CAST OF CHARACTERS
Berger Woof Hud Claude Jeanie Dionne Crissy Sheila Margaret Mead Hubert
.. .and the others in the Tribe: Ronny, Leata, Paul, Walter, Steve, Hiram, Suzannah, Mary, Emmaretta, Diane, Marjorie, Linda and Natalie
... who play the following: 3 Moms, 3 Dads, 3 High School Principals, 2 Policemen, Electric Blues Quartet (Oldsters), White Girls Trio, Black Boys Trio, "The Supremes" Trio, Army Sergeant, A. Lincoln, J. W. Booth, C. Coolidge, Clark Gable, Scarlett O'Hara, Aretha Franklin, Colonel Custer, Shoeshine Boy, 3 Buddhist Monks, 1 Thousand Year Old Monk, 3 Catholic Nuns, 3 Astronauts, 3 Chinese, 3 Guerrillas, 1 Native American Indian \ and Others.
The American Tribal Love-Rock Musical HAIR is a stage work in two acts. There are no specific scenes. The setting indicates the fluid-abstract world of the 1960's as seen by, for, and about the "Flower Children" of the period.
2 MUSICAL NUMBERS
ACT ONE
1. AQUARIUS - Ronny & Tribe 2. DONNA - Berger & Tribe 3. HASHISH - Tribe 4. SODOMY - Woof & Tribe 5. COLORED SPADE - Hud & Tribe 6. MANCHESTER, ENGLAND - Claude & Tribe 7. I'M BLACK- Hud, Woof, Berger, Claude & Tribe 8. AIN'T GOT NO - Woof, Hud, Dionne & Tribe 9. DEAD END - Quartet 10. I BELIEVE IN LOVE - Sheila & Trio 11. AIN'T GOT NO GRASS - Tribe 12. AIR - Jeanie with Dionne & Crissy 13. INITIALS - Tribe 14. KAMA SUTRA - Orchestra 15. 1930's - Berger 16. MANCHESTER II - Claude & Tribe 17. I GOT LIFE- Claude & Tribe 18. GOING DOWN- Berger & Tribe 19. FREAK OUT - Orchestra 20. HAIR- Claude, Berger & Tribe 21. MY CONVICTION - Margaret Mead 22. SHEILA FRANKLIN - Tribe 23. EASY TO BE HARD - Sheila 24 . . HUNG UP - Tribe 25. DON'T PUT IT DOWN -Woof, Berger & Steve 26. FRANK MILLS - Crissy 27. BE-IN "Hare Krishna" - Tribe 28. WHERE DO I GO - Claude & Tribe Musical Numbers - 2
ACT TWO
29. ELECTRIC BLUES - Quartet 30. OH GREAT GOD OF POWER - Tribe 31. MANCHESTER III - Tribe 32. BLACK BOYS - White Girls Trio & Black Boys Trio 33. WHITE BOYS - "The Supremes" Trio, White Girls Trio & ~ 34. WALKING IN SPACE - Dionne, Steve, Leata, Jeanie, Sheila & Tribe 35. GENERAL WASHINGTON - Orchestra 36. INDIAN MUSIC - Percussion 37. MINUET - Orchestra 38. AFRICAN DRUMS - Percussion 39. ABIE, BABY -Trio: Hud & Two Boys with J.W. Booth 40-41. T~E WAR - 1000 Year Old Monk, 3 Monks, 3 Nuns & Tribe GIVE UP ALL DESIRES INSTRUMENTAL ROLL CALL CHILDREN'S GAMES 42. THREE-FIVE-ZERO-ZERO - Tribe 43. WHAT A PIECE OF WORK IS MAN - Ronny & Walter 44. HOW DARE THEY TRY - Tribe 45. GOOD MORNING STARSHINE - Sheila & Tribe 46. THE BED - Tribe AQUARIUS GOODNIGHTS 47. REPRISE: AIN'T GOT NO - Claude & Tribe 48. THE FLESH FAILURES (LET THE SUN SHINE IN) - Tribe 49. EYES, LOOK YOUR LAST - Claude, Sheila, Dionne & Tribe so. HIPPIE LIFE - Claude, Berger, Two Indian Women & Tribe 51. EXIT MUSIC - Orchestra ACT ONE
