THE PANTHER DANCER LOGAN CUTLER SMITH Bachelor of Liberal

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THE PANTHER DANCER

LOGAN CUTLER SMITH

Bachelor of Liberal Arts

Marlboro College

May 2012

submitted in partial fulfillment of requirements for the degree

MASTER OF FINE ARTS IN CREATIVE WRITING

at the

NORTHEAST OHIO MFA

and

CLEVELAND STATE UNIVERSITY

May 2016

We hereby approve this thesis

For

LOGAN CUTLER SMITH

Candidate for the Master of Fine Arts in Creative Writing degree

Department of

English, the Northeast Ohio MFA Program

and

CLEVELAND STATE UNIVERSITY’S

College of Graduate Studies by

______Thesis Chairperson, Michael Geither

______Department & Date

______Caryl Pagel

______Department & Date

______Robert Miltner

______Department & Date

Student’s date of defense April 11, 2016

THE PANTHER DANCER

LOGAN CUTLER SMITH

ABSTRACT

The Panther Dancer is a playful synthesis of biographical fact and tabloid journalism, which traces the arc of Michael Jackson’s life by staging the many mediated images of it. Michael Jackson wanted, in his own person, to be the greatest show on earth. But this show is only about that show. And here the story of Michael’s life is rendered flatly, mattely, and in fast-forward: a sidelong glance at the meteoric rise and tragic fall of possibly the most famous human being ever to have lived.

iii

TABLE OF CONTENTS

ABSTRACT iii

SCENE DESCRIPTION 1

DRAMATIS PERSONAE 1

THE PANTHER DANCER

ACT ONE 2

ACT TWO 45

The Panther Dancer

APlay in Two Acts

Set Description -The upstage wall is split. -On the left, a screen. Over the course of the play still images, video, and text are projected on its surface. And that screen is a scrim, also. Actors standing behind it can be made to appear in silhouette. -On the right, the so called “whipping wall” mentioned in the stage directions. This is a temporary wall built anew for each performance, stretched bedsheets, or paper. Perhaps. Engaged with throughout the play, it takes on a texture. -There is a bed stage right. -A karaoke machine stage left.

Dramatis Personae There is an impossible lot of characters in this play and only five actors. Therefore actors in this play must fill an impossible number of roles. For convenience, actors have been assigned numbers. And the number (1-5) preceding a character's name indicates which actor (1-5) has been temporarily assigned to play them.

Actor 1...... Black Man Actor 2...... White Woman Actor 3...... Black Woman (or young man) Actor 4...... Black Man Actor 5...... White Man

MAGIC (Act 1, Scene 1) A fountain babbles like a brook and Michael Jackson enters in moonlight. Michael carries a black bowler hat that he sets on the stage floor.

4) Michael Oh, my god. It's dusk. And the moon is out. The most beautiful part of the day. I can see so many stars coming out. Everything comes to life. The fireflies are in the trees. Everything's becoming magic. It's. It is. I would say, it is my favorite part of the day. Dawn and dusk. There's a certain magic about it. Um. It's very artistic. It's magic. (singing) It's so wonderful (speaking) Just the sound of water is magic. (beat) It's really beautiful. To sit here and relax.

Michael exits as another Michael Jackson does a drive by on a Big Wheel. He drives dressed as a sad clown

3) Clown (singing “Childhood”) Have you seen my child-hood?

He exits. And as he does so, theme music begins to swell.

THE JACKSONS INTRO (A1,S2) The Media races onstage with a bouquet of balloons, He moves to the microphone. The balloons are let go. They fall to the floor.

5) Media It's The Panther Dancer! We'll return to your regularly schedule program after a word from one of our sponsors.

A Fab commercial is enacted (pertinent still images may be projected). A woman enters as if from a tennis match.

2) Woman I'm glad because everything I wash comes out cleaner and whiter and fresher than ever.

An ice cream man enters eating a dilly bar.

1) Man I'm glad cause it even works on chocolate stains.

A lady enters spinning a parasol over her shoulder.

4) Lady I'm glad because my colored things come out so bright they downright sparkle.

5) Media It's new Fab. The only detergent with Lemon Freshened borax and active enzymes to removes stains.

(1,2,4,5) (singing) They're always doing something new to Fab it's true. Oh, Fab, we're glad they put the active-enzyme-lemon-freshened Borax in you.

The swell of theme music.

5) Media It's The Jackson 5.

J5 runs in a tight circle and reforms in a straight line facing the audience. When their names are called, actors step forward to receive them.

5) Media Staring Jackie. Tito. Jermaine. Marlon. And Michael. (beat) All the boys are from Gary, Indiana. They were born in Indiana. Michael's a super-showman-star. And, uh, little boy. Jackie is the oldest. He's the spokesman for the group. Marlon has a sense of humor. Jermaine, girls like him, and he plays bass. Tito is unassuming, he plays guitar.

Michael, who has taken center stage, remains as his brothers turn and exit.

5) Media Their father –

Joseph “Joe” Jackson enters, the sound of a slammed door behind him.

5) Media – Is to be admired and respected. For having brought together such a fantastic unit.

JOE, ON BIRTH CONTROL (A1,S3) The show is forfeit and the setting is changed. Joe pops a bottle.

1) Joe Katie! Get drunk, we're fucking.

Katherine enters, apparently pregnant.

5) Katherine I'm pregnant again.

Joe spits liquor on the whipping wall. He lowers the bottle, hangs his head, and shuffles about kicking balloons. Katherine sits and occupies herself with stuffing a balloon into her

costume.

1) Joe How could this happen, Katie?

5) Katherine We should be using birth control.

1) Joe I don't believe in no birth controls, you know that.

5) Katherine Oh, Joe. (sighs) All our dreams.

Katherine selects another balloon and sets about stuffing it in her costume.

1) Joe Gotta have a little bit of patience, Katie. One of these days we gonna be packin up outta here, movin to California –

5) Katherine Joe –

1) Joe I still have the dream –

5) Katherine Joe. (beat) I'm pregnant again.

1) Joe Already?

5) Katherine Looks that way.

1) Joe Damn.

Joe pops a loose balloon. Katherine begins to select a third balloon.

1) Joe Maybe. Maybe I can get some extra, extra shifts at the steel mill. Where I work.

5) Katherine What will we call him?

1) Joe (tenderly) Marlon. We'll call him Marlon Jack –

5) Katherine We called the last one Marlon.

1) Joe Damn.

Joe pops a loose balloon. Katherine can't stuff herself with another until Joe answers her.

5) Katherine Joe, what will we call our son? The clock's ticking –

1) Joe Just a minute –

5) Katherine There's no time, I'll be pregnant by then. Name your son, Joe!

1) Joe Michael! We'll call him Michael!

Katherine stuffs the third balloon into her bulging costume.

5) Katherine Michael Joseph Jackson.

Katherine reaches for another.

5) Katherine And then Randy.

Joe pops a loose balloon. The lights shift. Media enters as Joe exits.

2) Media Their fantastic mother –

Katherine pops the balloons with which she's stuffed herself. She crosses the stage and sets about scrubbing the floor, with a rag red with blood.

2) Media Who is the backbone of the family. I mean, she is the Mother of what mothers used to be.

The voice begins to fade as the Media walks away.

2) Media I mean she is, simply, a mother.

KATHERINE, ON CHARITY (A1,S4) Michael approaches Katherine. He's just a boy.

3) Michael Good morning, Mother. Oh, my god, is that blood? Mother, where did all this blood come from?

5) Katherine Well, Michael, I'm going to tell you a story. About this morning. This morning a man came and knocked on our door.

3) Michael And you killed him.

5) Katherine No, I did not kill him.

3) Michael Dad killed him –

5) Katherine Michael, the man lived. (beat) He could have died, though. Bleeding so bad you can see where he's been, all around the neighborhood. Wouldn't no one let him in. But when he came to our door, I opened the door, and I received him. Remember that, Michael. That's charity. It's important.

3) Michael When I grow up, I'm gonna to be charitable in the same joyful spirit of religious purpose.

Katherine runs her rag along the whipping wall as she exits, smearing it with blood. A Clown drives by on a Big Wheel, as before.

4) Clown (singing “Childhood”) Have you seen my childhood? –

He shoots some one person in the front row with a water pistol (A drive by shooting).

4) Clown – I'm searching for the world that I come from

He exits.

THE DAY THE TV DIED (A1,S5) The Jackson brood huddles together watching television, the light shines on their faces. A Nytol commercial is projected.

4) Media (v/o) We are putting the three leading sleep tablets to a dramatic laboratory test. One of them is Nytol. Of course, it's safe. Taken as directed. You can see which –

The commercial ends in the loud and abrupt sound of snow. Katherine turns the TV off.

3) Michael Aw, shoot. Now we'll never know which sleep tablets won.

2) Jermaine (quietly) Damn.

5) Katherine Jermaine!

Joe punches Jermaine in the face and Jermaine spits blood on the whipping wall.

5) Katherine Joseph!

1) Joe My house, my rules Kate. Is what it is. He was out of line and knows that now.

Jermaine is crying quietly. Joe punches him in the face and Jermaine spits blood on the whipping wall.

5) Katherine Joseph, please.

1) Joe It is what it is. My house, my rules. (beat) My rules, my big swinging dick, and the bacon I bring home. You shouldn't have cried, Jermaine. Makes you look gay.

5) Katherine Joseph, I will not –

1) Joe Katie –

2) Jermaine Dad?

Joseph punches Jermaine in the face and Jermaine spits blood on the whipping wall

1) Joe Don't call me dad, son. Sounds gay.

3) Michael (beat) Well, what should we do now?

1) Joe (derisive) “What should we do now.” I don't know, Michael Jackson How bout you all start singing country western songs. Songs the whole family can enjoy. For my benefit.

Joe moves to exit.

5) Katherine Where are you going?

1) Joe (without turning to answer) Get my gun.

THE GUITAR (A1,S6) Katherine walks with Tito across the stage, walks with Tito slowly. Stops. Tito bumps into her back. Katherine indicates a closet on her left.

5) Katherine In the hall on my left there is a closet. You know the closet of which I speak Tito Jackson, Michael's brother. In that closet there is a guitar.

4) Tito The guitar you sometimes take out. In secret. And play for us all.

5) Katherine (bending to speak to Tito, closer, quietly) It is Joseph's guitar, Tito. And it is not a toy. It means to him, Oh, Tito, so many dreams. So many dreams your father has put aside for his family.

4) Tito Where does he put them?

5) Katherine He puts them in a drawer. And every once in a while he'll take them out and admire them. And it gets harder, Oh! Tito my son, harder and harder to close the drawer. But Joseph does. (looking for the first time in the direction of the closet, and seeing into the future) You must never play that guitar, Tito.

4) Tito I know that mother. Joseph would hit me.

5) Katherine Joseph will hit you. (beat) But you will play it, Tito. One night, I'll be in the bedroom, folding laundry. I'll be so quiet you won't know I'm home. I'll hear the music of your playing through the wall.

4) Tito Ma? How I sounded?

5) Katherine Oh, you were sounding good. You were sounding real good. (beat) I'll hear, Tito, when you break the string. And I'll cry for you, quiet, Tito, because I know it's already too late.

4) Tito What, why? But mother why is it too late?

5) Katherine (fatally) Your father's coming home.

4) Tito We got to get away!

5) Katherine I won't be able to protect you. You have to go. Now! Run Tito!

The actor playing Katherine seizes Tito.

4) Tito I would like to run, Mother. But you're a lot stronger than you look.

Katherine doubles over, beginning to feel the pains of transfiguration. Katherine is becoming Joe (in a way that recalls Michael's wolf-ing in Thriller).

4) Tito Mother, are you okay? What's going on?

5) Katherine It's too late. (vocal in the performance of pain) He's here.

Joseph holds out his hand, barks and spits when he speaks.

5) Joe Who did this? Who broke the string on my guitar?

As if Joe could move things with his mind, he summons Jermaine to his open hand. This is a moment of horror.

2) Jermaine I didn't do it! God, god, I swear to god –

5) Joseph Then who? Who's been touching what's mine?

Tito moves to hide behind a scrim and is silhouetted.

2) Jermaine (beat) Tito.

We see the silhouette of Joseph's patient violence. (Their silhouettes, having been filmed, are in Act 2 projected) When it is done, they both come from behind the scrim as if nothing had happened.

4) Tito I can play that thing, I really can.

5) Joe Well, that's good enough for me.

They shake hands.

5) Joe From now on, I'm going to be your manager. And you boys – Boys! You're gonna be a family band.

The rest of the Jackson 5 enters and form a line. Joe stands in front of them.

5) Joe First thing's first, gotta learn you to dance. You got to know how to move when you're singing. Now, we'll start with something simple.

Music plays. Joe executes a simple movement and the boys pick it up quickly.

3) Michael Is that it?

