The Orange Shirt Sucker Puncher changed clothes multiple times.
Dylan King
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.
Jonathan Bennett
He also wore a mask with his Gray Shirt as well.
Here's him shirtless. Gold Helmet girl appears to be his girlfriend.
Leo Morgan
Orange Shirt face closeups.
David Lee
Front of Orange Shirt's face.
Noah Reed
Pppppppbbbbbbbbbtttttttttthhhhhhhhbbbbbbpppp
William Morgan
Orange Shirt was also at the Torch March.
Christian King
...
Cameron Stewart
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*.
Kevin Collins
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.
Jack Torres
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
Christian Rodriguez
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.
Jaxon Smith
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.
Benjamin Morales
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
Elijah Cruz
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.
Sebastian Perez
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.
Samuel Bell
Ok, no one cares.
Juan Williams
Yeah, woo, yeah, skrrt M-M-M-Murda
[Chorus: Quavo] Motorsport, yeah, put that thing in sports (skrrt, skrrt)
James Reed
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)
Alexander Stewart
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
Luis Nguyen
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)
Caleb Wilson
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
Jeremiah Watson
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
Zachary Long
...
Levi Murphy
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
Juan Morris
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
Elijah Ramirez
(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!
Jack Evans
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
Zachary Rogers
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
Leo Garcia
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
Thomas Anderson
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
Noah Bailey
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…
Kayden Brown
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
Michael Butler
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!
Jace White
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
Brayden Peterson
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
Leo Howard
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
Charles Collins
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!
Andrew Foster
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
Samuel Ramirez
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
Hudson Murphy
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
Nolan Clark
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
Nolan James
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
Aiden Reed
Who are these niggers spamming my thread?
Justin Gutierrez
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
Ian Miller
You answered your own question
Luke Reed
they're scared for their lives right now. Just filter the spammers, takes 2 seconds.
Lucas Parker
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!
Brody Bennett
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?
Jack Clark
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 !
Samuel Brown
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
Benjamin Sullivan
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
Josiah Mitchell
lmao
nazis btfo
Jaxson Campbell
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
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:
Jordan Russell
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))
Caleb Bell
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
Julian Powell
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—
Carson Green
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 !
Jeremiah Morris
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?
John Anderson
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
Robert Phillips
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
Gavin Ross
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
Michael Morris
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
Camden Reyes
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
Colton Reed
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
Asher Scott
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
Connor Jenkins
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!
Chase Green
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—
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!
Andrew Green
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!
Charles Hall
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!
Eli Allen
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
Cooper Perry
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?
Carter Wood
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
James Cook
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
Isaiah Moore
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!
Mason Green
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!
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
Luis Hernandez
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
Ayden Price
[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
Nathan Reyes
(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
Benjamin Foster
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… .
Sebastian Powell
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 .
Jackson Garcia
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 .
Adam Phillips
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
Jaxon Ramirez
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
Aiden Rogers
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! .
Chase Cruz
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.
Lincoln Jones
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?
Levi Richardson
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
Christian Carter
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
Brayden Jackson
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. ..
Colton Miller
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 .
Mason Allen
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
Camden Scott
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.
William Campbell
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
Benjamin Hughes
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
Evan Cox
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
Christian Hill
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!
Leo Miller
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
Easton Walker
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!
Benjamin Watson
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!
Angel Lewis
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
Jackson Perez
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
David Adams
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
Jackson Sullivan
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
William Harris
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
Wyatt Edwards
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
Juan Sanchez
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
Bentley Adams
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
Noah James
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
Zachary King
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
Cameron Ross
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!
John Parker
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!
Cooper Rivera
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
Parker Gutierrez
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!
Ryan Sanders
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
Thomas Wilson
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
Blake Reyes
WASHINGTON: LAURENS/MULLIGAN: Knowing history has its eyes on me Whoa… . Whoa… . Whoa… . Yeah
Angel Perez
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
Daniel Cruz
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
Josiah Fisher
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!
Anthony Howard
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
William Hill
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
Luis Turner
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
!
