join us, or stay mellow
Doin’ whatever the hell it is you do in Monticello?
If we assume the debts, the union gets
A new line of credit, a financial diuretic
How do you not get it? If we’re aggressive and competitive
The union gets a boost. You’d rather give it a sedative?
A civics lesson from a slaver. Hey neighbor

Your debts are paid cuz you don’t pay for labor
“We plant seeds in the South. We create.”
Yeah, keep ranting
We know who’s really doing the planting
And another thing, Mr. Age of Enlightenment
Don’t lecture me about the war, you didn’t fight in it
You think I’m frightened of you, man?
We almost died in a trench
While you were off getting high with the French
Thomas Jefferson, always hesitant with the President
Reticent—there isn’t a plan he doesn’t jettison
Madison, you’re mad as a hatter, son, take your medicine
Damn, you’re in worse shape than the national debt is in
Sittin’ there useless as two shits
Hey, turn around, bend over, I’ll show you
Where my shoe fits

WASHINGTON:
Excuse me? Madison, Jefferson, take a walk! Hamilton,
take a walk! We’ll reconvene after a brief recess. Hamilton!

HAMILTON:
Sir!

WASHINGTON:
A word

MADISON:
You don’t have the votes

JEFFERSON/MADISON:
You don’t have the votes

JEFFERSON:
Aha-ha-ha ha!

JEFFERSON/MADISON:
You’re gonna need congressional approval and you don’t have the votes

JEFFERSON:
Such a blunder sometimes it makes me wonder why I even bring the thunder

MADISON:
Why he even brings the thunder…

WASHINGTON:
You wanna pull yourself together?

HAMILTON:
I’m sorry, these Virginians are birds of a feather

WASHINGTON:
Young man, I’m from Virginia, so watch your mouth

HAMILTON:
So we let Congress get held hostage by the South?

WASHINGTON:
You need the votes

HAMILTON:
No, we need bold strokes. We need this plan

WASHINGTON:
No, you need to convince more folks

HAMILTON:
James Madison won’t talk to me, that’s a nonstarter

WASHINGTON:
Winning was easy, young man. Governing’s harder

HAMILTON:
They’re being intransigent

WASHINGTON:
You have to find a compromise

HAMILTON:
But they don’t have a plan, they just hate mine!

WASHINGTON:
Convince them otherwise

HAMILTON:
What happens if I don’t get congressional approval?

WASHINGTON:
I imagine they’ll call for your removal

HAMILTON:
Sir—

WASHINGTON:
Figure it out, Alexander. That’s an order from your commander

ELIZA:
Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Good! Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Sept huit neuf

PHILIP:
Sept huit neuf

ELIZA:
Sept huit neuf

PHILIP:
Sept huit neuf

ELIZA AND PHILIP:
One two three four five six seven eight nine!

HAMILTON:
My dearest, Angelica
“Tomorrow and tomorrow and tomorrow
Creeps in this petty pace from day to day”
I trust you’ll understand the reference to
Another Scottish tragedy without my having to name the play
They think me Macbeth, and ambition is my folly
I’m a polymath, a pain in the ass, a massive pain
Madison is Banquo, Jefferson’s Macduff
And Birnam Wood is Congress on its way to Dunsinane

HAMILTON & ANGELICA:
And there you are, an ocean away
Do you have to live an ocean away?
Thoughts of you subside
Then I get another letter
I cannot put the notion away…

ELIZA:
Take a break

HAMILTON:
I am on my way

ELIZA:
There’s a little surprise before supper
And it cannot wait

HAMILTON:
I’ll be there in just a minute, save my plate

ELIZA:
Alexander

HAMILTON:
Okay, okay

ELIZA:
Your son is nine years old today
Has something he’d like to say
He’s been practicing all day
Philip, take it away

PHILIP:
Daddy, daddy, look
My name is Philip
I am a poet
I wrote this poem just
To show it
And I just turned nine
You can write rhymes
But you can’t write mine

HAMILTON:
What!

PHILIP:
I practice French
And play piano with my mother

HAMILTON:
Uh-huh!

PHILIP:
I have a sister, but I want a little brother

HAMILTON:
Okay!

PHILIP:
My daddy’s trying to start America’s bank
Un deux trois quatre cinq!

HAMILTON:
Bravo!

ELIZA:
Take a break

HAMILTON:
Hey, our kid is pretty great

ELIZA:
Run away with us for the summer
Let’s go upstate

HAMILTON:
Eliza, I’ve got so much on my plate

ELIZA:
We can all go stay with my father
There’s a lake I know…

HAMILTON:
I know

ELIZA:
In a nearby park

HAMILTON:
I’d love to go

ELIZA:
You and I can go when the night gets dark…

HAMILTON:
I will try to get away

ANGELICA:
My dearest Alexander
You must get through to Jefferson
Sit down with him and compromise
Don’t stop ‘til you agree
Your fav’rite older sister
Angelica, reminds you
There’s someone in your corner all the way across the sea

In a letter I received from you two weeks ago
I noticed a comma in the middle of a phrase
It changed the meaning. Did you intend this?
One stroke and you’ve consumed my waking days
It says:

HAMILTON & ANGELICA:
“My dearest Angelica”

ANGELICA:
With a comma after “dearest.” You’ve written

HAMILTON AND ANGELICA:
“My dearest, Angelica.”

ANGELICA:
Anyway, all this to say
I’m coming home this summer
At my sister’s invitation
I’ll be there with your fam’ly
If you make your way upstate
I

know you’re very busy
I know your work’s important
But I’m crossing the ocean and I just can’t wait

HAMILTON AND ANGELICA:
You won’t be an ocean away
You will only be a moment away…

ELIZA:
Alexander, come downstairs. Angelica’s arriving today! Angelica!

ANGELICA:
Eliza!

HAMILTON:
The Schuyler sisters!

ANGELICA:
Alexander

HAMILTON:
Hi

ANGELICA:
It’s good to see your face

ELIZA:
Angelica, tell this man John Adams spends the summer with his family

HAMILTON:
Angelica, tell my wife John Adams doesn’t have a real job anyway

ANGELICA:
…you’re not joining us? Wait

HAMILTON:
I’m afraid I cannot join you upstate

ANGELICA:
Alexander, I came all this way

ELIZA:
She came all this way

ANGELICA:
All this way

ELIZA AND ANGELICA:
Take a break

HAMILTON:
You know I have to get my plan through Congress

ELIZA AND ANGELICA:
Run away with us for the summer
Let’s go upstate

HAMILTON:
I lose my job if I don’t get my plan through Congress

ELIZA AND ANGELICA:
We can all go stay with our father

ELIZA:
There’s a lake I know

ANGELICA:
I know I’ll miss your face

ELIZA:
In a nearby park

ANGELICA:
Screw your courage to the sticking place

ELIZA:
You and I can go

ANGELICA:
Eliza’s right

ELIZA AND ANGELICA:
Take a break and get away

ANGELICA:
Run away with us for the summer

ELIZA:
Let’s go upstate
Where we can stay

ANGELICA:
We can all go stay with our father
If you take your time

ELIZA:
Look around, look around
At how lucky we are to be alive right now

ANGELICA:
You will make your mark
Close your eyes and dream

ELIZA:
We can go

ELIZA AND ANGELICA:
When the night gets dark
Take a break.

HAMILTON:
I have to get my plan through Congress
I can’t stop until I get this plan through Congress

Plan
ELIZA:
You and I can go

ANGELICA:
Eliza’s right

ELIZA AND ANGELICA:
Take a break and get away

ANGELICA:
Run away with us for the summer

ELIZA:
Let’s go upstate
Where we can stay

ANGELICA:
We can all go stay with our father
If you take your time

ELIZA:
Look around, look around
At how lucky we are to be alive right now

ANGELICA:
You will make your mark
Close your eyes and dream

ELIZA:
We can go

ELIZA AND ANGELICA:
When the night gets dark
Take a break.

HAMILTON:
I have to get my plan through Congress
I can’t stop until I get this plan through Congress

ELIZA:
You and I can go

ANGELICA:
Eliza’s right

ELIZA AND ANGELICA:
Take a break and get away

ANGELICA:
Run away with us for the summer

ELIZA:
Let’s go upstate
Where we can stay

ANGELICA:
We can all go stay with our father
If you take your time

ELIZA:
Look around, look around
At how lucky we are to be alive right now

ANGELICA:
You will make your mark
Close your eyes and dream

ELIZA:
We can go

ELIZA AND ANGELICA:
When the night gets dark
Take a break.

HAMILTON:
I have to get my plan through Congress
I can’t stop until I get this plan through Congressmy plan

BURR:
There’s nothing like summer in the city
Someone under stress meets someone looking pretty
There’s trouble in the air, you can smell it
And Alexander’s by himself. I’ll let him tell it

HAMILTON:
I hadn’t slept in a week
I was weak, I was awake
You never seen a bastard orphan
More in need of a break
Longing for Angelica
Missing my wife
That’s when Miss Maria Reynolds walked into my life, she said:

MARIA:
I know you are a man of honor
I’m so sorry to bother you at home
But I don’t know where to go, and I came here all alone…

HAMILTON:
She said:

MARIA:
My husband’s doin’ me wrong
Beatin’ me, cheatin’ me, mistreatin’ me…
Suddenly he’s up and gone
I don’t have the means to go on

HAMILTON:
So I offered her a loan, I offered to walk her home, she said

MARIA:
You’re too kind, sir

HAMILTON:
I gave her thirty bucks that I had socked away
She lived a block away, she said:

MARIA:
This one’s mine, sir

HAMILTON:
Then I said, “well, I should head back home,”
She turned red, she led me to her bed
Let her legs spread and said:

MARIA:
Stay?

HAMILTON:
Hey…

MARIA:
Hey…

HAMILTON:
That’s when I began to pray:
Lord, show me how to
Say no to this
I don’t know how to
Say no to this

But my God, she looks so helpless
And her body’s saying, “hell, yes”

MARIA:
Whoa…

HAMILTON:
Nooo, show me how to

HAMILTON/ENSEMBLE:
Say no to this

HAMILTON:
I don’t know how to

HAMILTON/ENSEMBLE:
Say no to this

HAMILTON:
In my mind, I’m tryin’ to go

ENSEMBLE:
Go! Go! Go!

HAMILTON:
Then her mouth is on mine, and I don’t say…

ENSEMBLE:
No! No!
Say no to this!
No! No!
Say no to this!
No! No!
Say no to this!
No! No!
Say no to this!

HAMILTON:
I wish I could say that was the last time
I said that last time. It became a pastime
A month into this endeavor I received a letter
From a Mr. James Reynolds, even better, it said:

JAMES:
Dear Sir, I hope this letter finds you in good health
And in a prosperous enough position to put wealth
In the pockets of people like me: down on their luck
You see, that was my wife who you decided to

HAMILTON:
Fuuuu

JAMES:
Uh-oh! You made the wrong sucker a cuckold
So time to pay the piper for the pants you unbuckled
And hey, you can keep seein’ my whore wife
If the price is right: if not I’m telling your wife

HAMILTON:
I hid the letter and I raced to her place
Screamed “How could you?!” in her face
She said:

MARIA:
No, sir!

HAMILTON:
Half dressed, apologetic. A mess, she looked
Pathetic, she cried:

MARIA:
Please don’t go, sir!

HAMILTON:
So was your whole story a setup?

MARIA:
I don’t know about any letter!

HAMILTON:
Stop crying Goddamnit, get up!

MARIA:
I didn’t know any better

HAMILTON:
I am ruined…

MARIA:
Please don’t leave me with him helpless

HAMILTON:
I am helpless—how could I do this?

MARIA:
Just give him what he wants and you can have me

HAMILTON:
I don’t want you

MARIA:
Whatever you want

HAMILTON:
I don’t want you

MARIA: HAMILTON:
If you pay I don’t…
You can stay
. Lord, show me how to ENSEMBLE:
. Say no to this Say no to this!
Tonight I don’t know how to
. Say no to this Say no to this!
. Cuz the situation’s helpless
Helpless
. And her body’s screaming,
. “Hell, yes”
Whoa!
. No, show me how to
. Say no to this Say no to this!
How can you How can I
Say no to this? Say no to this? Say no to this!
. There is nowhere I can go
. Go! Go! Go!
. When her body’s on mine
. I do not say…
HAMILTON:
Yes

MARIA: ENSEMBLE:
Yes! Say no to this! No!

HAMILTON:
Yes

MARIA:
Yes!

Say no to this! No!

HAMILTON:
Yes

MARIA:
Yes! Say no to this! No!

HAMILTON:
Yes

MARIA:
Yes! Say no to this!

HAMILTON:
Say no to this…

MARIA:
Don’t say no to this

HAMILTON:
I don’t say no to this
There is nowhere I can go.

ENSEMBLE:
Go go go…

JAMES:
So?

HAMILTON:
Nobody needs to know

MARIA:
Yes! Say no to this! No!

HAMILTON:
Yes

MARIA:
Yes! Say no to this!

HAMILTON:
Say no to this…

MARIA:
Don’t say no to this

HAMILTON:
I don’t say no to this
There is nowhere I can go.

ENSEMBLE:
Go go go…

JAMES:
So? So

HAMILTON:
Nobody needs to know

MARIA:
Yes! Say no to this! No!

HAMILTON:
Yes

MARIA:
Yes! Say no to this!

HAMILTON:
Say no to this…

MARIA:
Don’t say no to this

HAMILTON:
I don’t say no to this
There is nowhere I can go.

ENSEMBLE:
Go go go…

JAMES:
So?

HAMILTON:
Nobody needs tono

MARIA:
Yes! Say no to this! No!

HAMILTON:
Yes

MARIA:
Yes! Say no to this!

HAMILTON:
Say no to this…

MARIA:
Don’t say no to this

HAMILTON:
I don’t say no to this
There is nowhere I can go.

ENSEMBLE:
Go go go…

JAMES:
So?

HAMILTON:
Nobody needs to know nope

BURR:
Ah, Mister Secretary

HAMILTON:
Mister Burr, sir
!

BURR:
Didja hear the news about good old General Mercer?

HAMILTON:
No

BURR:
You know Clermont Street?

HAMILTON:
Yeah

BURR:
They renamed it after him. The Mercer legacy is secure

HAMILTON:
Sure

BURR:
And all he had to do was die

HAMILTON:
That’s a lot less work

BURR:
We oughta give it a try

HAMILTON:
Ha

BURR:
Now how’re you gonna get your debt plan through?

HAMILTON:
I guess I’m gonna fin’ly have to listen to you

BURR:
Really?

HAMILTON:
“Talk less. Smile more.”

BURR:
Ha

HAMILTON:
Do whatever it takes to get my plan on the Congress floor

BURR:
Now, Madison and Jefferson are merciless.

HAMILTON:
Well, hate the sin, love the sinner

MADISON:
Hamilton!

HAMILTON:
I’m sorry Burr, I’ve gotta go

BURR:
But—

HAMILTON:
Decisions are happening over dinner

BURR:
Two Virginians and an immigrant walk into a room

BURR AND ENSEMBLE:
Diametric’ly opposed, foes

BURR:
They emerge with a compromise, having opened doors that were

BURR AND ENSEMBLE:
Previously closed

ENSEMBLE:
Bros

BURR
The immigrant emerges with unprecedented financial power
A system he can shape however he wants
The Virginians emerge with the nation’s capital
And here’s the pièce de résistance:

BURR:
No one else was in
The room where it happened
The room where it happened
The room where it happened
No one else was in
The room where it happened
The room where it happened
The room where it happened
No one really knows how the game is played
The art of the trade
How the sausage gets made
We just assume that it happens
But no one else is in
The room where it happens.

BURR AND COMPANY:
Thomas claims

JEFFERSON:
Alexander was on Washington’s doorstep one day
In distress

‘n disarray

BURR AND COMPANY:
Thomas claims

JEFFERSON:
Alexander said

HAMILTON:
I’ve nowhere else to turn!

JEFFERSON:
And basic’ly begged me to join the fray

BURR AND COMPANY:
Thomas claims

JEFFERSON:
I approached Madison and said
“I know you hate ‘im, but let’s hear what he has to say.”

BURR AND COMPANY:
Thomas claims

JEFFERSON:
Well, I arranged the meeting
I arranged the menu, the venue, the seating

BURR:
But!
No one else was in

BURR AND COMPANY:
The room where it happened
The room where it happened
The room where it happened

BURR:
No one else was in

BURR AND COMPANY:
The room where it happened
The room where it happened
The room where it happened

BURR:
No one really knows how the
Parties get to yesssss
The pieces that are sacrificed in
Ev’ry game of chesssss
We just assume that it happens
But no one else is in
The room where it happens.

BURR AND COMPANY:
Meanwhile

BURR:
Madison is grappling with the fact
that not ev’ry issue can be settled by committee

COMPANY:
Meanwhile

BURR:
Congress is fighting over where to put the capital—

Company screams in chaos

BURR:
It isn’t pretty
Then Jefferson approaches with a dinner and invite
And Madison responds with Virginian insight:

MADISON:
Maybe we can solve one problem with another
and win a victory for the Southerners, in other words

JEFFERSON:
Oh-ho!

MADISON:
A quid pro quo

JEFFERSON:
I suppose

MADISON:
Wouldn’t you like to work a little closer to home?

JEFFERSON:
Actually, I would

MADISON:
Well, I propose the Potomac

JEFFERSON:
And you’ll provide him his votes?

MADISON:
Well, w

e’ll see how it goes

JEFFERSON:
Let’s go

BURR:
No!

COMPANY:
one else was in
The room where it happened

BURR AND COMPANY:
The room where it happened
The room where it happened
No one else was in
The room where it happened
The room where it happened
The room where it happened

BURR:
My God!

BURR AND COMPANY:
In God we trust
But we’ll never really know what got discussed
Click-boom then it happened

BURR:
And no one else was in the room where it happened

COMPANY:
Alexander Hamilton!

BURR:
What did they say to you to get you
to sell New York City down the river?

COMPANY:
Alexander Hamilton!

BURR:
Did Washington know about the dinner?
Was there Presidential pressure to deliver?

COMPANY:
Alexander Hamilton!

BURR:
Or did you know, even then, it doesn’t matter
Where you put the U.S. Capital?

HAMILTON:
Cuz we’ll have the banks
We’re in the same spot

BURR:
You got more than you gave

HAMILTON:
And I wanted what I got
When you got skin in the game, you stay in the game
But you don’t get a win unless you play in the game
Oh, you get love for it. You get hate for it
You get nothing if you…

HAMILTON AND COMPANY:
Wait for it, wait for it, wait!

HAMILTON:
God help and forgive me
I wanna build
Something that’s gonna
Outlive me

HAMILTON/JEFFERSON/MADISON/WASHINGTON:
What do you want, Burr?
What do you want, Burr?

If you stand for nothing
Burr, then what do you fall for?

BURR:
I wanna be in
The room where it happens
The room where it happens
I wanna be in
The room where it happens
The room where it happens

BURR: COMPANY:
I

I wanna be in
. The room where it happens
Wanna be The room where it happens
In the room where it happens The room where it happens

I I wanna be in the room
. Where it happens
I wanna be in the room… The room where it happens
Oh The room where it happens
Oh I wanna be in
. The room where it happens
I wanna be The room where it happens
I wanna be The room where it happens

I’ve got to be I wanna be in
I’ve got to be The room where it happens
In that room The room where it happens
In that big ol’ room The room where it happens

COMPANY:
The art of the compromise—

BURR:
Hold your nose and close your eyes

COMPANY:
We want our leaders to save the day—

BURR:
But we don’t get a say in what they trade away

COMPANY:
We dream of a brand new start—

BURR:
But we dream in the dark for the most part

BURR AND COMPANY:
Dark as a tomb where it happens

BURR:
I’ve got to be in COMPANY:
The room… The room where it happens

I’ve got to be…
. The room where it happens
I’ve got to be…
. The room where it happens
Oh, I’ve got to be in
The room where it happens… The room where it happens
I’ve got to be, I’ve gotta be, The room where it happens
I’ve gotta be…
In the room! I wanna be in the room
. Where it happens!
Click-boom! Click-boom

I wanna be in
. The room where it happens
Wanna be The room where it happens
In the room where it happens The room where it happens

I I wanna be in the room
. Where it happens
I wanna be in the room… The room where it happens
Oh The room where it happens
Oh I wanna be in
. The room where it happens
I wanna be The room where it happens
I wanna be The room where it happens

I’ve got to be I wanna be in
I’ve got to be The room where it happens
In that room The room where it happens
In that big ol’ room The room where it happens

COMPANY:
The art of the compromise—

BURR:
Hold your nose and close your eyes

COMPANY:
We want our leaders to save the day—

BURR:
But we don’t get a say in what they trade away

COMPANY:
We dream of a brand new start—

BURR:
But we dream in the dark for the most part

BURR AND COMPANY:
Dark as a tomb where it happens

BURR:
I’ve got to be in COMPANY:
The room… The room where it happens

I’ve got to be…
. The room where it happens
I’ve got to be…
. The room where it happens
Oh, I’ve got to be in
The room where it happens… The room where it happens
I’ve got to be, I’ve gotta be, The room where it happens
I’ve gotta be…
In the room! I wanna be in the room
. Where it happens!
Click-boom! Boom

I wanna be in
. The room where it happens
Wanna be The room where it happens
In the room where it happens The room where it happens

I I wanna be in the room
. Where it happens
I wanna be in the room… The room where it happens
Oh The room where it happens
Oh I wanna be in
. The room where it happens
I wanna be The room where it happens
I wanna be The room where it happens

I’ve got to be I wanna be in
I’ve got to be The room where it happens
In that room The room where it happens
In that big ol’ room The room where it happens

Boom

COMPANY:
The art of the compromise—

BURR:
Hold your nose and close your eyes

COMPANY:
We want our leaders to save the day—

BURR:
But we don’t get a say in what they trade away

COMPANY:
We dream of a brand new start—

BURR:
But we dream in the dark for the most part

BURR AND COMPANY:
Dark as a tomb where it happens

BURR:
I’ve got to be in COMPANY:
The room… The room where it happens

I’ve got to be…
. The room where it happens
I’ve got to be…
. The room where it happens
Oh, I’ve got to be in
The room where it happens… The room where it happens
I’ve got to be, I’ve gotta be, The room where it happens
I’ve gotta be…
In the room! I wanna be in the room
. Where it happens!
Click-boom! Click-boom Boom boom

COMPANY:
The art of the compromise—

BURR:
Hold your nose and close your eyes

COMPANY:
We want our leaders to save the day—

BURR:
But we don’t get a say in what they trade away

COMPANY:
We dream of a brand new start—

BURR:
But we dream in the dark for the most part

BURR AND COMPANY:
Dark as a tomb where it happens

BURR:
I’ve got to be in COMPANY:
The room… The room where it happens

I’ve got to be…
. The room where it happens
I’ve got to be…
. The room where it happens
Oh, I’ve got to be in
The room where it happens… The room where it happens
I’ve got to be, I’ve gotta be, The room where it happens
I’ve gotta be…
In the room! I wanna be in the room
. Where it happens!
Click-boom! Click on boom

WASHINGTON:
Let me tell you what I wish I’d known
When I was young and dreamed of glory
You have no control:
?

WASHINGTON AND COMPANY:
Who lives
Who dies
Who tells your story?

BURR:
President Jefferson:

JEFFERSON:
I’ll give him this: his financial system is a
Work of genius. I couldn’t undo it if I tried
And I tried

WASHINGTON AND COMPANY:
Who lives
Who dies
Who tells your story?

BURR:
President Madison:

MADISON:
He took our country from bankruptcy to prosperity
I hate to admit it, but he doesn’t get enough credit
For all the credit he gave us

WASHINGTON AND COMPANY:
Who lives
Who dies
Who tells your story?

ANGELICA:
Every other founding father story gets told
Every other founding father gets to grow old

BURR:
But when you’re gone, who remembers your name?
Who keeps your flame?

BURR AND MEN:
Who tells your story? ANGELICA AND WOMEN:
. Who tells your story?
Who tells your story? Your story?

WOMEN:
Eliza

ELIZA:
I put myself back in the narrative

WOMEN:
Eliza

ELIZA:
I stop wasting time on tears
I live another fifty years
It’s not enough

COMPANY:
Eliza

ELIZA:
I interview every soldier who fought by your side

MULLIGAN/LAFAYETTE/LAURENS:
She tells our story

ELIZA:
I try to make sense of your thousands of pages of writings
You really do write like you’re running out of

ELIZA AND COMPANY:
Time

ELIZA:
I rely on—

ELIZA AND ANGELICA:
Angelica

ELIZA:
While she’s alive—

ELIZA AND ANGELICA:
We tell your story

ELIZA:
She is buried in Trinity Church

ELIZA AND ANGELICA:
Near you

ELIZA:
When I needed her most, she was right on

ELIZA AND COMPANY:
Time

ELIZA:
And I’m still not through
I ask myself, “What would you do if you had more”

ELIZA AND COMPANY:
Time

ELIZA:
The Lord, in his kindness
He gives me what you always wanted
He gives me more—

ELIZA AND COMPANY:
Time

ELIZA:
I raise funds in D.C. for the Washington Monument

WASHINGTON:
She tells my story

ELIZA:
I speak out against slavery
You could have done so much more if you only had—

ELIZA AND COMPANY:
Time

ELIZA:
And when my time is up, have I done enough?

ELIZA: COMPANY:
Will they tell our story? Will they tell your story?

ELIZA:
Oh. Can I show you what I’m proudest of?

COMPANY:
The orphanage

ELIZA:
I established the first private orphanage in New York City

COMPANY:
The orphanage

ELIZA:
I help to raise hundreds of children
I get to see them growing up

COMPANY:
The orphanage

ELIZA:
In their eyes I see you, Alexander
I see you every—

ELIZA AND COMPANY:
Time

ELIZA:
And when my time is up
Have I done enough? COMPANY:
Will they tell my story? Will they tell your story?

ELIZA:
Oh, I can’t wait to see you again
It’s only a matter of—

ELIZA AND COMPANY:
Time

COMPANY:
Will they tell your story? COMPANY:
. Time…
Who lives, who dies, who tells your story?
. Time…
Will they tell your story?
. Time…
Who lives, who dies— who

FULL COMPANY:
Who tells your story

ELIZA AND COMPANY:
Time

ELIZA:
And when my time is up
Have I done enough? COMPANY:
Will they tell my story? Will they tell your story?

ELIZA:
Oh, I can’t wait to see you again
It’s only a matter of—

ELIZA AND COMPANY:
Time

COMPANY:
Will they tell your story? COMPANY:
. Time…
Who lives, who dies, who tells your story?
. Time…
Will they tell your story?
. Time…
Who lives, who dies—

FULL COMPANY:
Who tells your your story

ELIZA AND COMPANY:
Time
Who

ELIZA:
And when my time is up
Have I done enough? COMPANY:
Will they tell my story? Will they tell your story?

ELIZA:
Oh, I can’t wait to see you again
It’s only a matter of—

ELIZA AND COMPANY:
Time

COMPANY:
Will they tell your story? COMPANY:
. Time…
Who lives, who dies, who tells your story?
. Time…
Will they tell your story?
. Time…
Who lives, who dies—

FULL COMPANY:
Who tells your story

ELIZA:
And when my time is up
Have I done enough? COMPANY:
Will they tell my story? Will they tell your story?

ELIZA:
Oh, I can’t wait to see you again
It’s only a matter of—

ELIZA AND COMPANY:
Time

COMPANY:
Will they tell your story? COMPANY:
. Time…
Who lives, who dies, who tells your story?
. Time…
Will they tell your story?
. Time…
Who lives, who dies—

FULL COMPANY:
Who tells your story story

MALE COMPANY:
One two three four

F

ULL COMPANY (EXCEPT HAMILTON AND BURR):
Five six seven eight nine—

BURR:
There are ten things you need to know

COMPANY:
Number one!

BURR:
We rowed across the Hudson at dawn
My friend, William P. Van Ness signed on as my—

BURR AND COMPANY:
Number two!

BURR:
Hamilton arrived with his crew:
Nathaniel Pendleton and a doctor that he knew

COMPANY:
Number three!

BURR:
I watched Hamilton examine the terrain
I wish I could tell you what was happ’ning in his brain
This man has poisoned my political pursuits!

COMPANY:
Most disputes die and no one shoots!
Number four!

BURR:
Hamilton drew first position
Looking, to the world, like a man on a mission
This is a soldier with a marksman’s ability
The doctor turned around so he could have deniability

COMPANY
Five!

BURR
Now I didn’t know this at the time
But we were—

BURR AND PHILIP: HAMILTON:
Near the same spot Near the same spot
Your son died, is that My son died, is that
Why— Why—

COMPANY:
Six!

BURR:
He examined his gun with such rigor?
I watched as he methodically fiddled with the trigger

COMPANY:
Seven!

BURR:
Confession time? here’s what I got:
My fellow soldiers’ll tell you I’m a terrible shot

COMPANY:
Number eight!

BURR/HAMILTON/ENSEMBLE MEN:
Your last chance to negotiate
Send in your seconds, see if they can set the record straight

BURR:
They won’t teach you this in your classes
But look it up, Hamilton was wearing his glasses
Why? If not to take deadly aim?
It’s him or me, the world will never be the same
I had only one thought before the slaughter:
This man will not make an orphan of my daughter

COMPANY:
Number nine!

BURR:
Look him in the eye, aim no higher
Summon all the courage you require
Then

count:

COMPANY:
One two three four five six seven eight nine
Number ten paces! Fire!—

HAMILTON:
I imagine

death so much it feels more like a memory
Is this where it gets me, on my feet, sev’ral feet ahead of me?
I see it coming, do I run or fire my gun or let it be?
There is no beat, no melody
Burr, my first friend, my enemy
Maybe the last face I ever see
If I throw away my shot, is this how you’ll remember me?
What if this bullet is my legacy?

Legacy. What is a legacy?
It’s planting seeds in a garden you never get to see
I wrote some notes at the beginning of a song someone will sing for me
America, you great unfinished symphony, you sent for me
You let me make a difference
A place where even orphan immigrants
Can leave their fingerprints and rise up
I’m running out of time. I’m running, and my time’s up

Wise up. Eyes up
I catch a glimpse of the other side
Laurens leads a soldiers’ chorus on the other side
My son is on the other side
He’s with my mother on the other side
Washington is watching from the other side

Teach me how to say goodbye

Rise up, rise up, rise up
Eliza

My love, take your time
I’ll see you on the other side
Raise a glass to freedom…

BURR AND COMPANY:
He aims his pistol at the sky—

BURR:
Wait!

BURR:
I strike him right between his ribs
I walk towards him, but I am ushered

away
They row him back across the Hudson
I get a drink

COMPANY:
Aaaah
Aaaah
Aaaah

BURR:
I hear wailing in the streets

COMPANY:
Aaaah
Aaaah
Aaaah

BURR:
Somebody

tells me, “You’d better hide.”

COMPANY:
Aaaah
Aaaah
Aaaah

BURR:
They say

BURR AND ANGELICA:
Angelica and Eliza—

BURR:
Were both at his side when he died
Death doesn’t discriminate
Between the sinners and the saints
It takes and it takes and it takes
History obliterates
In every picture it paints
It paints me and all my mistakes
When Alexander aimed
At the sky
He may have been the first one to die
But I’m the one who paid for it

I survived, but I paid for it

Now I’m the villain in your history
I was too young and blind to see…
I should’ve known
I should’ve

known
The world was wide enough for both Hamilton and me
The world was wide enough for both Hamilton and me

[ELIZA]
Alexander, come back to sleep

[HAMILTON]
I have an early meeting out of town

[ELIZA]
It's still dark outside

[HAMILTON]
I know, I just need to write something down

[ELIZA]
Why do you write like you're running out of time?

[HAMILTON]
Shh

[ELIZA]
Come back to bed, that would be enough

[HAMILTON]
I'll be back before you know I'm gone

[ELIZA]
Come back to sleep

[HAMILTON]
This meeting's at dawn

[ELIZA]
Well I'm going

back to sleep

[HAMILTON]
Hey, best of wives and best of women

BURR:
How does Hamilton
An arrogant
Immigrant, orphan
Bastard, whoreson
Somehow endorse
Thomas Jefferson, his enemy
A man he’s despised since the beginning
Just to keep me from winning?
I wanna be in the room where it happens

BURR AND COMPANY:
The room where it happens
The room where it happens

BURR:
You’ve kept me from

BURR AND COMPANY:
The room where it happens

BURR:
For the last time

Dear Alexander:

I am slow to anger
But I toe the line
As I reckon with the effects
Of your life on mine
I look back on where I failed
And in every place I checked
The only common thread has been your disrespect
Now you call me “amoral,”
A “dangerous disgrace,”
If you’ve got something to say
Name a time and place
Face to face

I have the honor to be Your Obedient Servant
A dot Burr

HAMILTON:
Mr. Vice President:

I a

m not the reason no one trusts you
No one knows what you believe
I will not equivocate on my opinion
I have always worn it on my sleeve
Even if I said what you think I said
You would need to cite a more specific grievance
Here’s an itemized list of thirty years of disagreements

BURR:
Sweet Jesus

HAMILTON:
Hey, I have not been shy
I am just a guy in the public eye
Tryin’ to do my best for our republic
I don’t wanna fight
But I won’t apologize for doing what’s right

I have the honor to be Your Obedient Ser

vant
A dot Ham

BURR:
Careful how you proceed, good man
Intemperate indeed, good man
Answer for the accusations I lay at your feet or
Prepare to bleed, good man

HAMILTON:
Bu

rr, your grievance is legitimate
I stand by what I said, every bit of it
You stand only for yourself
It’s what you do
I can’t apologize because it’s true

BURR:
Then stand, Alexander
Weehawken. Dawn
Guns. Drawn

HAMILTON:
You’re on

BURR AND HAMILTON:
I have the honor to be Your Obedient Servant

HAMILTON:
A dot Ham

BURR:
A dot Burr

rr, your grievance is legitimate
I stand by what I said, every bit of it
You stand only for yourself
It’s what you do
I can’t apologize because it’s true

BURR:
Then stand, Alexander
Weehawken. Dawn
Guns. Drawn

HAMILTON:
You’re on

BURR AND HAMILTON:
I have the honor to be Your Obedient Servant

HAMILTON:
A dot Ham

BURR:
A dot Burr oh

Intro: Thomas Jefferson, (Ensemble)]
The Election of 1800!
Can we get back to politics?
Please?
Yo…

[Verse 1: Thomas Jefferson]
Every action has its equal opposite reaction
John Adams shat the bed; I love the guy, but he’s in traction
Poor Alexander Hamilton, he is missing in action
So now I’m facing Aaron Burr with his own faction

[James Madison]
He’s very attractive in the North, New Yorkers like his chances

[Jefferson]
He’s not very forthcoming on any particular stances

[Madison]
Ask him a question, it glances off, he obfuscates, he dances

[Jefferson]
And they say I’m a Francophile, at least they know I know where France is

[Madison]
Thomas, that’s the problem; see, they see Burr as a less extreme you
You.

need to change course, a key endorsement might redeem you

[Jefferson]

Who did you have in mind?

[Madison]
Don’t laugh

[Jefferson]
Who is it?

[Madison]
You used to work on the same staff.

[Jefferson]
Whaaaat?

[Hook 1: Thomas Jefferson and James Madison]

[Madison]
It might be nice, it might be nice
To get Hamilton on your side

[Jefferson and Madison]
It might be nice, it might be nice
To get Hamilton on your side

[Break: Aaron Burr and (Ensemble)]
Talk less! (Burr!)
Smile more! (Burr!)
Don\'t let them know what you\'re against or what you\'re for! (Burr!)
Shake hands with him! (Burr!)
Charm her! (Burr!)
It’s 1800; ladies, tell your husbands, vote for Burr!

[Verse 2: Various Ensemble]
I don’t like Adams! Well, he’s gonna lose, that’s just defeatist.
And Jefferson? In love with France! Yeah, he’s so elitist!
I like that Aaron Burr! I can’t believe we’re here with him!
He seems approachable? Like you could grab a beer with him

[Bridge 1: (Alexander Hamilton) & Ensemble]
Dear Mr. Hamilton
Your fellow Federalists would like to know how you’ll be voting
(It’s quiet uptown…)
Dear Mr. Hamilton
John Adams doesn’t stand a chance, so who you are you promoting?
(It’s quiet uptown…)
Jefferson or Burr? Jefferson or Burr?
We know, it’s lose/lose
Jefferson or Burr? Jefferson or Burr?
But if you had to choose…
Dear Mr. Hamilton
John Adams doesn’t stand a chance, so who you are you promoting?
But if you had to choose!

[Verse 3: Alexander Hamilton & Aaron Burr]

[Hamilton]

Well, if isn’t Aaron Burr, sir.

[Burr]
Alexander!

[Hamilton]
You’ve created quite a stir, sir.

[Burr]
I’m going door to door!


[Hamilton]
You’re openly campaigning?

[Burr]
Sure!

[Hamilton]
That’s new.

[Burr]
Honestly, it’s kind of draining


[Hamilton]
Burr?

[Burr]
Sir?

[Hamilton]
Is

there anything you wouldn’t do?

[Burr]
No, I’m chasing what I want, and you know what?

[Hamilton]
What?