5) Joe That's enough for now. Marlon!

1) Marlon Yes, Joseph?

5) Joe You're doing good.

1) Marlon Thanks Joseph –

5) Joe But it ain't enough! Go and cut a switch.

Marlon exits. The other boys redouble their efforts.

5) Joe There are winners in this life and there are losers. You heard what I said?

(2,3,4) Yes Joseph!

5) Joe And ain't none of my boys gonna be losers.

Marlon returns with a switch.

5) Joe Bigger.

Marlon exits. The boys redouble their efforts again.

5) Joe Dance harder. Harder! Like this was only part of a training montage.

The boys redouble their efforts a third time. They are now dancing really hard.

5) Joe Good. Keep it up.

Joe turns to go.

3) Michael Where are you going?

5) Joe “Where are you going?” I'm going to work Michael Jackson. I got a wife and nine kids. I'll be back in 11 hours. (beat) For lunch. You all had better be dancing.

Marlon returns with a tree branch. Joe exits, shaking his head as if to say “Bigger.” Marlon watches the others' frenetic dance. The music and the dancing stop. All is quiet for a moment as they listen after Joseph.

1) Marlon Would you all be sad if Joseph was dead?

3) Michael Come on, Marlon.

1) Marlon Well, would you?

3) Michael No, I guess not.

1) Marlon How about you, Jermaine, would you be sad?

2) Jermaine (very quietly) Hell no.

1) Marlon Yeah. Me either.

5) Joe (off) The fuck'd you say?

The boys exit, a scatter. Marlon drags the tree branch off with him.

WITH HONEY ON IT (A1,S7)

1) Joe (v/o) When I found out that my kids were interested in becoming entertainers, I really went to work with them. When other kids would be out on the street playing games, my boys were trying to learn how to be something in life. Do something with their lives.

8 Jackson children are playing in their front yard in Gary, Indiana. A group of youths approaches.

4) Youths Hey Rebbie, Jackie, Tito, Jermaine. Hey LaToya, Marlon, Michael, Randy. Hey, you all wanna come out and play

2) Jackie Naw, we can't.

4) Youths Aw. But we was gonna go down to the school and fool around on the playground.

2) Jackie Nope, sorry.

4) Youths Aw. But we was gonna go break bottles with our baseball bats in the alley out behind Arthur Treacher's.

5) LaToya I WISH WE COULD FELLAS BUT JOSEPH WON'T LET US OUT OF THE YARD.

4) Youths Aw. But we all brought knives. And we was gonna go throw poppers, out by where all the bums be sleep, and cut the pockets out they pants. You sure you can't come? It's gonna be a blast – Pop, pop, pop-pop-pop. – You sure you all can't come for a little bit?

2) Jackie Joseph says no. He says you all is criminals.

5) LaToya HE SAYS WE'VE GOT TO STAY IN-SIDE. INSTEAD, ALL DAY. AND HE WON'T LET US LEAVE. BUT SOMETIMES I DON'T FEEL LIKE BEING IN-SIDE. SO WHEN HE LEAVES, I GO OUT-SIDE.

3) Michael Joseph's taking his managerial responsibilities very seriously. We practice six hours a day, everyday, rain or shine. Cause it's inside.

4) Youths Man, fuck ya'll Jacksons, anyway.

1) Joseph (off) Boys. Who you talking to.

3) Michael (failing to whisper) Scat fellas, fore he gets mad and kills you. No one, Joseph.

1) Joseph (entering) No one, huh. You think I ain't hear you talking to those boys? What they want, those boys?

2) Jackie They wanted us to come out and play. And maybe join their singing group.

1) Joseph You already in a singing group. Get in the house.

2) Marlon But, I'd like to sing outside.

1) Joseph I won't have you out here, on these streets, singing those delicate harmonies. Out here in the open air, on these streets. Jackie! What do I always say?

2) Jackie Well, earlier you had said, “There are winners in this life and there are losers. And / ain't none of my kids gonna be losers.”

1) Joseph Ain't none of my kids gonna be losers. Now get on back in the house and you sing me something with some honey on it. Fore I get mad and kill you.

Michael throws his shoe and takes of running. Joseph gives chase.

The rest of the Jackson children exit in an orderly fashion.

BEN PT. 1 (A1,S10) Michael enters, having just had his ass kicked, and speaks to a rat at floor level.

3) Michael I would never hurt you Mr. Rat. Do you want to be my friend? I could use one. (beat) When somebody hits you it takes something out of you. t hurts way inside. Like something went missing. You can trust me, Mr. Rat. I would never hurt you.

Michael scoops the rat up and exits.

HOW JUBILANT THE BOYS ARE BECOMING (A1,S11) Joe and the boys come home from a nite club performance, on a school day. Katherine is there to greet them. They each kiss her on the cheek (the same two actors do this at least twice). On “entering” the boys add pocket change to the upturned bowler hat.

3) Michael Hello mother.

5) Katherine Hello baby.

4) Jackie Hello mother.

2) Tito Hello mother.

5) Katherine Hello.

4) Marlon Hello mother.

2) Jermaine Hello mother.

5) Katherine You all go on into bed. School'll be starting soon. You need your sleep.

The boys exit,

1) Joe Boys did good tonight. (beat) Don't tell em I said that.

5) Katherine Joe. (sighs) I'm worried about the boys.

1) Joe Katie, I'm not trying to hear this shit –

5) Katherine Shh! They trying to sleep. Come into the kitchen, you wanna raise your voice.

They both take one large step to one side. At the same time, the same step.

5) Katherine I'm concerned, Joe, about how jubilant the boys are becoming. Used to be they worked hard, performed and there was enough money, the way we wouldn't be uncomfortable, wouldn't be digging around in couch cushions to buy a loaf of bread. But now.

1) Joe Now what?

5) Katherine It's different. Now, they come home, Lord, they got so much change in their pockets, they can't keep their pants up. You know from their jingling they're coming round corners, they're like a march of dimes. Little Michael, bless his heart, he buys so much candy now –

Joe stifles a laugh. Katherine pauses because Joe is such a humorless bastard.

5) Katherine – I don't know what he must do with it. What is so funny?

1) Joe I know what he does with it. Hah! He sells it.

5) Katherine To who?

1) Joe (shrugs) In clubs we play at. School. Shit, all around.

5) Katherine See, this is exactly what I'm talking about. It's not what a boy needs to be thinking about, not at their age.

1) Joe It's exactly what they need to think about, they ever gonna to get the fuck outta here! (beat) Anyway. Michael isn't worried about money at all. (Joe cannot stifle his laughter) He sells it all, everything, for exactly what he paid for it.

Katherine starts to chuckle. She covers her mouth and they laugh together, quietly.

1) Joe That boy don't make shit!

They laugh until they don't anymore. And it's then they exit.

BEN PT. 2 (A1,S10)

Katherine is mixing cookie dough by hand. Michael enters, his one hand covered in blood (glove-like, ganache-like).

3) Michael Mother?

4) Katherine Yes, Michael?

3) Michael I have a friend. A rat friend –

4) Katherine A rat, where! Where? Where, Michael?

3) Michael Oh, mother, I was just using my imagination. What I meant to say is, can I have a rat?

4) Katherine What you want a rat for? They're so ugly.

3) Michael I just thought it would be nice to have a friend. Someone, you know, I can come home to. When I've been away. Doing one of our Jackson 5 shows on the chitterlings circuit, or. And when I got back, my friend'd, he'd be waiting for me. Be happy to see me.

4) Katherine Michael, I don't know –

3) Michael But he'd be real little! And I'd keep him locked up in his cage when I wasn't around. So he wouldn't be any trouble.

4) Katherine Michael. You go on in to bed now. It's late. You say your prayers? Say your payers. Then get to bed.

3) Michael (beat) Mother?

4) Katherine Boy, what is it now?

3) Michael Well, mother, what I meant to say is I already have a rat. I already have, like – Mother, I've got thirty rats in a cage in my bedroom.

4) Katherine Michael –

3) Michael And mother when I came home today, there was all this blood. There was all this blood, like. Cause they was eating each other. All my rats friends was all eating each other. And all, they was all in pieces –

4) Katherine Oh, Michael.

3) Michael – And, it's just, I can't go to sleep with them all stacked up, lookin at me, and leaking like that. Would it be alright if you came in and rubbed my back til I fall asleep?

4) Katherine You go and say your prayers, Michael, I'll be in in a minute.

Michael scampers off to bed. Katherine holds her heart and follows after him.

DISCOVERED BY DIANA ROSS (A1,S11) Diana Ross enters, shrieking, and stands on a chair.

5) Diana Help! Help! There's a pink snake loose in my dressing room! That's not a euphemism. There's a real pink snake in Gary, Indiana. Where I, Diana Ross, am giving a concert.

A pink snake falls from the ceiling. The Jackson 5 enter. Michael apprehends the snake.

5) Diana What a brave little boy.

3) Michael I'm Michael Jackson.

5) Diana I'll sign your snake. It's the first time I ever autographed a snake before. Sorry I was afraid of him. Only a moment ago. I hope you and I can be friends.

3) Michael Miss Ross, that'd be a pleasure.

Diana Ross kisses Michael on the cheek. The rest of the boys approach.

5) Diana Hi, I'm Diana Ross. Here.

Diana hands Jackie a slip of paper.

2) Jackie (reading) Detroit, Michigan. What's this?

5) Diana The address of my record company, boys. When you've all grown up a little you come see me someday. And I'll see that you get an audition.

2) Jackie Dang. Being big singing stars is just so wonderful I guess we didn't never think of it.

5) Diana Well, you think about it boys. You think about it real hard.

Diana gropes Jackie before exiting.

2) Jackie Dang.

1) Tito (beat) Hey, Jackie. Miss Ross said when we grow up a little, to come see her in Detroit. Right?

2) Jackie And you know something, Tito? We just groooooooooooooooooooooooooooooowed up.

The boys exit.

MOTOWN AUDITION (A1,S12) Joe “telephones” Katherine with his bare hands.

4) Katherine Hello?

1) Joe Katie? Katie, it's me.

4) Katherine Joseph? What time is it?

1) Joe The boys just finished.

Elsewhere onstage Jermaine and Michael run on excitedly.

(2, 3) We did it, we did it!

2) Jermaine Come on, Michael, let's go peep through that hole in the wall of the women's room.

3) Michael Are you kidding, Jermaine? Jackie Wilson's on next. One of my all time heroes. I'm going to study him from the wings, and learn from the best.

They exit.

4) Katherine Well? How'd it go?

1) Joe We won, baby. We did it, we won!

4) Katherine You mean, they just won Amateur Night at the Apollo Theatre? In New York City? Whereof it is said, “If you can make it here, you can make it anywhere”?

1) Joe Yup. Now, we on our way to Detroit.

4) Katherine Why would anyone wanna go to Detroit for?

1) Joe Katie. The boys are going to audition for Motown.

Katherine screams. A loud, long scream. Joe holds the “phone” away from his ear.

4) Katherine Joe, I'm happy. Joe?

1) Joe I'm here.

4) Katherine I'm very happy, Joe.

1) Joe Okay, bye.

Joe hangs up the phone. Katherine, eventually, does the same. Pause. Joe calls back. As he does so, Berry Gordy enters and presents him with a contract. During the course of this call he skims and signs it.

4) Katherine Hello?

1) Joe Katie? Katie, it's me.

4) Katherine Joseph?

1) Joe They just been signed to Motown Records.

Katherine screams again. As long and as loud. Joe hangs up.

MICHAEL DISCOVERS PUBLIC RELATIONS (A1,S13) The Jackson 5 enter as Katherine's scream fades (she exits).

5) Berry First thing we're gonna do is, we're gonna give a party at Diana Ross's house. And the story's going to go, it was Miss Diana Ross who discovered you.

3) Michael But it was Diana Ross who discovered us, Berry Gordy, Motown President. My snake got out. And I saved her.

5) Berry That's perfect, Michael. (to someone else) Write that down.

From now on, whenever anyone asks, that's what you'll tell them. (to the audience) But, in point of fact, it was not.

Berry hands Jackie an invitation to the party.

5) Berry At the party you'll perform, while we watch and consider how best to package and sell you to audiences everywhere. Stick to your schoolwork, boys. Yes, yes. And be friendly to everyone. Always be engaged in the act of performing friendly. Of course, we'll have to work on grammar and elocution and –

3) Michael What's that?

5) Berry That's to soften the sound of your black.

3) Michael What's wrong with sounding black?

5) Berry Oh, there isn't anything wrong with it, Michael. But it is to be avoided from here on in.

3) Michael Should I still sing black?

5) Berry Oh, my god, yes. Of course, yes. Do sing black, Michael. It's only when you're not singing that all of you need to rein it in. Studies have shown that black speaking voices scare people.

2) Jackie Mr. Gordy, I'm sorry, but these invitations is wrong –

5) Berry Are wrong, continue.