Connor Perry
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
Brandon Adams
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…
Ayden Wright
They say, The price of my war is not a price that they are willing to pay
Kayden Adams
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…
Jackson Perry
] 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
Isaac Bell
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.
Josiah Hall
] 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
Connor Allen
jesus christ look at all these shills.
Evan Diaz
] 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
Isaac Harris
] 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
Cameron Barnes
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 !
Leo Russell
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?
Gabriel Nelson
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?
Josiah Roberts
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.
Henry Peterson
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
Kevin Gray
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?
Andrew James
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
Jose Nelson
. 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
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! ?
Hunter Gonzalez
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
Easton Cox
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!
Leo Wilson
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
David Ross
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?
Eli Walker
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
Elijah Allen
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
Colton Perry
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
Thomas Peterson
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.
Landon Myers
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!
Jeremiah Mitchell
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
Connor Watson
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
Joshua Reyes
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
Blake Thompson
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
Chase Hall
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
Leo Morales
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
Samuel Evans
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
Angel Evans
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
Hudson Smith
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
Caleb Hernandez
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
Dylan Morales
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
Juan Hernandez
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
Tyler Perez
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…
Dylan Wood
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…
Eli Robinson
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
Jaxson Cruz
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!
Ian Young
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
Julian Jackson
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!
Justin Young
Say no to this! No!
HAMILTON: Yes
Ayden Richardson
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
Grayson Harris
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
Noah Watson
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
Chase Allen
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
Jason Nguyen
BURR: Ah, Mister Secretary
HAMILTON: Mister Burr, sir !
Alexander Peterson
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.”
Jonathan Williams
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
Ayden Morris
‘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
David Roberts
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
Brandon Ward
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?
Jayden Jackson
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
Levi King
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
Samuel Johnson
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
Luke Allen
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
John Parker
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
Dominic Myers
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
Jayden Harris
WASHINGTON: Let me tell you what I wish I’d known When I was young and dreamed of glory You have no control: ?
Colton Mitchell
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
Jose Young
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
Robert Cox
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
Luis Scott
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—
Kayden Flores
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
Jonathan Gutierrez
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
Easton Russell
ELIZA AND COMPANY: Time Who
Colton Gray
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
Caleb Garcia
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
Daniel Sanchez
MALE COMPANY: One two three four
F
Luis Barnes
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!
Wyatt Clark
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
Christian Cooper
count:
COMPANY: One two three four five six seven eight nine Number ten paces! Fire!—
HAMILTON: I imagine
Gabriel Gutierrez
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
Jason Wright
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
Dylan Allen
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
Jonathan Bailey
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
Ryder Hughes
known The world was wide enough for both Hamilton and me The world was wide enough for both Hamilton and me
Jonathan Sanchez
[ELIZA] Alexander, come back to sleep
Grayson Perez
[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
Easton Hill
[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
Connor Bailey
[HAMILTON] This meeting's at dawn
[ELIZA] Well I'm going
Kayden Butler
back to sleep
[HAMILTON] Hey, best of wives and best of women
Aaron Martin
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
Aiden Green
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
Gabriel Thomas
HAMILTON: Mr. Vice President:
I a
Jordan Barnes
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
Xavier Cox
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
William Cox
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
John Reed
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
Landon Ward
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.
Jack Morris
need to change course, a key endorsement might redeem you
[Jefferson]
Sebastian Powell
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]
Aaron Stewart
Well, if isn’t Aaron Burr, sir.
[Burr] Alexander!
Camden Taylor
[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
Hunter Sanchez
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…)
Liam Sanders
[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
Cameron Stewart
] 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]
Jackson Long
[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
Jace Brooks
[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
Charles Lopez
[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
James Myers
[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
Hudson Wood
[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
Landon Harris
[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
Kayden Nelson
[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
Oliver Rogers
[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
Evan Brooks
[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
Nolan Moore
[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
Daniel Wood
[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
Elijah Hall
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
Jose Jones
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
Zachary Rodriguez
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
Luis Morgan
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
Brayden Scott
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
Isaiah Sanchez
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
Caleb Bell
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
Camden Thomas
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
Mason Stewart
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
Logan Butler
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
Jack Stewart
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.