[Burr]
I learned that from you

[Bridge 2: James Madison, Thomas Jefferson and (Ensemble)]

(If you had to choose, if you had to choose…)

[Madison]
…It’s a tie

(If you had to choose, if you had to choose…)

[Jefferson]
It’s up to the delegates


(If you had to choose, if you had to choose…)

[Jefferson and Madison]
It’s up to Hamilton!

(If you had to choose, if you had to choose…)
(Jefferson or Burr? Jefferson or Burr?)
(Choose, choose, choose!)

[Verse 4: Alexander Hamilton and (Ensemble)]
Yo
(Oh!) The people are asking to hear my voice
(Oh!) But the country is facing a difficult choice
(Oh!) And you were to ask me who I’d promote…
(Oh!) …Jefferson has my vote
(Oh!) I have never agreed with Jefferson once…
(Oh!) We have fought on like 75 different fronts
(Oh!) But when all said and all is done…
Jefferson has beliefs; Burr has none

[Hook 2: Thomas Jefferson, Aaron Burr, James Madison and (Ensemble)]
(Ooooh!)

[Jefferson and Madison]
Well, I’ll be damned! Well, I’ll be damned!

[Madison]
Hamilton’s on your side

(Well, I’ll be damned! Well, I’ll be damned!)

[Madison]
And… you won in a landslide

[Burr

]
Congrats on a race well won
I did give you a fight.

[Jefferson]
Uh-huh…

[Burr]
I look forward to our partnership.

[Jefferson]
Our partnership?

[Burr]
As your vice president!

[Jefferson]
[laughs] Yeah, right!

[Outro: Thomas Jefferson and James Madison]

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the endorsement

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the endorsement yes

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the endorsemology

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the horse

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the endives

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the engine

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the ensalata

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the entertainment

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the encore

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the enchiladas

[Jefferson]
You hear this guy?
Man openly campaigns against me, talking ‘bout “I look forward to our partnership!”

[Madison]
It is crazy that the guy who comes in second gets to be vice president

[Jefferson]
OOOH! Y’know what, we can change that! Y’know why?

[Madison]
Why?

[Jefferson]
‘Cause I’m the president!
Burr…
When you see Hamilton, thank him for the ending

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have food
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have party
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pithy
They are going through the unimaginable

EatANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by herself
Side, talking by her side, have pity
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pitches
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pitchers
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through the unimagined

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have prayer
They are going through the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through the unimagined. Oh.

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through the umbrella

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through theolds

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through the files

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through the unimaginableoh

ANGELICA:
There are moments that the words don’t reach
There is suffering too terrible to name
You hold your child as tight as you can
And push away the unimaginable
The moments when you’re in so deep
It feels easier to just swim down

ANGELICA/ENSEMBLE:
The Hamiltons move uptown
And learn to live with the unimaginable

HAMILTON:
I spend hours in the garden
I walk alone to the store
And it’s quiet uptown
I never liked the quiet before
I take the children to church on Sunday
A sign of the cross at the door
And I pray
That never used to happen before

ANGELICA AND WOMEN:
If you see him in the street, walking by
Himself, talking to himself, have pity

HAMILTON:
Philip, you would like it uptown
It’s quiet uptown

ANGELICA AND WOMEN:
He is working through the unimaginable

ALL MEN (EXCEPT HAMILTON):
His hair has gone grey. He passes every day
They say he walks the length of the city

HAMILTON:
You knock me out, I fall apart

COMPANY (EXCEPT HAMILTON AND ELIZA):
Can you imagine?

HAMILTON:
Look at where we are
Look at where we started
I know I don’t deserve you, Eliza
But hear me out. That would be enough

If I could spare his life
If I could trade his life for mine
He’d be standing here right now
And you would smile, and that would be enough
I don’t pretend to know
The challenges we’re facing
I know there’s no replacing what we’ve lost
And you need time
But I’m not afraid
I know who I married
Just let me stay here by your side
That would be enough

COMPANY (EXCEPT HAMILTON AND ELIZA):
If you see him in the street, walking by her
Side, talking by her side, have pity

HAMILTON:
Eliza, do you like it uptown? It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
He is trying to do the unimaginable
See them walking in the park, long after dark
Taking in the sights of the city

HAMILTON:
Look around, look around, Eliza

COMPANY (EXCEPT HAMILTON AND ELIZA):
They are trying to do the unimaginable

ANGELICA:
There are moments that the words don’t reach
There is a grace too powerful to name
We push away what we can never understand
We push away the unimaginable
They are standing in the garden
Alexander by Eliza’s side
She takes his hand

ELIZA:
It’s quiet uptown

COMPANY (EXCEPT HAMILTON AND ELIZA):
Forgiveness. Can you imagine?
Forgiveness. Can you imagine?
If you see him in the street, walking by her
Side, talking by her side, have pity
They are going through stuff

ENSEMBLE WOMEN:
Stay alive…
Stay alive…

HAMILTON:
Where’s my son?

DOCTOR:
Mr. Hamilton, come in. They brought him in a half an hour ago.
He lost a lot of blood on the way over.

ENSEMBLE WOMEN:
Stay alive…

HAMILTON:
Is he alive?

DOCTOR:
Yes. But you have to understand
The bullet entered just above his hip and
Lodged in his right arm

HAMILTON:
Can I see him please?

DOCTOR:
I’m doing ev’rything I can, but the wound was
Already infected when he arrived—

HAMILTON:
Philip

PHILIP:
Pa
I did exactly as you said, Pa
I held my head up high

HAMILTON:
I know, I know. Shh PHILIP:
I know, I know High
Shh. I know you did
Ev’rything just right
. Even before we got to ten
Shh
. I was aiming for the sky
I know, I know
I know, I know I was aiming for the sky
I know

Save your strength and ENSEMBLE MEN:
Stay alive… Stay alive…

ELIZA:
No!

HAMILTON:
Eliza

ELIZA:
Is he breathing? Is he going to survive this?

ELIZA:
Who did this, Alexander, did you know?

PHILIP:
Mom, I’m so sorry for forgetting what you taught me

ELIZA:
My son

PHILIP:
We played piano

ELIZA:
I taught you piano

PHILIP:
You would put your hands on mine

ELIZA:
You changed the melody every time

PHILIP:
Ha. I would always change the line

ELIZA:
Shh. I know, I know

PHILIP:
I would always change the line

ELIZA:
I know, I know

ELIZA:
Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Good
Un deux trois quatre PHILIP:
Cinq six sept Un deux trois…
Huit neuf
Sept huit neuf—
Sept huit

ELIZA:
I know, I know

ELIZA:
Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Good
Un deux trois quatre PHILIP:
Cinq six sept Un deux trois…
Huit neuf
Sept huit neuf—oy
Sept huit

ELIZA:
I know, I know

ELIZA:
Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Good
Un deux trois quatre PHILIP:
Cinq six sept Un deux trois…
Huit neuf
Sept huit neuf—
Sept huit oh yeah

ELIZA:
I know, I know

ELIZA:
Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Good
Un deux trois quatre PHILIP:
Cinq six sept Un deux trois…
Huit neufy
Sept huit neuf—
Sept huit

Sammie was woken from her deep slumber by the feeling of something pressing into her lungs. Trying not to disturb the comfort of a bed in the morning she moved her lithe hips under her warm duvet and adjusted herself until she felt the pressure on her lungs ease.

"Just a few more minutes," she thought but was further brought out of her slumber by the stirring in the bed next to her. An evil plan came to mind and she decided to act on it. Leaving the warmth of her own bed behind she got to her feet slowly, trying not to cause herself any more discomfort then was necessary. She slowly creeped over to the bed, hesitating only a moment, she jumped onto the slender form within, quickly she straddled it.

"Sammie! What are you doing!" her sister yelped, but before she could do much more Sammie had smoothly pulled the blankets off of her sister and pinned her to the bed face down. With a graceful move Sammie rotated herself one hundred and eighty degrees so that she was looking at her sister's delicate feet. The feet however were not her target, looking down she focused on her sister's pert ass, under her lacy panties and between her firm butt cheeks she found her target.

Sammie's sister started to resist as she realized Sammie's intentions but her struggles were useless when Sammie reached down and ripped the panties from her hips. The massive black shape that emerged made Sammie start to moisten from more than one opening. "You've gotta stop worrying so much Jess, I'm just having a bit of fun," she teased as she reached her hands down and firmly grasped the base of the monstrous buttplug in her sister's ass.

It took a bit of effort to get the plug dislodged but the special overnight lube helped to get the toy moving. Jess moaned as her ass started to release its grip on the toy. Sammie, or Sam as her sister called her, pulled the first nine inched of the plug out of Jess' ass then brutally slammed it back in. The four-inch-wide girth of the plug pulled at Jess' anus as the plug moved in and out, making Jess cry out. "Oh god Sam, Please don't stop!" she begged. Jess started to angle her hips towards the thrusting plug, pushing back in rhythm and loving every inch of the anal torment.

It didn't take long for Jess to cum the first time, and even less the second, third, fourth and fifth time. By the sixth Sam decided that her sister had had enough and pulled the plug completely from the well fucked ass in front of her. Ten inches of the black latex giant slowly pulled free from Jess' ass, when the tip popped out a wet sucking sound announced its exit. The loose hole that remained was still over three inched across and, even after all the play, still begged for a toy.

"Ugh that was awesome sis! You know just how to wake me up! Want me to return the favor?" asked Jess as her sister rolled off of her and onto the bed next to her.

"Do you even need to ask?" replied Sammie seductively as she got onto her hands and knees, arching her back gracefully. Her sister moved behind her, now much more nimble with her own ass freed up. Jess stealthily reached under her bed and grabbed a harness, with practiced ease she put it on around her hips like a pair of panties. She then moved her crotch so that it lined up with the base of the plug in Sammie's ass. A little magnetic snap told Jess that the plug and harness were attached and she started to move backwards pulling her new 'dick' out of her sister's ass. Sam's ass, being slightly farther in its training, divulged a plug even bigger then Jess'. At 4.25 inches wide the plug made a grand exit, pulling and tugging Sammie's asshole over every one of the 12 inches of its length.

When just the tip of the plug was still in Sam's ass, Jess grabbed her sister's hips and brutally plunged the entire length of the plug back in. This took the breath from Sammie, literally, as it hit the base of her lungs, and any air left was used in one massive moan. Jess started to pull the plug back out for another thrust as Sam looked down between her arms and firm tits, even from this angle, she could see the shape of the massive toy moving around in her. "God I love this feeling," thought Sam as the toy and her sister worked their magic.

Like Jess, Sammie was brought to a number of mind blowing anal orgasms before Jess deemed Sammie's ass fucked well enough for this early in the morning. The duo then picked up their plugs in one hand, held each other's hand, and walked to the bathroom their big pink gapping assholes obvious between their cute little butt cheeks as they walked.

Jess being 18 and Sammie 19, they were both still in high school. They lived with their older sister Amy, who was only 25, since their mother had needed to move for a job and they had wanted to finish school with their friends. Amy had offered to let them live with her under the pretense that the girls continue their anal training even though their mother wouldn't be there to take the 'hand on' approach they all loved. Jess and Sam had enthusiastically agreed and had only needed to be reminded of the terms of agreement a few times, and it might have been on purpose.

In the bathroom the sisters helped each other prepare for the day, they started by putting their nighttime plugs in the plug washer before moving onto the shower. The shower like most these days was outfitted with a dedicated enema system.

"Hey sis you mind giving me a hand, I've always got so much trouble getting the nozzle in," pleaded Jess as she handed Sammie the nozzle and bent over. The 'nozzle' was made out of a disk of light metal, with a groove around the perimeter to hold the anus, it could then be expanded to lock inside.

Sammie started to work the disk in, first starting with the edge and then turning it to trap Jess' young sphincter. Jess moaned as her sister worked and let out an exasperated grunt when it finally slid into place. Sammie then turned a knob on the disk to expand it, Jess tried to escape the pressure and jerked her ass away, but it was too late. The disk was already 4.5" wide and Jess' anus couldn't pull free, Sammie grabbed the hose and pulled her sister back towards her using the disk now locked in her butt.

"Where are you trying to go? You know how this works." giggled Sammie as she stood and went to the faucet that controlled the enema system. There were a few knobs which controlled the flow rate, temperature and the maximum pressure that would be used to put water into bowels before automatically stopping the flow.

"You don't have to tighten it so much; it's not like I ever leak," replied Jess as she started to prepare for the rush of water.

Sammie responded by turning the water on full blast, she set the maximum water pressure to slightly higher than normal and got out a disk for her own ass.

"My turn," said Sammie, handing the disk to her sister who was holding onto one of the railings trying to steady herself as her insides were flooded with water.

Jess focused and took the disk from her sister, giving her a slightly evil grin, letting her know that her rough treatment wouldn't be one sided.

Like Sammie had done to her, Jess pushed the disk into her sister's ass, it took her a little longer as she was constantly distracted by her own filling bowels, but once the disk was in place she was lightning fast in expanding the disk as much as she could. She was able to get it to a little over 5" before her sister wiggled her ass free. Sammie grunted but wasn't about to admit defeat by her sister's hands, so Jess stood on wobbly legs and went over to the faucet for her sister's enema. Like her sister had done, she turned the water on full but then turned the maximum pressure up high, as high as her sister had ever took.

"What are you doing, I'll explode! I'm not prepared to take my max." yelped Sammie, a scared look on her face.

In order to stay within the bounds of their agreement with their older sister, the girls had given over control of their ass to each other, knowing that they wouldn't go easy on one another would help them with their anal well being. The enema faucets, by changing a few programmable settings, could be made to only be controllable by certain people. The girls had done just such a thing and now they were at each other's mercy.

Sammie seeing that her sister wasn't going to turn her pressure down went over and cranked Jess' maximum pressure up to her max as well.

"Let's see how you like some of your own medicine" said Sammie smugly.

The sisters were competitive, and neither was prepared to step down from this game of enema chicken. They both stood watching each other as their belies started to inflate, soon they needed to hold onto the railings, their stomachs looking more and more pregnant.

They started to moan and then grunt as they got fuller and fuller, the water moving up and expanding their intestines. Jess was the first to start to beg for release.

"Please Sam, this is all I can take, please turn the pressure down!" begged Jess.

"I don't know, I can take some more water still, I want to see how desperate you get." retorted Sam. Jess' stomach was protruding a lot now, as if she had somehow swallowed a basketball.

"Please, I will let you do anything to me, just make it stop" begged Jess as she got closer and closer to her maximum pressure.

"I kinda just want to see you reach your max now," Sammie challenged with an evil glint in her eye, "You know, just for the fun of it."

"Please sis anything!" squealed Jess.

Sammie reached over and turned down the pressure so no more would go in.

"You are going to let me pick out your plug for today." stated Sammie.

"Never! You're going to strap something brutal in my ass" argued Jess, remembering the last time she had made this promise.

Sammie turned to pressure up again.

"Ok ok ok, fine!" relented Jess.

"You better follow through or I will set it to double tomorrow" said Sammie victoriously. The maximum pressure was once again turned down much to Jess' appreciation and the flow stopped. Jess breathed out a sigh of relief and was in the middle of composing herself when she remembered her sister was still turned up past her max.

Sammie was looked like she had a watermelon in her stomach when Jess finally turned down her maximum pressure and the flow stopped.

She cooed, "Thanks Jess."

"No problem, don't want you going any harder on my ass than you already will," joked her sister.

The girls caught their breath before attempting to free themselves. Jess wasn't able to bend over anymore with her insides so full so Sammie had to waddle over and reach between her spread butt cheeks to get at the release valve.

Upon hitting the biometrically locked button the hose detached from the nozzle, it immediately was blasted away as a torrent of water was released from Jess' lovely butt. The hole was over an inch wide but it still took over a minute before the flow began to lessen, and soon after, coming to a stop except for a spurt of water every little bit.

"Oh man, nothing feels quite as good as that," gushed Jess.

"Can you please stop taking your time and do me now, I'm bursting over here!" exclaimed Sammie.

Jess walked behind Sammie, water spurted from her ass while she walked as her movement freed more water. Jess reached between Sammie's cheeks, which were a bit bigger than her own, and unlocked the hose. Sammie too then drained for the next few minutes. But then when Jess and Sammie tried moving they both gushed water.

"Looks like we're gonna need some help draining," smirked Sammie as she reached into a close by cabinet and too out a dildo. It was only about an inch in diameter but over two feet long, all along the dildo were holes, and when connected to the shower's built in suction it would suck the water right out of a butt, this was the modern version of a 'drain snake'.

Sammie hooked the drain snake up to a hose and gestured Jess to come closer and grab her toes. Jess did as instructed and Sammie started to feed the dildo into her ass through the hole in the disk. The first foot was easy enough as Jess had been sleeping all night with a 12" dildo already which was much bigger, but as the dildo got to 18 then 22 inched in it became harder and harder for the both of them. With a grunt from Sammie and Jess, the dildo's base came into contact with the disk and became magnetically locked in place.

Sammie turned on the suction and the outline of the dildo became more and more visible in the twists and turns of Jess intestines as the water drained. Soon Jess' stomach was flat and smooth, except for the dildo of course. Sammie undid the drain snake and in one motion pulled it from Jess' ass. Jess let out a cute yelp.

While she was at it Sammie loosened the disk in Jess and tugged it free. Jess again let out a yelp. Before Sammie was Jess' gaping distended anus. It was 4" wide and she could see almost a foot in before it ended at a curve. She blew some air into her ass and Jess giggled as it tickled her.

"My turn"

Sammie was looking through her toy drawers as her sister sat on her bed behind her with an annoyed look on her face. Sammie was looking for the plug she was going to be making Jess wear to school that day. Sammie had already picked out her own, a 16 inch long, 4.5 inch wide plug made from clear material. Now she was looking for something to torment her sister.

She looked first in the punishment dildo section, where the dildos were large and covered in a sand paper like finish. Although they would rub Jess raw it just wasn't what Sam was looking for. She got an idea and went to her lower drawer that was filled with some of her more unusual and 'fun' toys. She picked up one that was just the right size for her sister, 14 inches long and 4.3 inches wide, and turned around to show Jess.

"Why can't you just stick a punishment dildo in my ass like a normal sister, that thing is going to be annoying as hell," grunted Jess.

The dildo although very normal on the outside was a technological master piece. It was known as a Hammer Plug and contained a heavy weight inside, at times that it calculated to be least expected, or least wanted it would propel the weight which was housed inside an electromagnetic tube that acted like a solanoid. The weight would hit the end of the tube and hammer the dildo in one direction or another. This could be painful if was hammered further into an ass, or annoying when trying to stop it from escaping an ass.

"You agreed to let me pick any plug I wanted, now turn around and bend over that bed," ordered Sam.

Jess complied and Sammie went behind her. She took a scoop of lube from nearby and casually stuck her fist into her sister's ever gaping ass. She worked her fist and the lube into her sister's colon before removing her fist and placing the head of the Hammer Plug at the entrance. She pressed the button on the bottom for 10 seconds and the dildo came to life. It took a second for it to detect its surroundings then the barely audible sound of the electromagnetic coils could be heard, the weight was accelerated and the dildo plunged a few inches into Jess. It quickly fired again and again each time hammering itself deeper until it reached the bottom.

Jess who had been grunting with each 'thrust' caught her breath and pushed herself onto her feet.

"Ok, I can do yours no-" the dildo hammered down and pulled itself out of Jess' ass 2 inches or so then immediately hammered itself back in. Jess let out a half scream half moan.

"As I was saying, I can do yours now," Jess looked flustered and annoyed, as she went to help Sammie with her plug, which was much more uneventful.

Jess chose to wear a skirt and a blouse, but as today's fashion was, her skirt was just long enough to cover her pussy. She wore panties that had been designed to rub at her clit when she moved, as was the standard for panties these days. Her blouse left her stomach bare, the outline of the dildo visible, even more so when it moved. Something about a moving shape in someone's stomach that draws the eye.

Sammie wore tight jeans and a cute pink top, but like Jess they were up to the modern fashion. Her blouse simply had built in nipple clamps that although covered her nipples (as to school code) kept them hard and easy to grab, pull, or twist. Her jeans were one of her favorite pairs, and although similar enough to old fashion models had a lovely addition. There was a hole in the jeans right over her anus. This hole was the same size as her plug and connected to it, when it did so the microscopic but powerful LEDS illuminated her special clear plug and gave a perfect and unobstructed view all the way into her ass as if there was no plug at all and just cavernous gape.

The girls looked themselves and each other over one last time in the mirror then went to eat breakfast and get to school.

ELIZA:
I know, I know

ELIZA:
Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Good
Un deux trois quatre PHILIP:
Cinq six sept Un deux trois…
Huit neuf
Sept huit neuf—
Sept huit huit

ELIZA:
I know, I know

ELIZA:
Un deux trois quatre
Cinq six sept huit neuf

PHILIP:
Un deux trois quatre
Cinq six sept huit neuf

ELIZA:
Good
Un deux trois quatre PHILIP:
Cinq six sept Un deux trois…
Huit neuf
Sept huit neuf—
Sept huit cinc

PHILIP:
Meet the latest graduate of King’s College!
I prob’ly shouldn’t brag, but, dag, I amaze and astonish!
The scholars say I got the same virtuosity and brains as my pops!
The ladies say my brain’s not where the resemblance stops!
I’m only nineteen but my mind is older
Gotta be my own man, like my father, but bolder
I shoulder his legacy with pride
I used to hear him say
That someday
I would—

ENSEMBLE:
Blow us all away

PHILIP:
Ladies, I’m lookin for a Mr. George Eacker
Made a speech last week, our Fourth of July speaker
He disparaged my father’s legacy in front of a crowd
I can’t have that, I’m making my father proud

MARTHA:
I saw him just up Broadway a couple of blocks
He was goin’ to see a play

PHILIP:
Well, I’ll go visit his box

DOLLY:
God, you’re a fox

PHILIP:
And y’all look pretty good in ya’ frocks
How ‘bout when I get back, we all strip down to our socks?

BOTH:
Ok!

COMPANY:
Blow us all away!

PHILIP:
George!

GEORGE:
Shh

PHILIP:
George!

GEORGE:
Shh! I’m tryin’ to watch the show!

PHILIP:
Ya’ shoulda watched your mouth before you
Talked about my father though!

GEORGE:
I didn’t say anything that wasn’t true
You father’s a scoundrel, and so, it seems, are you

ENSEMBLE:
Ooooooooooh!

PHILIP:
It’s like that?

GEORGE:
Yeah, I don’t fool around
I’m not your little schoolboy friends

PHILIP:
See you on the dueling ground
That is, unless you wanna step outside and go now

GEORGE:
I know where to find you, piss off
I’m watchin’ this show now

PHILIP:
Pops, if you had only heard the shit he said about you
I doubt you would have let it slide and I was not about to—

HAMILTON:
Slow down

PHILIP:
I came to ask you for advice. This is my very first duel
They don’t exactly cover this subject in b

GOMEZ

(gazing at Morticia)
Look at her – I would die for her.
I would kill for her. Either way
– what bliss.
Low-voiced, incisive, and subtle, with Morticia, smiles
are rare. The ghostly whiteness of her complexion is
offset by the red of the pillowcase upon which her hair
is spread like a diabolic halo. A dark Garbo, sultry
and remote, she's a ruined beauty.
Morticia OPENS HER EYES.

GOMEZ

(adoringly)
Unhappy, darling?

MORTICIA

(passionately)
Oh, yes, yes. Completely.

CUT TO:


A3 OMITTED A3


3 INT. PUGSLEY'S ROOM - SAME TIME 3

Pugsley crouches on the floor, playing with his kid-sized
chemistry set.
The walls of his room are covered with road signs he's
collected – "Bridge Out!", "Detour! Excavation Ahead!",
"Dangerous Undertow!", "Keep Clear! High Voltage!"
SAWED-OFF STOP SIGNS, still on their poles, are stacked
in the corner.

In another corner stands a CYLINDRICAL FLOOR-TO-CEILING

FISH TANK, FILLED WITH PIRANHA.

This tubby energetic monster of a nine-year-old boy has
every chance of growing up to be the public monster his
parents would be proud of.
He MIXES chemicals in a beaker. The brew steams. Grin-
ning wickedly, Pugsley SWALLOWS it down.
He contorts, undergoing the beginnings of a transforma-
tion, then SHRINKS to the size of a mouse. Laughing, he
crawls out of his human-size pajamas.

CUT TO:


4 OMITTED 4

THE ADDAMS FAMILY - 11/28/90 4.


A5 INT. ATTIC - SAME TIME A5

Solemn and mournful, ten-year-old Wednesday has black
hair and white skin like her mother. She sits on a stool
among the stored Addams' family objects, ONE END OF A

STRING TIED TO HER TOOTH, THE OTHER TIED TO A TRAP DOOR.

The trap door is flung open, GRANNY pokes her head
through. She's a giggly hag who looks like she was in
the bathtub when the hairdryer fell in.
Wednesday's pulled tooth swings at the end of the string.

WEDNESDAY

Thank you, Grandmama.
In a foul mood, Granny tromps up into the attic.


GRANNY

You kids are going to have to kill
your own breakfast this morning.
Wednesday opens a cigar box. Inside the box are assorted
human and animal teeth, fangs and dentures, along with a
collection of glass eyes. Wednesday drops her tooth in
the box.

CUT TO:


5 OMITTED 5


A6 INT. GOMEZ AND MORTICIA'S BEDROOM - SAME TIME A6

Gomez takes Morticia in his arms. As she languidly
drapes herself across his chest, she is caught in a
sudden shaft of sunlight. She squints. On the bedside
table beside her, Morticia's OVERSIZED CARNIVOROUS

ORCHID WILTS.

oarding school

HAMILTON:
Did your friends attempt to negotiate a peace?

PHILIP:
He refused to apologize, we had to let the peace talks cease

HAMILTON:
Where is this happening?

PHILIP:
Across the river, in Jersey

HAMILTON/PHILIP:
Everything is legal in New Jersey…

HAMILTON
Alright. So this is what you’re gonna do:
Stand there like a man until Eacker is in front of you
When the time comes, fire your weapon in the air
This will put an end to the whole affair

PHILIP:
But what if he decides to shoot? Then I’m a goner

HAMILTON:
No. He’ll follow suit if he’s truly a man of honor
To take someone’s life, that is something you can’t shake
Philip, your mother can’t take another heartbreak

PHILIP:
Father—

HAMILTON:
Promise me. You don’t want this
Young man’s blood on your conscience

PHILIP:
Okay, I promise

HAMILTON:
Come back home when you’re done
Take my guns. Be smart. Make me proud, son

PHILIP:
My name is Philip
I am a poet
I’m a little nervous, but I can’t show it
I’m sorry, I’m a Hamilton with pride
You talk about my father, I cannot let it slide
Mister Eacker! How was the rest of your show?

GEORGE:
I’d rather skip the pleasantries
Let’s go
Grab your pistol

PHILIP:
Confer with your men
The duel will commence after we count to ten

ENSEMBLE:
Count to ten!

PHILIP:
Look ‘em in the eye, aim no higher
Summon all the courage you require
Then slowly and clearly aim your gun towards the sky—

MALE ENSEMBLE:
One two three four

FULL ENSEMBLE:
Five six seven

oarding school

HAMILTON:
Did your friends attempt to negotiate a peace?

PHILIP:
He refused to apologize, we had to let the peace talks cease

HAMILTON:
Where is this happening?

PHILIP:
Across the river, in Jersey

HAMILTON/PHILIP:
Everything is legal in New Jersey…

HAMILTON
Alright. So this is what you’re gonna do:
Stand there like a man until Eacker is in front of you
When the time comes, fire your weapon in the air
This will put an end to the whole affair

PHILIP:
But what if he decides to shoot? Then I’m a goner

HAMILTON:
No. He’ll follow suit if he’s truly a man of honor
To take someone’s life, that is something you can’t shake
Philip, your mother can’t take another heartbreak

PHILIP:
Father—

HAMILTON:
Promise me. You don’t want this
Young man’s blood on your conscience

PHILIP:
Okay, I promise

HAMILTON:
Come back home when you’re done
Take my guns. Be smart. Make me proud, son

PHILIP:

My name is Philip
I am a poet
I’m a little nervous, but I can’t show it
I’m sorry, I’m a Hamilton with pride
You talk about my father, I cannot let it slide
Mister Eacker! How was the rest of your show?

GEORGE:
I’d rather skip the pleasantries
Let’s go
Grab your pistol

PHILIP:
Confer with your men
The duel will commence after we count to ten

ENSEMBLE:
Count to ten!

PHILIP:
Look ‘em in the eye, aim no higher

Summon all the courage you require
Then slowly and clearly aim your gun towards the sky—

MALE ENSEMBLE:
One two three four

FULL ENSEMBLE:
Five six seven

Summon all the courage you require
Then slowly and clearly aim your gun towards the sky—

MALE ENSEMBLE:
One two three four

FULL ENSEMBLE:ok
Five six seven

FESTER

(coming to his senses)
Mother, I'm… I'm so terribly
sorry…
(he kneels at her side)
It was just a party. It's over.
It means nothing. Those Siamese
twins, that hunchback, Cousin It
- they're not you.

ABIGAIL

(clutching him
savagely)
Say it, Gordon. Make me believe it.


FESTER

I love you. And I want money.

ABIGAIL

(very no-nonsense)
We've got to find Tully.

CUT TO:


114 INT. BALLROOM - SAME TIME 114

Morticia is looking for her children. She discovers
Pugsley ASLEEP, curled up on the SILVER PLATTER WHERE THE
TWO-HEADED PIG LAY. She finds this enchanting.
Gomez enters. Morticia shushes him; she points to the
platter.

MORTICIA

(whispering)
Look - our little boy.


GOMEZ

(whispering)
All tuckered out.

MORTICIA

(whispering)
So sweet. He looks just… like
a little entree.
Pugsley wakes up; he looks around.

PUGSLEY

(sleepy)
Where… where's the party?

(CONTINUED)

THE ADDAMS FAMILY - 11/12/90 86 .


114 CONTINUED: 114


MORTICIA

It's over, darling - have you seen
your sister?

PUGSLEY

Not since before the Mamushka.

MORTICIA

Gomez?

GOMEZ

Don't fret - we'll find her.

CUT TO:

115 EXT. ADDAMS YARD - LATER 115

Gomez rallies the family for the search. Morticia wears
a black cloak. Granny has grabbed her divining rod.
Lurch distributes torches, then stands aside, awaiting
instructions. Pugsley helps Gomez unroll an ancient map
of the area.

GOMEZ

Fan out. Pugsley - head for the dung
heap. Mama and Morticia - the shallow
graves. I'll take the abyss, and
Lurch - check the bottomless pit.

MORTICIA

(worried)
Her favorite…

GOMEZ

(calls out)
Fester!!

My name is Happy Gilmore. Ever since I was old enough to skate, I loved hockey… wasn't the greatest skater though. But that didn't stop my dad from teaching me the secret of slapping the greatest slapshot. My dad worshiped hockey, my mom didn't, that's why she moved to Egypt, where there's not a hockey rink within 15 hundred miles. Dad always took me to games to cheer for our favorite player, Terry O'Riley, the Tazmanian Devil. He wasn't the biggest guy in the league, but he feared nobody, just like me. Handsome fellow huh? He always said that when I grew up I could be anything I wanted to be, but I never wanted to be anything but a hockey player. Yeah my childhood was going great, but life is full of surprises. After the funeral, I was sent to live with my grandma in Waterberry. I was kinda nervous since I really didn't know her that well, but she dressed like Gene Simmons from KISS to cheer me up, she's the sweetest person in the world. See after my dad died I developed kinda a short fuse. You see that kid over there just stole my party blower, and instead of asking for it back, I felt that I had to belt him in the head a bunch of times with a hammer. Look at me go. But I was always quick to say I was sorry. During high school I played junior hockey and still hold two league records; most time spent in the penalty box, and I was the only guy to ever take off his skate and try to stab someone. After I graduated I had a lot of different jobs; I was a road worker, a janitor, a security guard, a gas station attendant, and a plumber. Lately I've been working construction, it's not a bad racket, I'm a pretty good shot with a nail gun, but one day my boss, Mr. Larson, uh got in the way. Apparently he also has a short fuse. Look at that monster. He got a few lucky punches in there, but I still feel I won the fight. Anyways, those other jobs weren't for me. I was put on this planet for one reason, to play hockey.

So, OK, like right now, for example, the Haitians need to come to America. But some people are all "What about the strain on our resources?" But it's like, when I had this garden party for my father's birthday right? I said R.S.V.P. because it was a sit-down dinner. But people came that like, did not R.S.V.P. so I was like, totally buggin'. I had to haul ass to the kitchen, redistribute the food, squish in extra place settings, but by the end of the day it was like, the more the merrier! And so, if the government could just get to the kitchen, rearrange some things, we could certainly party with the Haitians. And in conclusion, may I please remind you that it does not say R.S.V.P. on the Statue of Liberty?

The first thing I want to be done, is to get that piece of crap out of my ring. Don't just get him out of the ring, get him out of the WWF because I've proved son, without a shadow of a doubt, you ain't got what it takes anymore! You sit there and you thump your Bible, and you say your prayers, and it didn’t get you anywhere. Talk about your psalms, talk about John 3:16…
Austin 3:16 says I just whipped your ass!

All he's gotta do is go buy him a cheap bottle of Thunderbird and try to dig back some of that courage he had in his prime.

As the King Of The Ring, I'm serving notice to every one of the WWF superstars. I don't give a damn what they are, they're all on the list, and that's Stone Cold's list, and I'm fixing to start running through all of 'em.

And as far as this championship match is considered son, I don't give a damn if it's Davey Boy Smith or Shawn Michaels, Steve Austin's time is come, and when I get that shot you're looking at the next WWF Champion.
And that's the bottom line, because Stone Cold said so.

This is what mental illness looks like, trying to spam a thread so you/your retarded Antifa buttbuddies don't get caught assaulting people

Looks like I got to em.

So, Danny…
Zoom out to Jack standing in front of three teenagers in chairs. On the far left is his son, Danny Fenton, a black-haired boy dressed in a white-and-red shirt, blue jeans, and red-and-white sneakers. Sitting next to him is a black-haired girl and an African-American boy. The girl, Sam Manson, is wearing a black-and-purple tank top that exposes her midriff, a black skirt with green plaid stripes, purple tights, and black boots. The other boy, Tucker Foley, is wearing a red hat with a yellow shirt along with green pants and brown boots. The entire group is sitting in front of a closed yellow-and-black-striped door that seems to be a portal of some kind.
Jack You and your little friends want to hunt ghosts.
Danny Fenton Uh, actually, Dad? I want to be an astronaut.
Sam Manson Sorry, Mr. Fenton. I was into ghosts, but they're so mainstream now. They're like cellphones.
Tucker Foley Waste these looks and all this charisma hunting ghosts? Criminal.
Jack Well, if you do want to hunt ghosts, there are a few things you need to learn. (Turns to a table with laboratory equipment and beakers.)
A blue mist suddenly escapes Danny's mouth.
Danny Uh oh.
Cut to the portal door opening.
Danny (Off-screen) This isn't good.

Two ectopuses escape from the portal. The ghosts grab Sam and Tucker around their mouths and lift them up out of their chairs.
Jack True, I've never seen a ghost, but when I do, I'll be prepared.
Danny looks alarmed. The ectopuses are floating above the floor, Sam and Tucker still in their grasp.
Jack (Off-screen) And so will you. Whether you want to be or not.
Danny gets a determined look on his face. Jack is still messing with the various items on the lab table while Danny jumps off-screen, a white light appearing and disappearing before various fighting noises are heard.
Jack (Obliviously:) It all starts with your equipment.
As he says this he holds up a thermos. Behind him an ectopus goes flying past. Sam and Tucker are flung back into their chairs. Jack goes over to them.
Jack Sam, Tucker, this is the Fenton Thermos.
Jack hands the thermos to Sam, and both Sam and Tucker look at it. Jack turns back around to the lab table.
Jack It's supposed to trap ghosts (Behind Jack another ectopus goes flying past. Jack doesn't notice.) but since it doesn't work yet it's just a thermos. A thermos with the word "Fenton" in front of it.
The ectopuses look defeated and dizzy and fly back into the portal. Another white light flashes off-screen, then Danny is shown standing where the light came from. The portal suddenly closes and Danny jumps off-screen. Jack points at the now-closed portal.
Jack And that? That is the Fenton Portal. It releases ghosts into our world whether I want it to or not. And someday, I'll figure out how that (Taps the door.) works too. (Turns around and walks towards a trembling Sam and Tucker, towering over them.) Now, who wants to hunt some ghosts?
Cut to Sam and Tucker trembling and Danny panting and putting a hand on the back of Tucker's chair.