About 10 minutes prior to curtain time, CLAUDE comes on stage, looks around, and then sits down in the center. At the same time, the TRIBE appears from the wings, in the tower, on the scaffoldings, and in the Audience. THEY carry flowers and burning incense sticks, which THEY hand out to the members of the Audience. About four minutes later, TWO GIRLS come on stage with an "altar" cloth, and a burning flame in some kind of earthenware receptacle on a stand. THEY set this up in front of CLAUDE. A strange kind of eleqtronic sound starts in the orchestra (ad lib sounds from percussion and lead guitar) and it builds and intensifies over the next five minutes. Bird calls are employed here by the TRIBE. At the same time the TRIBE in a ritualistic kind of slow motion starts con verging on stage, each person concerned with something -- an article of clothing, a part of their body, anything personal to each. BERGER and SHEILA approach CLAUDE, and BERGER, with a pair of scissors, cuts a lock of CLAUDE'S hair. At this, the TRIBE freezes in mid-action. BERGER hands the cut hair to SHEILA who puts it into the flame. The TRIBE utters an earthy sound together and unfreezes, resuming slow-motion movement. RONNY picks up the flame and starts to sing. 1-2
I 1 I AQUARIUS
RONNY WHEN THE MOON IS IN THE SEVENTH HOUSE AND JUPITER ALIGNS WITH MARS THEN PEACE WILL GUIDE THE PLANETS AND LOVE WILL· STEER THE STARS
RONNY & 6 MORE THIS IS THE DAWNING OF THE AGE OF AQUARIUS THE AGE OF AQUARIUS
(4 more join in) AQUARIUS AQUARIUS
MEN HARMONY AND UNDERSTANDING
WOMEN SYMPATHY AND TRUST ABOUNDING
MEN NO MORE FALSEHOOD OR DERISION
WOMEN GOLDEN LIVING DREAMS OF VISIONS
MEN MYSTIC CRYSTAL REVELATION
ALL AND THE MIND'S TRUE LIBERATION
AQUARIUS AQUARIUS
RONNY WHEN THE MOON IS IN THE SEVENTH HOUSE AND JUPITER ALIGNS WITH MARS THEN PEACE WILL GUIDE THE PLANETS
ALL AND LOVE WILL STEER THE STARS
THIS IS THE DAWNING OF THE AGE OF AQUARIUS THE AGE OF AQUARIUS
AQUARIUS AQUARIUS
1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 1-3
ALL (Cont'd) AQUARIUS AQUARIUS AQUARIUS
(Music out)
BERGER Transcendental meditation on the ocean of reality is love •••
TRIBE Love ...
BERGER Love ...
TRIBE Love ..•
BERGER Love ...
TRIBE Love ...
BERGER Love! Hello. My name is George Berger, but I don't dig George, so just call me Banana Berger, or Cheese Berger, Unzipper Berger, Pull 'em down Berger, Karma Berger, Pitts Berger, Take 'em off Berger, Up your Berger, Any Berger and I'll answer you. Oh oh, I know, you people think right off, Oh look dear, isn't that a cute one? What is it Agnes, a boy or a girl? What is this god damn thing? Three thousand pounds of Navajo jewelry. Ha ha ha. Lady, will you hold my pants for me? Mother!! Hey lady, can you spare a hand out? A nickel, dime, a quarter? Something for a psychedelic teddy bear like me, me, me. To keep my chromosomes dancing, dancing ... up the Methedrine River. I came over via Hoboken •.. Hoboken, the Erie Lakawana Fairy boat, and in the middle of the Hudson River, through the industrial haze, I thought I saw Donna,
(Music vamp for next number)
Donna, my Donna, standing in the water. But it was only Democracy's daughter, the Statue of Liberty, waving at me.