Leo Bailey
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
Jayden Wilson
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
Jose Hill
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
Levi Brown
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
Hudson Miller
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
Angel Edwards
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 …
Joseph Murphy
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…
Brayden Smith
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
Owen King
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
Austin Bell
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
Elijah Sanders
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
Jordan Long
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
Andrew Rivera
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
Hunter Evans
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.
Anthony Rogers
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.
Cooper Smith
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.
Colton Mitchell
"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.
Ryan Mitchell
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"
Carter Anderson
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.
Hunter Nguyen
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.
Leo Hill
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
Jonathan Baker
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
Xavier Russell
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—
John Long
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!
Ian Evans
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
Grayson Myers
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.
Noah Carter
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
Blake Rodriguez
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:
Anthony Scott
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
Adrian Gutierrez
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
Logan Edwards
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
Nicholas Parker
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!!
Ian Taylor
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.
Gabriel Morgan
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?
Adrian Ramirez
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!
Brayden Hernandez
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.
Nicholas Davis
This is what mental illness looks like, trying to spam a thread so you/your retarded Antifa buttbuddies don't get caught assaulting people
John White
Looks like I got to em.
Benjamin Rodriguez
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.
Julian Flores
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.
Logan Morris
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
Julian Wright
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
John Myers
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.
William Adams
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]
Jose Brown
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]
Luke Sanchez
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]
Angel Myers
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
Zachary Gray
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.
Adrian Walker
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
Josiah Rodriguez
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
Kevin Bennett
RENT La Vie Boheme Lyrics New! Tap highlighted lyrics to add Meanings, Special Memories, and Misheard Lyrics…
Listen to RENT On Amazon Music Unlimited. 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
PROMOTED CONTENTThe Rise of the Connected Family FEATURED VIDEOWhat's That Line?FEATURED VIDEO8 Things You Didn't Know About DrakeFEATURED VIDEO12 Hit Songs You Won't Believe Were Passed Up By Other ArtistsFEATURED VIDEO8 More Hilarious Misheard Lyrics About Food 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
Elijah Jackson
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.
Grayson Myers
. 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
Carter Martin
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.
Christopher Phillips
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.
Samuel Turner
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?
Aiden Ward
Ohhhhhhh nooooooooo
Luke Cook
Teach us how to troll Jack!
Hunter King
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!
Bentley Rogers
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!
Jordan Thompson
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?
Andrew Jackson
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.
Jaxon Flores
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.)
Owen Smith
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.)
Luis Morgan
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.)
Carter Martin
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.)
Blake Parker
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!
Andrew Hughes
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)
Joshua Turner
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.
James Garcia
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.
Austin Green
(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.)
Benjamin Morris
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!
Daniel Howard
(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
Brody Ross
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.
Connor Sullivan
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.)
Justin Hall
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-
Lucas Martinez
UNICORN: Try again. The spell was wrong, but there was true magic in it. Try again!.)
Ian Edwards
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!
Kayden Wright
(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.
Jacob Peterson
(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
Michael Sanders
Scene: A misty forest. Schmendrick is huddled at the foot of a tree, the unicorn is standing over him.)
.
Jeremiah Sanchez
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
Chase Johnson
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.)
Benjamin Rodriguez
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.)
Jackson Fisher
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.)
Isaac Sullivan
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.)
Christopher Green
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…")
Jeremiah Long
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.
Camden Baker
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!
Grayson Jackson
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?
Eli Jenkins
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,
Adrian Bailey
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! .
Hunter Wood
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
Easton Adams
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.)
Jordan Rogers
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.)
Austin Thomas
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}.)
Benjamin Young
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!
Ethan Butler
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!
Xavier Thompson
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.
Angel Cook
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)
Jaxson Ramirez
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.)
Jacob Rogers
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.
Benjamin Ramirez
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.
Aaron Phillips
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.)
Angel Ward
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".
Lucas Morgan
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.) .)
Nolan Brooks
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.)
Wyatt Walker
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
Levi King
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
Jackson Jenkins
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
Ethan Hughes
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.)
Austin Brooks
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.)
James Flores
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.)