June 23, 1972 FROM 10:04 TO 11:39 AM 3
**
HALDEMAN: okay -that's fine. Now, on the investi-
gation, you know, the Democratic break-in
thing, we're back to the-in the, the problem
area because the FBI is not under control,
because Gray doesn't exactly know how to
control them, and they have, their
investigation is now leading into some
productive areas, because they've been able
to trace the money, not through the money
itself, but through the bank, you know,
sources - the banker himself. And, and it
goes in some directions we don't want it to
go. Ah, also there have been some things,
like an informant came in off the street to
the FBI in Miami, who was a photographer or
has a friend who is a photographer who
developed some films through this guy,
Barker, and the films had pictures of
Democratic National Committee letter head
documents and things. So I guess, so it's
things like that that are gonna, that are
filtering in. Mitchell came up with
yesterday, and John Dean analyzed very
carefully last night and concludes, concurs
now with Mitchell's recommendation that the
only way to solve this, and we're set up
beautifully to do it, ah, in that and
that…the only network that paid any
attention to it last night was NBC…they
did a massive story on the Cuban…
PRESIDENT: That's right.
HALDEMAN: thing.
PRESIDENT: Right.
HALDEMAN: That the way to handle this now is for us to

PRESIDENT: Well, could you ask him to, could you ask
him, could you phone him back after this
meeting and ask him to call Hubert Humphrey,
with the understanding he, uh –
SHULTZ: Yeah.
PRESIDENT: Hubert Humphrey has told everybody that he
was going to be for it. And he understood -
- only because Meany was for it.
SHULTZ: That's right.
PRESIDENT: Because Labor was for it. And, now that we
understand he's wavering in it, he 's
breaking. And that Hubert Humphrey's vote
may make the difference.
SHULTZ: All right. I'll call him. He said he – he
had been calling me and that he had quite a
few disappointments, he said. But, anyway,
I think we're working on it and we will
continue to work on it.
PRESIDENT: And he, however, is apparently not doing
much.
SHULTZ: That's right.
PRESIDENT: Uh, uh, uh, well, we ought to review this,
this situation with regard to milk. Now,
uh, John, would you express your views, uh,
to us all – you expressed them to me this
morning. [Coughs] I had a [unintelligible]
you fellows heard their story today.
EHRLICHMAN: It's dead. It's –
CONNALLY: Well, Mr. President, I don't – I understand
you did meet with 'em – But I don't want to
try to go back over the economics of it, uh,
I'm not –
PRESIDENT: How about the politics? Can you –
CONNALLY: Uh, I'm not trying to talk about it or
discuss at any great length the, the
economics of it, but as far as the politics
are concerned – looking to 1972, it, uh, it
appears very clear to me that you're going
to have to move, uh, strong in the Midwest.
You're going to have to be strong in rural
America, uh, and particularly that part of
the country. Now, there are a lot of things

The honey badger (Mellivora capensis), also known as the ratel (/ˈreɪtəl/ or /ˈrɑːtəl/),[3] is the only species in the mustelid subfamily Mellivorinae and its only genus Mellivora. It is native to Africa, Southwest Asia, and the Indian subcontinent. Despite its name, the honey badger does not closely resemble other badger species; instead, it bears more anatomical similarities to weasels. It is classed as Least Concern rather than a threatened species by the IUCN owing to its extensive range and general environmental adaptations. It is primarily a carnivorous species and has few natural predators because of its thick skin and ferocious defensive abilities.

Although mostly solitary, honey badgers may hunt together in pairs during the May breeding season.[29] Little is known of the honey badger's breeding habits. Its gestation period is thought to last six months, usually resulting in two cubs, which are born blind. They vocalise through plaintive whines. Its lifespan in the wild is unknown, though captive individuals have been known to live for approximately 24 years.[7]

Honey badgers live alone in self-dug holes. They are skilled diggers, able to dig tunnels into hard ground in 10 minutes. These burrows usually have only one passage and a nesting chamber and are usually only 1–3 m (3–10 ft) long. They do not place bedding into the nesting chamber.[31] Although they usually dig their own burrows, they may take over disused aardvark and warthog holes or termite mounds.[29]

Honey badgers are intelligent animals and are one of a few species known to be capable of using tools. In the 1997 documentary series Land of the Tiger, a honey badger in India was filmed making use of a tool; the animal rolled a log and stood on it to reach a kingfisher fledgling stuck up in the roots coming from the ceiling in an underground cave.[32] A video made at the Moholoholo rehab centre in South Africa showed a pair of honey badgers using sticks, a rake, heaps of mud and stones to escape from their walled pit.[33]

As with other mustelids of relatively large size, such as wolverines and badgers, honey badgers are notorious for their strength, ferocity and toughness. They have been known to savagely and fearlessly attack almost any kind of animal when escape is impossible, reportedly even repelling much larger predators such as lions.[34] Bee stings, porcupine quills, and animal bites rarely penetrate their skin. If horses, cattle, or Cape buffalos intrude upon a ratel's burrow, it will attack them. They are virtually tireless in combat and can wear out much larger animals in physical confrontations.[28] The aversion of most predators toward hunting honey badgers has led to the suggestion that the countershaded coats of cheetah cubs evolved in imitation of the honey badger's colouration, which warns off predators.[35] In rare cases, some lions are persistent enough to have preyed on honey badgers.[36][37] Leopards are also occasionally mentioned as predators of honey badgers but, as far as is known, cases of successful predation on adult honey badgers is even rarer.[38][39]

Next to the wolverine, the honey badger has the least specialised diet of the weasel family.[13] In undeveloped areas, honey badgers may hunt at any time of the day, though they become nocturnal in places with high human populations. When hunting, they trot with their foretoes turned in. Honey badgers favour bee honey, and will often search for beehives to get it, which earns them their name. They are also carnivorous and will eat insects, frogs, tortoises, rodents, turtles, lizards, snakes, eggs, and birds. Honey badgers have even been known to chase away young lions and take their kills. They will eat fruit and vegetables, such as berries, roots and bulbs.[29] Despite popular belief, there is no evidence that honeyguides (a bird species that eats bee larvae) guide the honey badger.[42][43]

They may hunt frogs and rodents, such as gerbils and ground squirrels, by digging them out of their burrows. Honey badgers are able to feed on tortoises without difficulty, due to their powerful jaws. They kill and eat snakes, even highly venomous or large ones, such as cobras. They have been known to dig up human corpses in India.[44] They devour all parts of their prey, including skin, hair, feathers, flesh and bones, holding their food down with their forepaws.[45] When seeking vegetable food, they lift stones or tear bark from trees.[29]

Honey badgers often become serious poultry predators. Because of their strength and persistence, they are difficult to deter. They are known to rip thick planks from hen-houses or burrow underneath stone foundations. Surplus killing is common during these events, with one incident resulting in the death of 17 Muscovy ducks and 36 chickens.[29]

Because of the toughness and looseness of their skin, honey badgers are very difficult to kill with dogs. Their skin is hard to penetrate, and its looseness allows them to twist and turn on their attackers when held. The only safe grip on a honey badger is on the back of the neck. The skin is also tough enough to resist several machete blows. The only sure way of killing them quickly is through a blow to the skull with a club or a shot to the head with a gun, as their skin is almost impervious to arrows and spears.[46]

During the British occupation of Basra in 2007, rumours of "man-eating badgers" emerged from the local population, including allegations that these beasts were released by the British troops, something that the British categorically denied.[47][48] A British army spokesperson said that the badgers were "native to the region but rare in Iraq" and "are usually only dangerous to humans if provoked".[49] The director of Basra's veterinary hospital, Mushtaq Abdul-Mahdi, confirmed that honey badgers had been seen in the area as early as 1986. The deputy dean of Basra's veterinary college, Dr. Ghazi Yaqub Azzam, speculated that "the badgers were being driven towards the city because of flooding in marshland north of Basra."[48] The event received coverage in the Western press during the 2007 silly season.[50]

In many parts of North India, honey badgers are reported to have been living in the close vicinity of human dwellings, leading to many instances of attacks on poultry, small livestock animals and, sometimes, even children.[citation needed] They retaliate fiercely when attacked.[citation needed] According to a 1941 volume of The Fauna of British India, the honey badger has also been reported to dig up human corpses in that country.[51]

In Kenya the honey badger is a major reservoir of rabies[52][53] and suspected to be a significant contributor to the sylvatic cycle of the disease.[54]

Five hundred twenty five thousand six hundred minutes.
Five hundred twenty five thousand moments so dear.
five hundred twenty five thousand six hundred minutes.
How do you measure,
Measure a year?
In daylights?
In sunsets?
In midnights?
In cups of coffee?
In inches, in miles, in laughter, in strife?

In five hundred twenty five thousand six hundred minutes.
How do you measure a year in a life?
How about love?
How about love?
How about love?
Measure in love…
Seasons of love…
Seasons of love…
Five hundred twenty five thousand six hundred minutes.
Five hundred twenty five thousand journeys to plan.
Five hundred twenty five thousand six hundred minutes.
How do you measure a life of a woman or a man?
In truths that she learned,
or in times that he cried?
In bridges he burned,
or the way that she died?
It's time now to sing out,
though the story never ends.
Let's celebrate remember a year in a life
of friends

Now, this is exactly the type of performance
you would expect to see
at the International Championship
of Collegiate A Cappella.
Am I right, Gail?
John, you're so right, everything
else seems wrong.
Boy, these Barden University Treblemakers
always thrill the judges.
And the ladies in the room
cannot get enough.
So true, John.
Nothing makes a woman feel more like a
girl than a man who sings like a boy.
Chloe, look at you. You're a mess. You're
unfocused. You're unreliable.
And your breath smells like
egg. Like, all the time.
I can't believe the Bellas are being passed
on to you two slut bags after we graduate.
Just don't eff up your solo.
I won't disappoint you.
My dad always says, "If
you're not here to win,
"get the hell out of Kuwait."
Has your dad ever told you to shut up?
I'm fine.
Ouch! Boy, that hurt.
Sexy man-splits.
His pain is our gain, Gail.
All right, good luck, guys!
Good luck out there!
Seriously, you girls are
awesome… ly horrible.
I hate you. Kill yourselves. Girl
power! Sisters before misters!
All right, ladies, it's
now or never. Hands in!
One, two…
Up now, the Barden Bellas!
Well, the Bellas tonight are making history
as the first ever all-female group
to advance to the ICCA finals.
That's right, John. Now, why do
you think it's taken so long
for an all-lady group to break through
that a cappella glass ceiling?
Well, Gail, the women, typically,
cannot hit the low notes,
which really round out an arrangement,
thrill the judges,
and that can really hurt
them in competition.
Women are about as good at a cappella
as they are at being doctors.
One, two, three, four.
Is it me or did we just take a
left turn into Snoozeville?
Yeah, and we parked in a lot
where they do not validate.
No! Holy…
This is a surprise!
This has never happened! Now, this
is how you bring some excitement
to the International Championship
of Collegiate A Cappella.
She had a weeks worth of lunch and lost it.

Remember the love…
(Oh, you've got to you've got to remember the love)
Remember the love…
(You know the love is a gift from up above)
Remember the love…
(Share love, give love, spray love, measure your life in love.)
Seasons of love…
Seasons of love

ANGEL
Who died?
BENNY
Our Akita
ANGEL, ROGER
Evita
BENNY
You make fun - yet I'm the one
Attempting to do some good
Or do you really want a neighborhood
Where people piss on your
Stoop every night?
Bohemia, Bohemia's
A fallacy in your head
This is Calcutta,
Bohemia is dead


Read more: RENT - La Vie Boheme Lyrics | MetroLyrics

RENT
La Vie Boheme Lyrics
New! Tap highlighted lyrics to add Meanings, Special Memories, and Misheard Lyrics…

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Advisory - the following lyrics contain explicit language:
ANGEL
Who died?

BENNY
Our Akita

ANGEL, ROGER
Evita

BENNY
You make fun - yet I'm the one
Attempting to do some good
Or do you really want a neighborhood
Where people piss on your
Stoop every night?
Bohemia, Bohemia's
A fallacy in your head
This is Calcutta,
Bohemia is dead


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MARK
Dearly beloved we gather here to say our goodbyes

COLLINS & ROGER
Dies irae - dies illa, Kyrie eleison
Yitgadal v'yitkadash

MARK
Here she lies, no one knew her worth
The late great daughter of Mother Earth
On these nights when we
Celebrate the birth
In that little town of Bethlehem
We raise our glass - you bet your ass to -
La vie Boheme

ALL
La vie Boheme
La vie Boheme
La vie Boheme
La vie Boheme


Read more: RENT - La Vie Boheme Lyrics | MetroLyrics

Well, she didn't lose it. We
know exactly where it is.
It's all over the third row. No, no…
I got it. Thanks.
Hi there! Welcome to Barden
University. What dorm?
Baker Hall, I think.
Okay. So, what you're gonna do is
you're gonna go down this way,
you're gonna take a right and you
go through those double doors…
Your campus map.
And your official BU rape whistle.
Don't blow it unless it's
actually happening.
Hey.
You must be Kimmy Jin. I'm Beca.
No English?
Yes English?
Just tell me where you're at with English.
There he is. I'm Benji. You must be Jesse.
And you must be kidding. Wow!
Looking at it now, I can see
that it's a bit much.
I can take it down.
No, no way. I mean, it took a
second for my eyes to adjust,
but I can roll with this.
Look, just so you know,
I'm not a total nerd.
I also happen to be super
into close-up magic.
Dude, that's awesome!
How long was that little guy in there?
Several days.
Hey, this is campus police.
Hide your wine coolers.
Just… It's your old man making a funny.

.
Chris Rock, everybody.
Hey, you must be Beca's roommate.
I'm Dr. Mitchell, Beca's dad.
I teach Comparative Literature here.
So, when did you get here?
How did you get here?
Took a cab. Didn't wanna inconvenience
you and Sheila.
How is the stepmonster?
She is fine, thank you for asking. She's
actually in Vegas at a conference…
No, Dad, I don't actually care. I
just wanted to say "stepmonster."
So, have you guys been out on the quad yet?
In the springtime, all the students
study on the grass.
I don't wanna study on the grass, Dad.
I need to move to LA and get
a job at a record label
and start paying my dues.
Here we go again. You know, Beca,
DJing is not a profession, it's a hobby.
Unless you're Rick Dees or someone awesome.
That's not… I…
I wanna produce music. I
wanna make music, Dad.
But you're going to get a
college education first.
For free, I might add. End of story.
I'm going to the Activities Fair.
Me, too. I'm going to the Activities Fair
with my super-good friend, Kimmy Jin.
Taking names, taking numbers.
Join our righteous frat.
If you ain't pledging Sigma Beta,
you ain't worth no crap.
That's a double negative. That's
a lot of negatives.
Follow me. There's only one group
on this campus worth joining.
As far as Barden goes, that's
what being a man's all about.
The Treblemakers.
The rock stars of a cappella,
the messiahs of Barden.
Well, you know, not including athletes,
frat guys, or actual cool people.
Organized nerd singing. This is great.
Yeah, it makes so much sense.
How's your voice?
Oh, nice.
I will stop at nothing to take those ding-a-lings down

Hey, Barb. You gonna audition
this year? We have openings.
Now that you've puked your
way to the bottom,
you might actually consider me?
I auditioned for you three
times and never got in
because you said my boobs look like baloney.
The word's out. Bellas is the
laughing stock of a cappella.
Good luck auditioning this year. Douche-b's.
Oh, my God. This is a travesty.
God, if we can't even recruit Baloney
Barb, then we can't get anybody.
Just take the dramatics down a notch,
okay? Hi, do you wanna…
Well, you're the one who got
us into this hot mess.
We'll be fine.
I am confident that we will find
eight super-hot girls with
bikini-ready bodies
who can harmonize and have
perfect pitch. Okay?
Hi, would you like to be a member of…
Just keep flyering. We have
tradition to uphold.
How about we just get good singers?
What? Good singers? What? Hi.
Can you sing? Yeah.
Can you read music? Yeah.
Can you match pitch? Try me.
Yeah.
That was a really good start.
I'm the best singer in Tasmania. With teeth.
Love it. What's your name?
Fat Amy.
Um… You call yourself Fat Amy?
Yeah, so twig bitches like you
don't do it behind my back.
I will see you in auditions, Fat Amy.
I can sing but I'm also
good at modern dance,
olden dance, and mermaid dancing,
which is a little different.
You usually start on the ground.
Ooh.
It's a lot of floor work. I see that.

I don't know. She looks a little
too alternative for us.
Hi, any interest in joining
our a cappella group?
Oh, right, this is, like, a thing now.
Totes. We sing covers of songs but
we do it without any instruments.
It's all from our mouths.
Yikes.
There's four groups on campus. The
Bellas. That's us. We're the tits.
The BU Harmonics.
They sing a lot of Madonna.
The High Notes.
They're not particularly motivated.
And then there's…
So, are you interested?
Sorry, it just, it's pretty lame.
A-ca-scuse me?
Carey chart topper is not lame.
We sing all over the world and we compete
in national championships.
On purpose?
We played the Cobb Energy Performing
Arts Centre, you bitch!
Oh!
What Aubrey means to say is
that we are a close-knit,
talented group of ladies whose dream is
to return to the national finals
at Lincoln Center this year.
Help us turn our dreams into a reality?
Sorry, I don't even sing, but it was
really nice to meet you guys.
What are we gonna do?
When you came in and you were
just strumming the guitar,
and it was, like, totally off-key,
I wanted to choke you!
Bumper. I wanted to choke you out!
Okay, I'm gonna go introduce myself.
Everybody be cool. It's just a normal day.
Hi. Hi.
Benjamin Applebaum.
I saw you guys perform at a Mall
of America like three years ago.
Totally changed my life. I have not
stopped thinking about you since.
Thank you. Yeah.
And, Bumper, huge fan.
Your arrangement of Lovin' Spoonful's
Do You Believe in Magic
inspired me to become a
certified illusionist.
Wow.
The smell of your weird is actually
affecting my vocal cords,
so I'm gonna need you to scoot. Skedaddle.
But why don't we just exchange emails,
and then totally hang out
right now, together?
No. Hard pass. Hard pass.
What a nerd alert. Okay, guys,
now let's match pitch.

SHREK
Once upon a time there was a lovely
princess. But she had an enchantment
upon her of a fearful sort which could
only be broken by love's first kiss.
She was locked away in a castle guarded
by a terrible fire-breathing dragon.
Many brave knights had attempted to
free her from this dreadful prison,
but non prevailed. She waited in the
dragon's keep in the highest room of
the tallest tower for her true love
and true love's first kiss. (laughs)
Like that's ever gonna happen. What
a load of - (toilet flush)

Allstar - by Smashmouth begins to play. Shrek goes about his
day. While in a nearby town, the villagers get together to go
after the ogre.

NIGHT - NEAR SHREK'S HOME

MAN1
Think it's in there?

MAN2
All right. Let's get it!

MAN1
Whoa. Hold on. Do you know what that
thing can do to you?

MAN3
Yeah, it'll grind your bones for it's
bread.

Shrek sneaks up behind them and laughs.

SHREK
Yes, well, actually, that would be a
giant. Now, ogres, oh they're much worse.
They'll make a suit from your freshly
peeled skin.

MEN
No!

SHREK
They'll shave your liver. Squeeze the
jelly from your eyes! Actually, it's
quite good on toast.

MAN1
Back! Back, beast! Back! I warn ya!
(waves the torch at Shrek.)

Shrek calmly licks his fingers and extinguishes the torch. The
men shrink back away from him. Shrek roars very loudly and long
and his breath extinguishes all the remaining torches until the
men are in the dark.

SHREK
This is the part where you run away.
(The men scramble to get away. He laughs.)
And stay out! (looks down and picks
up a piece of paper. Reads.) "Wanted.
Fairy tale creatures."
Next! What have you Got?

Ohhhhhhh nooooooooo

Teach us how to troll Jack!

AMERICA: When the last eagle flies over the last crumbling mountain,
And the last lion roars at the last dusty fountain,
In the shadow of the forest, though she may be old and worn,
They will stare, unbelieving, at the last unicorn…

When the first breath of winter through the flowers is icing,
And you look to the north, and a pale moon is rising,
And it seems like all is dying, and would leave the world to mourn,
In the distance, hear the laughter of the last unicorn!
I'm Alive!
I'm Alive!

When the last moon is cast over the last star of morning,
And the future has passed without even a last desperate warning,
Then look into the stars, where through the clouds a path is torn,
Look and see her, how she sparkles, it's the last unicorn!
I'm Alive!
I'm Alive!

UNICORN (voice only): That cannot be. Why would I be the last? What do men know? Because they have seen no unicorns for a while does not mean that we have all vanished. We do not vanish. There has never been a time without unicorns. We live forever. We are as old as the sky, old as the moon. We can be hunted, trapped We can even be killed if we leave our forests, but we do not vanish. Am I truly the last?

(Enter a butterfly {VOICE OF ROBERT KLEIN}, singing.)

BUTTERFLY: Wave the flag for Hudson Highborn, show them how we stand! I am a roving gambler; how do you do?
UNICORN: Hello, butterfly, welcome. Have you travelled very far?
BUTTERFLY: How far would I travel, yes sir! - to be where you are? Clay lies still, but blood's a-rover. Red Rover, Red Rover, let Charlie come over! Won't you come home, Bill Bailey, won't you come home? My wild Irish rose. (Embraces her horn.)
UNICORN: Be a little respectful, butterfly! Do you know who I am?
BUTTERFLY: Excellent well, you're a fishmonger! You're my everything, you are my sunshine, you're old and grey and full of sleep, you're my pickle-faced, consumptive Mary Jane!

UNICORN: Say my name, then. If you know my name, tell it to me.
BUTTERFLY: Your name is a golden bell hung in my heart. I would break my body to pieces to call you once by your name!
UNICORN: Say it, if you know.
BUTTERFLY: Rumpelstiltskin! Gotcha!
UNICORN: I should know better than to expect a silly butterfly to know my name.
BUTTERFLY: One, two, three o'lairy!
UNICORN: Butterfly, in all your wanderings, have you seen others like me? Have you seen even one?
BUTTERFLY: Oh, have you seen the muffin man, the muffin man, the muffin man?
UNICORN: Butterfly, even one? Tell me that you saw only one?
BUTTERFLY: One? One alone, to be my own… [Up goes downwind, up go down!] Go and catch a falling star…
UNICORN: It serves me right for even asking you. All butterflies know are songs and poetry and anything else they hear. I guess you mean well. Fly away, butterfly.
BUTTERFLY: Oh, I must take the A train, oh, I am a cook and a captain bold and the mate of the Nancy brig. Has anybody here seen Kelly?

UNICORN: I hope you hear many more songs. I must find someone who knows me, who has seen others like me.
BUTTERFLY (serious voice): "Unicorn". Old French, "unicorne". Latin, "unicornis". Literally, one horned: "unus", one, and "cornu", a horn. A fabulous animal resembling a horse with one horn. Visible only to those who search and trust, and generally mistaken for a white mare. Unicorn.
UNICORN: Oh, you do know me! Please, all I want to know is if you've seen other unicorns like me, somewhere in the world.
BUTTERFLY: See you later, alligator! Close cover before striking!
UNICORN: Butterfly, have you seen the others? Where have they gone? Tell me which way I must go to find them!
BUTTERFLY: (strange voice) No, no, listen. Don't listen to me, listen. You can find the others if you are brave.
(Shows unicorns running down a path, and a great red mass chasing them.)
BUTTERFLY (voice only) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footsteps.

UNICORN: Red Bull? What is the Red Bull?
BUTTERFLY: Hold tight. Hold tight. Hold tight, hold tight. …(same strange voice) His firstling bull has majesty, and his horns are the horns of a wild ox. With them, he shall push the unicorns, all of them, to the ends of the earth. Listen, listen, listen quickly!
UNICORN: I am listening! Where are the other unicorns, and what is the Red Bull?
BUTTERFLY: Listen, listen! (laughs) The king is in the counting house, counting out, counting out, counting… It's you or me, moth! Hand to hand to hand to hand to hand to hand… (He flies off.)
UNICORN: He said I could find the other unicorns. But where? Or was the story of the Red Bull just another of his songs? …Oh, I could never leave this forest. But I must know if I am the only unicorn left in the world. Suppose they are hiding together, somewhere far away? What if they're waiting for me, in need of my help?

(A similar scene is shown.)

BUTTERFLY: (voice-over): They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs in fear and begins running. She reaches the edge of the forest, where all the animals of the wood are looking at her. She stares at them for a second, then turns and runs down the road leading away.)
UNICORN: (voice only): I must go quickly, and come back as soon as I can.
(The unicorn runs down the road.)
BUTTERFLY (voice-over): You can find the others if you are brave.
(Shows unicorn running slower and slower through the seasons…)

(Scene: A fat old man is hoeing in his field as the unicorn walks up the road towards him.)

FARMER: Well, hello there, little one. Hello there, me dear. And just who might you belong to… a pretty little thing like you? Come on now. Good girl. Good Bessie. (Takes off his belt and makes it into a loop.) Curry you up, clean you off, you'll be the prettiest old mare anywhere.
(The unicorn neighs loudly and eludes the belt.)

UNICORN: (voice only) Mare? Mare? I, a horse? Is that what you take me for? Is that what you see?
FARMER: So, so, easy, easy, good girl. What a pretty sight you are! Feed you up, take you to the fair. Come on, horse!
UNICORN: (voice only) A horse, am I? A horse, indeed! (The unicorn hooks her horn through the belt, throws it to the ground, and runs off down the road, making the farmer lose his balance and fall.)
FARMER: Now there's a horse! My foot must have slipped.

(Scene: The unicorn is sitting by the side of the road. A man driving a carriage passes by and all he sees is a horse.)

UNICORN: (voice only): I had forgotten that men cannot see unicorns.

(INTRO) If men no longer know what they are looking at, there may well be other unicorns in the world yet, unknown and glad of it.

AMERICA: Horizon rising up to meet the purple dawn,
Dust demon screaming, bring an eagle to lead me on.
For in my heart, I carry such a heavy load.
Here I am, on man's road.
Walking man's road…
Walking man's road…

I'm hungry, weary, but I cannot lay me down.
The rain calls, dreary, but there's no shelter I have found.
It will be a long time till I find my abode,
Here I am, on man's road.
Walking man's road…
Walking man's road…
etc.

(Song Scenes: Unicorn walking down the road, rain falling past a bridge.)

Scene: The unicorn is sleeping in the grass by the side of the road. A black caravan of wagons approaches. On the side of two of them, a black canvas is hung. In red letters, it says "Mommy Fortuna's Midnight Carnival". In smaller ones underneath, "Creatures Of Night, Brought To Light". We see a bent old woman {VOICE OF ANGELA LANSBURY} driving the foremost wagon. She has a hat shaped like a tree branch, with a raven on it. She stops the wagon once she sees the unicorn.)

OLD WOMAN:' Well. Well, bless my old husk of a heart. And here I thought I'd seen the last of them. (Calls to the wagons) Here, you two!

(We see two men get down from the second and third wagons. One is short and hunched, with an eye patch {VOICE OF BROTHER THEODORE}; the other is tall; we can't see his face yet {VOICE OF ALAN ARKIN}.)

MOMMY FORTUNA: If he knew… But I don't think I'll tell him. He'll think it's a horse for sure. Some wizard I hired.
SHORT MAN: Now just what in hell was that you stopped for?
MOMMY FORTUNA: What do you think it is, Rukh? What do you see lying there?
RUKH: Dead horse.
MOMMY FORTUNA: You're a fool! But I knew that. What about you, wizard? What do you see with your sorcerer's sight?

(Rukh elbows the tall man and laughs. We see his face now; he has no beard, green eyes, and a pointed blue cap. He stares at the unicorn. The old woman grabs his collar and pulls his face down to her level.)

MOMMY FORTUNA: Answer me, you juggler!
TALL MAN: I - I see a horse. Just - just a white mare.
MOMMY FORTUNA (chuckles): I thought so. All right. It's a white mare. I want her for the carnival. The last cage is empty.
RUKH: We'll need rope.
MOMMY FORTUNA: The rope that could hold that mare has not been woven. We'll make do with cold iron bars.
TALL MAN: Oh, she's waking!
MOMMY FORTUNA: I'll cast a sleep on her! [Skagribbitch! Kastamangya! Nitchai! Nitchaul!] (Something emanates from the old woman's fingers. It materializes into a solid, curved, glowing blue horn in front of the unicorn's real one.)
MOMMY FORTUNA: Now cage her. She'll sleep till sunrise.

(Scene: Morning. The cages are arranged in formation. Rukh is showing a bunch of villagers around the creatures in the Midnight Carnival.)

RUKH: This here is the manticore. A man's head, a lion's body, tail of a scorpion. (The villagers murmur.) Creatures of night, brought to light. Here is a dragon. Breathes fire now and then. Mostly at people who poke it, little boy. Its inside is an inferno, but its skin is so cold, it burns! Speaks 17 languages badly and is subject to gout. Creatures of night, brought to light! The Satyr. Ladies, keep back!

The tall man sneaks up to the unicorn's cage.)

TALL MAN: I shouldn't be here. But quickly, tell me what you see. Don't be afraid. Look at your fellow legends and tell me what you see.
UNICORN: What he calls a manticore looks to be no more than a shabby, toothless lion. And she has them believing that poor old ape with a twisted foot is a satyr! Illusions! Deceptions! Mirages! Your Mommy Fortuna cannot truly change things!
TALL MAN: That's true; she can only disguise. And only for those eager to believe whatever comes easiest.
RUKH (to the villagers): The Midgard Serpent. It's got the whole world in its coils.
TALL MAN: (to the unicorn) No, she can't turn cream into butter. But she can make a lion look like a manticore to eyes that want to see a manticore. Just as she'd put a false horn on a real unicorn to make them see the unicorn. …I know you. If I were blind I would know who you are.
UNICORN: Who are you?
TALL MAN: I am called Schmendrick, the magician. You wouldn't have heard of me. …I entertain the sightseers as they gather for the show. It's not much of a job for a real magician, but I've had worse.
UNICORN: (looks at a cage nearby): That one is real. That is the harpy, Celaeno.
(The harpy caws out maliciously.)
SCHMENDRICK: Yes. The old woman caught her by chance, asleep, just as she took you. Oh, she should never have meddled with a real harpy, or a real unicorn for that matter, because the truth melts her magic, always.
(harpy caws some more)
SCHMENDRICK: She's going to free herself very soon now, and she must not catch you still caged.
RUKH (sees him): Go on, get away from there! You know what she told you!
SCHMENDRICK (bows clumsily to the unicorn): Don't be afraid! Schmendrick is with you! Do nothing till you hear from me! (runs away down past the cages)
RUKH (stops at the unicorn's cage): The unicorn.
VILLAGERS: A unicorn! (murmuring)

in: Transcripts Wiki
The Last Unicorn

Table of Contents

Transcript

(Scene: A forest in late afternoon. Two huntsmen on horses ride in. The first has a black beard; the second is younger and has red hair and a feather in his cap.) [Barking]

ELDER HUNTSMAN: I mislike the feel of these woods. Creatures that live in a unicorn's forest learn a little magic of their own in time; mainly concerned with disappearing.
YOUNGER HUNTSMAN: Unicorns? I thought they only existed in fairy tales. This is a forest like any other. Isn't it?
ELDER HUNTSMAN: Then why do the leaves never fall here? Or the snow? Why is it always spring here? I tell you, there is one unicorn left in the world, and as long as it lives in this forest, we'll find no game to hunt here.
YOUNGER HUNTSMAN: Let's turn around. Hunt someplace else.
ELDER HUNTSMAN: All right.
(They turn and ride to the edge of the forest.)
ELDER HUNTSMAN: (turns back and calls out) Stay where you are, poor beast. This is no world for you. Stay in your forest and keep your trees green, and your friends protected. And good luck to you, for you are the last.
(They ride away. Close-up of a white, female unicorn {VOICE OF MIA FARROW}.)
UNICORN (voice only): I am the only unicorn there is? The last?
[Song Plays: I'm alive]

INTRO.

AMERICA: When the last eagle flies over the last crumbling mountain,
And the last lion roars at the last dusty fountain,
In the shadow of the forest, though she may be old and worn,
They will stare, unbelieving, at the last unicorn…

When the first breath of winter through the flowers is icing,
And you look to the north, and a pale moon is rising,
And it seems like all is dying, and would leave the world to mourn,
In the distance, hear the laughter of the last unicorn!
I'm Alive!
I'm Alive!

When the last moon is cast over the last star of morning,
And the future has passed without even a last desperate warning,
Then look into the stars, where through the clouds a path is torn,
Look and see her, how she sparkles, it's the last unicorn!
I'm Alive!
I'm Alive!

UNICORN (voice only): That cannot be. Why would I be the last? What do men know? Because they have seen no unicorns for a while does not mean that we have all vanished. We do not vanish. There has never been a time without unicorns. We live forever. We are as old as the sky, old as the moon. We can be hunted, trapped We can even be killed if we leave our forests, but we do not vanish. Am I truly the last?

(Enter a butterfly {VOICE OF ROBERT KLEIN}, singing.)

BUTTERFLY: Wave the flag for Hudson Highborn, show them how we stand! I am a roving gambler; how do you do?
UNICORN: Hello, butterfly, welcome. Have you travelled very far?
BUTTERFLY: How far would I travel, yes sir! - to be where you are? Clay lies still, but blood's a-rover. Red Rover, Red Rover, let Charlie come over! Won't you come home, Bill Bailey, won't you come home? My wild Irish rose. (Embraces her horn.)
UNICORN: Be a little respectful, butterfly! Do you know who I am?
BUTTERFLY: Excellent well, you're a fishmonger! You're my everything, you are my sunshine, you're old and grey and full of sleep, you're my pickle-faced, consumptive Mary Jane!
UNICORN: Say my name, then. If you know my name, tell it to me.
BUTTERFLY: Your name is a golden bell hung in my heart. I would break my body to pieces to call you once by your name!
UNICORN: Say it, if you know.
BUTTERFLY: Rumpelstiltskin! Gotcha!
UNICORN: I should know better than to expect a silly butterfly to know my name.

BUTTERFLY: One, two, three o'lairy!
UNICORN: Butterfly, in all your wanderings, have you seen others like me? Have you seen even one?
BUTTERFLY: Oh, have you seen the muffin man, the muffin man, the muffin man?
UNICORN: Butterfly, even one? Tell me that you saw only one?
BUTTERFLY: One? One alone, to be my own… [Up goes downwind, up go down!] Go and catch a falling star…
UNICORN: It serves me right for even asking you. All butterflies know are songs and poetry and anything else they hear. I guess you mean well. Fly away, butterfly.
BUTTERFLY: Oh, I must take the A train, oh, I am a cook and a captain bold and the mate of the Nancy brig. Has anybody here seen Kelly?
UNICORN: I hope you hear many more songs. I must find someone who knows me, who has seen others like me.
BUTTERFLY (serious voice): "Unicorn". Old French, "unicorne". Latin, "unicornis". Literally, one horned: "unus", one, and "cornu", a horn. A fabulous animal resembling a horse with one horn. Visible only to those who search and trust, and generally mistaken for a white mare. Unicorn.
UNICORN: Oh, you do know me! Please, all I want to know is if you've seen other unicorns like me, somewhere in the world.
BUTTERFLY: See you later, alligator! Close cover before striking!
UNICORN: Butterfly, have you seen the others? Where have they gone? Tell me which way I must go to find them!
BUTTERFLY: (strange voice) No, no, listen. Don't listen to me, listen. You can find the others if you are brave.
(Shows unicorns running down a path, and a great red mass chasing them.)
BUTTERFLY (voice only) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footsteps.
UNICORN: Red Bull? What is the Red Bull?
BUTTERFLY: Hold tight. Hold tight. Hold tight, hold tight. …(same strange voice) His firstling bull has majesty, and his horns are the horns of a wild ox. With them, he shall push the unicorns, all of them, to the ends of the earth. Listen, listen, listen quickly!
UNICORN: I am listening! Where are the other unicorns, and what is the Red Bull?
BUTTERFLY: Listen, listen! (laughs) The king is in the counting house, counting out, counting out, counting… It's you or me, moth! Hand to hand to hand to hand to hand to hand… (He flies off.)
UNICORN: He said I could find the other unicorns. But where? Or was the story of the Red Bull just another of his songs? …Oh, I could never leave this forest. But I must know if I am the only unicorn left in the world. Suppose they are hiding together, somewhere far away? What if they're waiting for me, in need of my help?

(A similar scene is shown.)

BUTTERFLY: (voice-over): They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs in fear and begins running. She reaches the edge of the forest, where all the animals of the wood are looking at her. She stares at them for a second, then turns and runs down the road leading away.)
UNICORN: (voice only): I must go quickly, and come back as soon as I can.
(The unicorn runs down the road.)
BUTTERFLY (voice-over): You can find the others if you are brave.
(Shows unicorn running slower and slower through the seasons…)

(Scene: A fat old man is hoeing in his field as the unicorn walks up the road towards him.)

FARMER: Well, hello there, little one. Hello there, me dear. And just who might you belong to… a pretty little thing like you? Come on now. Good girl. Good Bessie. (Takes off his belt and makes it into a loop.) Curry you up, clean you off, you'll be the prettiest old mare anywhere.
(The unicorn neighs loudly and eludes the belt.)
UNICORN: (voice only) Mare? Mare? I, a horse? Is that what you take me for? Is that what you see?
FARMER: So, so, easy, easy, good girl. What a pretty sight you are! Feed you up, take you to the fair. Come on, horse!
UNICORN: (voice only) A horse, am I? A horse, indeed! (The unicorn hooks her horn through the belt, throws it to the ground, and runs off down the road, making the farmer lose his balance and fall.)
FARMER: Now there's a horse! My foot must have slipped.

(Scene: The unicorn is sitting by the side of the road. A man driving a carriage passes by and all he sees is a horse.)

UNICORN: (voice only): I had forgotten that men cannot see unicorns.

(INTRO) If men no longer know what they are looking at, there may well be other unicorns in the world yet, unknown and glad of it.