2) Jackie It says, “featuring sensational eight-year-old Michael Jackson.” But Michael's ten.

5) Berry Not anymore he's not. As of this moment, he's eight.

3) Michael Again?

5) Berry Michael, baby, it's all for your image. See, if someone says something about you that isn't true, that's a lie. And lies are bad, right?

3) Michael Right.

5) Berry Right. But if someone says something about your image that isn't true that's not a lie, that's what we call public relations. And ain't nothin wrong wit dat!

3) Michael Got it. I'm eight.

Berry Gordy exits.

DIANA ROSS/ ED SULLIVAN (A1,S14) The swell of theme music. The voice of the Media.

5) Media (v/o) Fro-o-o-om Hollywood, the heart of the entertainment world: The Hollywood Palace. And now, here's your hostess, Diana Ross.

Applause as Diana Ross enters.

5) Diana Good evening, ladies and gentlemen. And welcome to the Hollywood Palace. It's wonderful to return as your hostess again, especially tonight. When I have the pleasure of introducing a great young star. Who's been in the business his whole life and when he sings and dances, he lights up the stage. Here he is.

Applause as Sammy Davis Jr. enters. He takes Diana by the hand, kisses it.

4) Sammy Thank you for that marvelous introduction, Diana. Why are you staring at me?

5) Diana Because, I wasn't introducing you. Sammy Davis Jr.

4) Sammy You said someone who was young, been in show business all his life, and lights up the stage. Now, you wanna tell me who's young, who's been in show business all his life, and lights up the stage, except for me and Ed Sullivan?

Laughter.

5) Diana Well, there's one other. Michael Jackson and the Jackson 5.

Applause as Michael Jackson and the Jackson 5 enter. Sammy exits.

3) Michael Now, we'd like to do our very first. Second and third releases. On Motown.

Applause as Ed Sullivan enters. (It's season 22, he's very old).

1) Ed You know, all of us on the show are so darn sorry, sincerely sorry, that this is the third

and, thus, our last current show, with The Beatles.

5) Diana Ed Sullivan –

1) Ed Because these youngsters are from Liverpool, England –

5) Diana Ed, I'm sorry but –

1 )Ed (to Diana) Just a moment. And their conduct over here not only is fine professional singers. (Ed rests a hand on Michael's shoulder and speaks from the heart) But a, uh. A group of fine youngsters. They will leave an imprint on everyone who's met em. And that includes everyone on our show.

The Jackson 5 make use of an awkward silence to perform a karaoke version of “ABC/I Want You Back/The Love You Save Medley” in its entirety. Throughout, they execute the same simple movement Joe taught them.

1) Ed Great show. Great show

5) Diana But that isn't The Beatles, Ed, darling. It's the Jackson 5.

1) Ed Well, they're a sensational group, Diana Ross. Who discovered The Jackson 5 in Gary, Indiana. Wasn't it in Indiana?

3) Michael (beat) I'm eight.

Laughter.

1) Ed Well, you're all wonderful and thank you very, very much. Merry Christmas to you. Get all the. Get all the presents you want.

Ed Sullivan shakes hands with each Jackson and wanders off.

5) Diana Congratulations, boys, on your first three releases going Number One Gold.

Diana Ross helps Ed Sullivan offstage.

5) Diana Scratch that, four! Oh, you are off to a terrific start.

JACKSON 5 CARTOON (A1,S15) Joe enters.

1) Joe Boys! They're talking about making you all into a cartoon show. Is that

something you'd like to have happen?

4) Jackie It doesn't matter what we want, Joseph.

1) Joe That's true it doesn't. You're all about to be a cartoon show. Produced by Rankin/Bass.

3) Michael Will we record them all at once, or do we act in a new one every week?

1) Joe Don't be stupid Michael Jackson, it's a cartoon show. They're gonna hire cartoons to act in it.

4) Jackie But who'll do our voices?

1) Joe Anyone else, apparently. Apparently, it's a whole lot cheaper.

3) Michael But won't we still have to sing on the show?

1) Joe Nah. They want to use songs from off the album, to promote the album.

3) Michael So. I don't understand, Joseph. What do we have to do?

1) Joe Nothing. You all can just sit at home and watch cartoons.

3) Michael You mean you're giving us good news? I don't think you've ever given us just good news before.

1) Joe Probably this is the last time.

With the exception of Michael, they exit.

THE MOVE TO CALIFORNIA (A1S16) Text is projected which reads, “The Jacksons move to California” Diana Ross crosses the stage holding Michael's hand. Michael carries a child's suitcase in the other.

5) Diana Come along, Michael. In California, I, Diana Ross, will teach you about all the great, great artists. Like Michelangelo. You can read and paint, and sing and dance, all to your heart's content.

3) Michael I'm going to paint my first picture of you, Miss Ross.

5) Diana You're going to be a great, great star, Michael. (beat) But you are going to have to learn to stay out of my makeup.

3) Michael But, Diana, it's magic.

THE VIEW OF JACKSON ST. (A1,S17) The Jackson's house in Encino, California is grand in scale. And the Media conducts a tour of it in a grand manner.

2) Media The Jackson 5 love coming home after a long tour. And who could blame them? Their pad is luxury itself. The house has five bedrooms. Michael shares his room with Marlon. But that's okay, it's spacious. The kitchen is gleaming clean. And there's always a big bowl of fruit. Following the Jackson's massive driveway round to the back of the house,you'll find the large pool, lukewarm at all times. Needless to say, all of the boys are excellent swimmers. Take a short walk along from the pool and you'll come to the rehearsal room. Cluttered with instruments, the boys practice here three hours a day.

Media exits as Jackie, Tito, and Jermaine occupy the rehearsal room.

4) Jackie Hey, do you guys ever feel like, I dunno, like living here, at our palatial Havynhurst estate, in Encino, California, I dunno, maybe we've lost touch with our roots?

5) Jermaine What do you mean Jackie Jackson, the oldest brother?

1) Tito I know just what he means. And I feel the same way.

5) Jermaine I don't know.

1) Tito Jermaine, think about it. What happens when the press asks about our afros and our political commitments? Motown tells the press we “don't think about Black Power” cause we're “a commercial product.” You just can't see what's going on because you don't look at Motown with a critical eye. Because you're in love with the Boss's daughter.

4) Jackie Fellas, I just meant, like, our roots in Indiana. Like, in Gary.

5) Jermaine Oh. Well, we could go back there. Almost whenever we want.

Jackie, Tito, and Jermaine sing themselves across the stage (“Going Back to Indiana”).

(1,4,5) We're going back to Indiana Back to where we started from We're going back to Indiana

Indiana, here we come

The house in Gary is small. The boys stand in semi-circle looking at the empty place between them.

4) Jackie Dang. Is that it?

5) Jermaine Dang. Sure is small.

1) Tito Dang, fellas, can you believe we used to live here?

5) Jermaine Hey, do you all remember how we used to skip school hiding in the closet?

4) Jackie I remember how you would. Walk out the front door with the rest of us and then climb back in through the window.

They laugh. Every line that follows is itself followed by laughter.

5) Jermaine Because of the harsh Gary winters. I wouldn't want to walk to school.

1) Tito Those winters were something else. Dang.

4) Jackie And Mother, she'd have to walk to work at the Sears Roebuck. She'd be limping in the street cause wouldn't nobody shovel, and she was not untouched by polio.

5) Jermaine She'd walk because Joseph wouldn't pick her up and drop her off. Even though he could have picked her up and dropped her off.

4) Jackie That's because Joseph is an asshole.

The boys laugh until they turn, sing themselves back across the stage, and exit.

(1,4,5) We're goin back to California

GROUPIES (A1,S18) Shirlee and Rhonda, two fans, enter. Jackie passes by and, wordlessly, he delivers a note to Rhonda.

5) Shirlee Oh, my God, oh, my God. Was that Jermaine?

4) Rhonda Jackie.

5) Shirlee Oh, my God, what did he give you, what does it say?

4) Rhonda It's just an address.

5) Shirlee What? Oh, my God, here comes Michael. Act casual.

Michael approaches on his big wheel. He wears aviator sunglasses.

5) Shirlee Oh. Hi, Michael Jackson.

3) Michael (to Rhonda) Did Jermaine give you that?

4) Rhonda No, Jackie.

3) Michael He wants you to meet him, doesn't he?

4) Rhonda I don't know if I should –

3) Michael Don't. Don't meet him. My brothers aren't good to girls.

4) Rhonda Okay. Thanks. Um. Can I have your autograph?

Michael signs the same slip of paper, returns it to her, and rides off. Not another word.

5) Shirlee What does it say? Oh, my god, you are so lucky, Rhonda.

4) Rhonda It says, “I hope you don't go. Love, Michael Jackson.”

5) Shirlee Well, are you gonna go? God, I would sure go if I were you. Jermaine Jackson.

4) Rhonda Jackie.

5) Shirlee Oh, what's the difference.

Shirlee exits as Jackie enters and leads her to a hotel bedroom. They have sex as if in fast-forward. It's done quickly and joylessly.

2) Jackie Unfortunately, Rhonda, things being what they are I won't be able to see you again. I'm sure you understand. Or, will come to, in time.

Rhonda starts to cry and begins to walk away. She passes Shirlee, who enters the room as she exits. Michael approaches Rhonda.

3) Michael You were with Jackie? Did he make you do it?

4) Rhonda No. I wanted to.

3) Michael You wanted to? Why would you. (beat) Someone from Motown'll take you home.

Michael whistles and Rhonda is “driven” away. She looks back to see Michael shoot himself in the head with a water pistol.

3) Michael (singing) Have you seen my childhood

MICHAEL, ON MARRIAGE (A1,S19) Media enters and Michael sits for an interview.

2) Media So, Michael, you're really, really famous now.

3) Michael Yeah.

2) Media Do you like that, being that famous?

3) Michael I guess, I do. Yeah. Cause I get to do things that I wouldn't have, if I wasn't so famous.

2) Media Of course. Hey, got a chance to see you and the brothers in concert recently and, wow. I just. Wow. One thing I noticed is how much your fans seem to like you. Do you like it, how much they like you?

3) Michael Oh, it's great. I love it. I love the fans. Sometimes they'll grab your hair and pull hard and it hurts like fire. Or. Or, you feel as if you're going to suffocate or be dismembered. (beat) And, of course, that can be hard sometimes.

2) Media Sure. Hey, so, we hear your brother's getting married. Any thoughts on that?

3) Michael No, I don't think, uh. Which one?

2) Media This was, uh, Tito.

3) Michael Oh. I don't know. I haven't spoken to Tito about it, so, I wouldn't know what to tell you.

2) Media Just tell us how you feel, your honest response to the news of Tito's impending marriage.

Michael screams into a pillow. Media exits, the interview is forfeit and the setting is changed. Tito enters and Michael approaches

3) Michael Tito, is this true?

1) Tito Is what true?

3) Michael Are you getting married and leaving the group?

1) Tito Whoa. Slow down, Mike. First of all, yes, I am getting married. But I never said anything about leaving the group.

3) Michael But if you get married, oh, Tito, think what'll happen. Remember that time Jermaine dedicated a song to Hazel Gordy? They booed us.

1) Tito But, Mike, I'm very much in love.

The rest of the Jackson 5 enters.

5) Jermaine Hey ya'll.

1) Tito Hey, Jermaine, Jackie, and Marlon. I was just saying to Michael, I'm getting married. But, I'm not leaving the group. But. I am getting married and moving out of the house.

5) Jermaine Are we even allowed to do that?

4) Jackie We can do anything we want to do, because we're not little kids anymore.

5) Jermaine In that case, I want to move out of the house, too.

3) Michael Guys –

1) Tito Gotta get married if you wanna move out.

5) Jermaine So? I'll get married, then.

3) Michael You guys!

5) Jermaine Mike, man, you heard Tito. It's time to grow up. If we don't get married

and leave, we ain't never gonna leave.

Katherine enters.

3) Michael Oh, mother, thank goodness! The brothers are saying they're getting married and moving out. And I'm trying to stop them. But they won't listen to me. (beat) Mother, are you listening to me?

2) Katherine Your father and I are getting a divorce.

3) Michael Noooooooooooooooooooooooooooooooooooooooooooooooooooooooooo ooooooooooo.

The brothers recede from Michael as the lights close on him, embellishing his anguish. A fairly quick fade to black, and then the lights return.

2) Katherine (beat) Okay, you talked me out of it.

Katherine exits.

GOT TO BE THERE (A1,S20) The Media enters, out of breath.

2) Media Michael, come quick. Donny Osmond, of The Osmonds, is due to release a solo album. Motown wants you to do a solo album right away. Hurry, we have to go.

Media takes Michael by the arm and starts to usher him off.

3) Michael Aren't you guys coming?