Easton Cook
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. .
Leo Parker
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
Angel Roberts
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
Levi Williams
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.)
Matthew Hernandez
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.
David Jones
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!
Aiden Ross
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.
Alexander Rivera
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.
Ayden Rogers
("She had meant to say either weasand or gizzard, and had said both…")
Christian White
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.
Adrian Cox
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!
Anthony Price
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)
Bentley Carter
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)
Easton Hernandez
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!
Carter Allen
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.
Daniel Mitchell
(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
Kayden Hill
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.
Benjamin Wright
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!
Dylan Allen
(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.)
David Brown
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.)
Gavin Jones
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. (
Kayden Wood
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.)
Eli Bennett
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!
Easton Clark
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
Michael Foster
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?
Benjamin Jackson
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.)
Carson Smith
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. .)
Levi Taylor
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
Anthony Scott
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. .)
Matthew Thomas
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
Tyler Phillips
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.)
Caleb Cox
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.)
Evan Ramirez
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!
Benjamin Fisher
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}.)
Zachary Sanchez
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.)
Julian Morgan
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.
Dylan Peterson
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.
Lucas Garcia
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?
Jaxon Cox
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!
Jonathan Torres
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?
Levi Cook
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!
Julian Roberts
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?
Jackson Howard
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. !
Adam Wilson
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
Owen Torres
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.
Austin Sanders
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] )
Hunter Ramirez
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
Adrian Reyes
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
Parker Lee
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
Liam Flores
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.)
Gavin Stewart
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.
Andrew Sanchez
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.)
Gavin Williams
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.
Adam Diaz
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.)
Connor Hernandez
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.
David Allen
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!
Dylan Lee
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.
Caleb Hall
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.
Joseph Rogers
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?
Jace Walker
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.)
Cooper Stewart
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?
Angel Morales
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!
Dominic Walker
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.)
Jonathan Garcia
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!
Parker Allen
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.
Cameron Johnson
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.)
Mason Gomez
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?
Brayden Butler
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.)
Xavier Reed
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.)
Blake Martin
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!
Christopher Watson
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.
Gavin Morales
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.
Nolan Evans
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.)
Anthony White
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.)
Colton Brooks
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.)
Colton Cook
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.)
Andrew Wilson
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.)
Jaxon Hughes
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?
Landon Hernandez
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)
Ayden Martinez
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.
Camden King
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!
Christian Bennett
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.)
Wyatt Gutierrez
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.)
Jaxson Reyes
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
Austin Miller
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.
Logan James
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.)
Samuel Mitchell
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.)
Matthew Rivera
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.)
Ethan Davis
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.)
Adam Watson
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.
Leo Cooper
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…)
Jacob Scott
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.
Julian Gonzalez
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?
Cameron Robinson
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!
Justin Gomez
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.
John Bennett
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!
Juan Jones
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!
Jayden Ortiz
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.
Colton Wright
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.
Jeremiah Brown
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!
Adrian James
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?!
Carson Rogers
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."
Luke Richardson
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?
Tyler Brown
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?
Angel Nguyen
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…
Justin Morales
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.
Jace Gutierrez
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…
Joseph Morales
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.
Ethan Walker
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!
Matthew Hill
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.
Cooper Ward
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.
Brayden Jenkins
Old pic of William Healy?
Jace James
Great job, Jack! We get those suckers
Jace Lewis
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.
David Foster
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.
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
Camden Young
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.
Lucas Ortiz
Where did you get the Julia Bates pics?
Elijah Morgan
Yeah, it's William Healy. 100% sure. Just compare with this one:
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.
Cooper Lewis
...
Brayden Reyes
Gold Helmet Girl again! God she's ugly.
Wyatt Ward
The Orange Shirt sucker puncher(in his Grey Shirt and Mask) with Brent Betterly.
Aaron Morgan
gee i wonder who could be behinds those
Jace Russell
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.
Christopher Moore
Red Climbing Helmet seen with Kristopher Goad in Richmond, VA!
Jayden Bell
Pepper Sprayer seen with Red Climbing Helmet and Kristopher Goad in Richmond, VA!
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!