AMERICA: Horizon rising up to meet the purple dawn,
Dust demon screaming, bring an eagle to lead me on.
For in my heart, I carry such a heavy load.
Here I am, on man's road.
Walking man's road…
Walking man's road…

I'm hungry, weary, but I cannot lay me down.
The rain calls, dreary, but there's no shelter I have found.
It will be a long time till I find my abode,
Here I am, on man's road.
Walking man's road…
Walking man's road…
etc.
.
(Song Scenes: Unicorn walking down the road, rain falling past a bridge.)

(Scene: The unicorn is sleeping in the grass by the side of the road. A black caravan of wagons approaches. On the side of two of them, a black canvas is hung. In red letters, it says "Mommy Fortuna's Midnight Carnival". In smaller ones underneath, "Creatures Of Night, Brought To Light". We see a bent old woman {VOICE OF ANGELA LANSBURY} driving the foremost wagon. She has a hat shaped like a tree branch, with a raven on it. She stops the wagon once she sees the unicorn.)

OLD WOMAN:' Well. Well, bless my old husk of a heart. And here I thought I'd seen the last of them. (Calls to the wagons) Here, you two!

(We see two men get down from the second and third wagons. One is short and hunched, with an eye patch {VOICE OF BROTHER THEODORE}; the other is tall; we can't see his face yet {VOICE OF ALAN ARKIN}.)

MOMMY FORTUNA: If he knew… But I don't think I'll tell him. He'll think it's a horse for sure. Some wizard I hired.
SHORT MAN: Now just what in hell was that you stopped for?
MOMMY FORTUNA: What do you think it is, Rukh? What do you see lying there?
RUKH: Dead horse.
MOMMY FORTUNA: You're a fool! But I knew that. What about you, wizard? What do you see with your sorcerer's sight?

(Rukh elbows the tall man and laughs. We see his face now; he has no beard, green eyes, and a pointed blue cap. He stares at the unicorn. The old woman grabs his collar and pulls his face down to her level.)

MOMMY FORTUNA: Answer me, you juggler!
TALL MAN: I - I see a horse. Just - just a white mare.
MOMMY FORTUNA (chuckles): I thought so. All right. It's a white mare. I want her for the carnival. The last cage is empty.
RUKH: We'll need rope.
MOMMY FORTUNA: The rope that could hold that mare has not been woven. We'll make do with cold iron bars.
TALL MAN: Oh, she's waking!
MOMMY FORTUNA: I'll cast a sleep on her! [Skagribbitch! Kastamangya! Nitchai! Nitchaul!] (Something emanates from the old woman's fingers. It materializes into a solid, curved, glowing blue horn in front of the unicorn's real one.)
MOMMY FORTUNA: Now cage her. She'll sleep till sunrise.

(Scene: Morning. The cages are arranged in formation. Rukh is showing a bunch of villagers around the creatures in the Midnight Carnival.)

RUKH: This here is the manticore. A man's head, a lion's body, tail of a scorpion. (The villagers murmur.) Creatures of night, brought to light. Here is a dragon. Breathes fire now and then. Mostly at people who poke it, little boy. Its inside is an inferno, but its skin is so cold, it burns! Speaks 17 languages badly and is subject to gout. Creatures of night, brought to light! The Satyr. Ladies, keep back!

(The tall man sneaks up to the unicorn's cage.)

TALL MAN: I shouldn't be here. But quickly, tell me what you see. Don't be afraid. Look at your fellow legends and tell me what you see.
UNICORN: What he calls a manticore looks to be no more than a shabby, toothless lion. And she has them believing that poor old ape with a twisted foot is a satyr! Illusions! Deceptions! Mirages! Your Mommy Fortuna cannot truly change things!
TALL MAN: That's true; she can only disguise. And only for those eager to believe whatever comes easiest.
RUKH (to the villagers): The Midgard Serpent. It's got the whole world in its coils.
TALL MAN: (to the unicorn) No, she can't turn cream into butter. But she can make a lion look like a manticore to eyes that want to see a manticore. Just as she'd put a false horn on a real unicorn to make them see the unicorn. …I know you. If I were blind I would know who you are.
UNICORN: Who are you?
TALL MAN: I am called Schmendrick, the magician. You wouldn't have heard of me. …I entertain the sightseers as they gather for the show. It's not much of a job for a real magician, but I've had worse.
UNICORN: (looks at a cage nearby): That one is real. That is the harpy, Celaeno.
(The harpy caws out maliciously.)
SCHMENDRICK: Yes. The old woman caught her by chance, asleep, just as she took you. Oh, she should never have meddled with a real harpy, or a real unicorn for that matter, because the truth melts her magic, always.
(harpy caws some more)
SCHMENDRICK: She's going to free herself very soon now, and she must not catch you still caged.
RUKH (sees him): Go on, get away from there! You know what she told you!
SCHMENDRICK (bows clumsily to the unicorn): Don't be afraid! Schmendrick is with you! Do nothing till you hear from me! (runs away down past the cages)
RUKH (stops at the unicorn's cage): The unicorn.
VILLAGERS: A unicorn! (murmuring)

(Scene: Later in the day. Rukh is staring at the harpy; Mommy Fortuna is next to him.)

RUKH: I don't care how many damn spells you've got on her. Get rid of that harpy! I thinks about it all the time - what she's going to do to us! Get rid of her, Mommy!
MOMMY FORTUNA: Fool, be still! No other witch in the world holds a harpy captive, and none ever will. I choose to keep her! I can turn her into wind if she escapes, or snow! Or into seven notes of music!
(The harpy screams and begins beating her wings. The cage shakes.)
RUKH: (moans): She's breaking through! (runs away)
MOMMY FORTUNA (moves her fingers around; the same sort of essence flows out of them.): No. Not yet. Not yet. You're mine. If you kill me, you're still mine.
(The harpy calms down and the cage stops shaking.)
MOMMY FORTUNA: (cackles and talks to the unicorn): The harpy's as real as you are, and just as immortal. And she was just as easy to capture, if you want to know

MOMMY FORTUNA: Who are you for then? Do you think those fools knew you without any help from me? (laughs) No! I had to give you a horn they could see! These days it takes a cheap carnival trick to make folks recognize a real unicorn. But the Red Bull will know you when he sees you; so you are safer here. You should thank me for protecting you.

(Scene: That night. Schmendrick sneaks up to the unicorn's cage.)

SCHMENDRICK: Schmendrick is with you! I'm sorry, but I couldn't get away any sooner.
UNICORN: There has never been a spell on me before. There has never been a world in which I was not known.
SCHMENDRICK: Oh, I know exactly how you feel. It's a very rare person who is taken for what he truly is.
UNICORN: Will you help me?
SCHMENDRICK: If not you, no one. You're my last chance.

SCHMENDRICK: Schmendrick is with you! I'm sorry, but I couldn't get away any sooner.
UNICORN: There has never been a spell on me before. There has never been a world in which I was not known.
SCHMENDRICK: Oh, I know exactly how you feel. It's a very rare person who is taken for what he truly is.
UNICORN: Will you help me?
SCHMENDRICK: If not you, no one. You're my last chance.
UNICORN: Can you truly set me free?
SCHMENDRICK: Mommy Fortuna doesn't think so. She sees me as a clumsy fraud, a trickster. But I am Schmendrick the Magician! - the last of the red-hot swamis! And I too am real, like you, like her. Yes, I will help you.
UNICORN: Where is the other man?
SCHMENDRICK: Rukh? Oh, don't worry about him. I asked him a riddle, and it always takes that lout all night to solve riddles. And now… [Shara sineverel morlin sudai! Suni numira eddi subai!]

(The unicorn sees a forest with green leaves, and her forest creatures looking at her. But the mirage soon disappears, leaving the cage behind.)

SCHMENDRICK (embarrassed): I-I'm sorry, I would have like that to be the spell that freed you. That's, uh, that's okay. Next one. Well, let's - try this one. Okay. [Urchulis sulai esumina gaminajo!] - This is a super-spell. Tha bars are now as brittle as old cheese, which I crumble and scatter, so! Whoouch!

(Schmendrick grabs the bars and they burn his hands. The hands are red and bloody. He shakes them, trying to get the pain off.)

SCHMENDRICK: Whoa, I must have gotten the accent wrong. It comes and it goes.
UNICORN: Try again. Once more. There's very little time left. Hurry!
(Schmendrick whistles three notes, then sprinkles some powder over the cage, which begins to shrink.)
SCHMENDRICK: [low words]
UNICORN: Stop the bars!
SCHMENDRICK: No, no, [uh, serenin perenin] - ugh! (the bars stop moving inwards.) I dare no more. The next time, I might not be able to-

UNICORN: Try again. The spell was wrong, but there was true magic in it. Try again!.)

SCHMENDRICK: My dear, you deserve the services of a great wizard, but I'm afraid you'll have to be glad of the aid of a second-rate pickpocket. (Schmendrick procures a key ring, which he tries on the lock, which is shaped like a lion's mouth. One key turns inside.)
LOCK (in Mommy Fortuna's voice): (laughs) Some magician! Some magician!
SCHMENDRICK: Ah, turn blue.
UNICORN: Hurry!
(The lock groans as Schmendrick opens it.)
SCHMENDRICK: Step down, lady! You are free!
(The spell on the unicorn disperses as she leaps out of the cage. Rukh enters.)
RUKH: Okay, Schmendrick, I give up. Why is a raven like a writing desk? (The unicorn leaps into the bushes; Rukh doesn't see her.)
RUKH: The cage. You have taken my keys. Why, you thin thief. She'll string you on barbed wire to make a necklace for the harpy!

(Rukh starts walking back towards Mommy Fortuna's wagon.)
SCHMENDRICK: Run! (He runs at Rukh and jumps him. They struggle on the ground. The unicorn goes around to the cages and opens the doors with her horn, freeing the animals inside.)
SCHMENDRICK (fighting with Rukh): You pile of stones! I'll set all your toenails growing in when you mess with me!
RUKH (comes on top and starts choking Schmendrick): (laughs) Some magician. You couldn't turn cream into cheese, you Schmendrick you!
(Schmendrick bashes the key ring into Rukh's head. Rukh lets go and falls off in a daze. The animals are free. Only the harpy remains as the unicorn faces her.)
SCHMENDRICK: No, she'll kill you! Run, she'll kill you if you set her free!
HARPY (voice only): Set me free. We are sisters, you and I.

(The unicorn touches her horn to the lock. The harpy breaks the cage with her wings and goes free. She lunges at the unicorn and misses. She circles around and lunges again - behind the unicorn, at Mommy Fortuna.)

MOMMY FORTUNA: (laughs) Not alone! You never could have freed yourselves alone! I held you! (She opens her arms as if to embrace the harpy's death lunge. She is struck down and the harpy settles down to feed on her body.)
SCHMENDRICK: Run, run, [can't hear this sentence] run, run away from here, now!
UNICORN: No. Come with me. Come with me.
(We hear the harpy cawing and Rukh screaming for a short second. Schmendrick winces.)
UNICORN: Don't look back, and don't run. You must never run from anything immortal, it attracts their attention.
(The harpy circles again but doesn't see the two walking away

Scene: A misty forest. Schmendrick is huddled at the foot of a tree, the unicorn is standing over him.)

.

UNICORN: Oh, that poor old woman - I didn't want her to - I didn't know -
UNICORN: She chose her death long ago. It was the fate she wanted.
SCHMENDRICK: And you, you have no regrets, as I do?
UNICORN: I can never regret. I can feel sorrow, but it's not the same thing.
SCHMENDRICK: Where will you go now?
UNICORN: I am looking for others like me. Have you seen them, magician?
SCHMENDRICK: No, I've never seen anyone like you. Not while I was awake, anyway.
UNICORN: A butterfly told me of a Red Bull, who pushed all the other unicorns to the ends of the earth. And Mommy Fortuna spoke of a King Haggard. So I'm going where they are, to learn whatever they know.
SCHMENDRICK: Take me with you, for lucks, for laughs, for the unknown.
UNICORN: You may come with me if you like, though I wish you'd asked for some other reward for having freed me.
SCHMENDRICK: Well, I thought about it, but you could never have granted my true wish.
UNICORN: No. I cannot turn you into something you are not. I cannot turn you into a true magician.
SCHMENDRICK: That's all right, don't worry about it.
UNICORN: I'm not

Scene: An open road.)

UNICORN: What do you know of King Haggard?
SCHMENDRICK: I have heard that he's an old man who rules over barren country by the sea. Some say that Haggard's land was green and soft once, before he came, but the minute he touched it, it became hard and grey.

(Scene: They are crossing a river by stepping on stones. The unicorn steps across first.)

UNICORN: Tell me about the Red Bull.
SCHMENDRICK: The Red Bull? I've heard too many tales, to tell you the truth. I've heard (stumbles) - I've heard that the Bull is real, that the Bull is a ghost - (trips over a stone and stumbles on the unicorn, who moves away quickly at his touch.) Sorry.

(Scene: A red hilltop.)

Scene: A red hilltop.)

SCHMENDRICK: I've heard that the Red Bull protects Haggard or else that he keeps him a prisoner in his own castle - there are so many stories.
(The same scene is shown as with the Butterfly.)
BUTTERFLY: (voice-over) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs and shakes her head wildly.)

Scene: A forest.)

SCHMENDRICK: (juggling one orange, which turns into many, which then juggle by themselves. He picks one up and offers it to the unicorn.) Want one? (shrugs and puts them all back into his bag.)
UNICORN: How much further is it?
SCHMENDRICK: This is the edge of Haggard's kingdom. It's very, very dangerous country. Mommy Fortuna never came within miles of here. (The sound of hooves approaches.)
SCHMENDRICK: Listen! …Oh, oh, I was afraid of that. Run, swiftly, hide yourself! We'll find each other later!
UNICORN: Why? Who are they?
SCHMENDRICK: Outlaws!

(The unicorn hides in the bushes while Schmendrick climbs a tree. The outlaws approach. One very large man with stubble stops his horse as he nears Schmendrick's tree.)

LARGE MAN: Whoa! Well, what have we here? (The tip of Schmendrick's hat protrudes from the tree.) Hi, lads! Mind your heads now! It's raining ninnies! (laughs raucously and pulls Schmendrick down from the tree and onto his horse. They ride off.)

(Scene: A campfire at night. Several very miserable-looking men are sitting around drinking something from mugs.)

ONE MAN: (spits out the liquid in his cup) Rat soup. Again rat soup.
SECOND MAN: At least she could use a different rat. The third night, anyway.

(The outlaws ride in. Schmendrick is draped over the large man's horse sideways.)

SCHMENDRICK: Put me down, you fool!
LARGE MAN: (dunks Schmendrick's head into the horse's back) Aye, lad, quiet there. You're for Captain Cully himself, you are.
(A fat, red-haired man dressed in richer rags {VOICE OF KEENAN WYNN} steps forward.)
CAPTAIN CULLY: Well, Jack Jingly! And who is it you bring us, comrade or captive?
JACK JINGLY: I dunno what he is myself. What happened, Cully? We were out looking for likely travellers, like always.
CAPTAIN CULLY: (calls over his shoulder) Add some more water to the soup, love! There's company!
(A thin, middle-ages woman with wild hair the color of dead weeds {VOICE OF TAMMY GRIMES} pushes through the ring of men.)
WOMAN: I'll not have it, Cully! Not another mouth to feed! The soup's no thicker than sweat as it is!
CAPTAIN CULLY: My love, where's your greenwood hospitality?
WOMAN: (looking at Schmendrick) And who's this long lout? I don't like the look of him. Slit his wizard.

("She had meant to say either weasand or gizzard, and had said both…")

SCHMENDRICK: (getting off the horse) I wouldn't do that, because I am Schmendrick the Magician! And you, sir, you must be the famous Captain Cully, boldest of the bold and freest of the free!
CAPTAIN CULLY: That I am.
WOMAN: He's guessing, Cully, gut him, before he does you the way the last one did!
CAPTAIN CULLY: Well, that's only Molly Grue's way. But she has a good heart, a good heart. (Puts his arm on her shoulder.)
MOLLY GRUE (brushes him off): Off with you.
SCHMENDRICK: And this lady, don't tell me, she must be your faithful and beautiful companion.
MOLLY GRUE: Maybe he does know.
CAPTAIN CULLY: (laughs) Yes, splendid woman. You are welcome here, sorcerer. Come to the fire and tell me what you've heard of dashing…
CAPTAIN CULLY: and his band of freemen. (Sits him down) Have a taco.

Scene: Later that night.)
CAPTAIN CULLY: You're a lucky guest this evening, magician. My minstrel, Willy Gentle, here, was just about to inspire us by singing one of the adventures of bold Captain Cully and his men.
(General groans and complaints from the men.)
"MERRY" MAN: Nay, Willy! Not that thing again!
MOLLY GRUE: Willy! Sing us a true song! Sing us one about Robin Hood!
CAPTAIN CULLY: There is no Robin Hood! Robin Hood is a myth!
SCHMENDRICK: (gets up and begins murmuring over and over again) Magic, do as you will. Magic, magic, do as you will. (A wind starts up.)
CAPTAIN CULLY: And now, lads, with that out of the way -
MOLLY GRUE: Look! Oh, look there!

(A tall figure dressed in green comes striding into the campsite, with an almost-as-tall maiden next to him.)
CAPTAIN CULLY: (rushes to greet them) Sir, madam, I welcome you to my domain! My name is Captain Cully, of the greenwood! (he bows, and they pass right through him.)
MOLLY GRUE: Oh, Robin! And Marian!

in: Transcripts Wiki
The Last Unicorn

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(Scene: A forest in late afternoon. Two huntsmen on horses ride in. The first has a black beard; the second is younger and has red hair and a feather in his cap.) [Barking]

ELDER HUNTSMAN: I mislike the feel of these woods. Creatures that live in a unicorn's forest learn a little magic of their own in time; mainly concerned with disappearing.
YOUNGER HUNTSMAN: Unicorns? I thought they only existed in fairy tales. This is a forest like any other. Isn't it?

ELDER HUNTSMAN: Then why do the leaves never fall here? Or the snow? Why is it always spring here? I tell you, there is one unicorn left in the world, and as long as it lives in this forest, we'll find no game to hunt here.
YOUNGER HUNTSMAN: Let's turn around. Hunt someplace else.
ELDER HUNTSMAN: All right.
(They turn and ride to the edge of the forest.)
ELDER HUNTSMAN: (turns back and calls out) Stay where you are, poor beast. This is no world for you. Stay in your forest and keep your trees green, and your friends protected. And good luck to you, for you are the last.
(They ride away. Close-up of a white, female unicorn {VOICE OF MIA FARROW}.)
UNICORN (voice only): I am the only unicorn there is? The last?
[Song Plays: I'm alive]

INTRO.

AMERICA: When the last eagle flies over the last crumbling mountain,
And the last lion roars at the last dusty fountain,
In the shadow of the forest, though she may be old and worn,
They will stare, unbelieving, at the last unicorn…

When the first breath of winter through the flowers is icing,
And you look to the north, and a pale moon is rising,
And it seems like all is dying, and would leave the world to mourn,
In the distance, hear the laughter of the last unicorn!
I'm Alive!
I'm Alive!

When the last moon is cast over the last star of morning,
And the future has passed without even a last desperate warning,
Then look into the stars, where through the clouds a path is torn,
Look and see her, how she sparkles, it's the last unicorn!
I'm Alive!
I'm Alive!

UNICORN (voice only): That cannot be. Why would I be the last? What do men know? Because they have seen no unicorns for a while does not mean that we have all vanished. We do not vanish. There has never been a time without unicorns. We live forever. We are as old as the sky, old as the moon. We can be hunted, trapped We can even be killed if we leave our forests, but we do not vanish. Am I truly the last?

(Enter a butterfly {VOICE OF ROBERT KLEIN}, singing.)

BUTTERFLY: Wave the flag for Hudson Highborn, show them how we stand! I am a roving gambler; how do you do?
UNICORN: Hello, butterfly, welcome. Have you travelled very far?
BUTTERFLY: How far would I travel, yes sir! - to be where you are? Clay lies still, but blood's a-rover. Red Rover, Red Rover,

let Charlie come over! Won't you come home, Bill Bailey, won't you come home? My wild Irish rose. (Embraces her horn.)
UNICORN: Be a little respectful, butterfly! Do you know who I am?
BUTTERFLY: Excellent well, you're a fishmonger! You're my everything, you are my sunshine, you're old and grey and full of sleep, you're my pickle-faced, consumptive Mary Jane!
UNICORN: Say my name, then. If you know my name, tell it to me.
BUTTERFLY: Your name is a golden bell hung in my heart. I would break my body to pieces to call you once by your name!
UNICORN: Say it, if you know.
BUTTERFLY: Rumpelstiltskin! Gotcha!
UNICORN: I should know better than to expect a silly butterfly to know my name.
BUTTERFLY: One, two, three o'lairy!
UNICORN: Butterfly, in all your wanderings, have you seen others like me? Have you seen even one?
BUTTERFLY: Oh, have you seen the muffin man, the muffin man, the muffin man?
UNICORN: Butterfly, even one? Tell me that you saw only one?
BUTTERFLY: One? One alone, to be my own… [Up goes downwind, up go down!] Go and catch a falling star…
UNICORN: It serves me right for even asking you. All butterflies know are songs and poetry and anything else they hear. I guess you mean well. Fly away, butterfly.
BUTTERFLY: Oh, I must take the A train, oh, I am a cook and a captain bold and the mate of the Nancy brig. Has anybody here seen Kelly?
UNICORN: I hope you hear many more songs. I must find someone who knows me, who has seen others like me.
BUTTERFLY (serious voice): "Unicorn". Old French, "unicorne". Latin, "unicornis". Literally, one horned: "unus", one, and "cornu", a horn. A fabulous animal resembling a horse with one horn. Visible only to those who search and trust, and generally mistaken for a white mare. Unicorn.
UNICORN: Oh, you do know me! Please, all I want to know is if you've seen other unicorns like me, somewhere in the world.
BUTTERFLY: See you later, alligator! Close cover before striking!
UNICORN: Butterfly, have you seen the others? Where have they gone? Tell me which way I must go to find them!
.

BUTTERFLY: (strange voice) No, no, listen. Don't listen to me, listen. You can find the others if you are brave.
(Shows unicorns running down a path, and a great red mass chasing them.)
BUTTERFLY (voice only) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footsteps.
UNICORN: Red Bull? What is the Red Bull?
BUTTERFLY: Hold tight. Hold tight. Hold tight, hold tight. …(same strange voice) His firstling bull has majesty, and his horns are the horns of a wild ox. With them, he shall push the unicorns, all of them, to the ends of the earth. Listen, listen, listen quickly!
UNICORN: I am listening! Where are the other unicorns, and what is the Red Bull?
BUTTERFLY: Listen, listen! (laughs) The king is in the counting house, counting out, counting out, counting… It's you or me, moth! Hand to hand to hand to hand to hand to hand… (He flies off.)
UNICORN: He said I could find the other unicorns. But where? Or was the story of the Red Bull just another of his songs? …Oh, I could never leave this forest. But I must know if I am the only unicorn left in the world. Suppose they are hiding together, somewhere far away? What if they're waiting for me, in need of my help?

(A similar scene is shown.)

BUTTERFLY: (voice-over): They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs in fear and begins running. She reaches the edge of the forest, where all the animals of the wood are looking at her. She stares at them for a second, then turns and runs down the road leading away.)
UNICORN: (voice only): I must go quickly, and come back as soon as I can.
(The unicorn runs down the road.)
BUTTERFLY (voice-over): You can find the others if you are brave.
(Shows unicorn running slower and slower through the seasons…)

(Scene: A fat old man is hoeing in his field as the unicorn walks up the road towards him.)

FARMER: Well, hello there, little one. Hello there, me dear. And just who might you belong to… a pretty little thing like you? Come on now. Good girl. Good Bessie. (Takes off his belt and makes it into a loop.) Curry you up, clean you off, you'll be the prettiest old mare anywhere.
(The unicorn neighs loudly and eludes the belt.)
UNICORN: (voice only) Mare? Mare? I, a horse? Is that what you take me for? Is that what you see?
FARMER: So, so, easy, easy, good girl. What a pretty sight you are! Feed you up, take you to the fair. Come on, horse!
UNICORN: (voice only) A horse, am I? A horse, indeed! (The unicorn hooks her horn through the belt, throws it to the ground, and runs off down the road, making the farmer lose his balance and fall.)
FARMER: Now there's a horse! My foot must have slipped.

(Scene: The unicorn is sitting by the side of the road. A man driving a carriage passes by and all he sees is a horse.)

UNICORN: (voice only): I had forgotten that men cannot see unicorns.

(INTRO) If men no longer know what they are looking at, there may well be other unicorns in the world yet, unknown and glad of it

Scene: A fat old man is hoeing in his field as the unicorn walks up the road towards him.)

FARMER: Well, hello there, little one. Hello there, me dear. And just who might you belong to… a pretty little thing like you? Come on now. Good girl. Good Bessie. (Takes off his belt and makes it into a loop.) Curry you up, clean you off, you'll be the prettiest old mare anywhere.
(The unicorn neighs loudly and eludes the belt.)
UNICORN: (voice only) Mare? Mare? I, a horse? Is that what you take me for? Is that what you see?
FARMER: So, so, easy, easy, good girl. What a pretty sight you are! Feed you up, take you to the fair. Come on, horse!
UNICORN: (voice only) A horse, am I? A horse, indeed! (The unicorn hooks her horn through the belt, throws it to the ground, and runs off down the road, making the farmer lose his balance and fall.)
FARMER: Now there's a horse! My foot must have slipped.

(Scene: The unicorn is sitting by the side of the road. A man driving a carriage passes by and all he sees is a horse.)

Scene: The unicorn is sitting by the side of the road. A man driving a carriage passes by and all he sees is a horse.)

UNICORN: (voice only): I had forgotten that men cannot see unicorns.

(INTRO) If men no longer know what they are looking at, there may well be other unicorns in the world yet, unknown and glad of it.

AMERICA: Horizon rising up to meet the purple dawn,
Dust demon screaming, bring an eagle to lead me on.
For in my heart, I carry such a heavy load.
Here I am, on man's road.
Walking man's road…
Walking man's road…

I'm hungry, weary, but I cannot lay me down.
The rain calls, dreary, but there's no shelter I have found.
It will be a long time till I find my abode,
Here I am, on man's road.
Walking man's road…
Walking man's road…
etc.

(Song Scenes: Unicorn walking down the road, rain falling past a bridge.)

Scene: The unicorn is sleeping in the grass by the side of the road. A black caravan of wagons approaches. On the side of two of them, a black canvas is hung. In red letters, it says "Mommy Fortuna's Midnight Carnival". In smaller ones underneath, "Creatures Of Night, Brought To Light". We see a bent old woman {VOICE OF ANGELA LANSBURY} driving the foremost wagon. She has a hat shaped like a tree branch, with a raven on it. She stops the wagon once she sees the unicorn.)

OLD WOMAN:' Well. Well, bless my old husk of a heart. And here I thought I'd seen the last of them. (Calls to the wagons) Here, you two!

(We see two men get down from the second and third wagons. One is short and hunched, with an eye patch {VOICE OF BROTHER THEODORE}; the other is tall; we can't see his face yet {VOICE OF ALAN ARKIN}.)

MOMMY FORTUNA: If he knew… But I don't think I'll tell him. He'll think it's a horse for sure. Some wizard I hired.
SHORT MAN: Now just what in hell was that you stopped for?
MOMMY FORTUNA: What do you think it is, Rukh? What do you see lying there?
RUKH: Dead horse.
MOMMY FORTUNA: You're a fool! But I knew that. What about you, wizard? What do you see with your sorcerer's sight?

(Rukh elbows the tall man and laughs. We see his face now; he has no beard, green eyes, and a pointed blue cap. He stares at the unicorn. The old woman grabs his collar and pulls his face down to her level.)

MOMMY FORTUNA: Answer me, you juggler!
TALL MAN: I - I see a horse. Just - just a white mare.
MOMMY FORTUNA (chuckles): I thought so. All right. It's a white mare. I want her for the carnival. The last cage is empty.
RUKH: We'll need rope.
MOMMY FORTUNA: The rope that could hold that mare has not been woven. We'll make do with cold iron bars.
TALL MAN: Oh, she's waking!

TALL MAN: Oh, she's waking!
MOMMY FORTUNA: I'll cast a sleep on her! [Skagribbitch! Kastamangya! Nitchai! Nitchaul!] (Something emanates from the old woman's fingers. It materializes into a solid, curved, glowing blue horn in front of the unicorn's real one.)
MOMMY FORTUNA: Now cage her. She'll sleep till sunrise.

(Scene: Morning. The cages are arranged in formation. Rukh is showing a bunch of villagers around the creatures in the Midnight Carnival.)

RUKH: This here is the manticore. A man's head, a lion's body, tail of a scorpion. (The villagers murmur.) Creatures of night, brought to light. Here is a dragon. Breathes fire now and then. Mostly at people who poke it, little boy. Its inside is an inferno, but its skin is so cold, it burns! Speaks 17 languages badly and is subject to gout. Creatures of night, brought to light! The Satyr. Ladies, keep back!

TALL MAN: I shouldn't be here. But quickly, tell me what you see. Don't be afraid. Look at your fellow legends and tell me what you see.
UNICORN: What he calls a manticore looks to be no more than a shabby, toothless lion. And she has them believing that poor old ape with a twisted foot is a satyr! Illusions! Deceptions! Mirages! Your Mommy Fortuna cannot truly change things!
TALL MAN: That's true; she can only disguise. And only for those eager to believe whatever comes easiest.
RUKH (to the villagers): The Midgard Serpent. It's got the whole world in its coils.
TALL MAN: (to the unicorn) No, she can't turn cream into butter. But she can make a lion look like a manticore to eyes that want to see a manticore. Just as she'd put a false horn on a real unicorn to make them see the unicorn. …I know you. If I were blind I would know who you are.
UNICORN: Who are you?
TALL MAN: I am called Schmendrick, the magician. You wouldn't have heard of me. …I entertain the sightseers as they gather for the show. It's not much of a job for a real magician, but I've had worse.

TALL MAN: I am called Schmendrick, the magician. You wouldn't have heard of me. …I entertain the sightseers as they gather for the show. It's not much of a job for a real magician, but I've had worse.
UNICORN: (looks at a cage nearby): That one is real. That is the harpy, Celaeno.
(The harpy caws out maliciously.)
SCHMENDRICK: Yes. The old woman caught her by chance, asleep, just as she took you. Oh, she should never have meddled with a real harpy, or a real unicorn for that matter, because the truth melts her magic, always.
(harpy caws some more)
SCHMENDRICK: She's going to free herself very soon now, and she must not catch you still caged.
RUKH (sees him): Go on, get away from there! You know what she told you!
SCHMENDRICK (bows clumsily to the unicorn): Don't be afraid! Schmendrick is with you! Do nothing till you hear from me! (runs away down past the cages)
RUKH (stops at the unicorn's cage): The unicorn.
VILLAGERS: A unicorn! (murmuring)

Scene: Later in the day. Rukh is staring at the harpy; Mommy Fortuna is next to him.)

RUKH: I don't care how many damn spells you've got on her. Get rid of that harpy! I thinks about it all the time - what she's going to do to us! Get rid of her, Mommy!
MOMMY FORTUNA: Fool, be still! No other witch in the world holds a harpy captive, and none ever will. I choose to keep her! I can turn her into wind if she escapes, or snow! Or into seven notes of music!
(The harpy screams and begins beating her wings. The cage shakes.)
RUKH: (moans): She's breaking through! (runs away)
MOMMY FORTUNA (moves her fingers around; the same sort of essence flows out of them.): No. Not yet. Not yet. You're mine. If you kill me, you're still mine.
(The harpy calms down and the cage stops shaking.)

MOMMY FORTUNA: (cackles and talks to the unicorn): The harpy's as real as you are, and just as immortal. And she was just as easy to capture, if you want to know.
UNICORN: Do not boast, old woman. Your death sits in that cage and she hears you.
MOMMY FORTUNA: Oh, she'll kill me one day or another, but she will remember forever that I caught her, that I held her prisoner. So there's my immortality, eh? (laughs) Now, you were out on the road hunting for your own death, and I know where it awaits you. I know him, that one.
UNICORN: Do you speak of the Red Bull? Tell me if you do, and where he is, if you know!
MOMMY FORTUNA: The Red Bull of King Haggard. So you know of the Bull. Well, he'll not have you. You belong to me.
UNICORN: You know better. Keep your poor shadows if you will, but let me go. And - let her go. I cannot see her caged. She is real, like me. We are two sides of the same magic. Let her go.
MOMMY FORTUNA: I'd quit show business first! Do you think I don't know what the true witchery is, just because I do what I do? There's not a witch in the world hasn't laughed at Mommy Fortuna and her homemade horrors - but there's not one of them who would have dared!
UNICORN:' The harpy and me - we are not for you.

MOMMY FORTUNA: Who are you for then? Do you think those fools knew you without any help from me? (laughs) No! I had to give you a horn they could see! These days it takes a cheap carnival trick to make folks recognize a real unicorn. But the Red Bull will know you when he sees you; so you are safer here. You should thank me for protecting you.

(Scene: That night. Schmendrick sneaks up to the unicorn's cage.)

SCHMENDRICK: Schmendrick is with you! I'm sorry, but I couldn't get away any sooner.
UNICORN: There has never been a spell on me before. There has never been a world in which I was not known.
SCHMENDRICK: Oh, I know exactly how you feel. It's a very rare person who is taken for what he truly is.
UNICORN: Will you help me?
SCHMENDRICK: If not you, no one. You're my last chance.

UNICORN: Can you truly set me free?
SCHMENDRICK: Mommy Fortuna doesn't think so. She sees me as a clumsy fraud, a trickster. But I am Schmendrick the Magician! - the last of the red-hot swamis! And I too am real, like you, like her. Yes, I will help you.
UNICORN: Where is the other man?
SCHMENDRICK: Rukh? Oh, don't worry about him. I asked him a riddle, and it always takes that lout all night to solve riddles. And now… [Shara sineverel morlin sudai! Suni numira eddi subai!]

(The unicorn sees a forest with green leaves, and her forest creatures looking at her. But the mirage soon disappears, leaving the cage behind.)

SCHMENDRICK (embarrassed): I-I'm sorry, I would have like that to be the spell that freed you. That's, uh, that's okay. Next one. Well, let's - try this one. Okay. [Urchulis sulai esumina gaminajo!] - This is a super-spell. Tha bars are now as brittle as old cheese, which I crumble and scatter, so! Whoouch!

(Schmendrick grabs the bars and they burn his hands. The hands are red and bloody. He shakes them, trying to get the pain off.)

in: Transcripts Wiki
The Last Unicorn

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Transcript

(Scene: A forest in late afternoon. Two huntsmen on horses ride in. The first has a black beard; the second is younger and has red hair and a feather in his cap.) [Barking]

ELDER HUNTSMAN: I mislike the feel of these woods. Creatures that live in a unicorn's forest learn a little magic of their own in time; mainly concerned with disappearing.
YOUNGER HUNTSMAN: Unicorns? I thought they only existed in fairy tales. This is a forest like any other. Isn't it?
ELDER HUNTSMAN: Then why do the leaves never fall here? Or the snow? Why is it always spring here? I tell you, there is one unicorn left in the world, and as long as it lives in this forest, we'll find no game to hunt here.
YOUNGER HUNTSMAN: Let's turn around. Hunt someplace else.
ELDER HUNTSMAN: All right.
(They turn and ride to the edge of the forest.)
ELDER HUNTSMAN: (turns back and calls out) Stay where you are, poor beast. This is no world for you. Stay in your forest and keep your trees green, and your friends protected. And good luck to you, for you are the last.
(They ride away. Close-up of a white, female unicorn {VOICE OF MIA FARROW}.)
UNICORN (voice only): I am the only unicorn there is? The last?
[Song Plays: I'm alive]

INTRO.

AMERICA: When the last eagle flies over the last crumbling mountain,
And the last lion roars at the last dusty fountain,
In the shadow of the forest, though she may be old and worn,
They will stare, unbelieving, at the last unicorn…

When the first breath of winter through the flowers is icing,
And you look to the north, and a pale moon is rising,
And it seems like all is dying, and would leave the world to mourn,
In the distance, hear the laughter of the last unicorn!
I'm Alive!
I'm Alive!

When the last moon is cast over the last star of morning,
And the future has passed without even a last desperate warning,
Then look into the stars, where through the clouds a path is torn,
Look and see her, how she sparkles, it's the last unicorn!
I'm Alive!
I'm Alive!

UNICORN (voice only): That cannot be. Why would I be the last? What do men know? Because they have seen no unicorns for a while does not mean that we have all vanished. We do not vanish. There has never been a time without unicorns. We live forever. We are as old as the sky, old as the moon. We can be hunted, trapped We can even be killed if we leave our forests, but we do not vanish. Am I truly the last?

(Enter a butterfly {VOICE OF ROBERT KLEIN}, singing.)