5) Jermaine But, Mike, man, it's a solo album. They don't need us there.

3) Michael But I'd be scared to do it alone.

4) Jackie You'll be okay, Michael.

1) Tito Sure you will. Heck, we've been recording our vocals separate for a while now.

3) Michael I know. It's been making me feel increasingly isolated.

Michael exits, crying. Jackie, Tito, and Jermaine watch him go.

4) Jackie He's been crying a lot lately.

5) Jermaine Do you guys think Michael's still a virgin?

1) Tito Probably.

5) Jermaine Yeah. Huh.

CREATIVE DIFFERENCES (A1,S21) Joe enters and punches a hole in the whipping wall.

4) Joseph Boys! I'm angry again. This time, on your behalf. You aren't being given enough creative freedom at Motown. You should be making creative contributions. Getting songwriting opportunities. And making that songwriting money. I'm speaking, now, not just as your Joseph, but as your manager. Your contract with Motown is about to run out. And if Berry Gordy won't work with me, boys, we're going to have to leave Motown.

(1,3) (spoken) Gasp.

4) Joseph Are you with me?

(1,3) We're with you, Joseph.

4) Joseph Like you got a choice. (laughs alone) Where's Jermaine? Why didn't I hear him assent? (beat) When I call a group meeting, I expect everyone in the group to be at it.

Joe “calls” Jermaine. Jermaine enters and receives the call.

2) Jermaine Hello, this is Jermaine Jackson speaking.

4) Joseph Where you at?

2) Jermaine Joseph, you called me at home.

Jermaine spits blood on the whipping wall, as if struck.

4) Joseph And where you sposed to be? I just got angry and met with your brothers. And we have decided to leave Motown.

1) Jackie But –

4) Joseph Shut up!

2) Jermaine Joseph, I can't leave Motown. Because I married in when I married Berry's daughter.

4) Joseph Well, you don't get a vote Jermaine, because you weren't at the meeting.

2) Jermaine (beat) Would I have gotten a vote if I'd gone to the meeting, Joseph?

4) Joseph No!

Joe hangs up the phone. Berry Gordy telephones Joseph.

4) Joseph Hello?

2) Berry Joe? This is Berry Gordy. I heard you're thinking of leaving Motown.

4) Joseph We're doing more than thinking about it, Berry.

2) Berry You saw the contract I sent over?

4) Joseph I saw it.

2) Berry It's your standard contract.

4) Joseph I said, I saw it.

2) Berry (beat) And?

4) Joseph And the numbers was Mickey Mouse, Berry.

2) Berry Standard contract, Joe –

4) Joseph Well, my boys are better than a standard contract.

2) Berry (sighs) I'm sorry to hear you say that. (beat) Of course, Joe, if you leave Motown, we'll be keeping the group's name.

4) Joseph What?

2) Berry Oh, yes, and Jermaine, too, I think. You really should have read your first contract more closely. Good luck trying to sell Jacksons albums. Bahahahahahahahahahahahahahah –

4) Joseph They was Mickey Mouse, Berry! –

(beat) So, we're the Jacksons now.

THE JACKSONS (A1,S22) Joe exits to the swell of theme music. The voice of the Media.

5) Media (v/o) It's The Jacksons.

The Jacksons run in a tight circle and reform in a straight line facing the audience.

5) Media Starring Michael.

All Jacksons exit, excepting for Michael.

THE SCARECROW'S SADNESS (A1,S23) J. Randy Taraborrelli knocks at the Jackons' door. Michael receives him. They shake hands.

4) Michael Hi, I'm Michael, Michael Jackson.

2) JRan I know, Mike, we've done countless interviews together. I'm J. Randy Taraborreli. The journalist who will write your someday biography, The Magic, The Madness –

4) Michael Oh, of course, good to see you again.

2) JRan It's good to see you again. (beat) Michael, you're a busy boy.

4) Michael (giggles) Yeah.

2) JRan Being so busy, how do you keep up with current events? Do you read the newspapers, watch TV?

4) Michael Well, I watch cartoons. I love cartoons. I love Disney. Disney-land. It's such a magical place. Walt Disney was a dreamer, like me, and he made his dreams come true.

2) JRan (recording the facts) So, you don't read the paper.

4) Michael I listen to music all the time. And I watch old Fred Astaire movies. He's my favorite. (beat) See, I just want to entertain. When I was in the second grade the teacher asked me what I wished for. I said, a mansion, peace on earth, and to entertain. Can we talk about something else?

2) JRan (recording) Sure, uh. Who do you see in your free time, Mike? Who, would you say, are your closest friends?

4) Michael My friends? Um. (to himself) I guess most of my friends ate each other. But, sometimes I'll walk around our neighborhood late at night and hope to run into somebody. But that never really happens. So I just end up coming home. Oh, hey.

At this point, Tito and Jackie join Michael in being interviewed.

4) Michael Hey, J. Randy Taraborrelli, wanna hear a story about my life in show business, and the kinds of things that will sometimes befall me? One time, at a record store, over a thousand kids showed up, before the store even opened. (this is a horror story) And these kids, J. Randy Taraborrelli, they wouldn't stop pushing. Pushing, pushing, pushing each other. And pushing so hard that these kids, they broke a window. A big pane of glass fell on this girl, slitting her throat. Oh, God, there was so much blood. She was bleeding all over, everywhere. And because I was there, everyone just ignored her. All anyone cared about was getting my autograph, J. Randy. I wonder what ever happened to that girl.

1) Tito (deadpan) Probably dead.

5) Jackie (beat) Michael's got a nickname!

1) Tito That's true, he do.

4) Michael Please, you guys –

5) Jackie We call him –

4) Michael Don't Jackie –

5) Jackie Big Nose.

Jackie and Tito laugh. Michael hangs his head.

1) Tito Yeah, Big Nose. On account of how big his nose is.

Michael exits, the brothers follow closely behind heckling him. J. Randy takes notes.

5) Jackie And we call him Rocky Road.

1) Tito On account of he's got fucked up skin.

Joseph enters.

3) Joseph Walk with me, Randy. It is Randy, isn't it? See, Randy, I got a philosophy about raising children. I got a strict raising, and I'm glad. I've been able to accomplish what I've accomplished cause of that. I give my kids have a strict raising, and look what they've done. (beat) I did the best I knew with those boys. You do the best you can do, raising kids. I tried to make sure they had – Well, they had entertainment, and me to rehearse em. And they played character-building sports. Jackie could have been a professional baseball player, if he wanted to. Uh, Jackie's the mean one.

2) JRan They were both mean.

3) Joseph Well, they're both good at sports. (beat) Not Michael, though. Never picked up a baseball bat in his life. Wouldn't know what to do with a, uh, baseball bat. (loud enough to be overheard) PROLLY SWING IT LIKE A GIRL. Marlon told me what happened. You aren't gonna write that about Michael's nickname, are you?

2) JRan Not for many, many years.

3) Joseph Boy's so sensitive about his nose Keeps threatening to have it fixed. I told him, I'd break his face he ever had it fixed. Got a great nose. Looks just like mine. Anyway. I'm gonna take off. I dunno, maybe go fuck around on my wife or something. (by way of goodbye) It is what it is.

2) JRan It is what it is, Joe.

Joseph speeds off as if in a car with the top down. A large fan blows his hair back. Michael enters, dancing as if he had no choice.

4) Michael Is he gone?

2) JRan Joe? I think so.

4) Michael There are some things I wanted to say before, that I couldn't say before.

2) JRan Okay.

4) Michael When I'm not onstage, I'm not the same. I'm different.

2) JRan Uh huh.

4) Michael You don't understand. I'm addicted to the stage. When I can't get onto a stage for a long time, I have fits, start to go crazy. I start crying. And I act weird and, and, and freaked out.

2) JRan (quietly) You're freaking me out, Mike.

4) Michael I dance round the house like a part of me is missing But, like, I got these extra parts, also. So, I gotta sing and I gotta dance, I have this craving –

Michael fizzles out. A moment of quiet drama.

4) Michael – But when I get up on stage, I open up and I have no problems. I'm up there and I'm cuttin loose and I say to myself, This is where God meant for me to be. But offstage. I'm not really –

2) JRan Happy?

Michael nods.

2) JRan Well, what about when you're working on a film? You've just finished filming The Wiz. How did you enjoy that?

4) Michael Well, I did enjoy it. I liked my character.

2) JRan You played the Scarecrow.

4) Michael Yes. I like his confusion. He knows he has problems, I guess you could call them. But he doesn't know why he has them. Or how he got, uh. And he understands that he sees things differently from the way other people see things. He's not like other people. No one understands him. So he goes through his whole life with this, uh, confusion. Everybody thinks he's very special. But, really, he's very sad. He's so, so sad. (Fixing his gaze on J. Randy) Do you understand? Do you understand his sadness?

OFF THE WALL (A1,S24) Quincy Jones enters.

1) Quincy Hi Michael.

4) Michael Oh, my gosh, Quincy Jones. Hey, Quincy Jones.

1) Quincy Michael, I'm glad I caught you. I just remembered that, while we were working on the film The Wiz together, you mentioned you were looking for a producer. For your first mature solo venture, Off The Wall. Well, I couldn't find anyone.

4) Michael Oh.

1) Quincy Didn't really look. But I was thinking, Hey, why not let me produce Off The Wall and, like, a couple albums after that?

4) Michael I'd love that. Can we get started immediately? I'm just brimming with ideas.

1) Quincy Of course, your studio or mine?

4) Michael I'm so glad you just showed up like this. I was just gonna walk around taking pictures of raindrops, and flowers, and certain other of God's miracles. But this'll be even better. Because we'll be making a miracle, Quincy Jones.

Michael takes Quincy Jones by the hand and exits in haste.

4) Michael Sorry, J. Randy Taraborrelli.

J. Randy Taraborrelli waves him off and exits himself.

BILLIE JEAN (A1,S23) LaToya appears, halting Michael, and holding a brown paper package.

5) LaToya HELLO MICHAEL.

4) Michael Hi LaToya.

5) LaToya (beat) DON'T YOU WANT TO KNOW WHAT'S IN THE BOX? IT'S FOR YOU, IT'S ANOTHER DEATH THREAT.

4) Michael Oh no.

5) LaToya I'M JUST KIDDING IT'S A LOVE LETTER.

4) Michael Oh no.

5) LaToya I'M JUST KIDDING IT IS ANOTHER DEATH THREAT. AHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAH.

4) Michael This stuff isn't funny LaToya. These threats are serious business. Let me see.

Michael sets about opening the package. LaToya looks (as if) into a mirror.

5) LaToya I DON'T KNOW WHAT YOU'RE SO UPSET ABOUT. I WISH SOMEONE WOULD THREATEN MY LIFE.

4) Michael Why would you wish that?

5) LaToya IT MEANS THEY'RE INTERESTED IN YOU. (beat) WHAT'S THE MATTER?

4) Michael It's from the crazed fan, who has lately been harassing me. This time she sent her high school graduation picture. And a letter and a gun.

5) LaToya WHAT DOES THE LETTER SAY?

4) Michael It says, she's sorry that we can't be together, and raise our child, in this world. Our child? And will I please kill myself at a certain day and time. Cause she's gonna kill herself, with another gun. And then shoot the baby. (God, she really didn't think this through.) And then we'll be together, in the next world.

5) LaToya (beat) YOU'RE ALWAYS MEETING THE MOST INTERESTING PEOPLE.

4) Michael I have to go pray for that girl, and that baby, whose father I am not. I don't know, maybe write the hit single “Billie Jean” about it.

LaToya exits as Berry Gordy enters.

3) Berry Say, Mike, can I talk to you for a moment?

4) Michael Now's not a good time, Berry Gordy, I have an idea. And if I don't get it down right away, and turn it into music, God will give it to Prince.

3) Berry Can I walk with you a moment? I wanna talk to you about appearing on a Television spectacular. We're going to call it Motown 25. Cause that's how long, uh, Motown.

Can I count you in?

4) Michael Yes, Berry Gordy, with reservations.

3) Berry That's good enough for me.

They shake hands and exit. And as they exit, Michael trips and falls face first.

3) Berry Are you alright?

4) Michael I think I broke my nose.

Michael bounds to his feet, pinching his nose.

4) Michael It's okay. I've been meaning to have it fixed.

The setting is changed. A performance space. Michael dons a black sequined jacket. His socks are suddenly whiter. Michael here performs “Billie Jean,” as he did at Motown 25. Just like that. When the performance is ended Michael bows.

FRED ASTAIRE (A1,S26) Katherine enters.

5) Katherine Michael, there's a phone call for you.

4) Michael Who is it? Er, wait. Don't tell me, I want it to be a surprise.

Katherine hands him the phone, which is more probably her hand. Yes, and she stands there with her hand to Michael's ear.