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
Easton Fisher
Have the like 437 of these thread ever actually accomplished anything?
Honest question. I am in and out of internet access.
Logan Reyes
Yes. Antifa have been skiddish to get violent at rallies and some arrests and FBI investigation.
John Allen
Cool.
Carter Garcia
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.
Gavin Robinson
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!
These are the alt outfits for the 2 female suspects. Let's find these girls!
Nathan Perry
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.
Asher Peterson
Now I know why she changed her outfit… Bamboo Bundle Girl's shirt got pepper sprayed!
Nolan Campbell
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.
Benjamin Hughes
This same banner Gold Helmet was behind was seen in UNC Chapel Hill at the "Silent Sam" protests!
Lucas Phillips
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
Joshua Robinson
*the other side.
Kevin Lee
I wouldn't be surprised if most of the banner Antifa were from NC.
Daniel Roberts
Is this the Masked Flagger unmasked?
Jeremiah Wright
Video of Unmasked Flagger and Yellow Shirt. Looks like Unmasked Flagger got pepper sprayed. He also says something: "Uh, Shawn?"
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.
Isaac Jenkins
The best pic yet of Gold Helmet.
Luis Gray
Same here. Take a look at this vid.
Sebastian Wilson
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.
Juan Hughes
In case some user is wondering: 10:15am 23 seconds
Lucas Young
We haven't forgot about these thugs have we?
Nathaniel Adams
Clear pic of Hat Thief Girl and Masked Flagger unmasked.
Samuel Evans
Not sure if this vid was already posted.
Mason James
Daryle Lamont Jenkins sissy-slaps the guy from DS.
Jonathan Torres
An Antifa attacks his own media and is kicked out of the rally by the Jewish Antifa leader. LOL!
Adam Walker
Just isolated pics of 2 of our 10 suspects.
Carter Walker
Orange Hat punk is Caleb Burroughs.
Brandon Jackson
Another pic
Yeah he was blowing with a horn in ppl's ears and then got a good smash in the face. Nice find!
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.
Sean Liter and Dreads Mulatto. The best pics so far.
William Torres
...
Easton Walker
LOL
Evan Clark
K:D ratio; Libshits: 0:1 Cons: 1:0
Brody Anderson
We're not going to stop until all violent Antifa are brought to justice. ;)
Thomas Miller
Dread Mullatto was also at Pikeville, also found out Holly has a tattoo on her wrist.
So he might be from Louisville.
Nathan Jackson
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…
Lucas Reyes
Half assed related, but here's the info on another ARA.
Christian Phillips
More from pikeville.
Dylan Powell
Also, confirmed for having a firearm on campus
Easton Mitchell
The whole pic.
James Evans
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.
Ryan Sullivan
fuck this, where's the televised court case of the driver.
Nicholas Cook
Never forget about Baked Sprayer. Also more pics of some of the 10 suspects. Unmasked Flagger and Baton Boy.
Juan Reyes
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.
Austin Hall
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.
Dylan Myers
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
Chandler Coates or "Lucas Black" just changed his profile image. That's how you know he's guilty.
Carson Walker
More on Holly Zoller
Carson Rogers
Damn global connects Jack! You’ve got leaks from inside Torch antifa? How’d you swing that??
Nathan Sanchez
Great work Jack!
Here's a vid of HammerBro in action. He shows up at 0:03 in the left corner
Hudson Rogers
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. :)
Lucas Wilson
New website idea: Top 10 "wanted" list for known criminal antifa fags with identifying info + with an option to submit possible leads
John Rodriguez
Hammer Bro was seen with Tom Keenan of Philly and New Jersey very often. We should look for him in that general area.
Oliver Young
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.
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.
Juan Watson
Blondie is the one with the long stick at the torch march. Both of them set up Chris Cantwell.
Tyler James
5 shirt guy. Didn't know it was possible to be skinny PLUS man boobs. Total soy boy.
Oliver Gray
Hate rape on site.
Jack Price
Rape the shit out of this bitch
Thomas Cox
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
Jackson Flores
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
Blake Green
How did you get that information?!
Hudson Peterson
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.