I 2 I DONNA
ONCE UPON A LOOKIN' FOR DONNA TIME THERE WAS A SIXTEEN YEAR OLD VIRGIN
1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, l\1~-1- C'h'!:!i""'.: ,...." ~""',=~ rt ...... ; .a..-~ "--"-.: -"-- u •• _.:- ,.,_ T-- 1-4
BERGER (Cont'd) OH DONNA OH OH DONNA OH OH OH LOOKIN' FOR MY DONNA
JUST GOT BACK FROM LOOKIN' FOR DONNA SAN FRANCISCO PSYCHEDELIC URCHIN OH DONNA OH OH DONNA OH OH OH LOOKIN' FOR MY DONNA
HAVE YOU SEEN MY SIXTEEN YEAR OLD TATTOOED WOMAN HEARD A STORY SHE GOT BUSTED FOR HER BEAUTY OH OH OH OH OH OH
BERGER & TRIBE ONCE UPON A LOOKIN' FOR DONNA TIME THERE WAS A SIXTEEN YEAR OLD VIRGIN OH DONNA OH OH DONNA OH OH OH LOOKIN' FOR MY DONNA
I'VE BEEN TO INDIA AND SAW THE YOGA LIGHT IN SOUTH AMERICA THE INDIAN SMOKE GLOWS BRIGHT I'M REINCARNATED AND SO ARE WE ALL AND IN THIS LIFETIME WE'LL RISE BEFORE WE FALL, BEFORE WE FALL
ONCE UPON A LOOKIN' FOR DONNA TIME NEVER GONNA END MY SEARCHIN' OH DONNA OH OH DONNA OH OH OH LOOKIN' FOR MY DONNA
AND I'M GONNA SHOW HER LIFE ON EARTH CAN BE SWEET GONNA LAY MY MUTATED HEAD AT HER FEET AND I'M GONNA LOVE HER MAKE LOVE TO HER TILL THE SKY TURNS BROWN AND I'M EVOLVING I'M EVOLVING THROUGH THE DRUGS THAT PUT YOU DOWN, THAT YOU PUT DOWN.
ALL ONCE UPON A LOOKIN' FOR DONNA TIME THERE WAS A SIXTEEN YEAR OLD VIRGIN OH DONNA OH OH DONNA OH OH OH LOOKIN' FOR MY DONNA LOOKIN' FOR MY DONNA LOOKIN' FOR MADONNA DONNA
(Music Segues) 1-5 (The TRIBE does the following chant in groups, from different parts of the stage)
HASHISH
GROUP 1 HASHISH
GROUP 2 COCAINE
GROUP 3 CANNIBIS
GROUP 4 OPIUM
GROUP 5 LSD
GROUP 6 DMT
GROUP 7 STP
GROUP 8 BMT
GROUP 1 A&P, IRT
GROUP 2 APC, ALCOHOL
GROUP 3 CIGARETTES, SHOE POLISH
GROUP 4 COUGH SYRUP, PEYOTE
GROUP 5 EQUINOL, DEXAMYL
GROUP 6 COMPOZINE, KEMODRIN
GROUP 7 THORIZENE, TRILOPHON
€D 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 1-6
ALL DEXEDRINE, BENZEDRINE, METHEDRINE, S-E-X, Y-0-U, WOWWWWWWWWWW.
(TRIBE gets into "cathedral" like positions) (Music out)
WOOF This is the body and blood of Jesus Christ.
BERGER Oh, your rosary beads, baby. (Hands rosary to WOOF)
WOOF And I'm going to eat you. I swear to tell the truth, the whole truth, and nothing but the trut~, so help me God. · (HE crosses HIMSELF) In the name of the Father, the Son, and the Holy Ghost, Amen. (HE sings)
I 4 I SODOMY SODOMY FELLATIO CUNNILINGUS PEDERASTY FATHER WHY DO THESE WORDS SOUND SO NASTY? MASTURBATION CAN BE FUN JOIN THE HOLY ORGY KAMA SUTRA EV'RYONE
(Music out)
(Indian calls from WOOF and TRIBE)
My name is Neil ... Woof (HE does a wolf howl to the moon) Donovan. I grow things. STEVE (Hands WOOF a few packages of ~eeds) Here are your seeds, baby.