4) Michael Yes, hello? Yes, this is Michael Jackson. Who am I speaking with? Fred Astaire. Oh, boy, this is a surprise. Uh huh. Uh huh. An angry dancer? That's interesting that you would say that, an interesting observation to make, about me, that I am an angry dancer. (beat) Thanks, Fred Astaire. I admire your grace and your build. What's that? You know, that you're skinny. Gene Kelly, he's just. He's a little wider. Than you. You look a little. You're smoother. Than Gene Kelly. Okay. Thanks, bye.

Michael hangs up the “phone”.

4) Michael Mother, that was Fred Astaire calling. He called me. To tell me that he liked my dancing. Can you believe that?

The phone rings. It is unclear for a moment whether Katherine will answer. She won't.

4) Michael Hello, Jackson residence, Michael speaking. Yes, who's this? (beat) Hi, Gene Kelly.

Katherine exits.

THE PEPSI BURN (A1,S27) Randy enters together with the rest of The Jacksons.

1) Randy Hey Michael Jackson.

4) Michael Hey fellas. Ready to film this commercial for Pepsi cola?

1) Randy I guess so. Man, I sure wish we didn't have to.

4) Michael Me too. Apart from the fact that I don't even drink that stuff, I have this sense of foreboding about the whole enterprise.

1) Randy But we're being given the biggest endorsement deal in Madison Avenue history. So.

4) Michael So, I guess we better.

The Jacksons take their places. Enter Bob Giraldi, with camera.

5) Bob Rolling! Marker! Action!

Music plays as the Jacksons dance until Michael doesn't, Michael's music.

4) Michael Cut.

5) Bob Cut!

5) Bob What's the problem, Mike?

4) Michael I'd like to watch that back. (he watches) Everything has to be perfect. See, no.

That's imperfect. There's a shot of me smiling.

5) Bob So? Michael, you look great.

4) Michael So, I never smile when I dance. You understand? I'm an angry dancer.

5) Bob Alright, everyone, let's take it back. Rolling! Marker! Action!

Music begins to re-play. A fire ignites behind Michael's head as he dances a step or two.

5) Bob Cut. Michael Jackson's on fire.

The brothers smother Michael, who writhes on the floor holding his head. His glove comes off.

4) Michael Pepsi will pay for this! (beat) And, when they pay, I will use that money to establish the Michael Jackson Burn Center. In the hospital where I'm going to be treated. Right now.

Bob Giraldi continues to film the brothers, who hoist Michael up.

4) Michael Wait! My glove.

The brothers set Michael down and he retrieves his glove.

4) Michael This way I'm always on stage.

The brothers pick Bob Giraldi up like he were a burn victim and they carry him off.

GUINNESS (A1,S28) Michael is being interviewed by an unseen interviewer.

4) Michael See, I believe in wishes. And in a persons ability to make a wish come true. Ever since I was a little boy, I dreamed of creating the biggest-selling album of all time. Every night, just before the sun set, I'd make that wish. And when that last speck of light disappeared, it would seem as if it had taken my wish with it. I've done that every single sunset since I was eight years old.

Michael is joined by the Guinness Book of World Records.

3) Guinness Michael Jackson?

4) Michael Yes?

3) Guinness I'm the Guinness Book of World Records. Your record Thriller is now the biggest selling album of all time. Congratulations.

Guinness slaps him on the shoulder, turns and exits.

4) Michael It worked! (singing “When You Wish Upon a Star”) When you wish upon a star Makes no difference who you are

LaToya appears, holding a brown paper package.

5) LaToya HEY MICHAEL. UH, CONGRATULATIONS ON THRILLER, I JUST HEARD. CAUSE I WAS LISTENING.

4) Michael Thanks, LaToya.

5) LaToya MY BROTHER. THE BIGGEST SELLING ALBUM OF ALL TIME. WOW. ANYWAY, THIS PACKAGE ISN'T FOR YOU, IT'S FOR ME.

4) Michael Okay.

5) LaToya KAY, BYE.

THE GRAMMYS (A1,S29) LaToya exits as Brooke Shields enters.

5) Brooke Hi Michael.

4) Michael Brooke Shields. Look, I know what you want.

5) Brooke You do?

4) Michael You want me to take you to the Grammys.

5) Brooke Well, yes, that's true.

4) Michael Okay, I will, but I have to get dressed. Please wait in the car.

Brooke Shields regards Michael with suspicion. With good reason.

Michael is about to take forever to get ready. To thunderous applause. As one would expect to see it at Versailles, so in Michael Jackson's life. The other actors work with great pomp and ceremony dressing Michael in one of those sequined military jackets, there are sashes, epaulets, a bright lot of ribbons. Michael smiles and waves, as if to a gathered throng. Brooke is joined by Emmanuel Lewis and (a stuffed) Bubbles. Michael crosses to them.

5) Brooke Who's this?

4) Michael It's my pet chimp, Bubbles. And my very special friend, Emmanuel Lewis, star of the Television show Webster. Say hello, those who are able.

1) Emmanuel Hello.

5) Brooke They're not coming with us?

4) Michael UGH. What you thought this was? Brooke Shields, you are a beard for my weird.

A Photographer enters and gives Michael 8 Grammy awards. He poses with his arms full for a photograph. Brooke, Emmanuel and Bubbles exit.

3) Photo Hey Michael, everyone loves your songs the best. Out of, like, well, every song ever. What's your favorite song?

4) Michael “My Favorite Things,” by Julie Andrews.

He skips away, singing “My Favorite Things.”

4) Michael Raindrops on roses and whiskers on kittens Bright copper kettles and warm woolen mittens Brown paper packages hmm-hm-hm-hm

Liza Minnelli enters and takes Michael's arm.

5) Liza Congratulations Michael, darling, really. Congratulations on winning 8 Grammy awards.

4) Michael Thank you, Liza Minnelli.

5) Liza 1984 is shaping up to be a quite a year for you.

4) Michael Yes. It is. (giggles) It's been crazy, Liza Minnelli.

Liza Minnelli exits as Prince enters on a purple motorcycle, surprising Michael.

PRINCE, REAGAN, AND OTHER WARLOCKS (A1,S30) Prince enters on a purple motorcycle, surprising Michael. He and Michael regard one another. The intensity with which they hold one another in thrall should be palpable. Prince exits as Frank Dileo enters.

4) Michael Frank Dileo, everyone thinks Prince is so insidious, threatening, and darkly sexual. Why don't they think those things about me?

2) Frank Little Michael from Motown casts a long shadow. Takes time. But trust me, soon people will think of Michael Jackson also as insidious, threatening, and darkly sexual.

4) Michael Excellent. Now, what is it you rushed in here to tell me, Frank Dileo, my manager, and former Epic Records executive?

2) Frank President Reagan wants to present you with an award. And he'd like to use your hit single “Beat It” for a campaign against –

Brooke Shields approaches.

5) Brooke Did I hear someone say they're going to the white house?

4) Michael Hi Brooke Shields.

At the white house, President Reagan enters with Nancy.

1) Reagan Well, isn't this a thriller. Michael? You are proof of what a person can accomplish through a lifetime free of drug and alcohol abuse.

4) Michael Yes, that's true, and thank you for saying so.

Nancy seizes Michael's hand.

2) Nancy What is next for you, Michael? What will you do next?

4) Michael Shucks, I don't know. Probably I'll record the song “State of Shock” with Mick Jagger

2) Nancy Mick Jagger? Of Rolling Stones fame?

1) Reagan I hope you'll be careful. Mick has a history of casting spells on competing rock stars

4) Michael Thank you for your concern, The President, but I'll be okay. My personal relationship with God makes me impervious to such attacks.

Brooke seizes Michael's other hand.

5) Brooke You are so brave. Isn't he so brave?

Ronald and Nancy exit with Brooke Shields. Frank Dileo enters and hands Michael a “newspaper”. Michael paces, reading.

4) Michael “Is Michael Jackson gay? (beat) As queer as a three dollar bill. Ever wonder what happened to his other glove? (beat) Boy George's pocket.” Why would comedian Joan Rivers says such hurtful things? Everyone thinks I'm gay, Frank Dileo, my manager and former Epic records executive. Is it my soft voice? Everyone in my family has a soft voice. (beat) Frank, arrange a meeting with Prince.

2) Frank But he's a reputed warlock.

4) Michael I don't care if he is a warlock or if he isn't a warlock! I want it done, now! Get it done!

Frank Dileo exits. Michael throws something after him, anything, he's upset.

4) Michael (quietly) If you're a deeply religious person, evil spells can't hurt you. And I must discover how Prince has managed to create his own uniquely heteronormative sexuality with and through a stage personae that is, considered in itself, unambiguously queer.

Michael sits as Prince and LaToya enter and join him at meal time.

3) Prince LaToya you look beautiful tonight.

Michael and Prince hold one another in thrall until they don't anymore.

3) Prince Uh-oh. I have to go.

5) LaToya NOW?

3) Prince Yes, it looks that way.

5) LaToya BUT YOU JUST GOT HERE. AND I'VE FALLEN FOR YOU, ALREADY. ALREADY, PRINCE, YOU HAVE MY HEART.

3) Prince Here, Michael, I brought you this brown paper package. Don't open it now. Til we meet again, LaToya. (causing his own echo as he leaves to go) Toya, oya, ya, a –

5) LaToya WHAT'S IN THE BOX?

When the box is opened, backwards chanting is heard, loud and low. Michael quickly shuts the box.

4) Michael Just some leaves and twigs. I wish people weren't always casting spells on me. (beat) Do you think this has something to do with all of the rumors

that have been circulating about me as of late?

5) LaToya LIKE THAT YOU TAKE HORMONES TO MAINTAIN YOUR HIGH VOICE? AND YOU'VE HAD YOUR CHEEKS DONE? AND YOUR EYES, YOU'VE HAD THEM DONE, TOO? AND THAT YOU'RE GAY GAY GAY GAY GAY GAY YOU CAN TELL CAUSE OF YOUR VOICE, CHEEKS, AND EYES?

4) Michael Yeah.

LaToya shrugs.

4) Michael I hope not.

LaToya exit.

THE BEATLES CATALOGUE (A1,S31) John Branca enter and gives Michael a piggy back ride.

4) Michael It isn't working, John Branca, my attorney, who is also a close friend. I'm still distressed. Will you go about the business of getting me The Beatles catalog?

5) John Mike, The Beatles catalog? Like the publishing rights to the Lennon- McCartney songbook? Like – Actually, I did hear that it had recently become available. Would that cheer you up, do you think?

4) Michael It would, I think. And also it will keep me afloat in times of financial crisis.

5) John Of which there will be many. But won't Paul be upset? After all, wasn't it Paul McCartney who taught you the value of owning the rights to famous and often-sought songbooks?

4) Michael Yes, it was Paul. And likely, yes, he will be upset. But, if we're able, go get me those songs John Branca.

John Brance is silent as he enters something into his “phone.” Only takes a moment.

5) John Done.

4) Michael Really? How much did it cost?

5) John Oh, like, millions and millions of dollars, Michael. But you're only gong to end up having to pay, like, half that.

Michael (who may have been on John's back throughout) gives him a hug.

5) John Boy, 1984 has really been a crazy year for you.

4) Michael Oh, it's been so crazy, John Branca, attorney at law under my employ. So, so crazy. But, do you know what? (failing to whisper) I think it's just the beginning.

INTERMISSION

WE ARE THE WORLD (Act 2, Scene 1) Everyone who participated in the “We Are The World” video is present on stage. Duh. As “We Are The World” ends, Frank Dileo enters.

4) Michael Frank Dileo. Me and everyone except Prince just finished doing “We Are The World.”

2) Frank Mike, I heard “We Are The World” just now. It was very uplifting. Which makes this even harder to say: Mike, there's a picture of you and Donny Osmond set to run in a certain periodical. A certain periodical with

a certain circulation.

4) Michael (beat) We have to have every copy of that periodical destroyed.

2) Frank I already tried that. This Donny Osmond thing is moving forward. Mike, your image has to be very carefully controlled. The top of the heap, it's a razor's edge, Mike. Donny Osmond and humanitarian efforts, like “We Are the World,” that stuff doesn't accord with the “darkly sexual” thing we're trying for.

4) Michael What should I do?

2) Frank I think you should begin by engaging your crotch more when you dance. I think, when you release this next album, you should call it Bad. You're going to start wearing black leather. You'll wear it on the album cover. And from now on, if we do it, we do it bigger than big. Cause, ya know, Thriller.

4) Michael Frank, I just got an idea.

2) Frank Is it big?

4) Michael Bigger. People are always telling stories about me. “Oh, Micahel Jackson, he's cracked up. He's an alien from Mars who eats live chickens and does a voodoo dance at midnight.” But what if we were the ones who said, “I'm an alien from Mars. I eat live chickens. And I do a voodoo dance at midnight.” We could get them to say whatever we want! Frank Dileo, you know those pictures we took for fun at The Michael Jackson Burn Center?