BUTTERFLY: Wave the flag for Hudson Highborn, show them how we stand! I am a roving gambler; how do you do?
UNICORN: Hello, butterfly, welcome. Have you travelled very far?
BUTTERFLY: How far would I travel, yes sir! - to be where you are? Clay lies still, but blood's a-rover. Red Rover, Red Rover, let Charlie come over! Won't you come home, Bill Bailey, won't you come home? My wild Irish rose. (Embraces her horn.)
UNICORN: Be a little respectful, butterfly! Do you know who I am?
BUTTERFLY: Excellent well, you're a fishmonger! You're my everything, you are my sunshine, you're old and grey and full of sleep, you're my pickle-faced, consumptive Mary Jane!
UNICORN: Say my name, then. If you know my name, tell it to me.
BUTTERFLY: Your name is a golden bell hung in my heart. I would break my body to pieces to call you once by your name!
UNICORN: Say it, if you know.
BUTTERFLY: Rumpelstiltskin! Gotcha!
UNICORN: I should know better than to expect a silly butterfly to know my name.
BUTTERFLY: One, two, three o'lairy!
UNICORN: Butterfly, in all your wanderings, have you seen others like me? Have you seen even one?
BUTTERFLY: Oh, have you seen the muffin man, the muffin man, the muffin man?
UNICORN: Butterfly, even one? Tell me that you saw only one?
BUTTERFLY: One? One alone, to be my own… [Up goes downwind, up go down!] Go and catch a falling star…
UNICORN: It serves me right for even asking you. All butterflies know are songs and poetry and anything else they hear. I guess you mean well. Fly away, butterfly.
BUTTERFLY: Oh, I must take the A train, oh, I am a cook and a captain bold and the mate of the Nancy brig. Has anybody here seen Kelly?
UNICORN: I hope you hear many more songs. I must find someone who knows me, who has seen others like me.
BUTTERFLY (serious voice): "Unicorn". Old French, "unicorne". Latin, "unicornis".

Literally, one horned: "unus", one, and "cornu", a horn. A fabulous animal resembling a horse with one horn. Visible only to those who search and trust, and generally mistaken for a white mare. Unicorn.
UNICORN: Oh, you do know me! Please, all I want to know is if you've seen other unicorns like me, somewhere in the world.
BUTTERFLY: See you later, alligator! Close cover before striking!
UNICORN: Butterfly, have you seen the others? Where have they gone? Tell me which way I must go to find them!
BUTTERFLY: (strange voice) No, no, listen. Don't listen to me, listen. You can find the others if you are brave.
(Shows unicorns running down a path, and a great red mass chasing them.)
BUTTERFLY (voice only) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footsteps.
UNICORN: Red Bull? What is the Red Bull?
BUTTERFLY: Hold tight. Hold tight. Hold tight, hold tight. …(same strange voice) His firstling bull has majesty, and his horns are the horns of a wild ox. With them, he shall push the unicorns, all of them, to the ends of the earth. Listen, listen, listen quickly!
UNICORN: I am listening! Where are the other unicorns, and what is the Red Bull?
BUTTERFLY: Listen, listen! (laughs) The king is in the counting house, counting out, counting out, counting… It's you or me, moth! Hand to hand to hand to hand to hand to hand… (He flies off.)
UNICORN: He said I could find the other unicorns. But where? Or was the story of the Red Bull just another of his songs? …Oh, I could never leave this forest. But I must know if I am the only unicorn left in the world. Suppose they are hiding together, somewhere far away? What if they're waiting for me, in need of my help?

(A similar scene is shown.)

BUTTERFLY: (voice-over): They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs in fear and begins running. She reaches the edge of the forest, where all the animals of the wood are looking at her. She stares at them for a second, then turns and runs down the road leading away.)
UNICORN: (voice only): I must go quickly, and come back as soon as I can.
(The unicorn runs down the road.)
BUTTERFLY (voice-over): You can find the others if you are brave.
(Shows unicorn running slower and slower through the seasons…)

(Scene: A fat old man is hoeing in his field as the unicorn walks up the road towards him.)

FARMER: Well, hello there, little one. Hello there, me dear. And just who might you belong to… a pretty little thing like you? Come on now. Good girl. Good Bessie. (Takes off his belt and makes it into a loop.) Curry you up, clean you off, you'll be the prettiest old mare anywhere.
(The unicorn neighs loudly and eludes the belt.)
UNICORN: (voice only) Mare? Mare? I, a horse? Is that what you take me for? Is that what you see?
FARMER: So, so, easy, easy, good girl. What a pretty sight you are! Feed you up, take you to the fair. Come on, horse!
UNICORN: (voice only) A horse, am I? A horse, indeed! (The unicorn hooks her horn through the belt, throws it to the ground, and runs off down the road, making the farmer lose his balance and fall.)
FARMER: Now there's a horse! My foot must have slipped.

(Scene: The unicorn is sitting by the side of the road. A man driving a carriage passes by and all he sees is a horse.)
.)

UNICORN: (voice only): I had forgotten that men cannot see unicorns.

(INTRO) If men no longer know what they are looking at, there may well be other unicorns in the world yet, unknown and glad of it.

AMERICA: Horizon rising up to meet the purple dawn,
Dust demon screaming, bring an eagle to lead me on.
For in my heart, I carry such a heavy load.
Here I am, on man's road.
Walking man's road…
Walking man's road…

I'm hungry, weary, but I cannot lay me down.
The rain calls, dreary, but there's no shelter I have found.
It will be a long time till I find my abode,
Here I am, on man's road.
Walking man's road…
Walking man's road…
etc.

(Song Scenes: Unicorn walking down the road, rain falling past a bridge.)

(Scene: The unicorn is sleeping in the grass by the side of the road. A black caravan of wagons approaches. On the side of two of them, a black canvas is hung. In red letters, it says "Mommy Fortuna's Midnight Carnival". In smaller ones underneath, "Creatures Of Night, Brought To Light". We see a bent old woman {VOICE OF ANGELA LANSBURY} driving the foremost wagon. She has a hat shaped like a tree branch, with a raven on it. She stops the wagon once she sees the unicorn.)

OLD WOMAN:' Well. Well, bless my old husk of a heart. And here I thought I'd seen the last of them. (Calls to the wagons) Here, you two!

(We see two men get down from the second and third wagons. One is short and hunched, with an eye patch {VOICE OF BROTHER THEODORE}; the other is tall; we can't see his face yet {VOICE OF ALAN ARKIN}.)

MOMMY FORTUNA: If he knew… But I don't think I'll tell him. He'll think it's a horse for sure. Some wizard I hired.
SHORT MAN: Now just what in hell was that you stopped for?
MOMMY FORTUNA: What do you think it is, Rukh? What do you see lying there?
RUKH: Dead horse.
MOMMY FORTUNA: You're a fool! But I knew that. What about you, wizard? What do you see with your sorcerer's sight?

(Rukh elbows the tall man and laughs. We see his face now; he has no beard, green eyes, and a pointed blue cap. He stares at the unicorn. The old woman grabs his collar and pulls his face down to her level.)

MOMMY FORTUNA: Answer me, you juggler!
TALL MAN: I - I see a horse. Just - just a white mare.
MOMMY FORTUNA (chuckles): I thought so. All right. It's a white mare. I want her for the carnival. The last cage is empty.
RUKH: We'll need rope.
MOMMY FORTUNA: The rope that could hold that mare has not been woven. We'll make do with cold iron bars.
TALL MAN: Oh, she's waking!
MOMMY FORTUNA: I'll cast a sleep on her! [Skagribbitch! Kastamangya! Nitchai! Nitchaul!] (Something emanates from the old woman's fingers. It materializes into a solid, curved, glowing blue horn in front of the unicorn's real one.)
MOMMY FORTUNA: Now cage her. She'll sleep till sunrise.

(Scene: Morning. The cages are arranged in formation. Rukh is showing a bunch of villagers around the creatures in the Midnight Carnival.)

RUKH: This here is the manticore. A man's head, a lion's body, tail of a scorpion. (The villagers murmur.) Creatures of night, brought to light. Here is a dragon. Breathes fire now and then. Mostly at people who poke it, little boy. Its inside is an inferno, but its skin is so cold, it burns! Speaks 17 languages badly and is subject to gout. Creatures of night, brought to light! The Satyr. Ladies, keep back!

(The tall man sneaks up to the unicorn's cage.)

TALL MAN: I shouldn't be here. But quickly, tell me what you see. Don't be afraid. Look at your fellow legends and tell me what you see.
UNICORN: What he calls a manticore looks to be no more than a shabby, toothless lion. And she has them believing that poor old ape with a twisted foot is a satyr! Illusions! Deceptions! Mirages! Your Mommy Fortuna cannot truly change things!
TALL MAN: That's true; she can only disguise. And only for those eager to believe whatever comes easiest.
RUKH (to the villagers): The Midgard Serpent. It's got the whole world in its coils.
TALL MAN: (to the unicorn) No, she can't turn cream into butter. But she can make a lion look like a manticore to eyes that want to see a manticore. Just as she'd put a false horn on a real unicorn to make them see the unicorn. …I know you. If I were blind I would know who you are.
UNICORN: Who are you?
TALL MAN: I am called Schmendrick, the magician. You wouldn't have heard of me. …I entertain the sightseers as they gather for the show. It's not much of a job for a real magician, but I've had worse.
UNICORN: (looks at a cage nearby): That one is real. That is the harpy, Celaeno.
(The harpy caws out maliciously.)
SCHMENDRICK: Yes. The old woman caught her by chance, asleep, just as she took you. Oh, she should never have meddled with a real harpy, or a real unicorn for that matter, because the truth melts her magic, always.
(harpy caws some more)
SCHMENDRICK: She's going to free herself very soon now, and she must not catch you still caged.
RUKH (sees him): Go on, get away from there! You know what she told you!
SCHMENDRICK (bows clumsily to the unicorn): Don't be afraid! Schmendrick is with you! Do nothing till you hear from me! (runs away down past the cages)
RUKH (stops at the unicorn's cage): The unicorn.
VILLAGERS: A unicorn! (murmuring)

(Scene: Later in the day. Rukh is staring at the harpy; Mommy Fortuna is next to him.)

RUKH: I don't care how many damn spells you've got on her. Get rid of that harpy! I thinks about it all the time - what she's going to do to us! Get rid of her, Mommy!
MOMMY FORTUNA: Fool, be still! No other witch in the world holds a harpy captive, and none ever will. I choose to keep her! I can turn her into wind if she escapes, or snow! Or into seven notes of

music!
(The harpy screams and begins beating her wings. The cage shakes.)
RUKH: (moans): She's breaking through! (runs away)
MOMMY FORTUNA (moves her fingers around; the same sort of essence flows out of them.): No. Not yet. Not yet. You're mine. If you kill me, you're still mine.
(The harpy calms down and the cage stops shaking.)
MOMMY FORTUNA: (cackles and talks to the unicorn): The harpy's as real as you are, and just as immortal. And she was just as easy to capture, if you want to know.
UNICORN: Do not boast, old woman. Your death sits in that cage and she hears you.
MOMMY FORTUNA: Oh, she'll kill me one day or another, but she will remember forever that I caught her, that I held her prisoner. So there's my immortality, eh? (laughs) Now, you were out on the road hunting for your own death, and I know where it awaits you. I know him, that one.
UNICORN: Do you speak of the Red Bull? Tell me if you do, and where he is, if you know!
MOMMY FORTUNA: The Red Bull of King Haggard. So you know of the Bull. Well, he'll not have you. You belong to me.
UNICORN: You know better. Keep your poor shadows if you will, but let me go. And - let her go. I cannot see her caged. She is real, like me. We are two sides of the same magic. Let her go.
MOMMY FORTUNA: I'd quit show business first! Do you think I don't know what the true witchery is, just because I do what I do? There's not a witch in the world hasn't laughed at Mommy Fortuna and her homemade horrors - but there's not one of them who would have dared!
UNICORN:' The harpy and me - we are not for you.
MOMMY FORTUNA: Who are you for then? Do you think those fools knew you without any help from me? (laughs) No! I had to give you a horn they could see! These days it takes a cheap carnival trick to make folks recognize a real unicorn. But the Red Bull will know you when he sees you; so you are safer here. You should thank me for protecting you.

(Scene: That night. Schmendrick sneaks up to the unicorn's cage.)

SCHMENDRICK: Schmendrick is with you! I'm sorry, but I couldn't get away any sooner.
UNICORN: There has never been a spell on me before. There has never been a world in which I was not known.
SCHMENDRICK: Oh, I know exactly how you feel. It's a very rare person who is taken for what he truly is.
UNICORN: Will you help me?
SCHMENDRICK: If not you, no one. You're my last chance.
UNICORN: Can you truly set me free?
SCHMENDRICK: Mommy Fortuna doesn't think so. She sees me as a clumsy fraud, a trickster. But I am Schmendrick the Magician! - the last of the red-hot swamis! And I too am real, like you, like her. Yes, I will help you.
UNICORN: Where is the other man?
SCHMENDRICK: Rukh? Oh, don't worry about him. I asked him a riddle, and it always takes that lout all night to solve riddles. And now… [Shara sineverel morlin sudai! Suni numira eddi subai!]

(The unicorn sees a forest with green leaves, and her forest creatures looking at her. But the mirage soon disappears, leaving the cage behind.)

SCHMENDRICK (embarrassed): I-I'm sorry, I would have like that to be the spell that freed you. That's, uh, that's okay. Next one. Well, let's - try this one. Okay. [Urchulis sulai esumina gaminajo!] - This is a super-spell. Tha bars are now as brittle as old cheese, which I crumble and scatter, so! Whoouch!

(Schmendrick grabs the bars and they burn his hands. The hands are red and bloody. He shakes them, trying to get the pain off.)

SCHMENDRICK: Whoa, I must have gotten the accent wrong. It comes and it goes.
UNICORN: Try again. Once more. There's very little time left. Hurry!
(Schmendrick whistles three notes, then sprinkles some powder over the cage, which begins to shrink.)
SCHMENDRICK: [low words]
UNICORN: Stop the bars!
SCHMENDRICK: No, no, [uh, serenin perenin] - ugh! (the bars stop moving inwards.) I dare no more. The next time, I might not be able to-
UNICORN: Try again. The spell was wrong, but there was true magic in it. Try again!
SCHMENDRICK: My dear, you deserve the services of a great wizard, but I'm afraid you'll have to be glad of the aid of a second-rate pickpocket. (Schmendrick procures a key ring, which he tries on the lock, which is shaped like a lion's mouth. One key turns inside

music!
(The harpy screams and begins beating her wings. The cage shakes.)
RUKH: (moans): She's breaking through! (runs away)
MOMMY FORTUNA (moves her fingers around; the same sort of essence flows out of them.): No. Not yet. Not yet. You're mine. If you kill me, you're still mine.
(The harpy calms down and the cage stops shaking.)
MOMMY FORTUNA: (cackles and talks to the unicorn): The harpy's as real as you are, and just as immortal. And she was just as easy to capture, if you want to know.
UNICORN: Do not boast, old woman. Your death sits in that cage and she hears you.
MOMMY FORTUNA: Oh, she'll kill me one day or another, but she will remember forever that I caught her, that I held her prisoner. So there's my immortality, eh? (laughs) Now, you were out on the road hunting for your own death, and I know where it awaits you. I know him, that one.
UNICORN: Do you speak of the Red Bull? Tell me if you do, and where he is, if you know!
MOMMY FORTUNA: The Red Bull of King Haggard. So you know of the Bull. Well, he'll not have you. You belong to me.
UNICORN: You know better. Keep your poor shadows if you will, but let me go. And - let her go. I cannot see her caged. She is real, like me. We are two sides of the same magic. Let her go.
MOMMY FORTUNA: I'd quit show business first! Do you think I don't know what the true witchery is, just because I do what I do? There's not a witch in the world hasn't laughed at Mommy Fortuna and her homemade horrors - but there's not one of them who would have dared!
UNICORN:' The harpy and me - we are not for you.
MOMMY FORTUNA: Who are you for then? Do you think those fools knew you without any help from me? (laughs) No! I had to give you a horn they could see! These days it takes a cheap carnival trick to make folks recognize a real unicorn. But the Red Bull will know you when he sees you; so you are safer here. You should thank me for protecting you.

(Scene: That night. Schmendrick sneaks up to the unicorn's cage.)

SCHMENDRICK: Schmendrick is with you! I'm sorry, but I couldn't get away any sooner.
UNICORN: There has never been a spell on me before. There has never been a world in which I was not known.
SCHMENDRICK: Oh, I know exactly how you feel. It's a very rare person who is taken for what he truly is.
UNICORN: Will you help me?
SCHMENDRICK: If not you, no one. You're my last chance.
UNICORN: Can you truly set me free?
SCHMENDRICK: Mommy Fortuna doesn't think so. She sees me as a clumsy fraud, a trickster. But I am Schmendrick the Magician! - the last of the red-hot swamis! And I too am real, like you, like her. Yes, I will help you.
UNICORN: Where is the other man?
SCHMENDRICK: Rukh? Oh, don't worry about him. I asked him a riddle, and it always takes that lout all night to solve riddles. And now… [Shara sineverel morlin sudai! Suni numira eddi subai!]

(The unicorn sees a forest with green leaves, and her forest creatures looking at her. But the mirage soon disappears, leaving the cage behind.)

SCHMENDRICK (embarrassed): I-I'm sorry, I would have like that to be the spell that freed you. That's, uh, that's okay. Next one. Well, let's - try this one. Okay. [Urchulis sulai esumina gaminajo!] - This is a super-spell. Tha bars are now as brittle as old cheese, which I crumble and scatter, so! Whoouch!

(Schmendrick grabs the bars and they burn his hands. The hands are red and bloody. He shakes them, trying to get the pain off.)

SCHMENDRICK: Whoa, I must have gotten the accent wrong. It comes and it goes.
UNICORN: Try again. Once more. There's very little time left. Hurry!
(Schmendrick whistles three notes, then sprinkles some powder over the cage, which begins to shrink.)
SCHMENDRICK: [low words]
UNICORN: Stop the bars!
SCHMENDRICK: No, no, [uh, serenin perenin] - ugh! (the bars stop moving inwards.) I dare no more. The next time, I might not be able to-
UNICORN: Try again. The spell was wrong, but there was true magic in it. Try again!
SCHMENDRICK: My dear, you deserve the services of a great wizard, but I'm afraid you'll have to be glad of the aid of a second-rate pickpocket. (Schmendrick procures a key ring, which he tries on the lock, which is shaped like a lion's mouth. One key turned

LOCK (in Mommy Fortuna's voice): (laughs) Some magician! Some magician!
SCHMENDRICK: Ah, turn blue.
UNICORN: Hurry!
(The lock groans as Schmendrick opens it.)
SCHMENDRICK: Step down, lady! You are free!
(The spell on the unicorn disperses as she leaps out of the cage. Rukh enters.)
RUKH: Okay, Schmendrick, I give up. Why is a raven like a writing desk? (The unicorn leaps into the bushes; Rukh doesn't see her.)
RUKH: The cage. You have taken my keys. Why, you thin thief. She'll string you on barbed wire to make a necklace for the harpy!
(Rukh starts walking back towards Mommy Fortuna's wagon.)
SCHMENDRICK: Run! (He runs at Rukh and jumps him. They struggle on the ground. The unicorn goes around to the cages and opens the doors with her horn, freeing the animals inside.)

SCHMENDRICK (fighting with Rukh): You pile of stones! I'll set all your toenails growing in when you mess with me!
RUKH (comes on top and starts choking Schmendrick): (laughs) Some magician. You couldn't turn cream into cheese, you Schmendrick you!
(Schmendrick bashes the key ring into Rukh's head. Rukh lets go and falls off in a daze. The animals are free. Only the harpy remains as the unicorn faces her.)
SCHMENDRICK: No, she'll kill you! Run, she'll kill you if you set her free!
HARPY (voice only): Set me free. We are sisters, you and I.

(The unicorn touches her horn to the lock. The harpy breaks the cage with her wings and goes free. She lunges at the unicorn and misses. She circles around and lunges again - behind the unicorn, at Mommy Fortuna.)

MOMMY FORTUNA: (laughs) Not alone! You never could have freed yourselves alone! I held you! (She opens her arms as if to embrace the harpy's death lunge. She is struck down and the harpy settles down to feed on her body.)
SCHMENDRICK: Run, run, [can't hear this sentence] run, run away from here, now!
UNICORN: No. Come with me. Come with me.
(We hear the harpy cawing and Rukh screaming for a short second. Schmendrick winces.)
UNICORN: Don't look back, and don't run. You must never run from anything immortal, it attracts their attention.
(The harpy circles again but doesn't see the two walking away.)

(Scene: A misty forest. Schmendrick is huddled at the foot of a tree, the unicorn is standing over him.)

UNICORN: She chose her death long ago. It was the fate she wanted.
SCHMENDRICK: And you, you have no regrets, as I do?
UNICORN: I can never regret. I can feel sorrow, but it's not the same thing.
SCHMENDRICK: Where will you go now?
UNICORN: I am looking for others like me. Have you seen them, magician?
SCHMENDRICK: No, I've never seen anyone like you. Not while I was awake, anyway.
UNICORN: A butterfly told me of a Red Bull, who pushed all the other unicorns to the ends of the earth. And Mommy Fortuna spoke of a King Haggard. So I'm going where they are, to learn whatever they know.
SCHMENDRICK: Take me with you, for lucks, for laughs, for the unknown.
UNICORN: You may come with me if you like, though I wish you'd asked for some other reward for having freed me.
SCHMENDRICK: Well, I thought about it, but you could never have granted my true wish.
.

UNICORN: No. I cannot turn you into something you are not. I cannot turn you into a true magician.
SCHMENDRICK: That's all right, don't worry about it.
UNICORN: I'm not

UNICORN: No. I cannot turn you into something you are not. I cannot turn you into a true magician.
SCHMENDRICK: That's all right, don't worry about it.
UNICORN: nooooot

Scene: An open road.)

UNICORN: What do you know of King Haggard?
SCHMENDRICK: I have heard that he's an old man who rules over barren country by the sea. Some say that Haggard's land was green and soft once, before he came, but the minute he touched it, it became hard and grey.

(Scene: They are crossing a river by stepping on stones. The unicorn steps across first.)

Scene: They are crossing a river by stepping on stones. The unicorn steps across first.)

UNICORN: Tell me about the Red Bull.
SCHMENDRICK: The Red Bull? I've heard too many tales, to tell you the truth. I've heard (stumbles) - I've heard that the Bull is real, that the Bull is a ghost - (trips over a stone and stumbles on the unicorn, who moves away quickly at his touch.) Sorry.

(Scene: A red hilltop.)

SCHMENDRICK: I've heard that the Red Bull protects Haggard or else that he keeps him a prisoner in his own castle - there are so many stories.

BUTTERFLY: (voice-over) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs and shakes her head wildly.)

(Scene: A forest.)

SCHMENDRICK: (juggling one orange, which turns into many, which then juggle by themselves. He picks one up and offers it to the unicorn.) Want one? (shrugs and puts them all back into his bag.)
UNICORN: How much further is it?
SCHMENDRICK: This is the edge of Haggard's kingdom. It's very, very dangerous country. Mommy Fortuna never came within miles of here. (The sound of hooves approaches.)
SCHMENDRICK: Listen! …Oh, oh, I was afraid of that. Run, swiftly, hide yourself! We'll find each other later!
UNICORN: Why? Who are they?
SCHMENDRICK: Outlaws!

The unicorn hides in the bushes while Schmendrick climbs a tree. The outlaws approach. One very large man with stubble stops his horse as he nears Schmendrick's tree.)

LARGE MAN: Whoa! Well, what have we here? (The tip of Schmendrick's hat protrudes from the tree.) Hi, lads! Mind your heads now! It's raining ninnies! (laughs raucously and pulls Schmendrick down from the tree and onto his horse. They ride off.)

(Scene: A campfire at night. Several very miserable-looking men are sitting around drinking something from mugs.)

ONE MAN: (spits out the liquid in his cup) Rat soup. Again rat soup.
SECOND MAN: At least she could use a different rat. The third night, anyway.

The outlaws ride in. Schmendrick is draped over the large man's horse sideways.)

SCHMENDRICK: Put me down, you fool!
LARGE MAN: (dunks Schmendrick's head into the horse's back) Aye, lad, quiet there. You're for Captain Cully himself, you are.
(A fat, red-haired man dressed in richer rags {VOICE OF KEENAN WYNN} steps forward.)
CAPTAIN CULLY: Well, Jack Jingly! And who is it you bring us, comrade or captive?
JACK JINGLY: I dunno what he is myself. What happened, Cully? We were out looking for likely travellers, like always.
CAPTAIN CULLY: (calls over his shoulder) Add some more water to the soup, love! There's company!
(A thin, middle-ages woman with wild hair the color of dead weeds {VOICE OF TAMMY GRIMES} pushes through the ring of men.)
WOMAN: I'll not have it, Cully! Not another mouth to feed! The soup's no thicker than sweat as it is!
CAPTAIN CULLY: My love, where's your greenwood hospitality?
WOMAN: (looking at Schmendrick) And who's this long lout? I don't like the look of him. Slit his wizard.

("She had meant to say either weasand or gizzard, and had said both…")

SCHMENDRICK: (getting off the horse) I wouldn't do that, because I am Schmendrick the Magician! And you, sir, you must be the famous Captain Cully, boldest of the bold and freest of the free!
CAPTAIN CULLY: That I am.
WOMAN: He's guessing, Cully, gut him, before he does you the way the last one did!
CAPTAIN CULLY: Well, that's only Molly Grue's way. But she has a good heart, a good heart. (Puts his arm on her shoulder.)
MOLLY GRUE (brushes him off): Off with you.
SCHMENDRICK: And this lady, don't tell me, she must be your faithful and beautiful companion.
MOLLY GRUE: Maybe he does know.
CAPTAIN CULLY: (laughs) Yes, splendid woman. You are welcome here, sorcerer. Come to the fire and tell me what you've heard of dashing…
CAPTAIN CULLY: and his band of freemen. (Sits him down) Have a taco.

Scene: Later that night.)
CAPTAIN CULLY: You're a lucky guest this evening, magician. My minstrel, Willy Gentle, here, was just about to inspire us by singing one of the adventures of bold Captain Cully and his men.
(General groans and complaints from the men.)
"MERRY" MAN: Nay, Willy! Not that thing again!
MOLLY GRUE: Willy! Sing us a true song! Sing us one about Robin Hood!
CAPTAIN CULLY: There is no Robin Hood! Robin Hood is a myth!
SCHMENDRICK: (gets up and begins murmuring over and over again) Magic, do as you will. Magic, magic, do as you will. (A wind starts up.)
CAPTAIN CULLY: And now, lads, with that out of the way -
MOLLY GRUE: Look! Oh, look there!

A tall figure dressed in green comes striding into the campsite, with an almost-as-tall maiden next to him.)
CAPTAIN CULLY: (rushes to greet them) Sir, madam, I welcome you to my domain! My name is Captain Cully, of the greenwood! (he bows, and they pass right through him.)
MOLLY GRUE: Oh, Robin! And Marian!

(Other figures come walking through the campsite.)
MEN: Friar Tuck! That's Friar Tuck there! Will Scarlett…
CAPTAIN CULLY: What is this? This is not happening! Robin Hood is a myth! We are the reality! …Magic is magic, but the truth is us! Right?
MEN: Robin! Mr. Hood, sir! Little John! Will! Wait for me! (they all run after them) Robin! Marian!
MOLLY GRUE: Wait! Wait for me! Marian! (also runs after them)

SCHMENDRICK: (is laughing is head off on the floor) It worked! It worked! I said "Magic, do as you will", and it worked!
CAPTAIN CULLY: (holds a knife at Schmendrick's neck) That was a dangerous diversion, Sir Sorcerer.
JACK JINGLY: He's no hedge wizard, Cully. I don't know what he is, ta tell you the truth. Tie him up, and do you guard him tanight, Cully. (They tie him to a large tree, with his face in its trunk.) And in the morning, we'll see what's to be done with a wizard who can call up Robin Hood! Should be worth something, eh, Cully? (laughs)
CAPTAIN CULLY: Yes indeed! We'll sell him! We'll both be gentlemen of leisure in a month's time! (laughs)

in: Transcripts Wiki
The Last Unicorn

Table of Contents

Transcript

(Scene: A forest in late afternoon. Two huntsmen on horses ride in. The first has a black beard; the second is younger and has red hair and a feather in his cap.) [Barking]

ELDER HUNTSMAN: I mislike the feel of these woods. Creatures that live in a unicorn's forest learn a little magic of their own in time; mainly concerned with disappearing.
YOUNGER HUNTSMAN: Unicorns? I thought they only existed in fairy tales. This is a forest like any other. Isn't it?
ELDER HUNTSMAN: Then why do the leaves never fall here? Or the snow? Why is it always spring here? I tell you, there is one unicorn left in the world, and as long as it lives in this forest, we'll find no game to hunt here.
YOUNGER HUNTSMAN: Let's turn around. Hunt someplace else.
ELDER HUNTSMAN: All right.
(They turn and ride to the edge of the forest.)
ELDER HUNTSMAN: (turns back and calls out) Stay where you are, poor beast. This is no world for you. Stay in your forest and keep your trees green, and your friends protected. And good luck to you, for you are the last.
(They ride away. Close-up of a white, female unicorn {VOICE OF MIA FARROW}.)
UNICORN (voice only): I am the only unicorn there is? The last?
[Song Plays: I'm alive]

INTRO.

AMERICA: When the last eagle flies over the last crumbling mountain,
And the last lion roars at the last dusty fountain,
In the shadow of the forest, though she may be old and worn,
They will stare, unbelieving, at the last unicorn…

When the first breath of winter through the flowers is icing,
And you look to the north, and a pale moon is rising,
And it seems like all is dying, and would leave the world to mourn,
In the distance, hear the laughter of the last unicorn!
I'm Alive!
I'm Alive!

When the last moon is cast over the last star of morning,
And the future has passed without even a last desperate warning,
Then look into the stars, where through the clouds a path is torn,
Look and see her, how she sparkles, it's the last unicorn!
I'm Alive!
I'm Alive!

UNICORN (voice only): That cannot be. Why would I be the last? What do men know? Because they have seen no unicorns for a while does not mean that we have all vanished. We do not vanish. There has never been a time without unicorns. We live forever. We are as old as the sky, old as the moon. We can be hunted, trapped We can even be killed if we leave our forests, but we do not vanish. Am I truly the last?

(Enter a butterfly {VOICE OF ROBERT KLEIN}, singing.)

BUTTERFLY: Wave the flag for Hudson Highborn, show them how we stand! I am a roving gambler; how do you do?
UNICORN: Hello, butterfly, welcome. Have you travelled very far?
BUTTERFLY: How far would I travel, yes sir! - to be where you are? Clay lies still, but blood's a-rover. Red Rover, Red Rover, let Charlie come over! Won't you come home, Bill Bailey, won't you come home? My wild Irish rose. (Embraces her horn.)
UNICORN: Be a little respectful, butterfly! Do you know who I am?
BUTTERFLY: Excellent well, you're a fishmonger! You're my everything, you are my sunshine, you're old and grey and full of sleep, you're my pickle-faced, consumptive Mary Jane!
UNICORN: Say my name, then. If you know my name, tell it to me.
BUTTERFLY: Your name is a golden bell hung in my heart. I would break my body to pieces to call you once by your name!
UNICORN: Say it, if you know.
BUTTERFLY: Rumpelstiltskin! Gotcha!
UNICORN: I should know better than to expect a silly butterfly to know my name.
BUTTERFLY: One, two, three o'lairy!
UNICORN: Butterfly, in all your wanderings, have you seen others like me? Have you seen even one?
BUTTERFLY: Oh, have you seen the muffin man, the muffin man, the muffin man?
UNICORN: Butterfly, even one? Tell me that you saw only one?
BUTTERFLY: One? One alone, to be my own… [Up goes downwind, up go down!] Go and catch a falling star…
UNICORN: It serves me right for even asking you. All butterflies know are songs and poetry and anything else they hear. I guess you mean well. Fly away, butterfly.
BUTTERFLY: Oh, I must take the A train, oh, I am a cook and a captain bold and the mate of the Nancy brig. Has anybody here seen Kelly?
UNICORN: I hope you hear many more songs. I must find someone who knows me, who has seen others like me.
BUTTERFLY (serious voice): "Unicorn". Old French, "unicorne". Latin, "unicornis". Literally, one horned: "unus", one, and "cornu", a horn. A fabulous animal resembling a horse with one horn. Visible only to those who search and trust, and generally mistaken for a white mare. Unicorn.
UNICORN: Oh, you do know me! Please, all I want to know is if you've seen other unicorns like me, somewhere in the world.
BUTTERFLY: See you later, alligator! Close cover before striking!
UNICORN: Butterfly, have you seen the others? Where have they gone? Tell me which way I must go to find them!
BUTTERFLY: (strange voice) No, no, listen. Don't listen to me, listen. You can find the others if you are brave.
(Shows unicorns running down a path, and a great red mass chasing them.)
BUTTERFLY (voice only) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footsteps.
UNICORN: Red Bull? What is the Red Bull?
BUTTERFLY: Hold tight. Hold tight. Hold tight, hold tight. …(same strange voice) His firstling bull has majesty, and his horns are the horns of a wild ox. With them, he shall push the unicorns, all of them, to the ends of the earth. Listen, listen, listen quickly!
UNICORN: I am listening! Where are the other unicorns, and what is the Red Bull?
BUTTERFLY: Listen, listen! (laughs) The king is in the counting house, counting out, counting out, counting… It's you or me, moth! Hand to hand to hand to hand to hand to hand… (He flies off.)
UNICORN: He said I could find the other unicorns. But where? Or was the story of the Red Bull just another of his songs? …Oh, I could never leave this forest. But I must know if I am the only unicorn left in the world. Suppose they are hiding together, somewhere far away? What if they're waiting for me, in need of my help?

(A similar scene is shown.)

BUTTERFLY: (voice-over): They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs in fear and begins running. She reaches the edge of the forest, where all the animals of the wood are looking at her. She stares at them for a second, then turns and runs down the road leading away.)UNICORN: (voice only): I must go quickly, and come back as soon as I can.

(The unicorn runs down the road.)
BUTTERFLY (voice-over): You can find the others if you are brave.
(Shows unicorn running slower and slower through the seasons…)

(Scene: A fat old man is hoeing in his field as the unicorn walks up the road towards him.)

FARMER: Well, hello there, little one. Hello there, me dear. And just who might you belong to… a pretty little thing like you? Come on now. Good girl. Good Bessie. (Takes off his belt and makes it into a loop.) Curry you up, clean you off, you'll be the prettiest old mare anywhere.
(The unicorn neighs loudly and eludes the belt.)
UNICORN: (voice only) Mare? Mare? I, a horse? Is that what you take me for? Is that what you see?
FARMER: So, so, easy, easy, good girl. What a pretty sight you are! Feed you up, take you to the fair. Come on, horse!
UNICORN: (voice only) A horse, am I? A horse, indeed! (The unicorn hooks her horn through the belt, throws it to the ground, and runs off down the road, making the farmer lose his balance and fall.)
FARMER: Now there's a horse! My foot must have slipped.

(Scene: The unicorn is sitting by the side of the road. A man driving a carriage passes by and all he sees is a horse.)

UNICORN: (voice only): I had forgotten that men cannot see unicorns.

(INTRO) If men no longer know what they are looking at, there may well be other unicorns in the world yet, unknown and glad of it.

AMERICA: Horizon rising up to meet the purple dawn,
Dust demon screaming, bring an eagle to lead me on.
For in my heart, I carry such a heavy load.
Here I am, on man's road.
Walking man's road…
Walking man's road…

I'm hungry, weary, but I cannot lay me down.
The rain calls, dreary, but there's no shelter I have found.
It will be a long time till I find my abode,
Here I am, on man's road.
Walking man's road…
Walking man's road…
etc.

(Song Scenes: Unicorn walking down the road, rain falling past a bridge.)

(Scene: The unicorn is sleeping in the grass by the side of the road. A black caravan of wagons approaches. On the side of two of them, a black canvas is hung. In red letters, it says "Mommy Fortuna's Midnight Carnival". In smaller ones underneath, "Creatures Of Night, Brought To Light". We see a bent old woman {VOICE OF ANGELA LANSBURY} driving the foremost wagon. She has a hat shaped like a tree branch, with a raven on it. She stops the wagon once she sees the unicorn.)

OLD WOMAN:' Well. Well, bless my old husk of a heart. And here I thought I'd seen the last of them. (Calls to the wagons) Here, you two!

(We see two men get down from the second and third wagons. One is short and hunched, with an eye patch {VOICE OF BROTHER THEODORE}; the other is tall; we can't see his face yet {VOICE OF ALAN ARKIN}.)

MOMMY FORTUNA: If he knew… But I don't think I'll tell him. He'll think it's a horse for sure. Some wizard I hired.
SHORT MAN: Now just what in hell was

that you stopped for?
MOMMY FORTUNA: What do you think it is, Rukh? What do you see lying there?
RUKH: Dead horse.
MOMMY FORTUNA: You're a fool! But I knew that. What about you, wizard? What do you see with your sorcerer's sight?

(Rukh elbows the tall man and laughs. We see his face now; he has no beard, green eyes, and a pointed blue cap. He stares at the unicorn. The old woman grabs his collar and pulls his face down to her level.)