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 1-7
BERGER (Throws HIM a branch) Hey, Woof! Here's Twiggy ••• Twiggy!
WOOF See, I have sunflower seeds, and beets, and corn ... that's what the Indians are about ••• and sweet peas, and rnoonvines ••• Look at the moon, look at the moon, look at the moon •..
TRIBE Look at the moon ••• look at the moon •••
BERGER (Showing Teddy Bear his bare behind) Teddy look ••• look at the moon ... look at the moon ••• look.
WOOF •.. and poppy seeds •.• and morning glories, Germaine's Heavenly Blue ••• I eat them and trip out ••. and I'm going to sow the balcony at the end of the first act. I love flowers and the fuzz and the trees and the sun and the moon, and the stage, and the lights, and my little brother, and all my fathers, and my big fat cab driver mother. And I love you. I love you. We are all one.
(Music vamps for next number as HUD is carried in hanging by HIS knees from a pole)
BERGER BOOGIE WOOGIE NOOKIE NOOKIE
STEVE WALLACE WALLACE GOOBA GOOBA
(BERGER shove rnic. in HUD's crotch, then realizing HUD is hanging upside down, drops rnic. to HIS mouth. Still upside down:)
HUD Comes the eclipse, I cover the white moon.
BERGER More on our R.O.T.C. program in one moment.
COLORED SPADE
HUD (Corning off pole) I AM A COLORED SPADE, A NIGRA, A BLACK NIGGER A JUNGLE BuNNY JIGABOO, COON, PICKANINNY MAU-MAU
~ 1966, 1967 Galt MacDerrnot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 1-8
HUD (Cont'd) UNCLE TOM, AUNT JEMIMA, LITTLE BLACK SAMBO, COTTON PICKIN' SWAMP GUINEA, JUNK MAN, SHOE SHINE BOY ELEVATOR OPERATOR, TABLE CLEANER AT HORN AND HARDART SLAVE, VOODOO ZOMBIE, UBANGI~LIPPED- FLAT-NOSED TAP DANCER, RESIDENT OF HARLEM AND PRESIDENT OF THE UNITED STATES OF LOVE AND PRESIDENT OF THE UNITED STATES CF LOVE
BERGER Shit. And if you ask him to dinner, you're gonna feed him:
HUD WATERMELON, HOMINY GRITS, AND SHORTNIN' BREAD ALLIGATOR RIBS, AND PIG TAILS, [TRIBE: So you say!] SOME BLACK EYED PEAS, [TRIBE: So you say!] SOME CHITTLINS, SOME COLLARD GREENS, [TRIBE: So you say!L AND IF YOU DON'T WATCH OUT THE BOOGIE MAN WILL GET YOU BOOOOOOOOOOOOO! YEAH, BOOOOOOOOOOOOOO! [TRIBE: So you say!]
(During this song, THREE BLACK GIRLS have covered CLAUDE with mud and feathers)
CLAUDE Cock-a-doodle-do! (North Country accent) Hello. I'm a human being ••. number 1005963297 dash J, Area Code 609; maybe you've seen me around. Just another number. My name is Claude Hooper Bukowski. The most beautiful beast in the forest. I come from Manchester, England.
SUZANNAH No, he comes from Flushing.
MANCHESTER, ENGLAND
CLAUDE MANCHESTER ENGLAND ENGLAND ACROSS THE ATLANTIC SEA
~ 1966, 1967, 1968, 1970 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
] ? 1-9
CLAUDE (Cont'd) AN I'M A GENIUS GENIUS I BELIEVE IN GOD - AND I BELIEVE THAT GOD BELIEVES IN CLAUDE
THAT'S ME THAT'S ME
CLAUDE HOOPER BUKOWSKI FINDS THAT IT'S GROOVY TO HIDE IN A MOVIE PRETENDS HE'S FELLINI AND ANTONIONI AND ALSO HIS COUNTRYMAN ROMAN POLANSKI ALL ROLLED INTO ONE ONE CLAUDE HOOPER BUKOWSKI
NOW THAT I'VE DROPPED OUT WHY IS LIFE DREARY DREARY ANSWER MY WEARY QUERY TIMOTHY LEARY DEARIE
ALL MANCHESTER ENLGAND ENGLAND ACROSS THE ATLANTIC SEA AND I'M A GENIUS GENIUS I BELIEVE IN GOD AND I BELIEVE THAT GOD BELIEVES IN CLAUDE
CLAUDE TRIBE THAT'S ME THAT'S HE THAT'S ME THAT'S HE THAT'S ME THAT'S HE THAT'S ME
(Music out)
HUD And I'm the Imperial wizard of the KKK.