2) Frank Of you in a hyperbaric chamber? Of course.

4) Michael Feed those pictures to the tabloid presses.

Frank Dileo uses his “phone” to do so.

4) Michael Tell them that those pictures are of my bedroom. And that I sleep as if in a glass coffin because I hope never to grow old.

2) Frank (beat) You are beautiful, I could kiss you, I'll prove it.

Frank kisses Michael. Frank Dileo's phone signals the changed state of things.

2) Frank Mike, it worked. Jesus! People really think you sleep in this thing.

4) Michael Frank, this is a major breakthrough for us. From now on, we can control the press.

Another Michael, dressed in the suit and spats of the “Smooth Criminal” video, enters. He exists only to dance as Michael performs a karaoke version of “Smooth Criminal.” Smooth Criminal, it must be remembered, is, at bottom, a fight scene. When the song is finished, the dancer exits.

TABLOID JUNKIE (A2S2) The performance is forfeit and the setting changed. Michael is in the studio with Quincy Jones.

4) Michael How did that sound Quincy Jones, the producer?

1) Quincy Well. You're a genius. So, it sounded great, Michael. Because you're a genius.

4) Michael But did it sound, you know, magic?

1) Quincy Well, yeah. My hairs are standing on end. Is that what you mean?

4) Michael Maybe can we just take it again, and I'll do it one more time? And let's just see if we can't make it yet more magic.

As the music of “Smooth Criminal” begins again, Frank Dileo enters in hurry.

4) Michael Hold it, Quincy Jones. Hey, Frank Dileo. What's up?

2) Frank Mike, we have to go to London. I made up a story about your wanting to purchase the Elephant Man's bones.

4) Michael Well, I strongly identify with the so-called Elephant Man.

2) Frank But the London Hospital Medical College told the press they hadn't received our offer. Said that even if they had they wouldn't sell. Cause, weird. Even though, I told em, you have no exploitative interests.

4) Michael I see. Quincy? In case I never work with you on another record, so long as I live, it was a pleasure working with you.

1) Quincy You, too, Mike. And good luck. I hope you get your bones.

4) Michael Frank Dileo, let's away. To London, England.

Quincy exits.

4) Michael Frank, maybe it's time I move out, start living on my own. Maybe buy up that ranch I've had my eye on, call it Neverland, and live there, lucky, the rest of my life.

THE BAD TOUR (A2,S3) Frank exits as (Michael)1993 enters wearing a grotesque plastic Michael mask.

4) Michael You shouldn't be here, you know. It isn't time yet.

5) 1993 (beat) I just want it to be over with.

4) Michael I know.

1993 begins to cry. Shit, they both do. Frank Dileo returns, and rescues Michael from the awkward moment with his future self. 1993 exits, burdened with the weight of his body.

2) Frank You know, Michael, when I realized that I'd been walking alone just then, talking to myself, it occurred to me, I'm not sure you'll have time to fly to England. You're going to have to start touring that Bad album around.

4) Michael Already?

2) Frank Looks that way. Gosh, your first tour independent of your brothers. Crazy. Where do you wanna go first? Japan?

4) Michael Oh, I don't –

2) Frank Japan it is.

Katherine enters. A “phone” call.

4) Michael Hello?

3) Katherine Michael, I've been trying to get a hold of you.

4) Michael Hello, mother. I think of you often, but call you less.

3) Katherine The papers are saying that you eat (reading) “live chickens... and do a voodoo dance.”

4) Michael Mother, that's crazy.

3) Katherine Well, it's all anyone can talk about.

4) Michael (to himself) Excellent. Frank, go and get me a newspaper.

3) Katherine Michael, of course you know that, due to my strong personal convictions, I can in no way endorse your belief in the occult.

Frank Dileo returns with a newspaper and hands it to Michael.

4) Michael Mother, don't be silly. Don't believe everything you read. (reading) Oh, my god.

3) Katherine What's the matter? What's wrong? Michael, you there?

4) Michael Mother, a boy here, they just found him. His name was. (beat) Mother, I have to go. (to himself) He was only five years old.

Another Michael, another sad clown, crosses. Walking backwards in a miserable simulacrum of the moonwalk.

1) Clown (singing “Gone Too Soon”) Like a comet Blazing cross an evening sky Gone too soon

4) Michael Police say he might've been alive when – Oh, my God. (beat) Frank Dileo, I'm dedicating my world tour to honoring this boy's memory. Send his family a check for, I don't know, I don't know what's enough. I know it won't help. But I hope it helps, also.

The phone rings a few times. Michael, shock, fails to register it.

2) Frank Phone for you, Mike.

Michael pulls himself together and fields the call.

4) Michael Hello?

3) Katherine Michael, I just flipped on the television and there's another story. That you was sleeping in an oxygen chamber, so you don't grow older. I didn't think

that you were sleeping in a oxygen chamber, so I went up to your room. But all your things were gone. And I thought, Well, that's unusual. Then, when I came back downstairs, TV said you were living somewhere called Neverland. You have a oxygen chamber at Neverland?

4) Michael Mother, I told you, it's just tabloid stuff. I have to go.

2) Frank You alright, Mike? You don't look so good.

4) Michael It's getting so I don't even want to come to the phone anymore, when it's her. (beat) I'm fine. I'm just, I'm tired, is all.

2) Frank Well, that makes sense, you're burning awful bright. Hey, did you know that the Bad tour is the highest grossing tour of all time?

4) Michael Frank, I don't want any more stories planted in the press. We've been giving them Barnum. It's time to hit em with a little Howard Hughes. I've written a letter. It is to be my last communication until it isn't anymore. Please deliver it to the world.

Michael hands Frank a letter and exits. . 2) Frank “Like the old Indian proverb says, do not judge a man until you've walked two moons in his moccasins. I cry very often because it hurts and I worry about the children. All my children all over the world, I live for them. If a man could say nothing against a character but what he can prove his story could not be written. Animals strike not from malice, but because they want to live. It is the same with those who criticize, they desire our blood not our pain. But still,I must endure, for the power I was sent forth. For the world, for the children. (beat) But have mercy. For I've been bleeding a long time now Love, Michael Jackson.” (beat) Jesus, what's wrong with this kid? (to the heavens) What the fuck is wrong with this kid?

Frank Dileo exits, letter in hand.

THE WHITE MAN'S GRAMMYS (A2,S4) A Fab commercial is projected as Woman, Man and Lady enter. They are escorting Michael Jackson, who has a lemon in his mouth. The group sets about making Michael over in the image of a white woman. Elsewhere onstage, Don King addresses the audience.

1) Don King What Michael's got to realize is that Michael's an “N word.” Doesn't matter how great he can sing and dance, I don't care that he can prance. One of the megastars of the world, he's still going to be a “N word”

megastar. He must accept that. He's got to accept it and demonstrate that he wants to be an “N word.” Why? To show that an “N word” can do it.

Woman and Lady exit, having done their job. Don King takes the lemon from Michael's mouth.

1) Don King Mike, you're the biggest star ever. But the white man won't never let you be bigger than Elvis. I was sorry to hear about the Grammys.

Don King shakes his head and walks away. Man is, in this moment, The White Man.

5) Man What happened at the Grammys last night? I didn't get to see.

4) Michael I had five singles from Bad go No. 1. That's never been done by another album before –

5) Man Oh, no, wait. I did see. And is it worse cause before, you know, Thriller?

4) Michael – How could I not win album of the year for that?

5) Man Well, you know, Bono. He just has that – (gestures, lacking the words with which describe Bono)

Oh, by the way. Now's probably not the time, but. Did you hear about Ryan? Little Ryan White? Who's done so much to help advance the cause of so many? He's dead, yea. Anyway. Thought you oughta know, now, at this particularly difficult time for you personally.

The White Man exits as the Clown crosses the stage. Spreading black talcum powder on the floor in front of himself, he moves friction-free.

1) Clown (singing “Gone Too Soon”) Like a comet Blazing cross the evening sky Gone too soon Like a rainbow fading in the twinkling of an eye

Michael takes the Clown by the lapels. He looks at the Clown like he wants him to wake up and he won't. He pushes the Clown away and the Clown exits singing,

1) Clown Gone too soon

DREAM BALLET OF A BLACK PANTHER DANCER (A2,S5) This scene is an homage to the “panther dance” segment of the “Black or White” video. Michael screams (and causes his own echo). Then again, louder and longer. Michael screams until he screams an authentic scream, like the scream of a big cat. He dances. And when he dances there plays over the sounds he makes the noise of a tap dance. Michael dances to the sound of that tap dancer in the absence of an underscore. The dance ought to be motivated by Michael's anger over the attention paid to the tawdry details of his personal life (some of which details he invented) rather than to the profound suffering he seemed regularly to encounter in the world. He's often a poor spokesman for himself, but Michael's dancing should be violently articulate.

MICHAEL MEETS JORDAN CHANDLER (A2,S6) (Michael)1993 returns and begins to write, in blood, on the whipping wall, “I love you.” Over and over, at the snail's pace of one drugged, until it's 1993. A lemon yellow ball bounces onstage. Jordan “Jordy” Chandler enters behind the ball. Michael has caught it. They mutually consent to a game of keep away. When it ends, it ends this way: The climax of a gangster picture. Michael is cornered. There's no where to hide. Jordy advances on him. Michael is frozen. Jordy pretends to shoot him. Michael pretends to die.

3) Jordan Are you alive still?

4) Michael Mmm.

3) Jordan Can we still play, please?

4) Michael Not right now, Jordy. I'm supposed to give an interview –

OPRAH (A2,S7) Oprah enters, cutting Michael off, and addresses the audience. Jordy may remain onstage, visible only to Michael. He may occupy himself quietly pulling faces, trying to make Michael

laugh.

5) Oprah Good evening. I'm Oprah Winfrey. Bringing you an exclusive interview with the most elusive superstar in the history of music. Ladies and gentlemen, Michael Jackson

The swell of theme music as another Michael enters, a real white woman. He shakes Oprah's hand and kisses her cheek.

5) Oprah You haven't spoken to the world in14 years is, I think, your last televised interview. Are you bleaching your skin because you don't like being black?

2) Michael Okay, this is the situation. I can't control it. I have a skin disorder, called Vitiligo, that destroys the pigmentation of the skin. But what's funny is, why is that so important? (beat) I'm a great fan of art. I love Michelangelo. If I got a chance to talk to him, I would wanna know what inspired him, to become who he is, the anatomy of his craftsmanship. Not about who he went out with last night.

5) Oprah Who were you out with last night?

2) Michael Brooke Shields.

5) Oprah Well, I can't thank you enough.

BETTER THAN BEST FRIENDS (A2,S8) Oprah exits as Jordy leaps into Michael's arms.

3) Jordy My mom says it's okay with her if you stay over, if you still want to.

2) Michael Yeah. Of course. You still wanna watch that movie?

3) Jordy The Exorcist?

2) Michael Yeah.

3) Jordy Yeah.

2) Michael Cool. Hey, Jordy, I think you've got something in your hair.

3) Jordy Where?

2) Michael There!

Michael drops a handful of glitter on Jordy's head.

3) Jordy What was that?

2) Michael Pixie dust.

3) Jordy Mike! –

2) Michael Race you –

3) Jordy No fair!

Michael bounds off to bed, Jordy trails behind him. They keep their shoes on. Together, they fall asleep, fedoras covering their faces. The Exorcist plays over their sleeping frames.

INCIPIT EVAN (A2,S9) June Chandler enters, sits, and mimes smoking. June checks the time. Sighs. Even Chandler enters.

5) Evan Hello June.

4) June Evan.

5) Evan You look like dog shit. Is Jordy here? I'm here to take him.

4) June He's here.

5) Evan I'm his father and he spends his weekends with me.

4) June Yeah. (she snuffs her “cigarette”) But he isn't up yet.

5) Evan You didn't wake him? Do you know what time it is?

Evan moves to wake Jordy. He carefully peeks beneath Michael's fedora.

2) Michael Hi, I'm Michael Jackson.

5) Evan (beat) Hi.

Evan replaces the fedora and exits.

5) Evan June?

4) June Yeah.

5) Evan What the fuck, June? Is Michael Jackson sleeping with Jordy?

4) June Evan, they've been sleeping together for, like, a month. You should be proud. Means he's interested in him.

Jordy and Michael enter.

3) Jordy Mom, is it okay if Michael makes me breakfast?

4) June I don't know, why don't you ask your father.

2) Michael I can make breakfast for everybody. Who's hungry?

Jordy and Michael raise their hands. June looks Evan in the eye and, slowly, raises her hand, too.

5) Evan Michael, that's nice but June is my ex-wife. And I hate my ex-wife, Michael. Jordy, we have to go. Come on. I'll make you breakfast at home. It's our day.