Angel Stewart
ps, jake, get a fucking job already
Jeremiah Jackson
God youre a faggot. Keep kickin it Jack!
Robert Fisher
least im not a faggot jew who is using you to build his name brand bullshit
Daniel Gray
Not so new that I use earlobe spacing. Just astonished someone was doxxed from a anonymous board that does not reveal information. . .
Ian Bennett
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".
Asher Collins
Let's find him! He could be in NC or SC. Either way we got him hiding!
Charles Robinson
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!
Jack Thompson
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.
Adrian Rivera
I'm the one who kicked its teeth in. You're welcome.
Nolan Watson
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.
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!
Jack Fisher
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
Jayden Long
Masked Flagger unmasked, this time we can see the right side of his face!
Robert Sanchez
How many commies bussed in from Philadelphia?
Gavin Taylor
..
Carson Butler
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.
Nathan Smith
So you think Olive Drab hoodie Antifa is Black Bun in Philly after getting his wig split?
Owen Ross
Least you can do is give me a reach around.
Jackson Carter
Red Dot was at the Torch Rally too!
Noah Jenkins
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
Jack Martin
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!
^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
Adrian James
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!
Cooper Murphy
This bitch is Marisa Holmes, an Occupy Wall Street leader! She was in Charlottesville!
Really good video of Tom Keenan pepper spraying people.
Oliver Bennett
?
Henry Cox
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.
Levi Martinez
More of Magenta Helmet, seen with some of the worst suspects and was attacking people with one of those shovel handle flag poles.
Aaron Turner
We need to find this bitch ASAP. Suspected location is Philly, with Tom Keenan's group.
Nathaniel Miller
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.
Dylan Morris
Oh, and look who is also there… At 0:13 you can see him throw something.
Eli Campbell
youre all fucking retarded
Caleb Ross
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!
Julian Cox
Oh look! It's our old friends Holly McGlawn-Zoller, William Cory Lovell, and Dreads Mulatto!
Oliver Cooper
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!
Justin Bennett
Another shot of Tom Keenan and Antifa 'Stick Man' attacking Baked Alaska's crew on the way in to the park.
Henry Smith
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.
Landon Miller
Red Rawler has been ID'd! Shawn Menne of Philly/NJ! One of Tom Keenan and Paul Minton's boys.
Isaiah Morris
Shawn Menne getting arrested in Philly. This dude has a record.
William Foster
James Fields's charges upgraded to 1st degree murder.
Adrian Sanchez
Huff-poo trying to get the violence going again, and praising anti-trump's "long storied history of cracking 'Nasi' heads" archive.is/HKlJp
Andrew Davis
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
Chase Hall
Thanks for the shout out on Radical Agenda. It's Kyle Wright, not Bright btw. :)
Nolan Foster
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.
This video is going viral! -Jack "Pale Horse" Corbin
Jose Adams
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
Adam Jenkins
Is there a way we can contact one another off forums?
Isaiah King
?
Charles Martinez
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
We call him Bumper Beater, user. In this vid he can be seen without hat & glasses.
Dylan Myers
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
(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
Oliver Flores
…
Isaac Cooper
So Brennan Gilmore is CIA? Oh shit…
Jayden Scott
...
Blake Reed
This is wonderful! LMAO!
Isaac Wright
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
Brandon Turner
My friend, send me a message on Gab. It's regarding Purple Shirt/White Hard Hat.
Ethan Kelly
Looks like I can't see my own replies but the message was sent
Nolan Collins
Cantwell confirms in discord that Doxed Philadelphia Antifa assaulted them Friday morning in Wal-Mart parking Charlottesville.
Nicholas Richardson
that cult of clergy kooks disgusts me. I wonder what kind of shit they are involved in behind closed doors
Xavier Nelson
Why would the Jewish owner and the Muslim mod of Holla Forums put a swastika in the page?
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
Nathan Johnson
Bump
Cooper Campbell
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!
Caleb Richardson
good work! She was all up in that crash site
Grayson Wood
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.
Julian Morales
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.
Brandon White
thanks
Owen Long
Le Bump!
Anthony Parker
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
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.