MOMMY FORTUNA: Answer me, you juggler!
TALL MAN: I - I see a horse. Just - just a white mare.
MOMMY FORTUNA (chuckles): I thought so. All right. It's a white mare. I want her for the carnival. The last cage is empty.
RUKH: We'll need rope.
MOMMY FORTUNA: The rope that could hold that mare has not been woven. We'll make do with cold iron bars.
TALL MAN: Oh, she's waking!
MOMMY FORTUNA: I'll cast a sleep on her! [Skagribbitch! Kastamangya! Nitchai! Nitchaul!] (Something emanates from the old woman's fingers. It materializes into a solid, curved, glowing blue horn in front of the unicorn's real one.)
MOMMY FORTUNA: Now cage her. She'll sleep till sunrise.

(Scene: Morning. The cages are arranged in formation. Rukh is showing a bunch of villagers around the creatures in the Midnight Carnival.)

RUKH: This here is the manticore. A man's head, a lion's body, tail of a scorpion. (The villagers murmur.) Creatures of night, brought to light. Here is a dragon. Breathes fire now and then. Mostly at people who poke it, little boy. Its inside is an inferno, but its skin is so cold, it burns! Speaks 17 languages badly and is subject to gout. Creatures of night, brought to light! The Satyr. Ladies, keep back!

(The tall man sneaks up to the unicorn's cage.)

TALL MAN: I shouldn't be here. But quickly, tell me what you see. Don't be afraid. Look at your fellow legends and tell me what you see.

UNICORN: What he calls a manticore looks to be no more than a shabby, toothless lion. .)And she has them believing that poor old ape with a twisted foot is a satyr! Illusions! Deceptions! Mirages! Your Mommy Fortuna cannot truly change things!
TALL MAN: That's true; she can only disguise. And only for those eager to believe whatever comes easiest.
RUKH (to the villagers): The Midgard Serpent. It's got the whole world in its coils.
TALL MAN: (to the unicorn) No, she can't turn cream into butter. But she can make a lion look like a manticore to eyes that want to see a manticore. Just as she'd put a false horn on a real unicorn to make them see the unicorn. …I know you. If I were blind I would know who you are.
UNICORN: Who are you?
TALL MAN: I am called Schmendrick, the magician. You wouldn't have heard of me. …I entertain the sightseers as they gather for the show. It's not much of a job for a real magician, but I've had worse.
UNICORN: (looks at a cage nearby): That one is real. That is the harpy, Celaeno.
(The harpy caws out maliciously.)
SCHMENDRICK: Yes. The old woman caught her by chance, asleep, just as she took you. Oh, she should never have meddled with a real harpy, or a real unicorn for that matter, because the truth melts her magic, always.
(harpy caws some more)
SCHMENDRICK: She's going to free herself very soon now, and she must not catch you still caged.
RUKH (sees him): Go on, get away from there! You know what she told you!
SCHMENDRICK (bows clumsily to the unicorn): Don't be afraid! Schmendrick is with you! Do nothing till you hear from me! (runs away down past the cages)
RUKH (stops at the unicorn's cage): The unicorn.
VILLAGERS: A unicorn! (murmuring)

(Scene: Later in the day. Rukh is staring at the harpy; Mommy Fortuna is next to him.)

RUKH: I don't care how many damn spells you've got on her. Get rid of that harpy! I thinks about it all the time - what she's going to do to us! Get rid of her, Mommy!
MOMMY FORTUNA: Fool, be still! No other witch in the world holds a harpy captive, and none ever will. I choose to keep her! I can turn her into wind if she escapes, or snow! Or into seven notes of music!

(The harpy screams and begins beating her wings. The cage shakes.)
RUKH: (moans): She's breaking through! (runs away)
MOMMY FORTUNA (moves her fingers around; the same sort of essence flows out of them.): No. Not yet. Not yet. You're mine. If you kill me, you're still mine.
(The harpy calms down and the cage stops shaking.)
MOMMY FORTUNA: (cackles and talks to the unicorn): The harpy's as real as you are, and just as immortal. And she was just as easy to capture, if you want to know.
UNICORN: Do not boast, old woman. Your death sits in that cage and she hears you.
MOMMY FORTUNA: Oh, she'll kill me one day or another, but she will remember forever that I caught her, that I held her prisoner. So there's my immortality, eh? (laughs) Now, you were out on the road hunting for your own death, and I know where it awaits you. I know him, that one.
UNICORN: Do you speak of the Red Bull? Tell me if you do, and where he is, if you know!
MOMMY FORTUNA: The Red Bull of King Haggard. So you know of the Bull. Well, he'll not have you. You belong to me.
UNICORN: You know better. Keep your poor shadows if you will, but let me go. And - let her go. I cannot see her caged. She is real, like me. We are two sides of the same magic. Let her go.
MOMMY FORTUNA: I'd quit show business first! Do you think I don't know what the true witchery is, just because I do what I do? There's not a witch in the world hasn't laughed at Mommy Fortuna and her homemade horrors - but there's not one of them who would have dared!
UNICORN:' The harpy and me - we are not for you.
MOMMY FORTUNA: Who are you for then? Do you think those fools knew you without any help from me? (laughs) No! I had to give you a horn they could see! These days it takes a cheap carnival trick to make folks recognize a real unicorn. But the Red Bull will know you when he sees you; so you are safer here. You should thank me for protecting you.

(Scene: That night. Schmendrick sneaks up to the unicorn's cage.)

SCHMENDRICK: Schmendrick is with you! I'm sorry, but I couldn't get away any sooner.
UNICORN: There has never been a spell on me before. There has never been a world in which I was not known.
SCHMENDRICK: Oh, I know exactly how you feel. It's a very rare person who is taken for what he truly is.
UNICORN: Will you help me?
SCHMENDRICK: If not you, no one. You're my last chance.
UNICORN: Can you truly set me free?
SCHMENDRICK: Mommy Fortuna doesn't think so. She sees me as a clumsy fraud, a trickster. But I am Schmendrick the Magician! - the last of the red-hot swamis! And I too am real, like you, like her. Yes, I will help you.
UNICORN: Where is the other man?
SCHMENDRICK: Rukh? Oh, don't worry about him. I asked him a riddle, and it always takes that lout all night to solve riddles. And now… [Shara sineverel morlin sudai! Suni numira eddi subai!]

(The unicorn sees a forest with green leaves, and her forest creatures looking at her. But the mirage soon disappears, leaving the cage behind.)

SCHMENDRICK (embarrassed): I-I'm sorry, I would have like that to be the spell that freed you. That's, uh, that's okay. Next one. Well, let's - try this one. Okay. [Urchulis sulai esumina gaminajo!] - This is a super-spell. Tha bars are now as brittle as old cheese, which I crumble and scatter, so! Whoouch!

(Schmendrick grabs the bars and they burn his hands. The hands are red and bloody. He shakes them, trying to get the pain off.)

SCHMENDRICK: Whoa, I must have gotten the accent wrong. It comes and it goes.
UNICORN: Try again. Once more. There's very little time left. Hurry!
(Schmendrick whistles three notes, then sprinkles some powder over the cage, which begins to shrink.)
SCHMENDRICK: [low words]
UNICORN: Stop the bars!
SCHMENDRICK: No, no, [uh, serenin perenin] - ugh! (the bars stop moving inwards.) I dare no more. The next time, I might not be able to-
UNICORN: Try again. The spell was wrong, but there was true magic in it. Try again!
SCHMENDRICK: My dear, you deserve the services of a great wizard, but I'm afraid you'll have to be glad of the aid of a second-rate pickpocket. (Schmendrick procures a key ring, which he tries on the lock, which is shaped like a lion's mouth. One key turns inside.)
LOCK (in Mommy Fortuna's voice): (laughs) Some magician! Some magician!
SCHMENDRICK: Ah, turn blue.
UNICORN: Hurry!
(The lock groans as Schmendrick opens it.)
SCHMENDRICK: Step down, lady! You are free!
(The spell on the unicorn disperses as she leaps out of the cage. Rukh enters.)
RUKH: Okay, Schmendrick, I give up. Why is a raven like a writing desk? (The unicorn leaps into the bushes; Rukh doesn't see her.)
RUKH: The cage. You have taken my keys. Why, you thin thief. She'll string you on barbed wire to make a necklace for the harpy!
(Rukh starts walking back towards Mommy Fortuna's wagon.)
SCHMENDRICK: Run! (He runs at Rukh and jumps him. They struggle on the ground. The unicorn goes around to the cages and opens the doors with her horn, freeing the animals inside.)

SCHMENDRICK (fighting with Rukh): You pile of stones! I'll set all your toenails growing in when you mess with me!
RUKH (comes on top and starts choking Schmendrick): (laughs) Some magician. You couldn't turn cream into cheese, you Schmendrick you!
(Schmendrick bashes the key ring into Rukh's head. Rukh lets go and falls off in a daze. The animals are free. Only the harpy remains as the unicorn faces her.)
SCHMENDRICK: No, she'll kill you! Run, she'll kill you if you set her free!
HARPY (voice only): Set me free. We are sisters, you and I.

(The unicorn touches her horn to the lock. The harpy breaks the cage with her wings and goes free. She lunges at the unicorn and misses. She circles around and lunges again - behind the unicorn, at Mommy Fortuna.)

MOMMY FORTUNA: (laughs) Not alone! You never could have freed yourselves alone! I held you! (She opens her arms as if to embrace the harpy's death lunge. She is struck down and the harpy settles down to feed on her body.)
SCHMENDRICK: Run, run, [can't hear this sentence] run, run away from here, now!
UNICORN: No. Come with me. Come with me.
(We hear the harpy cawing and Rukh screaming for a short second. Schmendrick winces.)
UNICORN: Don't look back, and don't run. You must never run from anything immortal, it attracts their attention.
(The harpy circles again but doesn't see the two walking away.)

(Scene: A misty forest. Schmendrick is huddled at the foot of a tree, the unicorn is standing over him.)

UNICORN: Oh, that poor old woman - I didn't want her to - I didn't know -
UNICORN: She chose her death long ago. It was the fate she wanted.
SCHMENDRICK: And you, you have no regrets, as I do?
UNICORN: I can never regret. I can feel sorrow, but it's not the same thing.
SCHMENDRICK: Where will you go now?
UNICORN: I am looking for others like me. Have you seen them, magician?
SCHMENDRICK: No, I've never seen anyone like you. Not while I was awake, anyway.
UNICORN: A butterfly told me of a Red Bull, who pushed all the other unicorns to the ends of the earth. And Mommy Fortuna spoke of a King Haggard. So I'm going where they are, to learn whatever they know.
SCHMENDRICK: Take me with you, for lucks, for laughs, for the unknown.
UNICORN: You may come with me if you like, though I wish you'd asked for some other reward for having freed me.
SCHMENDRICK: Well, I thought about it, but you could never have granted my true wish.
UNICORN: No. I cannot turn you into something you are not. I cannot turn you into a true magician.
SCHMENDRICK: That's all right, don't worry about it.
UNICORN: I'm not.

(Scene: An open road.)

UNICORN: What do you know of King Haggard?
SCHMENDRICK: I have heard that he's an old man who rules over barren country by the sea. Some say that Haggard's land was green and soft once, before he came, but the minute he touched it, it became hard and grey.

(Scene: They are crossing a river by stepping on stones. The unicorn steps across first.)

UNICORN: Tell me about the Red Bull.
SCHMENDRICK: The Red Bull? I've heard too many tales, to tell you the truth. I've heard (stumbles) - I've heard that the Bull is real, that the Bull is a ghost - (trips over a stone and stumbles on the unicorn, who moves away quickly at his touch.) Sorry.

(Scene: A red hilltop.)

SCHMENDRICK: I've heard that the Red Bull protects Haggard or else that he keeps him a prisoner in his own castle - there are so many stories.
(

The same scene is shown as with the Butterfly.)
BUTTERFLY: (voice-over) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs and shakes her head wildly.)

(Scene: A forest.)

SCHMENDRICK: (juggling one orange, which turns into many, which then juggle by themselves. He picks one up and offers it to the unicorn.) Want one? (shrugs and puts them all back into his bag.)
UNICORN: How much further is it?
SCHMENDRICK: This is the edge of Haggard's kingdom. It's very, very dangerous country. Mommy Fortuna never came within miles of here. (The sound of hooves approaches.)
SCHMENDRICK: Listen! …Oh, oh, I was afraid of that. Run, swiftly, hide yourself! We'll find each other later!
UNICORN: Why? Who are they?
SCHMENDRICK: Outlaws!

(The unicorn hides in the bushes while Schmendrick climbs a tree. The outlaws approach. One very large man with stubble stops his horse as he nears Schmendrick's tree.)

LARGE MAN: Whoa! Well, what have we here? (The tip of Schmendrick's hat protrudes from the tree.) Hi, lads! Mind your heads now! It's raining ninnies! (laughs raucously and pulls Schmendrick down from the tree and onto his horse. They ride off.)

(Scene: A campfire at night. Several very miserable-looking men are sitting around drinking something from mugs.)

ONE MAN: (spits out the liquid in his cup) Rat soup. Again rat soup.
SECOND MAN: At least she could use a different rat. The third night, anyway.

(The outlaws ride in. Schmendrick is draped over the large man's horse sideways.)

SCHMENDRICK: Put me down, you fool!
LARGE MAN: (dunks Schmendrick's head into the horse's back) Aye, lad, quiet there. You're for Captain Cully himself, you are.
(A fat, red-haired man dressed in richer rags {VOICE OF KEENAN WYNN} steps forward.)
CAPTAIN CULLY: Well, Jack Jingly! And who is it you bring us, comrade or captive?
JACK JINGLY: I dunno what he is myself. What happened, Cully? We were out looking for likely travellers, like always.
CAPTAIN CULLY: (calls over his shoulder) Add some more water to the soup, love! There's company!
(A thin, middle-ages woman with wild hair the color of dead weeds {VOICE OF TAMMY GRIMES} pushes through the ring of men.)
WOMAN: I'll not have it, Cully! Not another mouth to feed! The soup's no thicker than sweat as it is!
CAPTAIN CULLY: My love, where's your greenwood hospitality?
WOMAN: (looking at Schmendrick) And who's this long lout? I don't like the look of him. Slit his wizard.

("She had meant to say either weasand or gizzard, and had said both…")

SCHMENDRICK: (getting off the horse) I wouldn't do that, because I am Schmendrick the Magician! And you, sir, you must be the famous Captain Cully, boldest of the bold and freest of the free!
CAPTAIN CULLY: That I am.
WOMAN: He's guessing, Cully, gut him, before he does you the way the last one did!

CAPTAIN CULLY: Well, that's only Molly Grue's way. But she has a good heart, a good heart. (Puts his arm on her shoulder.)
MOLLY GRUE (brushes him off): Off with you.
SCHMENDRICK: And this lady, don't tell me, she must be your faithful and beautiful companion.
MOLLY GRUE: Maybe he does know.
CAPTAIN CULLY: (laughs) Yes, splendid woman. You are welcome here, sorcerer. Come to the fire and tell me what you've heard of dashing…
CAPTAIN CULLY: and his band of freemen. (Sits him down) Have a taco.

(Scene: Later that night.)
CAPTAIN CULLY: You're a lucky guest this evening, magician. My minstrel, Willy Gentle, here, was just about to inspire us by singing one of the adventures of bold Captain Cully and his men.
(General groans and complaints from the men.)
"MERRY" MAN: Nay, Willy! Not that thing again!
MOLLY GRUE: Willy! Sing us a true song! Sing us one about Robin Hood!
CAPTAIN CULLY: There is no Robin Hood! Robin Hood is a myth!
SCHMENDRICK: (gets up and begins murmuring over and over again) Magic, do as you will. Magic, magic, do as you will. (A wind starts up.)
CAPTAIN CULLY: And now, lads, with that out of the way -
MOLLY GRUE: Look! Oh, look there!

(A tall figure dressed in green comes striding into the campsite, with an almost-as-tall maiden next to him.)
CAPTAIN CULLY: (rushes to greet them) Sir, madam, I welcome you to my domain! My name is Captain Cully, of the greenwood! (he bows, and they pass right through him.)
MOLLY GRUE: Oh, Robin! And Marian!

(Other figures come walking through the campsite.)
MEN: Friar Tuck! That's Friar Tuck there! Will Scarlett…
CAPTAIN CULLY: What is this? This is not happening! Robin Hood is a myth! We are the reality! …Magic is magic, but the truth is us! Right?
MEN: Robin! Mr. Hood, sir! Little John! Will! Wait for me! (they all run after them) Robin! Marian!
MOLLY GRUE: Wait! Wait for me! Marian! (also runs after them)
SCHMENDRICK: (is laughing is head off on the floor) It worked! It worked! I said "Magic, do as you will", and it worked!
CAPTAIN CULLY: (holds a knife at Schmendrick's neck) That was a dangerous diversion, Sir Sorcerer.
JACK JINGLY: He's no hedge wizard, Cully. I don't know what he is, ta tell you the truth. Tie him up, and do you guard him tanight, Cully. (They tie him to a large tree, with his face in its trunk.) And in the morning, we'll see what's to be done with a wizard who can call up Robin Hood! Should be worth something, eh, Cully? (laughs)
CAPTAIN CULLY: Yes indeed! We'll sell him! We'll both be gentlemen of leisure in a month's time! (laughs)

(Scene: Slightly later. Schmendrick is tied to the tree.)
SCHMENDRICK: I don't even care! [Gotonius basni varsinisn basti gumtina crosti stormily hasti!]

(Weird lights; the tree comes alive.)
TREE:' Oh. Oh. Oh, I love you. I love you. Love love love love love love love love love.
SCHMENDRICK: Oh, what have I done?
TREE: Always, always. Faithfulness beyond any man's deserving. I will keep the color in your eyes when no other in the world remembers your name. (She mushes Schmendrick's face in her trunk.) There is no immortality but a tree's love.
SCHMENDRICK: Oh, no, I'm engaged to a Douglas fir. (yells) Help, Unicorn, where are you!?
(Lightning; the unicorn is illuminated and she begins walking toward the tree.)
TREE: Ooh, galls and fireblight! She shall never have you, the hussy! We will perish together!
(The unicorn cuts Schmendrick's rope with her horn. The tree goes dead again. Schmendrick follows her bashfully

Scene: Another part of the forest.)
SCHMENDRICK: Did you see me? Were you watching, did - did you see what I made?
UNICORN: Yes. It was true magic.
SCHMENDRICK: Yeah. It's gone now, but I-I had it. It had me, but it's gone. I-I couldn't hold it.

(Molly Grue is in wait ahead of them.)
MOLLY GRUE:Leaving us so early, magician?
(The unicorn jumps into the bushes by the side of the road; too late.)
MOLLY GRUE: (gasps) No. Can it truly be? Where have you been? Where have you been? (yells) Damn you, where have you been!?
SCHMENDRICK: Don't you talk to her that way!
UNICORN: I am here now.
MOLLY GRUE: (laughs bitterly) Oh? And where were you twenty years ago, ten years ago? Where were you when I was new?

When I was one of those innocent, young maidens you always come to? How dare you, how dare you come to me now, when I am this? (She begins crying. The unicorn puts her head in Molly's lap, and she caresses it.)

SCHMENDRICK: Can you really see her? Do you really know what she is?
MOLLY GRUE: If you had been waiting to see a unicorn as long as I have…
SCHMENDRICK: She's the last unicorn in the world.
MOLLY GRUE: It would be the last unicorn in the world that came to Molly Grue. (She sniffs.) It's all right. I forgive you.
SCHMENDRICK: Well, it's time for us to go now.
MOLLY GRUE: (gets up) I'm ready.
SCHMENDRICK: You can't come with us! We're on a quest!
MOLLY GRUE: Can't I? Ask her.
.)

SCHMENDRICK: Never! I, Schmendrick the Magician, forbid it! And be wary of wousing a wizard's wrath - rousing a rizard's - rou - Be wary of making a-a magician angry! If I chose I could turn you into a frog. -
MOLLY GRUE: (laughs) I should laugh myself sick. Have sense, man. What were you going to do with the last unicorn in the world - keep her in a cage?
SCHMENDRICK: Oh, you don't even know where we're going!
MOLLY GRUE: Do you think it matters to me?
SCHMENDRICK: We are journeying to King Haggard's country to find the Red Bull!
MOLLY GRUE: Well, you're going the wrong way. (Begins walking in a different direction.)

(Scene: A brown valley.)
MOLLY GRUE: I'm sorry, but you were going the wrong way, magician.
SCHMENDRICK: Well, it was a shortcut.

(Scene: A cliff overlooking a decrepit, evil-looking castle

SCHMENDRICK: Haggard's fortress. We'll be there tomorrow if we walk all night.
UNICORN: Where does King Haggard keep the Red Bull?
SCHMENDRICK: I have heard that he roams at night and lies up by day in a great cavern beneath the castle - but we'll know soon enough.

AMERICA: Moon rising, disguising
Lonely streets in gay display
The stars fade, the nightshade
Closing makes the world afraid.
It waits in silence for the sky to explode.
Here I am, on man's road.
Walking man's road…

(Song Scenes: The party is lying down against trees. The moon gives off a fiery red light which reflects on their sleeping faces. Molly wakes.)

MOLLY GRUE: Schmendrick, the light!
(The Red Bull comes. The unicorn runs away in fear. He chases her across the forest, never losing ground.) MOLLY GRUE: Do something!
SCHMENDRICK: He's driving her! He can't want to kill her or-or he would have done it by now!
(more chase scenes…)
SCHMENDRICK: He's driving her the way he drove the others - to the castle, to King Haggard.
.)

MOLLY GRUE: Please! Please do something!
SCHMENDRICK: What can I do? Do you think the Red Bull likes card tricks? (chasing… The Red Bull is winning.)
SCHMENDRICK: If I could I'd change her into some other creature, some beast too humble for the Bull to be concerned with. But that would take a real magician, with real magic - and I can't pretend any more.
MOLLY GRUE: But you do. You have magic. Maybe you can't find it, but it's there. You called Robin Hood, and there is no Robin Hood. You have all the power you need, if you dare to look for it.
(The unicorn submits to the Red Bull. She walks slowly before him

MOLLY GRUE: Please! It's not fair!
SCHMENDRICK: Run! Run, now! Run!
(The unicorn doesn't listen to him; she plods on, depressed.)
(Schmendrick tries to run in front of the Red Bull; he is thrown aside.)
MOLLY GRUE: Schmendrick!
SCHMENDRICK: (gets up.) Magic, magic, do as you will! (repeats in a low voice. Lines of power stream from his fingers towards the unicorn. He slowly falls onto his knees and then his face. The Red Bull noses a white shape on the ground and then walks off. Molly rushes to the side of what used to be the unicorn.)
MOLLY GRUE (to Schmendrick): What have you done? (holds up the head of a human girl with a white face and white hair. A brown mark that looks like a star is on her forehead.)
MOLLY GRUE: What have you done? What have you done!?
(Schmendrick joins her.)

SCHMENDRICK: (excited) What do you mean, what have I done? Only saved her from the Red Bull by magic, that's all I've done! By magic! By my own true magic! Doubtless you are wondering how I plan to return her to her proper shape. Wonder not. The power will come to me whenever I need it. And one day, one day it will come to me when I call! You were right! You were right.
MOLLY GRUE: I didn't know you meant to turn her into a human girl!
SCHMENDRICK: The Red Bull came for a unicorn, so she had to become something else. The magic chose the shape, not I. I am a bearer! I am a dwelling! I am a messenger!
MOLLY GRUE: You are an idiot! Do you hear me? You lost her! You trapped her in a human body! She'll go mad!
(The girl begins to stir. She wakes up, and tries to stand.)
SCHMENDRICK: I can change her back. Don't worry about it. I-I can change her back.
(The girl falls, and goes on all fours.)
GIRL: What have you done to me?
MOLLY GRUE: (begins crying) Oh, no. Oh, please, no!
SCHMENDRICK: (to the girl) You see, I couldn't think of anything else I could do to save you.
GIRL: What have you done to me? (She hugs herself, and her voice sounds like a neigh.) I'm a unicorn! I'm a unicorn!
MOLLY GRUE: (grabs her arm) Don't! Don't you hurt yourself! (She drapes Schmendrick's cloak around the girl's shoulders.)

SCHMENDRICK: Be still! The magic knew what it was doing. In this shape alone you have some hope of reaching King Haggard and finding out what has become of the other unicorns.
GIRL (sad voice): I wish you had let the Red Bull take me. I wish you had left me to the harpy! I can feel this body dying all around me!
SCHMENDRICK: But - but it's only for a little while, I promise you! Soon you'll have your true shape again, forever!
MOLLY GRUE: Why not now? Schmendrick, you can't let her stay like this, you can't possibly!

SCHMENDRICK: Why not? Unless you think you could defeat the Bull if you met him again.
GIRL: No. (She takes the cloak herself and holds it in place.) And I'm afraid of this human body - more than I was of the Red Bull - afraid!

(Scene: A battlement atop King Haggard's tower. Two sentries are on guard. The first {VOICE OF CHRISTOPHER LEE} is slower and older than the second {VOICE OF JEFF BRIDGES}.)

FIRST SENTINEL: A man, and two women, coming here?
SECOND SENTINEL: The young girl - she looks so strange. She has a newness to her.

(Scene: The front gate of the castle. The two sentinels await the three travelers. The pale girl has Schmendrick's cloak around her shoulders.)

FIRST SENTINEL: (bars their way) Give your names.
SCHMENDRICK: I am Schmendrick, the Magician. This is Molly Grue, my helper, and this, this is - this is… the Lady Amalthea. We seek audience with King Haggard.
FIRST SENTINEL: State your business with King Haggard.
SCHMENDRICK: I will, but to King Haggard himself.

(The first sentinel leads them into the castle and through a dark stairway down. The floor shakes abruptly and a roar is heard. The Lady Amalthea cries out.)

SECOND SENTINEL: No, no, it's all right, don't be afraid. It's just the Bull.

(Scene: A dark room with one window and an old, stone seat at one end.)

FIRST SENTINEL: This is King Haggard's throne room.
SCHMENDRICK: Throne room? This is a cell. This is a tomb. Take us to King Haggard!
(The first sentinel unlaces his helmet and takes it off. He has a grey face and a thin beard.)
SENTINEL: I am King Haggard. This is Prince Lír, my son.
(The second sentinel takes off his helmet to reveal a friendly, red-headed face.)
PRINCE LIR: Hi. Glad to meet you.
HAGGARD: (sits down on the chair) What is your concern with me?
SCHMENDRICK: We seek, Sire, to enter your service.
KING HAGGARD: I need no servants.
SCHMENDRICK: Oh, but surely, Sire, a magician, a fine cook, a -
KING HAGGARD: You are losing my interest, and that is very dangerous. My "court" consists of four men-at-arms.

SECOND SENTINEL: No, no, it's all right, don't be afraid. It's just the Bull.

(Scene: A dark room with one window and an old, stone seat at one end.)

FIRST SENTINEL: This is King Haggard's throne room.
SCHMENDRICK: Throne room? This is a cell. This is a tomb. Take us to King Haggard!
(The first sentinel unlaces his helmet and takes it off. He has a grey face and a thin beard.)
SENTINEL: I am King Haggard. This is Prince Lír, my son.
(The second sentinel takes off his helmet to reveal a friendly, red-headed face.)
PRINCE LIR: Hi. Glad to meet you.
HAGGARD: (sits down on the chair) What is your concern with me?
SCHMENDRICK: We seek, Sire, to enter your service.
KING HAGGARD: I need no servants.
SCHMENDRICK: Oh, but 4eally Sire, a magician, a fine cook, a -
KING HAGGARD: You are losing my interest, and that is very dangerous. My "court" consists of four men-at-arms.

SCHMENDRICK: Four? But the pleasures of the court, Sire, the music, the talk, the hunts and the balls and the great feasts -
KING HAGGARD: They are nothing to me. I have known them all, and they have not made me happy. I will keep nothing near me that does not make me happy! …I also keep one magician.
SCHMENDRICK (taken aback): Oh, a magician, huh? What's his name?
KING HAGGARD: He is called Mabruk. He is known in his trade as "the magician's magician". I can see no reason at all to replace him with some vagrant, nameless, clownish -
MOLLY GRUE: I can. He doesn't, this marvelous Mabruk, doesn't make you happy.
SCHMENDRICK: Molly, be still.
KING HAGGARD: And how would you know?
MOLLY GRUE: Well, just look at you!
SCHMENDRICK: Molly! (grabs her to quiet her)
KING HAGGARD: Did you hear that, Mabruk?

In a haze of smoke, an old man with harsh eyes {VOICE OF PAUL FREES} appears. He wears a crown and a spangled robe.)
MABRUK: What does your majesty wish of me? Schmendrick, my dear boy, how nice to see you! (walks over to Schmendrick)
KING HAGGARD: He has come to take your place. He is now my royal magician.
MOLLY GRUE (whispers to Schmendrick): See?
SCHMENDRICK: (whispers to Molly) Shhh!
MABRUK: The legendary Schmendrick? "The Runeless Wonder?" I realize your majesty is a great collector of - oddities, but-
KING HAGGARD: The woman is right. A master magician has not made me happy. I will see what an incompetent one can do. You may go, Mabruk.
MABRUK (very angry look): I am not packed off as easily as that!

A wind rises in the room. Lír steps in front of Amalthea, hand on his sword hilt. Amalthea walks past him. The mark on her forehead begins to glow. The wind dies down, and the only sound left is Mabruk's laughing.)

PRINCE LIR (puts his hand on Mabruk's shoulder): Come on, old man. I'll write you a reference.
MABRUK: (laughs) Haggard, I would not be you for all the world! You have let your doom in by the front door, but it will not depart that way! Farewell, poor Haggard! Farewell… (He laughs and disappears the same way he appeared.)
(The Lady Amalthea is looking out the window. Haggard comes toward her.)
AMALTHEA: (turns at Haggard's approach) Don't!
KING HAGGARD: I will not touch you. What are you looking at?
LADY AMALTHEA: The sea.
KING HAGGARD: Ah, yes. The sea is always good. There is nothing that I can look at for very long, except the sea. (He stares into her eyes and sees in them her forest, with woodland animals in it.)
KING HAGGARD: (shouts suddenly) What is the matter with your eyes? Why can I not see myself in your eyes?

The Lady Amalthea does not answer.)
KING HAGGARD (to Schmendrick): Who is she!?
SCHMENDRICK: Oh, your majesty, the Lady Amalthea is my niece -
KING HAGGARD: I want to know who she is!
PRINCE LIR: Father, what difference does it make? She's here!
KING HAGGARD (looks at Lír): For once, you are right. She is here. They are all here. And whether they mean my doom or not, I will look at them for a while. (To Amalthea) You may come and go as you please. My secrets guard themselves. Will yours do the same? (Walks off)
PRINCE LIR (to Amalthea): Say, I know where there's some cloth, fine satin. We could make a dress. (INTRO) Please, lady, let me help you. What can I do for you? Trust me!

AMERICA: In the sea,
The fish have learned to fly,
On a moonlit night,
On wings of silver,
As the enchanted stars
Sail serenely by.
Do they know
Where do unicorns go?
Where winged horses fly?
Narwhals lost at sea
And never seen again.
Go, go and ask the magpie,
"Where do unicorns go?"

In the trees,
The birds have learned to speak,
Many-colored,
They keep their secrets
In a parade of clouds
Playing hide and seek.
Do they know,
Where do unicorns go?
Where winged horses fly?
Narwhals lost at sea,
And never seen again.
Does myth and mystery lie
Where the unicorns go?

Song Scenes: Amalthea looking at the sea; Molly working as a kitchen maid, washing dishes; Prince Lír going out to battle a dragon, and offering the head to Amalthea, who is not impressed by it; a copper-and-ashes cat with an eye patch knocks Schmendrick's juggling balls out of the ring and chases it to the kitchen.)

(Scene: Lír and Molly are in the kitchen. Lír is peeling potatoes and Molly is helping him.)

PRINCE LIR: Ow. Mm. And then, she looked at me, and I was sorry I had killed the thing. Sorry for killing a dragon. Imagine - (Nicks himself with the knife) Ow!
MOLLY GRUE: Cut away from yourself, not toward. You know, your highness, I really think you should try something else.
!

PRINCE LIR: But what's left on earth that I haven't tried? Giants, ogres, black knights, terrible tasks, fatal riddles! Molly, for her sake I've become a hero, but my great deeds mean nothing to her!
MOLLY GRUE: Then perhaps the Lady Amalthea is not to be won by great deeds!
PRINCE LIR: Who is she, Molly? Where does she come from? I don't know any more about her than I did the first day she came here.
MOLLY GRUE: Your highness-
PRINCE LIR: Except that I wish to serve her, as you do, to help her find whatever she has come here to find. I wish to be whatever she has most need of. Will you tell her so?
MOLLY GRUE: I think if you told her yourself-
PRINCE LIR: But she never speaks to me, Molly! Not a word, not a word in all this time

Scene: A balcony overlooking the sea. Molly Grue walks toward the Lady Amalthea, who is staring over the balcony at the sea.)

MOLLY GRUE: You are cruel to him. You might give him a gentle word, at the very least. He only wishes you to think of him.
LADY AMALTHEA: Molly? (INTRO) …Who am I? Why am I here? What is it that I am seeking in this strange place, day after day? I-I knew a moment ago, but I-I have forgotten.
MOLLY GRUE: The unicorns. If you are not the last…

LADY AMALTHEA: Once, I can't remember,
I was long ago,
Someone strange,
I was innocent and wise,
And full of pain.
Now that I'm a woman,
Everything is strange.

in: Transcripts Wiki
The Last Unicorn

Table of Contents

Transcript

(Scene: A forest in late afternoon. Two huntsmen on horses ride in. The first has a black beard; the second is younger and has red hair and a feather in his cap.) [Barking]

ELDER HUNTSMAN: I mislike the feel of these woods. Creatures that live in a unicorn's forest learn a little magic of their own in time; mainly concerned with disappearing.
YOUNGER HUNTSMAN: Unicorns? I thought they only existed in fairy tales. This is a forest like any other. Isn't it?
ELDER HUNTSMAN: Then why do the leaves never fall here? Or the snow? Why is it always spring here? I tell you, there is one unicorn left in the world, and as long as it lives in this forest, we'll find no game to hunt here.
YOUNGER HUNTSMAN: Let's turn around. Hunt someplace else.
ELDER HUNTSMAN: All right.
(They turn and ride to the edge of the forest.)
ELDER HUNTSMAN: (turns back and calls out) Stay where you are, poor beast. This is no world for you. Stay in your forest and keep your trees green, and your friends protected. And good luck to you, for you are the last.
(They ride away. Close-up of a white, female unicorn {VOICE OF MIA FARROW}.)
UNICORN (voice only): I am the only unicorn there is? The last?
[Song Plays: I'm alive]
)

INTRO.

AMERICA: When the last eagle flies over the last crumbling mountain,
And the last lion roars at the last dusty fountain,
In the shadow of the forest, though she may be old and worn,
They will stare, unbelieving, at the last unicorn…

When the first breath of winter through the flowers is icing,
And you look to the north, and a pale moon is rising,
And it seems like all is dying, and would leave the world to mourn,
In the distance, hear the laughter of the last unicorn!
I'm Alive!
I'm Alive!

When the last moon is cast over the last star of morning,
And the future has passed without even a last desperate warning,
Then look into the stars, where through the clouds a path is torn,
Look and see her, how she sparkles, it's the last unicorn!
I'm Alive!
I'm Alive!
the

UNICORN (voice only): That cannot be. Why would I be the last? What do men know? Because they have seen no unicorns for a while does not mean that we have all vanished. We do not vanish. There has never been a time without unicorns. We live forever. We are as old as the sky, old as the moon. We can be hunted, trapped We can even be killed if we leave our forests, but we do not vanish. Am I truly the last?

(Enter a butterfly {VOICE OF ROBERT KLEIN}, singing.)