3) Jordy But. But we were going to get to spend the weekend at Neverland.

4) June Evan, god, Jordy wants to go to Neverland with Michael. Just let him. And I'm going, too. Michael, can I bother you for some walking around money? O-M-G, Evan, could you be more in the way.

June exits, pushing Jordy out in front of her and dragging Michael behind.

2) Michael Bye Evan, it was nice to meet you.

5) Evan Hey, maybe you guys can come over to my house some time? We could even –

THE CHANDLER-SCHWARTZ CALL (A2,S10) Dave Schwartz enters. He and Evan are in the middle of a conversation.

5) Evan Let me put it to you this way, Dave Scwartz. My son Jordy's stepfather. I'm know exactly what I'm going to say. It's going to take two or three minutes. And they're going to have a decision to make.

1) Dave Yeah.

5) Evan Based on that, I'll decide whether it's going to go further.

1) Dave Yeah.

5) Evan I leave, I get on the phone, I make a phone call. I say “Go further,” or I say, “Don't go further yet.” And that's. (beat) Something has happened inside of my son, Dave. What's different? Michael's in his life.

Classical music plays, softly, as Michael enters with Jordy and a lot of cookies and milk.

5) Evan They're going on tour in August. Did you know that?

1) Dave But do you think –

5) Evan By the way, if they don't show up tomorrow, they're not going. They'll be lucky if Michael even – I'm not allowed to say anything more than I've already said.

1) Dave Because of your attorney?

5) Evan I picked the nastiest mother fucker I could find. He'd like to kill them all.

1) Dave Yeah.

5) Evan All he wants is to get this out in public. As fast as he can, as big as he can –

1) Dave Yeah –

5) Evan Humiliate as many people as he can. (beat) I told June how I was feeling. I told her how much I was hurting. “June, I'm hurting, June.” “Crying every day.” “I'm dying” –

1) Dave Yeah –

5) Evan Do you know what she said to me? “Too bad. Go fuck yourself.” I remember, because I wrote it on a piece of paper.

1) Dave Yeah.

5) Evan It shocked me so much that I actually wrote it down. Verbatim. In quotes.

1) Dave Yeah.

5) Evan They don't talk to me, after tomorrow it'll be out of my hands. It'll take on so much momentum, become so monumentally huge, I won't have any way to stop it. I've tried to be nice. It doesn't work. I already found that

out. Try being nice, and go fuck yourself. (beat) This attorney is going to destroy everybody in sight, in any devious, nasty, cruel way that he can.

A cheerful fire burns in the bedroom as Michael reads to Jordy.

1) Dave How about if Jordy and I go?

5) Evan Michael's the one I want. This is my fourth, fifth, my last attempt to communicate.

1) Dave Yeah.

5) Evan If June says I left a threatening message, well, it's cause I'm threatening them. Nothing else works, Dave. Crying didn't work. Begging didn't work. Appealing to the, uh, motherly – So, what's left? I didn't threaten them physically. I didn't say I was going to kill them. I'm not killing anybody at tomorrow's meeting, Dave, It's not the next step.

1) Dave Yeah.

5) Evan His death is not the next step. That's why I'm willing to talk. I have nothing to gain by talking. Cause, even if I have to go through with this, I win big time.

1) Dave Does that help Jordy?

5) Evan Michael's career will be over.

1) Dave But does that help –

5) Evan That's irrelevant. (beat) Dave, I believe Jordy's already been irreparably damaged.

Michael here sees that Jordy has fallen asleep. He takes a pillow from off of the bed. Beat. He hits Jordy over the head with it. A brief pillow fight ensues.

1) Dave Do you think that he's fucking him?

5) Evan I don't know.

1) Dave What happens if you force him not to see him? You think he'll hate you?

5) Evan I'm taking Michael away from him.

1) Dave Sure.

Jordy chases Michael offstage, pillow in hand.

5) Evan What is that? Are you recording this conversation?

1) Dave (he is) No.

Dave and Evan exit.

IF YOU DIDN'T GO THIS TIME, MAYBE... (A2,S11) Michael is chased onstage by Jordy, their pillow fight continued.

2) Michael Wait, wait! I quit, Jordy, I quit!

Michael drops his pillow. Jordy has won.

3) Jordy (beat) My dad won't let me go with you. On the Asian leg of your Dangerous tour.

2) Michael I know.

3) Jordy But I'll see you when you get back, right?

2) Michael (giggles) Yeah. Of course.

3) Jordy Okay, well. Later, Michael.

They shake hands and Michael turns to go.

3) Jordy Michael.

This is a moment apart. Jordy and Michael step out of time.

3) Jordy But. I'm never going to see you again.

2) Michael I know.

3) Jordy Maybe, if you didn't go this time, maybe if I hide you, maybe things would be different.

2) Michael Jordy. This is just what happens. (beat) Remember to say the wishes?

The “Wishes” are projected: “1) No Wenches, Bitches, Heifers or Hoes. 2) Never give up your bliss. 3) Live with me in Neverland forever. 4) No conditioning. 5) Never grow up. 6) Be better than best friends.”

3) Jordy I will.

Michael exits as Jordy performs a karaoke version of “Ben.”

BANGKOK AND THE NEVERLAND RAID (A2,S12) Jordy exits. Text is projected which reads, “While in Bangkok promoting his recent studio release, Dangerous, Michael learns of the allegations of sexual abuse being made against him.” Michael enters and crosses to his hotel room. Evan enters and observes him. Evan shoots Michael with his bare hands.

5) Evan (speaking) BANG.

Michael is thrown onto the bed. Evan quietly withdraws. Elizabeth Taylor enters in grand manner, with a cake. She is here to rescue Michael. The walls of his hotel room are covered in “I Love You”s.

2) Michael Elizabeth Taylor is that you?

5) Liz Yes.

2) Michael (wails) Oh, thank God! And did you come to Bangkok to rescue me?

5) Liz I did.

2) Michael (drying his tears) Good, because I am up against it right now, Liz Taylor. What they're saying about me in the press, what they're saying Jordy said, it makes me so sick. As a consequence, I've not been eating. I haven't eaten anything in – And I'm on all these different medications. And they're all from different doctors, Liz Taylor, if I'm being honest.

Elizabeth Taylor joins Michael in bed and feeds him cake.

5) Liz It is absolutely critical that you face your drug addiction, else you shall

come to an early end.

2) Michael (his mouth full) I can't believe this happening to me.

5) Liz Unfortunately, my darling Michael, it's only going to get worse.

MICHAEL'S BODY PHOTOGRAPHED BY COURT ORDER (A2,S13) Elizabeth pecks Michael on his frosting face and exits. A red light shines on Michael and he stands to face it.

2) Michael I shall not, in this statement, respond to all these false allegations. Since my lawyers have advised me this is not the proper forum. I ask all of you to wait to hear the truth before you label or condemn me. Don't treat me like a criminal, because I am innocent.

A date is projected: “ December, 1993” A film is shown. This consists of another Michael (the mask) in a bathrobe. He steps up onto a small stage. He sheds a bathrobe to reveal a pair of swim trunks. He sheds the swim trunks to reveal a pair of underwear. A small crowd comes to form around him. He sheds the underwear. The crowd is dense enough to obscure the view of his genitals.

2) Michael I was forced to submit to a dehumanizing and humiliating examination. They served me with a warrant allowing them to view and photograph my body. Including my penis, my buttocks, my lower torso, thighs, and any other areas that they wanted.

We see, now, only the actor's masked face in the images or film, his face as he squirms. We see, now, a framed picture of Elizabeth Taylor. Now, again, Michael's mask. We see that he is holding the framed picture. The crowd hasn't moved. Occasionally the flash from a bulb, as a photograph is snapped off.

2) Michael It was the most humiliating ordeal of my life. But if this is what I have to endure to prove my innocence, my complete innocence, so be it.

The crowd here steps back and reveals Michael's naked body. They scrutinize him as would a painter. And they all set about painting his body black with a broad brush. We see, now, Micheal's mask in close-up. And hear the sound of breaking glass. We see the shattered picture frame containing the photograph of Elizabeth

Taylor. The crowd disperses and the image fades.

2) Michael These terrible allegations will be proven false. To my friends and fans, thank you very much for all of your support. (presuming the existence of an unseen assistant) If he wants my money, if it's money he wants. (beat) Let's, just, settle the bill.

Evan Chandler enters in a wheel chair, his face is the grimace of cheerless smile.

5) Evan Good evening, my name is Evan Chandler. I will be remembered as the father of Michael Jackson's first accuser, Jordan Chandler. Immediately following the out-of-court settlement with Michael Jackson, my son, Jordy, will seek emancipation. In 2006, Jordy will accuse me of having attacked him with a barbell, choked and maced him. After which time he never speaks to me again. In 2009, repeated Botox injections will have frozen my face in this unpleasant smile. And it is this that I'll be aiming at when, four months after Michael Jackson's death, I determine to take my own life.

INVINCIBLE, FINANCIAL TROUBLE (A2,S14) Evan exits a very rich man as John Branca enters.

1) John Mike, we have a problem.

2) Michael I seem to have a lot of problems. What is it this time, John Branca, my attorney?

1) John You're hemorrhaging money. It's 2001 and you never stopped spending like it was 1984.

2) Michael I'm not sure I understand.

1) John Michael your earnings in 1984, adjusted for inflation, amounted to, like, hundreds of millions of dollars.

2) Michael Do I not make that much now?

1) John No. Now, you make a lot less than that. I just remembered how much it actually is. It's so much less than that, Mike. Let me put it to you like this, The Beatles catalog? ATV? Sony is going to take it from you if you don't give them 200 million dollars.

Text is projected which reads: “In 2001, Michael negotiated a 115 million dollar deal to merge ATV with

Sony's own publishing arm. He later put up his share as collateral to secure a loan from Sony in the amount of 200 million dollars.”

2) Michael This makes perfect sense. (beat) Oh, this makes so much sense. Sony is deliberately failing to promote my album, Invincible, hoping thereby to strangle my finances, and, thus, force me – Hmm. That is some low down – Hmm. (beat) I'm calling Al Sharpton.

1) John Are you sure?

2) Michael God! I am so angry I could dance.

1) John Careful, Mike, publicly denouncing Sony for sabotaging your commercial prospects, in an attempt to gain control of the Lennon-McCartney songbook (whether or not that's what they're doing) ya could come off as paranoid. You wouldn't want to be in the position, say, of having to do something desperate to restore your image in the public eye. (beat) Something like inviting British journalist Martin Bashir into your life, where he will pretend to try to see you clearly, even as he makes you over in the image of your ape.

2) Michael (beat) That's sound advice.

BASHIR, LIVING WITH MICHAEL JACKSON (A2,S15) John exits as Martin Bashir enters and addresses the audience.

5) Bashir Hello, I'm Martin Bashir. Eight months ago I put a proposal to Michael Jackson: Show me the real man, show me everything. He thought about it and said,

2) Michael Yes, come to Neverland.

5) Bashir Michael Jackson's home, Neverland, as with most of his life, it has to be seen to be believed. Inspired by the children's fairy tale, Peter Pan, about the little boy who wouldn't grow up, it's a multi-million dollar, man-made slice of make believe. It's literally paradise. For a ten year old child. But Michael Jackson is now 44.

Bashir joins Michael.

5) Bashir The inspiration for Neverland, Peter Pan, why is Peter Pan a figure of such interest?

2) Michael Because, Peter Pan represents something that's special in my heart. Youth, magic, flying. Everything that I just have never grown out of thinking is very special.

5) Bashir Do you identify with Peter Pan?

2) Michael No, I am Peter Pan.

5) Bashir (beat) No, you're not, you're Michael Jackson.

2) Michael I'm Peter Pan in my heart.

5) Bashir He says, the color-changing skin condition Vitiligo has made him allergic to the sun. So, shielded by his umbrella, he took me to his most secret place.

Michael Jackson opens a black umbrella indoors.

2) Michael I call it my giving tree, because it inspires me. Uh. I love climbing trees in general, but this tree I love the most. I've written so many of my songs in this tree. I wrote, uh, “Heal the World” in this tree, “Will You Be There,” “Black or White.” Um. “Childhood.”

5) Bashir You're actually saying that you climb that tree? Do you want to climb it now? Lemme hold the umbrella.

Martin Bashir snatches the umbrella from Michael.

5) Bashir You go and climb it. And when you've climbed it, we'll see how inspiring it is.

Michael stands on a chair.

5) Bashir So, how had this singing and dancing genius arrived at this surreal place that is his life today? When you would practice, you were very heavily disciplined by your father.

2) Michael (nods) He practiced us with a belt in his hand.

The footage of Joseph's beating Tito in silhouette is here projected.

2) Michael And if you missed a step, get ready to be –

5) Bashir Let me go back. (adjusting his pants) You just said that you would practice the dance steps and your father would have a belt in his hand?