BUTTERFLY: Wave the flag for Hudson Highborn, show them how we stand! I am a roving gambler; how do you do?
UNICORN: Hello, butterfly, welcome. Have you travelled very far?
BUTTERFLY: How far would I travel, yes sir! - to be where you are? Clay lies still, but blood's a-rover. Red Rover, Red Rover, let Charlie come over! Won't you come home, Bill Bailey, won't you come home? My wild Irish rose. (Embraces her horn.)
UNICORN: Be a little respectful, butterfly! Do you know who I am?
BUTTERFLY: Excellent well, you're a fishmonger! You're my everything, you are my sunshine, you're old and grey and full of sleep, you're my pickle-faced, consumptive Mary Jane!
UNICORN: Say my name, then. If you know my name, tell it to me.
BUTTERFLY: Your name is a golden bell hung in my

heart. I would break my body to pieces to call you once by your name!
UNICORN: Say it, if you know.
BUTTERFLY: Rumpelstiltskin! Gotcha!
UNICORN: I should know better than to expect a silly butterfly to know my name.
BUTTERFLY: One, two, three o'lairy!
UNICORN: Butterfly, in all your wanderings, have you seen others like me? Have you seen even one?
BUTTERFLY: Oh, have you seen the muffin man, the muffin man, the muffin man?
UNICORN: Butterfly, even one? Tell me that you saw only one?
BUTTERFLY: One? One alone, to be my own… [Up goes downwind, up go down!] Go and catch a falling star…
UNICORN: It serves me right for even asking you. All butterflies know are songs and poetry and anything else they hear. I guess you mean well. Fly away, butterfly.
BUTTERFLY: Oh, I must take the A train, oh, I am a cook and a captain bold and the mate of the Nancy brig. Has anybody here seen Kelly?
UNICORN: I hope you hear many more songs. I must find someone who knows me, who has seen others like me.
BUTTERFLY (serious voice): "Unicorn". Old French, "unicorne". Latin, "unicornis". Literally, one horned: "unus", one, and "cornu", a horn. A fabulous animal resembling a horse with one horn. Visible only to those who search and trust, and generally mistaken for a white mare. Unicorn.
UNICORN: Oh, you do know me! Please, all I want to know is if you've seen other unicorns like me, somewhere in the world.
BUTTERFLY: See you later, alligator! Close cover before striking!
UNICORN: Butterfly, have you seen the others? Where have they gone? Tell me which way I must go to find them!
BUTTERFLY: (strange voice) No, no, listen. Don't listen to me, listen. You can find the others if you are brave.
(Shows unicorns running down a path, and a great red mass chasing them.)
BUTTERFLY (voice only) They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footsteps.
UNICORN: Red Bull? What is the Red Bull?
BUTTERFLY: Hold tight. Hold tight. Hold tight, hold tight. …(same strange voice) His firstling bull has majesty, and his horns are the horns of a wild ox. With them, he shall push the unicorns, all of them, to the ends of the earth. Listen, listen, listen quickly!
UNICORN: I am listening! Where are the other unicorns, and what is the Red Bull?
BUTTERFLY: Listen, listen! (laughs) The king is in the counting house, counting out, counting out, counting… It's you or me, moth! Hand to hand to hand to hand to hand to hand… (He flies off.)
UNICORN: He said I could find the other unicorns. But where? Or was the story of the Red Bull just another of his songs? …Oh, I could never leave this forest. But I must know if I am the only unicorn left in the world. Suppose they are hiding together, somewhere far away? What if they're waiting for me, in need of my help?

(A similar scene is shown.)

BUTTERFLY: (voice-over): They passed down all the roads long ago, and the Red Bull ran close behind them and covered their footprints.
(The unicorn neighs in fear and begins running. She reaches the edge of the forest, where all the animals of the wood are looking at her. She stares at them for a second, then turns and runs down

MOLLY GRUE: Schmendrick will find a way down to the Red Bull. He has been searching every day.
LADY AMALTHEA: I hope for no help from him. He's no magician now, but the king's poor clown.
MOLLY GRUE: He's doing it for you! He plays the fool for Haggard, trying to divert him from wondering what you are. You do wrong to mock him.
LADY AMALTHEA: Forgive me. (She runs away, into the castle.)
MOLLY GRUE: My lady!

(The castle shakes and the Bull roars. Molly gasps. The copper-and-ashes cat {VOICE OF DON MESSICK} seen before walks down the stairs toward her.)

The castle shakes and the Bull roars. Molly gasps. The copper-and-ashes cat {VOICE OF DON MESSICK} seen before walks down the stairs toward her.)

CAT: The Bull be going out. He goes out every sundown to hunt for the strange white beast that escaped him. You know that perfectly well, so don't be stupid. (Molly picks him up.) Har-har. So that be a unicorn! She is very beautiful.
MOLLY GRUE: How do you know she's a unicorn?
CAT: No cat out of its first fur can ever be deceived by appearances. Unlike human beings, who seems to enjoy it. Ye have very little time. Soon there'll be a human woman in that body and no unicorn at all ever again. It may be that she'll marry the good prince, who loves her. (They have reached the kitchen; Molly puts the cat down on the table and rubs him between the ears. He closes his eye.) Oh. Oh, purr, purr. Do that. Yes. That be nice.

MOLLY GRUE: (stops rubbing him) No. No, that cannot be. She is the last.
CAT: (opens his eye with an annoyed look) Well, then, she must do what she came to do. She must take the king's way down to the Red Bull.
(Molly grabs him and picks him up. He lets out a squeak.)
MOLLY GRUE: Is there a way? Tell me the way. Tell me where we must go!
CAT: Avast! Hark ye closely, mum. When the wine drinks itself, when the skull speaks, when the clock strikes the right time. Only then will you find the tunnel that leads to the Red Bull's lair, har har. There be a trick to it, of course.
(He slithers out of Molly's hands and lands on his feet.)

MOLLY GRUE: Schmendrick, the light!
(The Red Bull comes. The unicorn runs away in fear. He chases her across the forest, never losing ground.) MOLLY GRUE: Do something!
SCHMENDRICK: He's driving her! He can't want to kill her or-or he would have done it by now!
(more chase scenes…)
SCHMENDRICK: He's driving her the way he drove the others - to the castle, to King Haggard.
MOLLY GRUE: Please! Please do something!
SCHMENDRICK: What can I do? Do you think the Red Bull likes card tricks? (chasing… The Red Bull is winning.)
SCHMENDRICK: If I could I'd change her into some other creature, some beast too humble for the Bull to be concerned with. But that would take a real magician, with real magic - and I can't pretend any more.
MOLLY GRUE: But you do. You have magic. Maybe you can't find it, but it's there. You called Robin Hood, and there is no Robin Hood. You have all the power you need, if you dare to look for it.

The unicorn submits to the Red Bull. She walks slowly before him.)
MOLLY GRUE: Please! It's not fair!
SCHMENDRICK: Run! Run, now! Run!
(The unicorn doesn't listen to him; she plods on, depressed.)
(Schmendrick tries to run in front of the Red Bull; he is thrown aside.)
MOLLY GRUE: Schmendrick!
SCHMENDRICK: (gets up.) Magic, magic, do as you will! (repeats in a low voice. Lines of power stream from his fingers towards the unicorn. He slowly falls onto his knees and then his face. The Red Bull noses a white shape on the ground and then walks off. Molly rushes to the side of what used to be the unicorn.)
MOLLY GRUE (to Schmendrick): What have you done? (holds up the head of a human girl with a white face and white hair. A brown mark that looks like a star is on her forehead.)
MOLLY GRUE: What have you done? What have you done!?
(Schmendrick joins her.)

SCHMENDRICK: (excited) What do you mean, what have I done? Only saved her from the Red Bull by magic, that's all I've done! By magic! By my own true magic! Doubtless you are wondering how I plan to return her to her proper shape. Wonder not. The power will come to me whenever I need it. And one day, one day it will come to me when I call! You were right! You were right.
MOLLY GRUE: I didn't know you meant to turn her into a human girl!
SCHMENDRICK: The Red Bull came for a unicorn, so she had to become something else. The magic chose the shape, not I. I am a bearer! I am a dwelling! I am a messenger!
MOLLY GRUE: You are an idiot! Do you hear me? You lost her! You trapped her in a human body! She'll go mad!
(The girl begins to stir. She wakes up, and tries to stand.)
SCHMENDRICK: I can change her back. Don't worry about it. I-I can change her back.
(The girl falls, and goes on all fours.)
GIRL: What have you done to me?
MOLLY GRUE: (begins crying) Oh, no. Oh, please, no!
SCHMENDRICK: (to the girl) You see, I couldn't think of anything else I could do to save you.

GIRL: What have you done to me? (She hugs herself, and her voice sounds like a neigh.) I'm a unicorn! I'm a unicorn!
MOLLY GRUE: (grabs her arm) Don't! Don't you hurt yourself! (She drapes Schmendrick's cloak around the girl's shoulders.)
SCHMENDRICK: Be still! The magic knew what it was doing. In this shape alone you have some hope of reaching King Haggard and finding out what has become of the other unicorns.
GIRL (sad voice): I wish you had let the Red Bull take me. I wish you had left me to the harpy! I can feel this body dying all around me!
SCHMENDRICK: But - but it's only for a little while, I promise you! Soon you'll have your true shape again, forever!
MOLLY GRUE: Why not now? Schmendrick, you can't let her stay like this, you can't possibly!
SCHMENDRICK: Why not? Unless you think you could defeat the Bull if you met him again.
GIRL: No. (She takes the cloak herself and holds it in place.) And I'm afraid of this human body - more than I was of the Red Bull - afraid!

Scene: A battlement atop King Haggard's tower. Two sentries are on guard. The first {VOICE OF CHRISTOPHER LEE} is slower and older than the second {VOICE OF JEFF BRIDGES}.)

FIRST SENTINEL: A man, and two women, coming here?
SECOND SENTINEL: The young girl - she looks so strange. She has a newness to her.

(Scene: The front gate of the castle. The two sentinels await the three travelers. The pale girl has Schmendrick's cloak around her shoulders.)

FIRST SENTINEL: (bars their way) Give your names.
SCHMENDRICK: I am Schmendrick, the Magician. This is Molly Grue, my helper, and this, this is - this is… the Lady Amalthea. We seek audience with King Haggard.
FIRST SENTINEL: State your business with King Haggard.
SCHMENDRICK: I will, but to King Haggard himself.

The first sentinel leads them into the castle and through a dark stairway down. The floor shakes abruptly and a roar is heard. The Lady Amalthea cries out.)

SECOND SENTINEL: No, no, it's all right, don't be afraid. It's just the Bull.

(Scene: A dark room with one window and an old, stone seat at one end.)

FIRST SENTINEL: This is King Haggard's throne room.
SCHMENDRICK: Throne room? This is a cell. This is a tomb. Take us to King Haggard!
(The first sentinel unlaces his helmet and takes it off. He has a grey face and a thin beard.)
SENTINEL: I am King Haggard. This is Prince Lír, my son.
(The second sentinel takes off his helmet to reveal a friendly, red-headed face.)
PRINCE LIR: Hi. Glad to meet you.
HAGGARD: (sits down on the chair) What is your concern with me?
SCHMENDRICK: We seek, Sire, to enter your service.

KING HAGGARD: I need no servants.
SCHMENDRICK: Oh, but surely, Sire, a magician, a fine cook, a -
KING HAGGARD: You are losing my interest, and that is very dangerous. My "court" consists of four men-at-arms.
SCHMENDRICK: Four? But the pleasures of the court, Sire, the music, the talk, the hunts and the balls and the great feasts -
KING HAGGARD: They are nothing to me. I have known them all, and they have not made me happy. I will keep nothing near me that does not make me happy! …I also keep one magician.
SCHMENDRICK (taken aback): Oh, a magician, huh? What's his name?
KING HAGGARD: He is called Mabruk. He is known in his trade as "the magician's magician". I can see no reason at all to replace him with some vagrant, nameless, clownish -
MOLLY GRUE: I can. He doesn't, this marvelous Mabruk, doesn't make you happy.
SCHMENDRICK: Molly, be still.
KING HAGGARD: And how would you know?
MOLLY GRUE: Well, just look at you!
SCHMENDRICK: Molly! (grabs her to quiet her)
KING HAGGARD: Did you hear that, Mabruk?

In a haze of smoke, an old man with harsh eyes {VOICE OF PAUL FREES} appears. He wears a crown and a spangled robe.)
MABRUK: What does your majesty wish of me? Schmendrick, my dear boy, how nice to see you! (walks over to Schmendrick)
KING HAGGARD: He has come to take your place. He is now my royal magician.
MOLLY GRUE (whispers to Schmendrick): See?
SCHMENDRICK: (whispers to Molly) Shhh!
MABRUK: The legendary Schmendrick? "The Runeless Wonder?" I realize your majesty is a great collector of - oddities, but-
KING HAGGARD: The woman is right. A master magician has not made me happy. I will see what an incompetent one can do. You may go, Mabruk.
MABRUK (very angry look): I am not packed off as easily as that!

(A wind rises in the room. Lír steps in front of Amalthea, hand on his sword hilt. Amalthea walks past him. The mark on her forehead begins to glow. The wind dies down, and the only sound left is Mabruk's laughing.)

PRINCE LIR (puts his hand on Mabruk's shoulder): Come on, old man. I'll write you a reference.
MABRUK: (laughs) Haggard, I would not be you for all the world! You have let your doom in by the front door, but it will not depart that way! Farewell, poor Haggard! Farewell… (He laughs and disappears the same way he appeared.)
(The Lady Amalthea is looking out the window. Haggard comes toward her.)
AMALTHEA: (turns at Haggard's approach) Don't!
KING HAGGARD: I will not touch you. What are you looking at?
LADY AMALTHEA: The sea.
KING HAGGARD: Ah, yes. The sea is always good. There is nothing that I can look at for very long, except the sea. (He stares into her eyes and sees in them her forest, with woodland animals in it.)
KING HAGGARD: (shouts suddenly) What is the matter with your eyes? Why can I not see myself in your eyes?

The Lady Amalthea does not answer.)
KING HAGGARD (to Schmendrick): Who is she!?
SCHMENDRICK: Oh, your majesty, the Lady Amalthea is my niece -
KING HAGGARD: I want to know who she is!
PRINCE LIR: Father, what difference does it make? She's here!
KING HAGGARD (looks at Lír): For once, you are right. She is here. They are all here. And whether they mean my doom or not, I will look at them for a while. (To Amalthea) You may come and go as you please. My secrets guard themselves. Will yours do the same? (Walks off)
PRINCE LIR (to Amalthea): Say, I know where there's some cloth, fine satin. We could make a dress. (INTRO) Please, lady, let me help you. What can I do for you? Trust me!

AMERICA: In the sea,
The fish have learned to fly,
On a moonlit night,
On wings of silver,
As the enchanted stars
Sail serenely by.
Do they know
Where do unicorns go?
Where winged horses fly?
Narwhals lost at sea
And never seen again.
Go, go and ask the magpie,
"Where do unicorns go?"

In the trees,
The birds have learned to speak,
Many-colored,
They keep their secrets
In a parade of clouds
Playing hide and seek.
Do they know,
Where do unicorns go?
Where winged horses fly?
Narwhals lost at sea,
And never seen again.
Does myth and mystery lie
Where the unicorns go?

(Song Scenes: Amalthea looking at the sea; Molly working as a kitchen maid, washing dishes; Prince Lír going out to battle a dragon, and offering the head to Amalthea, who is not impressed by it; a copper-and-ashes cat with an eye patch knocks Schmendrick's juggling balls out of the ring and chases it to the kitchen.)

Scene: Lír and Molly are in the kitchen. Lír is peeling potatoes and Molly is helping him.)

PRINCE LIR: Ow. Mm. And then, she looked at me, and I was sorry I had killed the thing. Sorry for killing a dragon. Imagine - (Nicks himself with the knife) Ow!
MOLLY GRUE: Cut away from yourself, not toward. You know, your highness, I really think you should try something else.
PRINCE LIR: But what's left on earth that I haven't tried? Giants, ogres, black knights, terrible tasks, fatal riddles! Molly, for her sake I've become a hero, but my great deeds mean nothing to her!
MOLLY GRUE: Then perhaps the Lady Amalthea is not to be won by great deeds!
PRINCE LIR: Who is she, Molly? Where does she come from? I don't know any more about her than I did the first day she came here.
MOLLY GRUE: Your highness-
PRINCE LIR: Except that I wish to serve her, as you do, to help her find whatever she has come here to find. I wish to be whatever she has most need of. Will you tell her so?
MOLLY GRUE: I think if you told her yourself-
PRINCE LIR: But she never speaks to me, Molly! Not a word, not a word in all this time!

Scene: A balcony overlooking the sea. Molly Grue walks toward the Lady Amalthea, who is staring over the balcony at the sea.)

MOLLY GRUE: You are cruel to him. You might give him a gentle word, at the very least. He only wishes you to think of him.
LADY AMALTHEA: Molly? (INTRO) …Who am I? Why am I here? What is it that I am seeking in this strange place, day after day? I-I knew a moment ago, but I-I have forgotten.
MOLLY GRUE: The unicorns. If you are not the last…

LADY AMALTHEA: Once, I can't remember,
I was long ago,
Someone strange,
I was innocent and wise,
And full of pain.
Now that I'm a woman,
Everything is strange.

LADY AMALTHEA: I must go to him. I must face the Bull again and discover what he has done with them, before I forget myself forever. But I don't know where to find him. And I'm lonely.

LADY AMALTHEA: Once, when I was searching
Somewhere out of reach,
Far away,
In a place I could not find
Or heart obey,
Now that I'm a woman,
Everything has changed,
Everything has changed,
Everything has changed.

(Song scenes: A large room in the castle with unicorns on the ceiling; unicorns in the clouds.)

MOLLY GRUE: Schmendrick will find a way down to the Red Bull. He has been searching every day.
LADY AMALTHEA: I hope for no help from him. He's no magician now, but the king's poor clown.
MOLLY GRUE: He's doing it for you! He plays the fool for Haggard, trying to divert him from wondering what you are. You do wrong to mock him.
LADY AMALTHEA: Forgive me. (She runs away, into the castle.)
MOLLY GRUE: My lady!

(The castle shakes and the Bull roars. Molly gasps. The copper-and-ashes cat {VOICE OF DON MESSICK} seen before walks down the stairs toward her.)

CAT: The Bull be going out. He goes out every sundown to hunt for the strange white beast that escaped him. You know that perfectly well, so don't be stupid. (Molly picks him up.) Har-har. So that be a unicorn! She is very beautiful.
MOLLY GRUE: How do you know she's a unicorn?

CAT: No cat out of its first fur can ever be deceived by appearances. Unlike human beings, who seems to enjoy it. Ye have very little time. Soon there'll be a human woman in that body and no unicorn at all ever again. It may be that she'll marry the good prince, who loves her. (They have reached the kitchen; Molly puts the cat down on the table and rubs him between the ears. He closes his eye.) Oh. Oh, purr, purr. Do that. Yes. That be nice.
MOLLY GRUE: (stops rubbing him) No. No, that cannot be. She is the last.
CAT: (opens his eye with an annoyed look) Well, then, she must do what she came to do. She must take the king's way down to the Red Bull.
(Molly grabs him and picks him up. He lets out a squeak.)

MOLLY GRUE: Is there a way? Tell me the way. Tell me where we must go!
CAT: Avast! Hark ye closely, mum. When the wine drinks itself, when the skull speaks, when the clock strikes the right time. Only then will you find the tunnel that leads to the Red Bull's lair, har har. There be a trick to it, of course.
(He slithers out of Molly's hands and lands on his feet.)
MOLLY GRUE: Why won't you help me? Why must you always speak in riddles?
CAT: Because I be what I be. I would tell you what you want to know if I could, mum, but I be a cat, and no cat anywhere ever gave anyone a straight answer, har har. (Lifts up his eye patch to reveal a perfectly good eye.)

(Scene: A balcony of the castle. Snow and wind predominate. King Haggard snaps his fingers to summon Schmendrick, who loses his coat trying to get his cards out. Haggard laughs silently.)

Scene: The kitchen. Molly is giving Schmendrick a hot soup.)

SCHMENDRICK: I can't do this very much longer. He had me juggling teacups for him all night long. Teacups! With tea in them!
MOLLY GRUE: Schmendrick, I didn't tell you. I found the skull! The one the cat was talking about. It's up on a pillar in the Great Hall. And the clock -
SCHMENDRICK: Molly, he knows. King Haggard knows what Lady Amalthea is, I'm sure of it.
MOLLY GRUE: What can we do?
PRINCE LIR (comes down the steps): Molly? I've practically got the whole poem now, if you wanted to look at it.
MOLLY GRUE: Oh! Yes, of course, your highness. Whatever you like.

(Scene: A confused dream involving scenes from the Midnight Carnival disaster. Lady Amalthea awakes. Lír's voice can be heard coming up the steps. He's holding a poem in his hands.)
PRINCE LIR: The lift of longing, the crash of loss, the bitterness of - cross? Boss? Moss? Damn!

Damn!
(Lady Amalthea, in her nightgown, comes down the other side of the steps, a mad and frightened look in her eyes.) PRINCE LIR: Good evening, my lady.
LADY AMALTHEA: Who are you?
PRINCE LIR: I'm Lír. Don't you know me? I'm Lír.
LADY AMALTHEA: Lír. Prince Lír.
PRINCE LIR: You were dreaming, my lady.
LADY AMALTHEA: Well, I'm always dreaming, even when I'm awake. It is never finished. I-I will not trouble you, my lord prince. (She begins to walk away hurriedly.)
PRINCE LIR: Trouble me! Please, trouble me! I would court you with more grace if I knew how. I wish you wanted something.
LADY AMALTHEA: (INTRO) Drown out my dreams. Keep me from remembering - whatever wants me to remember it.

PRINCE LIR: I've had time to write a book about
The way you act and look -
I haven't got a paragraph.
Words are always getting in my way,
Anyway, I love you,
That's all I have to tell you,
That's all I've got to say.

And now, I'd like to make a speech about
The love that touches each,
But, stumbling, I would make you laugh.
I feel as though my tongue were made of clay,
Anyway, I love you,
That's all I have to tell you.

I'm not a man of poetry,
Music isn't one with me,
It runs from me,
Runs from me.

PRINCE LIR: And I would like to write a symphony
LADY AMALTHEA: Once, when I was searching
PRINCE LIR: I lost the melody.
Alas, I only finished half.
LADY AMALTHEA: Somewhere out of reach, far away,
PRINCE LIR: And finish I suppose I never may,
Anyway, I love you.
LADY AMALTHEA: In a place I could not find, or heart obey.
PRINCE LIR: That's all I have to tell you.
LADY AMALTHEA: Now that I'm a woman,
PRINCE LIR: That's all I've got to say.
LADY AMALTHEA: Now I know the way.
PRINCE LIR: That's all I've got to say.
LADY AMALTHEA: Now I know the way.
PRINCE LIR & LADY AMALTHEA: That's all I've got to say.

(Song Scenes: Normal love stuff involving doves and unicorns and pools with ripples.)

Scene: The Great Hall. Schmendrick is staring at a great broken clock chiming continuously, out of tune, and a skeleton nearby.)

SCHMENDRICK: Great. Just what I need. Riddles. When the wine drinks itself, when the skull speaks, when the clock strikes the right time. As if I didn't have enough troubles. I wonder what time it is.
(We hear the voices of Lír and Amalthea descending the staircase. Schmendrick hides in a corner.)
PRINCE LIR: Well, of course you're of noble birth; anybody can see that. I mean, you can't really be that ridiculous magician's niece. That's out of the question.
(They pass by; Schmendrick come out of hiding and gazes after them.)

Scene: The balcony overlooking the sea. Amalthea is gazing out to sea.)
LADY AMALTHEA: Your majesty?
KING HAGGARD: (laughs) Love is slowing you down, my lady. (Walks toward her.) I will catch you at last if you love much more.
LADY AMALTHEA: Look, your son is coming home.
KING HAGGARD: (looks disdainfully out to the road) Lír? He's none of mine. I picked him up on a doorstep where some peasant had left him. I was thinking that I had never been happy, and never had a son. It was pleasant at first, but it died quickly. There is only one thing that has ever made me happy.
LADY AMALTHEA: What is that?
KING HAGGARD (menacing voice): Do not mock me. I know very well what you have come for, and you know very well that I have them; try to take them if you can, but do not mock me! (He shakes her by the shoulder.)
LADY AMALTHEA: My lord, in all your castle, in all your realm, there is nothing of yours that I desire. Good day, your majesty. (She turns to leave.)

KING HAGGARD (shouts suddenly): I know you! I almost knew you as soon as I saw you coming on the road, with your cook and your clown; since then, there is no movement of yours that has not betrayed you! A pace, a glance, a turn of the head, the flash of your throat as you breathe, even your way of standing perfectly still, they were all my spies! …You made me wonder for a while. But your time is done. (He looks out to sea. His voice fills with wonder.) The tide is turning. Come and see. Come here. (She obeys.) There. (He points to the sea.) There they are. There they are! They are mine! They belong to me! The Red Bull gathered them for me one by one, and I bade him drive each one into the sea! Now, they live there. And every tide carries them within an easy step of the land, but they dare not come out of the water! They are afraid of the Red Bull. …I like to watch them. They fill me with joy. …The first time I felt it I thought I was going to die.

(Flashback scene: Two unicorns are fondling each other in a wood.)

KING HAGGARD: (voice-over) I said to the Red Bull, "I must have them. I must have all of them, all there are, for nothing makes me happy, but their shining, and their grace." So the Red Bull caught them.

(Scene similar to the butterfly scene: showing the Red Bull driving unicorns into the sea.)
KING HAGGARD (voice-over): Each time I see the unicorns, my unicorns, it is like that morning in the woods, and I am truly young, in spite of myself!

(Scene returns to the balcony.)
KING HAGGARD: You are the last.
LADY AMALTHEA: My lord, I-I do not understand. I see nothing at all in the water!
KING HAGGARD: Do you still deny yourself? Do you dare still pretend to be human? I'll hurl you down to the others with my own hands if you dare deny yourself!
LADY AMALTHEA: What are you saying!?
KING HAGGARD: It must be so; I cannot be mistaken. Yet - your eyes. Your eyes have become empty, as Lír's - as any eyes that - never saw unicorns.
(He looks deeply into her eyes, and he sees only his reflection.) It makes no difference. I can wait. The end will be the same. I can wait. (He leaves.)

LADY AMALTHEA: (puts her head into her arms and begins to sob): He is mad! Mad!
SCHMENDRICK: (walks up and comforts her) Shhh, don't, don't, don't. It's all right. We'll find them. Come on, come to me. Oh, please, please don't cry. If you've become human enough to cry then no magic in the world can change you back. Just come with me. Shh, don't cry. I promise you we'll find them.

(Scene: The Great Hall. Schmendrick, Molly, and Amalthea are standing before the skeleton {VOICE OF RENE AUBERJONOIS}, which is laughing like crazy.)

SCHMENDRICK: Shut up, you pretentious kneecap! How would you like a punch in the eye?
MOLLY GRUE: Schmendrick, you made it laugh anyway. Maybe that's all you need for the riddle.
SKULL: It isn't. (laughs some more)
MOLLY GRUE: Oh! You can speak! Schmendrick, it worked!
SKULL: (laughs) Come on. Ask me how to find the Red Bull. Even Prince Lír doesn't know the secret way, but I do. (laughs)
SCHMENDRICK: So you do, eh? Answer the riddle, then. Tell us the way.
SKULL: Say please.
SCHMENDRICK: Please.
SKULL: No. No!
MOLLY GRUE: Why not? What kind of game is this?

SKULL: (giggles) Oh, it's so nice to have someone to play with! Try me tomorrow; maybe I'll tell you tomorrow! (laughs)
MOLLY GRUE: But we have no time! We may be too late now!
SKULL: I have time. I've got time enough for all of us. (laughs)
SCHMENDRICK: Never mind him. Give me the wine; let me see what I can do with the wine.
SKULL: (interested) Wine?
[(There is a part cut out of my copy here. I've come as close as I could with memory.)
MOLLY GRUE: I couldn't find any. I looked everywhere, but I don't think there's a drop in the castle.
(Schmendrick glares at her.)
MOLLY GRUE: I *looked*.
SCHMENDRICK: Well, that's it, then. If we can't find the wine -
MOLLY GRUE: I thought, maybe if you had some water to start with -
(Molly takes out a flask of water.)]
SKULL: (laughs) Him? Turn water into wine? (laughs)

SCHMENDRICK: Keep quiet! (to Molly) Let me have it; I'll give it a try. (takes the flask and opens it) Now you understand, it's not going to be very good wine. Vin ordinaire, if that. And it'll be too sweet and… Well, here goes. (Turns his back to the skull and mutters some words in a low voice.)
SKULL: What are you doing? Hey, do it over here, I can't see a thing!
SCHMENDRICK: (holds up the flask, back still to the skull.) It's weak at best, no nose, no body. Hardly any bouquet at all. Well, that's done it, that's finally done it! (turns the flask upside down. It's empty. Makes a move to throw it away.)
SKULL: No, wait, hey, don't! Don't do that! Give it to me if you don't want it, but don't throw it away! (strains toward it)
SCHMENDRICK: But you're dead! You can't smell wine, can't taste it!
SKULL: But I remember…
SCHMENDRICK: Well, if you should happen to remember the entrance to the Red Bull's lair as well as you remember wine -
SKULL: Done! Give me one drink now and I'll tell you anything you want to know.
SCHMENDRICK: You can have all of it - after you tell us the way.

SKULL: The way is through the clock.
SCHMENDRICK: Through that?
MOLLY GRUE: You mean, when the clock strikes the right time it opens, and there's a secret stair?
SKULL: That clock will never strike the right time. You just walk through it and the Red Bull is on the other side. Give me the wine.
SCHMENDRICK: Walk through a clock? What am I, a magician?
SKULL: To meet the Red Bull, you have to walk through time. A clock isn't time, it's just numbers and springs. Pay it no mind, just walk right on through. About that wine now…
(Schmendrick gives it the empty bottle and it drinks it lustily. An alcoholic tinge lends itself to its cheeks when it's finished.)
SKULL: Ah, that was the real stuff. That was WINE. You're more of a magician than I thought.
SCHMENDRICK: Let's go.
MOLLY GRUE: My lady, it's time. We're going to find the others now.
SKULL: (drops the flask and becomes very angry.) Oh no. No you don't. Not that one. (An alarm goes off.) Unicorn! Unicorn! Haggard! Haggard! Unicorn! Unicorn!
SCHMENDRICK: Run! (They head for the clock ASAP.)
SKULL: Haggard! There they go! Down to the Red Bull! The clock, Haggard! There they go! Unicorn! Unicorn!

They reach the clock.)
SCHMENDRICK: Come on. Go on through. (Amalthea enters the clock and disappears.)
MOLLY GRUE: Schmendrick! I don't think-
SCHMENDRICK: Go on!

(Molly also goes in. Haggard appears and tries to skewer Schmendrick. Schmendrick tries to dodge him.) (Molly and Amalthea are in a hazy, misty, strange place.)

MOLLY GRUE: It worked!
LADY AMALTHEA: Prince Lír!
(He comes out of the mists.)
PRINCE LIR: You would have gone without me?
LADY AMALTHEA: I would have come back. I don't know why I'm here or who I am, but I would have come back.
PRINCE LIR: No, you would never have come back.
MOLLY GRUE: Never mind all that! Where's Schmendrick?

(Haggard is still trying to get Schmendrick. He nicks him on the head but Schmendrick ducks through him into the clock.)

Back in the clock.)
MOLLY GRUE: Where is he? I'll go back myself if you won't!
(Schmendrick walks out of the mists. One hand is on his head.)
MOLLY GRUE: Schmendrick!
SCHMENDRICK: It's all right, it's not deep. (He sees Lír.) How did you know how to get in?
PRINCE LIR: What was there to know? I saw where she had gone and I followed.
(Haggard begins striking at the clock. It tumbles down.)
(The mists dissipate into a dark cavern.)
SCHMENDRICK: Haggard has destroyed the clock. Now there's no way back and no way out but through the Red Bull's passage. (They begin walking.)

(Scene: Slightly later. Schmendrick is talking to Lír.)

Back in the clock.)
MOLLY GRUE: Where is he? I'll go back myself if you won't!
(Schmendrick walks out of the mists. One hand is on his head.)
MOLLY GRUE: Schmendrick!
SCHMENDRICK: It's all right, it's not deep. (He sees Lír.) How did you know how to get in?
PRINCE LIR: What was there to know? I saw where she had gone and I followed.
(Haggard begins striking at the clock. It tumbles down.)
(The mists dissipate into a dark cavern.)
SCHMENDRICK: Haggard has destroyed the clock. Now there's no way back and no way out but through the Red Bull's passage. (They begin walking.)

(Scene: Slightly later. Schmendrick is talking to Lír.)22lir

SCHMENDRICK: And the rest you know. We came here seeking unicorns and we have possibly found them, at last.
PRINCE LIR: I used to have a dream, over and over, about standing at my window in the middle of the night and seeing the Bull, the Red Bull-
SCHMENDRICK: Yes. Driving unicorns into the sea. It was no dream. Haggard has them all now, drifting in and out on the tide for his delight, all but one. That one is the Lady Amalthea.
PRINCE LIR: Unicorn, mermaid, sorceress, no name you would give her would surprise or frighten me. I love whom I love.
SCHMENDRICK: Well, that's a very nice sentiment. But when I change her back into her true self-
PRINCE LIR: I love whom I love.
LADY AMALTHEA: (comes from the front of the party.) I heard what you said. I will go no further.
SCHMENDRICK: There's no choice. We have to go on.

LADY AMALTHEA: (to Lír) Don't let him change me. The Red Bull has no care for human beings. We may walk out past him and get away.
SCHMENDRICK: If we do that, all the unicorns in the world will remain prisoner forever except one, and she will grow old and die.
LADY AMALTHEA: (to Lír) Everything dies. I want to die when you die. I'm no unicorn, no magical creature! I'm human, and I love you. Don't let him! Lír, I will not love you when I am a unicorn.
PRINCE LIR: Amalthea, don't.
SCHMENDRICK: Then let the quest end here. I don't think I could change her back even if you wished it. Marry the prince and live happily ever after.
LADY AMALTHEA: Yes. That is my wish.
PRINCE LIR: No. Lady, I am a hero, and heroes know that things must happen when it is time for them to happen. A quest may not simply be abandoned. Unicorns may go unrescued for a long time, but not forever. The happy ending cannot come in the middle of the story. (They walk ahead.)

MOLLY GRUE (to Schmendrick): But what if there isn't a happy ending at all?
SCHMENDRICK: There are no happy endings, because nothing ends.
MOLLY GRUE: Schmendrick, let her stay the way she is. Let her be.
SCHMENDRICK: That's not in the story. Lír knows that, and so does she.
MOLLY GRUE: You don't care! You don't care what happens to her, or to the others, just so you become a real magician at last. You don't care!
SCHMENDRICK: I wish I didn't! I wish to God I didn't care about anything but my magic! But I do! I do.
MOLLY GRUE: Schmendrick!
(The Red Bull comes. He runs straight for the Lady Amalthea.)
SCHMENDRICK: Molly, he knows! He knows!
(Amalthea starts running, but she trips on a rock.)
LADY AMALTHEA: My ankle! Help!
PRINCE LIR: Amalthea!
(He jumps in front of her, sword out. It burns up in his hands.)
PRINCE LIR: Don't move! (The Red Bull crashes by him; he is thrown to the side. The Bull turns again to Amalthea, who is again running.)

MOLLY GRUE: She'll be killed!
(Schmendrick stares at her. Then he stands up straight.)
SCHMENDRICK: [Agu coganu mutariti copona! Copona!] (The power goes toward Lady Amalthea. She begins changing back to a unicorn.)
LADY AMALTHEA: Lír!
PRINCE LIR: Amalthea!
(The change is complete; the unicorn begins running. They are out on the seashore. The Red Bull chases her.)
MOLLY GRUE: Look!
(The Red Bull is winning again. We see King Haggard looking down from a balcony atop the castle.)
PRINCE LIR (comes up to Schmendrick): Do something! You have the power! I will kill you if you don't do something!
SCHMENDRICK: I cannot! Not all the magic in the world can help her now.
MOLLY GRUE: Then what is magic for? What is the use of wizardry, if it
cannot even save a unicorn?
SCHMENDRICK: That's what heroes are for.
PRINCE LIR: Of course, that's exactly what heroes are for.
(He jumps into the Red Bull's path. The Bull does not stop.)

MOLLY GRUE: No!
(Lír's body is face down in the ground. It does not move.)
(The unicorn looks at Lír's body and screams. Her horn lights up and she begins attacking the Red Bull.)
SCHMENDRICK: She's attacking!
MOLLY GRUE: She's fighting back!
(The Red Bull's hoof touches the water. He turns around and begins walking into the sea. He is covered by water, and on the waves coming back in, the unicorns ride. There are hundreds of them, coming in on the tide. They begin running out to shore, and they circumvent Schmendrick and Molly, standing by Lír's body. They go around the castle, which begins to crumble. The floor breaks from under King Haggard's feet.)
KING HAGGARD: The last! I knew you were the last!
(He gives a final laugh as he falls down to the sea. Some of the castle's pieces shrink and disappear in midair; others fall into the sea.)

(Scene: The seashore. The unicorns have passed; only one remains, who puts her head in Molly's tear-streaked face.)

MOLLY GRUE: Oh, you stayed. You stayed.
(The unicorn looks at Lír's body. She touches him with her horn. Lír ]awakes.)
PRINCE LIR: Father? Father, I had that same dream… No. No, I was dead!
(The unicorn watches Molly and Schmendrick help him up from a mountainside.)
UNICORN (voice only): I remember you. I remember.
(Lír sees her run away from them.)

(Scene: A forest. Schmendrick and Molly are with Lír.)
PRINCE LIR: I will miss you. I never had any friends before. (Hugs each one.)
SCHMENDRICK: We will come back.

PRINCE LIR: I wish I could see her just once more, to - to tell her all that's in my heart. She will never know what I really meant to say.
SCHMENDRICK: She will remember your heart when men are fairy tales in books written by rabbits. Of all unicorns, she is the only one who knows what regret is - and love.
(Lír gets on his horse and rides away.)
SCHMENDRICK: (turns to Molly) Come with me?
MOLLY GRUE: I will.

Scene: An open field at night. Molly is sleeping; Schmendrick has awakened to find the unicorn there.)
UNICORN: You are a true wizard now, as you always wished. Does it make you happy?
SCHMENDRICK: Well, men don't always know when they're happy, but I-I think so. And you?
UNICORN: I am a little afraid to go home. I have been mortal, and some part of me is mortal yet. I am no longer like the others; for no unicorn was ever born who could regret. But now I do. I regret.
SCHMENDRICK: I am sorry, I have done you evil and I cannot undo it.
UNICORN: No. Unicorns are in the world again. No sorrow will live in me as long as that joy - save one, and I thank you for that part too. Farewell, good magician. I will try to go home.