2) Michael Yes. And he would tear you up if you missed a step.

5) Bashir (becoming aroused) Would he only use a belt?

2) Michael (beginning to cry) Why do you do this to me?

5) Bashir I'm an insensitive person telling the intimate details of your life at a slant. The following day, I went out on the town with the Jackson children.

Prince and Paris Jackson enter wearing silk scarves.

5) Bashir (to Prince) What an interesting mask.

1) Prince It's a butterfly.

5) Bashir It's a butterfly? Let me see. Come here. Let me see, what's it made of?

Martin Bashir tries to see beneath the scarf. Prince pulls away.

1) Prince (to Michael) Can we run?

2) Michael If you want.

Prince runs off as Paris takes Michael's hand.

2) Michael Paris, you wanna run?

3) Paris I want to hold your hand.

2) Michael Okay.

Bashir breaks from Michael and addresses the audience as Michael escorts Paris off.

5) Bashir Jackson obviously liked being a father. But thousands of miles away Jackson's behavior as a father was about to come under some serious scrutiny. I went to meet him in Berlin. And just as I was arriving, this happened:

Elsewhere, another Michael dangles Blanket (stuffed) over the rail of his hotel balcony. This can, but needn't, be rendered in slow motion. Bashir crosses to this other Michael (masked), as the previous Michael withdraws.

5) Bashir When I got up to his room, I was worried. There was a manic quality about

him that I'd never seen before. And he was loving the attention of the screaming fans.

Michael is writing a note, in black magic marker, on a hotel pillow.

5) Bashir What does that say? (reading over his shoulder) “I love you with all my heart. Michael. Jackson.” That's the hotel pillow?

Michael tosses the pillow to some one person in the audience. He stands and looks after it. And at the person. And he waves. Bashir breaks from Michael and addresses the audience.

5) Bashir In the media, a storm was now brewing about what was already being called, “The Berlin Blanket Incident.” The next morning, he was only too keen to show me how much he cared for his children.

Michael bounces Blanket (stuffed) on his knee, bottle feeding him. A gold silk scarf obscures Blanket's face.

2) Michael I love you, Blanket, I love you, here's the bottle, Blanket. I love my children very much.

Michael rises and exits with Blanket.

5) Bashir Michael's behavior was already beginning to alarm me. But, back at Neverland, I met one of his “good friends.” (beat) A 12 year old boy. In the time I'd known Jackson, we touched on most aspects of his life, save for one. His relationship with children. I, like everyone, knew that ten years ago a 13 year old boy had accused Jackson of sexual abuse. I'd assumed that now he'd be more cautious but, to my utter astonishment, I discovered that children were still sleeping over. Sometimes in his house. Sometimes in his bedroom.

Gavin enters and sits with Michael.

5) Bashir Gavin met Jackson two years ago, after he'd been told he was dying of cancer. (beat) No more cancer, then, Gavin?

2) Michael Isn't that great? And they told him he was gonna die.

3) Gavin They told my parents to plan for my funeral.

5) Bashir When you stay here, do you stay in the house? (adjusts his pants,

becoming aroused) Does Michael let you enjoy the whole premises?

3) Gavin There was one night when I asked him, “Can I stay in the bedroom?” I was like, “Michael, you can sleep on the bed.” And he said, “No, no, you sleep on the bed.” I'm like, “No, no, no. You sleep on the bed.” And he finally said, “Okay, if you love me, you'll sleep on the bed.” And so I finally slept on the bed. It was fun that night.

2) Michael I slept on the floor.

5) Bashir Michael. You're a 44 year old man, now. What do you get out of – When people hear that children from other families have come and they've stayed in your house, they've stayed in your bedroom –

2) Michael Very few –

5) Bashir Well, but, some have. And they say, Is that really appropriate for a man, a grown man, to be doing that?

2) Michael Why can't you share your bed? The most loving thing to do is to share your bed.

5) Bashir You really think that?

2) Michael Yeah. Of course. Always give the bed to the company.

5) Bashir Were your parents happy that you were here, with Michael?

3) Gavin Yeah. My mom was very, very, very happy.

Bashir breaks from the pair of them and addresses the audience. Michael whispers something to Gavin, Gavin exits.

5) Bashir As we prepared for what would become the final interview, the atmosphere was unusually tense. Jackson had flown in his own lighting expert.

Michael is bathed in an otherworldly light. He sparkles like a Young Adult vampire.

5) Bashir Maybe because cosmetic surgery was to be the topic of several difficult questions. (beat) When we were talking some time ago, you talked about how, when you went through adolescence, you had a terrible time. What would you

say if someone said, you've physically changed to overcome this? That even the shape of your face has changed.

2) Michael No. It has not. Just my nose. So I could hit higher notes.

5) Bashir Are you honestly saying that you've only had one operation?

2) Michael Two.

5) Bashir You've had two?

2) Michael That I can remember.

5) Bashir What I'm saying is – Especially given your childhood. I mean, while we've talked I've begun to understand how unhappy you were as a child. How unhappy you were about your appearance, as an adolescent. You told me in Neverland your father used to insult you. You told me in Las Vegas that your father used to talk about your nose –

2) Michael Yeah –

5) Bashir So I can understand why you wanted to change your appearance –

2) Michael Yeah –

5) Bashir It makes sense –

2) Michael Yeah, yeah – Just, not the whole face. Just the nose.

5) Bashir Even though the shape of the face is different?

The hold one another's gaze in silence, a duel. A bell rings. Bashir breaks from Michael and addresses the audience. Michael, as if a boxer in his corner, swishes and spits water on the whipping wall.

5) Bashir We broke off. But not for long. Next up were my worries about the children. (beat) When I was talking to Prince one day he said, he didn't have a mother.

2) Michael No, she can't handle it.

5) Bashir She can't handle her own children? Just, so I understand this correctly. She knew that Michael Jackson loves children. And she knew that Michael Jackson wanted children.

2) Michael She said, “You need to be a daddy.” She wanted to do that for me as a present.

5) Bashir Right. What you've just said is that your wife gave you two children as a present.

2) Michael Yeah. That's a lovely gesture.

5) Bashir Well, it's an incredible gesture. (beat) So when do you think you're going to have your next child?

2) Michael I wish I could have it today.

Bashir holds Michael's gaze, and he speaks about him even as he gazes at him.

5) Bashir And so it was that we came to back to what was easily the most disturbing part of the past eight months. (to Michael) We met Gavin.

2) Michael Yeah.

5) Bashir Is it really appropriate for a 44 year old man to share a bedroom with a child who is not related to him at all?

2) Michael When Macauly Culkin was little we'd just jam in the bed. And we'd wake up, at dawn, and go in the hot air balloon. I have all that footage –

5) Bashir But is that right, Michael?

2) Michael It's very right. It's love. It's what the world needs now –

5) Bashir The world needs a man, who's 44, sleeping in a bed with children?

2) Michael You're making it – When you say bed, you make it sexual. It's not sexual, we're going to sleep. I tuck them in. I put a little music on. We have cookies. I give em hot milk. I put the fireplace on. Read a book. It's very sweet. It's charming. It's what the whole world should do.

Michael begins to cry quietly, and withdraws.

5) Bashir What I came to realize is that Neverland wasn't just a home near Los Angeles. It was Michael Jackson's world, wherever he happened to be. A place where his enormous wealth allowed him to do what he wanted, when he wanted, how he wanted. It is a place that he'd created. He'd lived there since he was a child. A place, it was clear, he would never leave. But, for me, it was time to say “Goodbye” to Neverland. (to the audience) Did you get that?

Bashir exits. What a smug son of a bitch.

HE JUST WANTED THE WORLD TO MEET GAVIN (A2,S16) Michael crosses cradling Blanket in his arms. He wears a silk surgical mask

4) Michael (singing) Dancing a cloud Soaring up so high Watch me now Watch me fly I'll be just fine I can do anything –

Media enters and stands behind a chair.

3) Media He lives in Neverland. But the charges that he faces are all too real. Is Jackson simply an easy mark for fortune hunters? Or is his Peter Pan personae the mask of a sexual predator?

J. Randy Tarraborelli enters and sits.

3) Media J. Randy Tarraborelli has written about the man whose life is as fascinating as it is perplexing in his best-selling biography Michael Jackson: The Magic, The Madness –

2) JRan Ten years ago when this happened it was unfathomable. Today it's like, “Um, well, yea.”

3) Media Perhaps it's the bizarre image that Jackson has cultivated for so long that make the accusations of child molestation, true or not, seem unbelievable. Take his multiple plastic surgeries and who he went out with last night. But most shocking of all: His headline-making comment to British journalist Martin Bashir, that there's nothing wrong with having sleepovers with other people's children.

4) Michael Why can't you share your bed? The most loving thing to do is to share your bed with someone.

2) JRan You have a guy now in his mid- or late- 40s, who still doesn't get it.

3) Media The most recent accusations come from a young boy, a cancer victim. Incidentally, the same Gavin Arvizo featured in the Martin Bashir special.

4) Michael I just wanted the world to meet Gavin.

2) JRan The boy told the therapist that he was plied with wine. Before the, uh, alleged sexual abuse.

3) Media That allegation led to the search warrant, carried out at the singer's Neverland Ranch on November 18th. While Jackson was at a Las Vegas studio shooting a music video with R. Kelly.

A Detective enters, carrying a brown paper package.

3) Media Did you find anything?

1) Detective Stack of pornographic magazines. All of it looks to be young women.

3) Media How young?

1) Detective Sorry, Chief. Probably not young enough.

3) Media Well, bring em anyway.

Detective exits as Maureen Orth enters.

5) Orth Here is a person who wants you to think that he's a victim. That he's been a victim of this terribly cruel father. Um, that he's never been allowed to have a childhood. Therefore, what's wrong with being, being Peter Pan and just surrounding yourself with children?

Orth and J. Randy Taraborrelli stand flanking Media.

3) Media With a defendant who is known to the world for his freakishness as much as for his talent, how much of the trail will be decided by image and how much by the facts?

5) Orth Shh! Shut up, here he comes.

Michael crosses to the courthouse. He feigns fragility in a way that recalls Gene Wilder's Willy Wonka. Like Wonka, when he has everyone fooled, he falls forward into a

somersault. And he rises, exulted, to the sound of thunderous applause, and enters the courthouse. A fan approaches J. Randy Taraborrelli carrying a bouquet of white balloons, on each of which is written the word “Dove.”

1) Fan (beat) Like em? They're for when they announce the court's decision. I'm going to release a single white dove for every charge cleared.

2) JRan You're awfully confident.

1) Fan J. Randy Taraborelli, you don't imprison Voltaire. Oh, my god, you're J. Randy Tarraborrelli, author of The Magic, The – Gosh, it's like you were there the whole time. Gosh, like you saw it all unfold.

2) JRan It feels that way sometimes. Actually, now that you mention it –

1) Fan Shh! Shut up, J. Randy Taraborrelli. They're about to announce the verdict.

This is a time apart. The lighting becomes dreamlike. Everything is suddenly slowed, is fuzzier, and exists in embellished form. (“Strange Magic” by ELO plays, or doesn't, but something does). The Fan releases his balloons, which fly off like doves do. Michael, now in a wheelchair, pushes past a crowd silently celebrating. J. Randy Taraborrelli records a fact in his pocket notebook. When Michael has gone things are returned to normal.

1) Fan God. What if, after all this, he really is innocent?

J. Randy Taraborrelli looks up. This is the first time he's considered this.

2) JRan Oh, my god. (beat) What if he is.

The Fan, J. Randy Taraborrelli and Media exit. Michael's escort exits.

“SMILE,” MICHAEL JACKSON WALKS THE PLANK (A2,S17)

The lights shrink the space to the size of Michael Jackson. Michael again wears a grotesque mask of himself. His hand is covered in glittering silver, no mere glove. Michael upturns the bowler hat that's been onstage from the very beginning, scattering change across the stage. Michael sings “Smile.” And dances to please himself.

His children enter, Paris, Prince, and Blanket (stuffed). They should have the appearance of being in mourning. Text is made available to the audience which reads, “After being acquitted in 2003, Michael Jackson left the United States. He never lived at Neverland again.”

“By 2009 his dependency on drugs was such that he slept only with the aid of the general anesthetic Propofol.”

A Nytol commercial plays under “Smile.”

“Michael Jackson died on June 25th, 2009, preparing what would have been his first concert engagement in 12 years.”

The song ends as Michael walks a plank and magically disappears without a sound.

“When news of his death began to spread, Michael Jackson nearly took down the internet. Wikipedia, TMZ, Google, Twitter, and the Los Angeles Times all quickly buckled under the unprecedented virtual weight. Candlelight vigils were danced the world round to music he'd made. He was 50 years old.”

Paris steps forward and can, but needn't, remove her silk scarf She only looks imploringly into the audience. Blackout.

END