(Schmendrick nods. He wakes up Molly and they both see the unicorn shining before she dashes away…)

AMERICA: I'm Alive!
I'm Alive!

When the last moon is cast over the last star of morning,
And the future has passed without even a last desperate warning,
Then look into the stars, where through the clouds a path is torn,
Look and see her, how she sparkles, it's the last unicorn!
I'm Alive!
I'm Alive!

(Song scenes: Changing scenery with the unicorn running; finally returns to her forest at night with the moon shining above the trees.)


The end.

Hey!

What makes a man?

Is it the power in his hands?

Is his quest for glory?

Give it all you've got

To fight to the top

So we can know your story

Now you're a man

A man, man, man

Now you're a man

A manny, manny, man

A man, man, man

You are now a man

You're a man

Now you're a man

Live it, live it

What makes a man?

Is it the woman in his arms?

Just 'cause she has big titties?

Or is it the way he fights every day?

… No, it's probably the titties

Now you're a man

A man, man, man

Now you're a man-man

Man-man, man, man-man

Now you're a man

M - A - N, man

Man, man-man, man

Now you're a man

Hello there.

My name is Robert White.

And I'm Joseph Young.

And we're with the Church

of Jesus Christ…

… of Latter-Day Saints.

Who?

Let me ask you a question.

What would you say if someone

offered you peace and happiness…

… through all of eternity?

Thank you!

- Have a nice day!

Oh… Yeah baby! You make me so horny!

Oh, I want it so bad! Ohhh…

I bet you do.

And I'm gonna give it to you.

Oh, good… 'cause I'm

so badly wanting it.

Hi.

Thank you.

Buhbye!

- …Almost.

- Mhm.

Oh yeah, harder! Oh, yeh!

Oh, give it to me, you big stud!

I'm not a stud.

Huh?

I'm not a stud!

I'm…

… Jizzmaster Zero!

Aagh! Oh no! Help! Somebody help!

- Ain't nobody gonna help you now, honey!

- Will somebody save me??

Orgazmo!

Unhand her, Jizzmaster Zero!

You can't defeat me, Orgazmo!

Oh yeah I can, too!

I'll use my Orgazmorator!

Oh, this feels good.

Now, I will kick your ass!

Hello ma'am.

My goodness, you have such an

attractive little garden here.

Why thank you, young man. I just planted

those flowers last week. My, how they grow!

Yes ma'am.

We're from the Church of Jesus

Christ of Latter-Day Saints.

Oh, the Mormons.

That's right. I'm… I'm Elder Young,

and this is Elder White.

- Well, you two boys can just fuck right off.

- Ma'am?

You heard me.

Take that Book of Mormom and shove it…

… so far up your righteous

asses that you choke,…

… you soul-soliciting pigfuckers!

Gosh.

Eat shit!

And you take this!

Ow! I jammed my finger! Ow!

- Cut!

- Ow! I jammed my finger!

Danger!

Cut!

Goddamnit, cut!

What the hell was that?!

What is your problem Zizinsky?

He blocked! He wasn't supposed to

block and he broke my finger!

You told me you knew how to fight.

Orgazmo's supposed to be a badass!

He shouldn't block me then!

Get back in there and look tough,

you fucking pansy!

I can't. My finger is broken.

You listen to me, you cocky prick!

If you ever wanna work in porno again,

you'll do exactly what I say!

Get back to work!

Hey, where are you and Lisa

gonna have the wedding?

Well, 'course Lisa wants to get married

in the Temple in Salt Lake City, but…

… it costs a lot of money.

I don't think I can afford it.

Yeah, I know what you mean.

I don't know why the Church makes it

so expensive to have a wedding there.

Hey, don't worry. If you really

want something to happen,…

… the heavenly Father will

probably make it happen.

- Yeah.

- Yeah.

Action!

- I'm Jizzmaster Zero!

- Oh no. Help.

No one's gonna help you now, honey!

Somebody save me.

Orgazmo.

Unhand her, Jizzmaster…

- What is that?

- The front door, stupid.

Cut! God-damnit!

Bilbo!

Go see who that is and KILL them

for disrupting my shoot!!

Okay.

Hi. My name's Joseph Young.

- And I'm Robert White.

We're with the Church of Jesus Christ

of Latter-Day Saints.

- Okay. Hold on a second.

- Uh…

Uh, boss?

Some guys from… Jesus?

Cut off their balls!

- I've gotta cut your balls off now.

- Huh??

Why?

Hehey, we can take a hint. Uh… you're not

ready to change faiths right now. We respect that.

- Hah! Come here!

- Waitwaitwait, no!

That oughta teach those Moonies

to stay away from my house.

Please. I don't wanna hurt you.

You don't wanna hurt me, huh?

Guards! More guards!

Uh… Just let me get my buh,

my book and go.

Oh… Sorry.

You little pussy!

… Sorry… sorry.

Holly shit!

That was brilliant!

You're terrific, kid! What's your name?

Look, ah, ah… I didn't mean to hurt

these people, but they told…

Oh no no no, they had it comin'

to them, the rotten bastards!

Why were you trying to hurt this man?!

What is it that you wanted?

Well…

… ah, I'm from the Church of

Jesus Christ of Latter-Day Saints

Uh-huh.

And I wanna share my love

of Jesus with you.

Oh, why didn't you say so!

Come on in!

- Really?

- Come on!

I say unto you,

"Nay, they are many,…

… yea, and we can witness

of their sincerity,…

… because of their love

towards their brethren, and…

and also, towards us."

So you see, Jesus Christ

spoke to prophets…

… right here in the ancient Americas.

- Yeah, yeah, oh yeah, I dig that Jesus guy.

- You do?

Oh, sure, the kids love him.

Happy Tart?

Oh, thank you.

Listen, kid,…

Have you ever considered acting?

Me? Oh… Yeah. Actually,

I majored in theater at BYU.

Go on…

Yeah. Are are you making a movie here?

Yeah. And I want you to take over

as the leading man in my film.

Me?? Really? Well. Wow!

I still have another week of,

of mission work to do, but…

… well what kind of movie is it?

It's an action… adventure… porno.

Porno?

Like as in porno-graphic?

Well yeah, but it's not like that.

Oh. Oh, I don't do those,

those kind of movies.

Look, kid. It's two days' work and

I'll give you five thousand dollars.

Hey, you were only giving me three hundred.

How's your finger, Chuchekchesh?

- I think it's better. I'm ready to go.

- Yeah?

That's certainly is a lot of money, but I'm afraid

it goes against my beliefs. Thank you, very…

Looook, kid. You got me all wrong.

This is not your average porno.

This is a very touching script.

It's a poignant story about

some very important issues.

About other people having… intercourse?

Well, this is an adult film.

- Well see, I can't do that.

All right.

Make it seven thousand dollars.

It's very nice of you to offer

me so much money, but…

Ten thousand.

I can't.

See, I have a fiancée, and if she ever…

I got it! We use a stunt cock.

Any time there's actual penetration,

we'll bring in another penis.

We do it all the time. All you have to concern

yourself with is the crime-fighting, and the acting.

But see, I'd still be acting in a

pornographic movie. That's what I…

Twenty thousand dollars.

- 'Scuse me?

- Twenty thousand dollars. Are you crazy?!

Twenty thousand dollars

for two days' work?

And you don't even have to fuck.

I… I have to think about this.

Can I think about this?

Sure.

We start first thing Monday morning.

Wait, I have to think about this.

Yeah. You start at ten o'clock.

I'm gonna think about this now.

I don't know. He doesn't seem much

like the porno type to me, boss.

That's why he's so perfect for Orgazmo.

He's so prissy, wholesome.

You watch. In a coupld of weeks,…

… I'll make that little momma's boy

the biggest porn star in the country.

Hello?

- Hi, Lise.

- Hi, honey!

- How are things in Utah?

Well Utah isn't as nice

without you, that's for sure.

How are things there?

Oh, fine. I uh,…

I had an interesting day.

I got offered a part in a movie.

A movie?

Like… a Hollywood movie?

Yeah. And it, and it pays a lot.

Oh, Joe, that's wonderful!

Is it enough so that we can

get married in the Temple?

Lisa, it's twenty thousand dollars.

Oh, why you're the best, Joe.

Well, I don't know if

I'm gonna do it, Lise.

Mm, what? Well, why not?

Eh… there's some things in the movie

that are… against God's way, and I…

Joe, even if movies are a little…

crude now and then,…

… I think that the Lord understands that

you need money for your family's future.

Twenty thousand dollars would

get us off to a great start.

I know it would.

So what is it?

What are you acting in?

Oh… Uh, it's a… a… a….

"Death of a Salesman".

Oh! Let me guess who you're playing!

You're playing Biff, right?

Biff. Yeah.

Oh, Daddy's here to take me to choir

practice, Joe. Can I call you back later?

- Sure, sure.

- Jesus and I love you, Joe.

Jesus and I love you, too, Lise.

- Bye.

- Bye.

Heavenly Father, please show me the way.

I know it would be sinful to act in

a movie that had sexual activity, but…

… Lisa is so important to me,…

… and I need the money for our

wedding and for a place to live.

Please, just… give me a sign

if you don't want me to do it.

Any sign at all.

Where is that little fucking choir boy?!

I don't think he's gonna show up.

Oh, really? Rodgers!

You and pickle-dick here

go find that bastard!

And you tell him, if he

doesn't act in my film,…

… his parents, his friends,

his fuckin' PETS are gonna pay!

You tell him, if he fucks

with me he'll sss… well hellooo!

Hello.

We were just talking about you.

How are you?

I'm… fine.

Super! Why don't you would get into

wardrobe and we'll get started right away.

Orbison, who am I fucking in this scene?

Uh, you'll be fucking Jeff and probably Ben…

Have you met our new Orgazmo?

No.

- Hi, how you doing?

- Hi. Are we fucking?

…No. You'll be fucking his stunt cock.

And I'm not doing any ass-licking today.

I told you that, right?

Yes, yes. No ass-licking.

Okay. I am… not an ass-licker.

Here's an article of a mother who claims that her son was there to peacefully protest against unitetheright. She also claims that he was attacked for just standing there.
archive.is/prebM

But we know better. These are the people with the yellow banners and they were blocking the protesters their path when they wanted to leave the scene.
They tried to grab (read: steal) the veteran his flag and that's how the fight with Betterly/William Lovel was instigated.

Here are 3 names of the yellow banners:
- Mik Plungis (fought the veteran)
archive.is/CwQZI

- Julia Bates (the girl who was holding the banner with Mik)
archive.is/w0ORT
- William Healy (only 95% sure, so I need confirmation; It's the guy wearing the green t-shirt. I call him: But-you're-a-white-male-the-2nd because he looks like it) .
archive.is/NHo2Z
- Julia has a relationship with Jack Vaughan. Is he known?
archive.is/UozY8

- A special thanks to the mother of Mik. Because of her article it took us only a few minutes to identify her son and his friends. Kek

Q: Does somebody has the webm/mp4 files of the attack? Otherwise I have to grab them again from some vids. Different angles are welcome.

I think it's a good idea to pass this info to Betterly & Lovel's lawyer once they are arrested. He can use it to say the yellow banners instigated the fight and that
Betterly/Lovel just wanted to protect them. Lovel already has tons of other cases hanging above his head and that way we can see them eat each other.

Old pic of William Healy?

Great job, Jack!
We get those suckers

These people weren't present @Cville but I'm sure they won't like to see their pics here.

Keep spamming & I might give you some more info.

Hey Jack its Corey Lemley
I am blocked on FB for 30 days because one of your friends went to the zuckerberg PD on a post of mine exposing your nazi buddies for cowering out in murfreesboro. While i respect your mediocre doxxing skills, i have to call out fake news when i see it. i wasnt in gainesville. is everybody starting to look the same to you now? must have gotten that jaw rocked a few times that its fucked up your vision and cognitive skills. if youre going to put out info, dont post fake shit.

The guy on the right is William Galloway.
His fartbook: archive.is/ydnBs
archive.is/GfWCE

You can see him masked in this post:>>10877326

ROFL. Some one is seriously sperging out. Holy shit you think this will stop people from reading this thread? Dude, OP can just repost all the pictures tomorrow, or next week. How much time do you intend to spend making sure threads you don't like get saged?

Don't forget, you're here FOREVER

Nice work! Jack Vaughn is in the pic with green shirt, or William Healy. He's wearing a hat, red rimmed sunglasses, and has a sleeveless black shirt on. So yes he was there.

Where did you get the Julia Bates pics?

Yeah, it's William Healy. 100% sure. Just compare with this one:

Indeed!

archive.is/LLDcC

You're good! And where did you find the pic of William Healy? This is huge. This means the victim, who I have contacted, can press charges on all of them.

...

Gold Helmet Girl again! God she's ugly.

The Orange Shirt sucker puncher(in his Grey Shirt and Mask) with Brent Betterly.

gee i wonder who could be behinds those

Author Dr. James Fetzer (www.moonrockbooks.com) is soon to be publishing a new book on the Charlottesville hoax/psyop. He authored the book Nobody Died At Sandy Hook, vid related.

Red Climbing Helmet seen with Kristopher Goad in Richmond, VA!

Pepper Sprayer seen with Red Climbing Helmet and Kristopher Goad in Richmond, VA!

Counter-spam

I approve of this spam.

twitter.com/TheMadDimension/status/928743553383174144

twitter.com/TheMadDimension/status/928743987317497856

twitter.com/CBS19News/status/928744211742150658

lmao, flabby nu-males should never take their shirts off in public

Also this niggas boxers are riding up higher then a giraffe's nostril. Does he hate whitey because a white man gave him a wedgie?

Great find!
The guy in the centre with the moustache and wearing a red t-shirt was also present on the 11th.

Here is the link from that vid again + 2 pics from prev thread.
youtube.com/watch?v=qjfAEHg-vwg

Hex is the spamme, tbh

Ignore prev message…

Yeah that's Kristopher Goad seen with "Beanie Man" as they call him and Sean Liter, Brent Betterly, and Dreads Mulatto.

Fyi: the guy on the right in this pic is Alan Schintzius:


Activist and was a former candidate for Richmond mayor.
youtube.com/watch?v=_4RqCWUsgqA

Bitch in the purple shirt next to Brent Betterly and Dreads Mulatto ID'd. Chelsea Marie Stabler of DSA.

...

youtube.com/watch?v=AAh-NPbUvYQ

I've noticed something. Since we have been tracking Antifa, they have been leaving Confederate Rallies alone. We are making the country safer! Let's keep it up!

youtube.com/watch?v=enf7WiAYAZE

Silver Hair.

Orange Shirt and Gold Helmet!

This guy was also present at the Anti Sharia protest on the 10th of June on Foley Square / NY

He attacked the guy with the KEK flag.

This is the person who attacked Adam Richard with a stick.
Compare tattoos on his left fore arm.

The event was from July 2016. I believe it was in Richmond.
youtube.com/watch?v=BS3x5GTVeSc

This is a pic from an anti-KKK protest in Durham on the 18th of August.
We thought that the black person in turquoise shirt + hat is the same one that also attacked in Adam R but I think that's a negative. 2 different persons

Have the like 437 of these thread ever actually accomplished anything?

Honest question. I am in and out of internet access.

Yes. Antifa have been skiddish to get violent at rallies and some arrests and FBI investigation.

Cool.

I see Yellow Shirt and Masked Flagger holding the bamboo stick banner here, Unmasked Flagger is also there to the right of them. All 3 are suspects.

Just found a new video that reveals the alternative outfits of 3 of our 10 suspects! This is huge! EVERYONE! Look for these three thugs with the "Alt-Right Zombies want your brains!" banner! It has a Pepe in a KKK uniform on it!

facebook.com/jasonespie/videos/10212986205717095/

These are the alt outfits for the 2 female suspects. Let's find these girls!

Looks like our suspect Bamboo Bundle Girl had at least 2 different outfits. She's a cigarette smoker and she knows the guy with the missing earlobe from NC, and she herself was seen in NC. She also is wearing the same hat the entire time and has some purple dye in her hair on the right side at least.

Now I know why she changed her outfit… Bamboo Bundle Girl's shirt got pepper sprayed!

I misspoke. Bamboo Bundle Girl only had 2 outfits in Cville. One was ruined by Pepper Spray and she changed into the outfit she attacked Daniel in. I think she is in NC.

This same banner Gold Helmet was behind was seen in UNC Chapel Hill at the "Silent Sam" protests!

Both banners were present at the Silent Sam protest. If you look at the right of the pic from the Silent S protest then you can seepart of the 'ghostbusters' logo.
That's the banner they were carrying on the side

*the other side.

I wouldn't be surprised if most of the banner Antifa were from NC.

Is this the Masked Flagger unmasked?

Video of Unmasked Flagger and Yellow Shirt. Looks like Unmasked Flagger got pepper sprayed. He also says something: "Uh, Shawn?"

That's what I think he says.

youtube.com/watch?v=oxJNHNyyQeY

Suspects seen here.

Look between Hat Thief Girl(pink hat) and Alec Summerfield! It's Masked Flagger without his mask! Let's fucking get this guy!

...

The Masked Flagger is officially unmasked! Now let's locate and name him! -Jack "Pale Horse" Corbin

facebook.com/congregatecville/videos/462040127509841/

Zecharia Hayes attacks someone with his rod! Skip to 4:00 remaining in this video.

facebook.com/jay.mcneal/videos/10155710199318474/

Revcom guy sucker punches Based Suitman.

Also in this video:

facebook.com/jay.mcneal/videos/10155710199318474/

Renee Campbell Hall is never hit with a shield. She trips and falls on her face. John Carico, her boyfriend who attacked that old man in Burns, TN reaches for what looks to be a stashed weapon. He gets his ass beat.

The Right Wing did not start the Cville violence. The Antifa did. This video is proof.

The best pic yet of Gold Helmet.

Same here. Take a look at this vid.

Another vid of the incident.
the 2nd vid is shortly before or after the incident. At 0:28 CowardlyStickman can be seen. Now we know with wich group he arrived.

In case some user is wondering: 10:15am 23 seconds

We haven't forgot about these thugs have we?

Clear pic of Hat Thief Girl and Masked Flagger unmasked.

Not sure if this vid was already posted.

Daryle Lamont Jenkins sissy-slaps the guy from DS.

An Antifa attacks his own media and is kicked out of the rally by the Jewish Antifa leader. LOL!

Just isolated pics of 2 of our 10 suspects.

Orange Hat punk is Caleb Burroughs.

Another pic


Yeah he was blowing with a horn in ppl's ears and then got a good smash in the face. Nice find!

Thank you so much. Keep em coming.

twitter.com/RedCville/status/931209751400198144

youtube.com/watch?v=bDZtImrjssU

Go to 6:01:08.

twitter.com/aletweetsnews/status/896382111111892993

Bamboo Bundle Girl and Gold Helmet.

Masked Flagger.

He has noticeable dark face moles and a tattoo on his right forearm.

BRAND NEW BOOK FROM DR JAMES FETZER

Political Theater In Charlottesville

>http:// moonrockbooks.com/political-theater-charlottesville/

Never forget that Jack "Pale Horse" Corbin's eyes are some of the best in the world. This piece of shit pepper sprayer was seen in Richmond, VA with White Dreadlocks guy, Red Climbing Helmet, and Kristopher Goad.

You're fucking finished, Antifa.

More of the Masked Flagger unmasked!

youtube.com/watch?v=7aZNG9uUQwA

Zecharia Hayes stomps someone in this video. Also Unmasked Flagger attacks someone and gets maced for it.

youtube.com/watch?v=j5wgxxw0R5Q

Masked Flagger.

Wanna see what I got? :)

Sean Liter and Dreads Mulatto. The best pics so far.

...

LOL

K:D ratio;
Libshits: 0:1
Cons: 1:0

We're not going to stop until all violent Antifa are brought to justice. ;)

Dread Mullatto was also at Pikeville, also found out Holly has a tattoo on her wrist.

So he might be from Louisville.

Yeah man. You can also see Lillian Prosperino in that 1st pic, the toothless girl, Doorag Goblin, that dude with the sun glasses on the far right of the 1st pic, Sean Liter was there, Brent Betterly was there, William Lovell was there, Camo Batter was there…

Half assed related, but here's the info on another ARA.

More from pikeville.

Also, confirmed for having a firearm on campus

The whole pic.

Never forget that Corey Long, Deandre Harris, and Charles Howard are guilty, and put 4 innocent men behind bars with no bond, while they are walking free, Corey Long only has misdemeanors, and Charles Howard hasn't even been arrested yet. Free Jacob Goodwin. Free Alex Ramos. Free Daniel Borden. Free Richard Preston. Free Chris Cantwell.

fuck this, where's the televised court case of the driver.

Never forget about Baked Sprayer. Also more pics of some of the 10 suspects. Unmasked Flagger and Baton Boy.

Laura Sennett, a Jew and Daryle Lamont Jenkins's right hand. She doxes people for him. Well now it's her turn! She goes by "TheLibertyLamp". She was in Charlottesville.

Huge news! Camo Batter has been ID'd as Chandler Coates of Louisville, KY. I'd like to thank my friend in Europe and my insiders inside the Torch Network for this. To Sean Liter, Holly McGlawn-Zoller, Brent Betterly, and William Lovell. Turn yourselves in for the crimes you committed in Charlottesville, you too Chandler Coates, it's a hell of a lot better than the FBI kicking your doors down. Think about it. -Jack "Pale Horse" Corbin.

So everyone, just so it's clear. Camo Batter is Chandler W Coates of Louisville, KY and Louisville ARA, NOT Tyler Chanley or Tyler David Back as was previously thought. It was not I who tried to claim Camo Batter was Tyler Chanley/Tyler David Back. The ears and nose were way off. So let this post here be the one that clears his name. -Jack "Pale Horse" Corbin

facebook.com/pretzel.seeds

Chandler Coates or "Lucas Black" just changed his profile image. That's how you know he's guilty.

More on Holly Zoller

Damn global connects Jack!
You’ve got leaks from inside Torch antifa? How’d you swing that??

Great work Jack!


Here's a vid of HammerBro in action. He shows up at 0:03 in the left corner

Hehehe. Trade secret my man. We got leads on fuck loads of people now. Don't be surprised if we ID almost every Antifa or every Antifa who was in Cville. :)

New website idea: Top 10 "wanted" list for known criminal antifa fags with identifying info + with an option to submit possible leads

Hammer Bro was seen with Tom Keenan of Philly and New Jersey very often. We should look for him in that general area.

Anyone have info on either of these 2? Both were at the Torch Rally before Unite The Right.

The guy in the hat is supposed to be an out of state anit-fa guy who does these things often. I am not sure if he is part of the leadership or not.

ARA has some good thanksgiving coming up.

bizjournals.com/louisville/news/2017/11/22/haymarket-whiskey-bar-closes-abruptly.html

One of their Jewish bar owners got caught taking shits on their members. He hosted some Rock against Racism shit.
But the truth is that all of their main membership are rapists. Loyd Coy was caught at Spenelli's raping a 15 year old black girl when was over 30.
The mag-bar is known to rob people after hours. Who else sent that fucking ride through the window?
wlky.com/article/mag-bar-reopens-after-suv-crashes-through-wall-1/3744054

They hate the LMPD, and the LFD. Hope the EMS love you all.

Blondie is the one with the long stick at the torch march. Both of them set up Chris Cantwell.

5 shirt guy. Didn't know it was possible to be skinny PLUS man boobs. Total soy boy.

Hate rape on site.

Rape the shit out of this bitch

don't you wish

try calling his mom

you can just use the home phone, since he lives with her anyway

snerk

-great lakes antifa

is that so?

perhaps its that Cuck Dynasty here hasn't actually had any rallies to speak of in any form really since A12

y'all so sad, acting like you're accomplishing something.

what happened to the great Holla Forums army?

-great lakes antifa

How did you get that information?!

since that dumbass was doxxed in the last thread and it went all over twitter etc

are you new to this or just that incompetent?

go ahead, call those numbers, search that address.

y'all ain't as anonymous as you think.

ps, jake, get a fucking job already

God youre a faggot. Keep kickin it Jack!

least im not a faggot jew who is using you to build his name brand bullshit

Not so new that I use earlobe spacing. Just astonished someone was doxxed from a anonymous board that does not reveal information. . .

Yet you still haven't done anything because you're a coward. Great Lakes Antifa also got disavowed by the rest of Antifa, including the "Torch Network".

Let's find him! He could be in NC or SC. Either way we got him hiding!

BTW Antifa, since you decided to show up here again, I'll release some info I knew about but was saving for a Rainy Day. Meet Jeanette Hoppe Burleigh of Lebanon, OH, this female to male tranny was in Charlottesville. Keep fucking around and I'll release some more Antifa IDs!

Jeanette Hoppe Burleigh was seen with the Sean Liter/Corey Lemley ARA group. Keep fucking around some more Antifa! I'll keep you fuckers in hiding.

I'm the one who kicked its teeth in. You're welcome.

Jimmy Boy Fields should sue Heather Heyer's fam for the dents that fat sow put in his Dodge Challenger. It was almost brand fucking new. Out the way bitch.

Huh? Who?

livestream.com/unicornriot/events/7954030

Antifa Watch in DC! David Thurston and Robin Parmesan spotted. Lacy MacAuley is there too.

facebook.com/N2Sreports/videos/1597099990397884/

Another Antifa Watch video in DC.

Good job if true.

I have confirmed Dylan Petrohilos is also in DC. Keep at eye out for Rachel Myles.

Lacy MacAuley spotted.

David Thurston was interviewed. Is that Rachel Myles with the sunglasses and helmet? I also might have seen Andrew Batcher.

youtube.com/watch?v=afEEqn-Kj5c

Andrew Batcher and Shay Horse confirmed were in DC, they were also in Charlottesville. Paul Luke Kuhn and Noel Schroeder were also in DC.

That looks like a tranny in your wanted picture #3, no tits and a mans jaw etc

It's a really ugly chick. The hat thief bitch who is the other female suspect is way better looking.

Ever since I have been listing them.
Antifa's worst have been afraid to come out.
McCarthyism works.

:)

Dear Twins:

Die. Plz.

Sincerely,

Everyone

news2share.com/start/2017/11/27/activists-rally-defend-inauguration-day-resistance/

A lot fewer Antifa are coming out in DC now! You can thank us for that!

Bump for assblasted antifags.

youtube.com/watch?v=0sCscO1dhYc

Bill Burke who got Dodge Challenged! I also have tons of leads. I'm not giving out all of them, but they are good. Stay tuned friends!

Ok I'll give you good folks one lead. How about Baked Sprayer in NYC confirmed? Oh and it gets better, the guy he is with is 90% most likely the guy who threw Fox Urine on Lauren Southern. I have his face but that's not going to be revealed yet. Stay tuned. -Jack "Pale Horse" Corbin

Masked Flagger unmasked, this time we can see the right side of his face!

How many commies bussed in from Philadelphia?

..

Excellent work sir! Do you know any of their names? Yellow Dot is Tom Keenan, the Philly ARA leader. Green Dot is Paul Minton. If you ID the others, lemme know.

So you think Olive Drab hoodie Antifa is Black Bun in Philly after getting his wig split?

Least you can do is give me a reach around.

Red Dot was at the Torch Rally too!

Look at this! The bitch with the stick who set up Chris Cantwell. She's with Tom Keenan's Philly Antifa thug group! -Jack "Pale Horse" Corbin

That guy you marked with the Red Dot! He was macing people with Tom Keenan in Philly!

Meth Teeth was there too, he changed into Black Bloc but still has his Broken Cane! These fuckers who started the Torch March brawl and who were joined by Sean Liter and crew August 11 are all from Philly! August 12 they were the ones macing people who entered the Lee Park area! The Philly ARA thugs! This is huge!

youtube.com/watch?v=mtJ0Ja_2StQ

^Hunter Avallone has good Nov 4 video of them! I also think that girl with the Monster Energy jacket could in fact be the Camo Hat bitch! -Jack "Pale Horse" Corbin

Look at the tattoos. More Philly ARA thugs. Leg tattoo confirms Black Bloc thug with Tom Keenan is in fact Meth Teeth!

I also now believe that Tranny Ramone actually has pink hair and his been seen in Philly with Tom Keenan's group and was at the torch march. Tranny Ramone the Infowars macer was wearing a wig on August 12! That's not it's real hair!

This bitch is Marisa Holmes, an Occupy Wall Street leader! She was in Charlottesville!

My balls Itch

youtube.com/watch?v=XhLbzEUw_Pw

Really good video of Tom Keenan pepper spraying people.

?

Does anyone have anything on this piece of shit? He was wearing a Magenta Helmet in Cville and is a medic, possibly one of the leaders. I believe he knows some of the 10 suspects.

More of Magenta Helmet, seen with some of the worst suspects and was attacking people with one of those shovel handle flag poles.

We need to find this bitch ASAP. Suspected location is Philly, with Tom Keenan's group.

Another suspect
- At 0:06 she hits the guy hard on the head. There is footage where you can see he is wounded & bleeding. I look that up..
- At 0:12 she beats a person that is lying on the ground.

Oh, and look who is also there…
At 0:13 you can see him throw something.

youre all fucking retarded

Look at this! Masked Flagger, Adidas Bag(Orange Shirt Sucker Puncher), and Tranny Ramone(Info Wars Macer) without his wig on at the torch march! Black Bun attacks William Fears and friends! There's also that tall green shirt kid who appears to be friends with many of the 10 suspects!

Oh look! It's our old friends Holly McGlawn-Zoller, William Cory Lovell, and Dreads Mulatto!

Well here's some good and hilarious news. William Cory Lovell and Brent Betterly are both VERY out of shape. Looks at those man boobs, those guts, those muffin tops! They're fucking full of soy!

Another shot of Tom Keenan and Antifa 'Stick Man' attacking Baked Alaska's crew on the way in to the park.

That's Meth Teeth. He was the 1st to throw a punch at the torch rally and was attacking people with that cane and macing people.

Red Rawler has been ID'd! Shawn Menne of Philly/NJ! One of Tom Keenan and Paul Minton's boys.

Shawn Menne getting arrested in Philly. This dude has a record.

James Fields's charges upgraded to 1st degree murder.

Huff-poo trying to get the violence going again, and praising anti-trump's "long storied history of cracking 'Nasi' heads"
archive.is/HKlJp

Cantwell says he needs names of perps. Can someone pls fwd him the info on betterly, willaim lovell, kyle bright , rachel myles, etc? He say he will sue cops if they dont do their job.. hail victory

Thanks for the shout out on Radical Agenda. It's Kyle Wright, not Bright btw. :)

Remember those old suspects Kicker and Fatty, as well as the Sucker Puncher? Also Dan Nguyen, Jesse Schultz, Kyle Reedy, Andrew Batcher, and Phillip Igyarto. They were all seen conspiring with a member of the fake clergy, who's name is Phil Woodson. -Jack "Pale Horse" Corbin.

nice

youtube.com/watch?v=sP8KO9ZsZpA

This video is going viral! -Jack "Pale Horse" Corbin

Big update on Tranny Ramone! He was last seen in Philly and he not only maced Gavin the Infowars reporter, he maced Chris Cantwell on August 12th too! Everyone in the Philly/New Jersey area, look for this man! He might be wearing a wig. The girl who took the black and white photo's name is Trish Gray-Keville. The girl seen in the photo with Tranny Ramone is named Isabella Dickstein and goes by "Bella", "Belle" and "Izzy". That house the photo was taken in is owned by an Antifa named "Leo Nelson" who is actually a girl who wants to be a guy, and she has a brother named Tyler Nelson. Let's find Tranny Ramone! He's one of Philly ARA leader Tom Keenan's worst criminal henchmen. -Jack "Pale Horse" Corbin

Is there a way we can contact one another off forums?

?

Not the same poster but I'm from Philly and could scout out some stuff. I've got 2 mutuals with Tyler Nelson. I can post a throwaway email or my twitter if you want to get into contact

gab.ai/jackcorbin

If you wanna contact me.

Use my GAB friend.

hail cantwell

?

We call him Bumper Beater, user.
In this vid he can be seen without hat & glasses.

This is how his t-shirt looks.
He's a sneaky coward who has connections with Sean Liter.

(Sean Liter: a would-be Antifa leader with a low self-esteem, concerned that he's becoming bald. Thinks he can hide his insecurity by putting up a big mouth and acting aggressive)

… and some vids where you can see Bumper Beater from behind

Sean Liter.

LOL!

hooktube.com/watch?v=UVcrKC7-D8o

Thumbs down this nigger terrorist's video.

asdas

(embed) Charlottesville False Flag Theory: Something strange is going on

The Charlottesville Psy-Op with Jim Fetzer and Dean Ryan
>hooktube.com/watch? v=o3De-coZyGc

The Real Deal: Jim and Ole on Charlottesville
>hooktube.com/watch? v=euJ8UU4a9Zo

So Brennan Gilmore is CIA? Oh shit…

...

This is wonderful! LMAO!

So I have a little update on our friend seen with Meth Teeth, the Purple Shirt thug. I found his alternative outfit. See the cuck in the White Hard Hat? That's him. He's with the Philly crew for sure. -Jack "Pale Horse" Corbin

My friend, send me a message on Gab. It's regarding Purple Shirt/White Hard Hat.

Looks like I can't see my own replies but the message was sent

Cantwell confirms in discord that Doxed Philadelphia Antifa assaulted them Friday morning in Wal-Mart parking Charlottesville.

that cult of clergy kooks disgusts me. I wonder what kind of shit they are involved in behind closed doors

Why would the Jewish owner and the Muslim mod of Holla Forums put a swastika in the page?

Why do White Nationalists want to kill White people who wish to meet up without them?
8ch.net/polmeta/res/28806.html

Why would Holla Forums ban a White meet up?

Why are Whites the only ethnic group that do not meet up and network?

Jewish networking
archive.is/cdyCI

Black networking
archive.is/H6Q6e

Hispanic Networking
archive.is/SeJ8O

Asian Networking
archive.is/GTWOO

Indian Networking
archive.is/FfPFp

Muslim Networking
archive.is/rPIj1

vs.

White Networking
archive.is/LEhxc


STOP-POL-CENSORSHIP
Remove the Holla Forums mod
Censorship on/pol/ is worse than any of the social media sites.
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There is a war against Whites being currently waged. It's time to start fighting back.

White Nationalism is the cause of "White Genocide"

they were being paid in btc
they're all bourgeois now

thegatewaypundit.com/2018/01/armed-antifa-professor-admits-chasing-charlottesville-driver-rifle-deadly-crash/

infowars.com/armed-antifa-prof-admits-chasing-charlottesville-driver-before-deadly-crash/

Huge development! -Jack "Pale Horse" Corbin

lul fash r cucks.

lol

Baked Sprayer GF has been found! Her name is Jennifer "Kittie" Sobolewski of Jackson Heights, Queens, NYC. She's not actually Baked Sprayer's GF. She's Spencer Sunshine's GF. Baked Sprayer is likely her bodyguard. You can thank me and some good people in my workshop for this find. -Jack "Pale Horse" Corbin

Bump

Great job! Looks like a perfect match to me.

Also thanks should go out to all of the Antifa that have been bumping this thread!

good work! She was all up in that crash site

this story always felt suspicious to me. It only breaks this month & no one ever saw this guy or brings him up during the whole cville investigations, unless I missed it. I think he posted that for some reason. Or someone told him to post it.

Dwayne Dixon was there but he and some other Redneck Revolt members where guarding a park entrance where there wasn't much action. That's probably the reason why we didn't pay more attention to him.
Attached a few pics of them at Cville.

thanks

Le Bump!

Just confirmed the ID of Meth Teeth/Undersleeves/Broken Cane/Castro Beard. I had some help with this but I was able to confirm his ID today. His name is Thomas Jackson Massey. This man threw the 1st strike in Charlottesville and started the torch brawl. -Jack "Pale Horse" Corbin

Speaking of Dwayne Dixon.

youtube.com/watch?v=kcFfz7TtPog

let's discuss discuss the…

Red Pump Kitchen

web.archive.org/web/20171215032147/https://www.nytimes.com/2017/12/14/us/charlottesville-fields-white-supremists.html


twitter.com/redpumpkitchen is conspicuously sparse… they post…
>August 9 twitter.com/redpumpkitchen/status/895339589233192960
>August 16 twitter.com/redpumpkitchen/status/897839988150329344

Nothing at all about the Challenger during the week it happened (Aug 11) or afterward. Just SPECIALS. If the prosecution will not release this video, perhaps RPK can. Even if they no longer have it, getting them to explain they don't have it and cannot control its release would be good publicity.

I think we should organize some kind of boycott or action against RPK up until they acknowledge what happened, that they had video, and state their stance on whether or not they think the video should be released.

What about The Pie Chest video?

youtube.com/watch?v=3S1plV2-Cqw

Chris Cantwell's August 12th Macer and Infowars Macer who was called "Tranny Ramone" on Holla Forums revealed to be Mikey J. Longo Jr. of Philly ARA!

Thanks to a good friend for IDing him for me and thanks to Chris Cantwell himself for sending me the video! -Jack "Pale Horse" Corbin

counterslide bump