(Music cue for next number)
WOOF And I'm brainwashed people. Jesus Saves.
BERGER And I'm the Aluminum Coxman and you'll eat me up, up, up.
CLAUDE And I'm Aquarius -- destined for greatness or madness. 1-10
I'M BLACK
(TRIBE "yelps" in rhythmical response between next three lines) HUD I'M BLACK I'M BLACK
WOOF I'M PINK I'M PINK
BERGER I'M RINSO WHITE
TRIBE SO WHAT
CLAUDE I'M IN-VI-SI-BLE
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
I 8 I AIN'T GOT NO
WOOF TRIBE AIN'T GOT NO HOME so AIN'T GOT NO SHOES POOR AIN'T GOT NO MONEY HONEY AIN'T GOT NO CLASS COMMON AIN'T GOT NO SCARF COLD AIN'T GOT NO GLOVES SOLD AIN'T GOT NO BED BEAT AIN'T GOT NO POT BUSTED AIN'T GOT NO FAITH CATHOLIC
HUD AIN'T GOT NO MOTHER ORPHAN AIN'T GOT NO CULTURE MAN AIN'T GOT NO FRIENDS LUCKY AIN'T GOT NO SCHOOLIN' DUMB AIN'T GOT NO SHINE DULL AIN'T GOT NO UNDERWEAR BAD AIN'T GOT NO SOAP DIRTY AIN'T GOT NO "A" TRAIN JUMP AIN'T GOT NO MIND LOST IT
@ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
14 1-11
DIONNE TRIBE (Cont'd) AIN'T GOT NO SMOKES SHIT AIN'T GOT NO JOB LAZY AIN'T GOT NO WORK FINE AIN'T GOT NO COINS BROKE AIN'T GOT NO PENNIES BEG AIN'T GOT NO MAN HORNY AIN'T GOT NO TICKET HUSTLE AIN'T GOT NO TOKEN HIKE AIN'T GOT NO GOD GOOD (Music segues)
(TRIBE screams getting into the next song)
DEAD END
QUARTET (4 BLACK TRIBE MEMBERS) DEAD END DON'T WALK .KEEP OUT RED LIGHT RED LIGHT
STEEP CLIFF BEWARE MAD DOG BLIND MAN BLIND MAN
WARNING LAND MINE HIGH VOLTAGE LINE DON'T MAKE A PASS KEEP OFF THE GRASS
DETOUR WET PAINT HANDS OFF DEAD END DEAD END
MEN WORKING DEAD END MEN WORKING DEAD END NO STANDING DEAD END NO PARKING DEAD END
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
15 1-12
QUARTET (Cont'd) NO SMOKING DEAD END NO JOKING DEAD END DEAD END AD LIB. SOLO "Well i .t' s a dead end II
ALL MY FRIEND
(Music out. SHEILA is carried in, like on a horse, to center stage)
WOOF It's Joan of Arc!
(Trumpets play a fanfare. HUD brings SHEILA a poster. It reads: "BEAUTIFY AMERICA II)
I 10 I I BELIEVE IN LOVE
SHEIM I BELIEVE IN LOVE I BELIEVE IN LOVE I BELIEVE IN LOVE I DO BELIEVE IN LOVE
I BELIEVE THAT NOW IS THE TIME FOR ALL GOOD MEN TO BELIEVE IN LOVE I BELIEVE THAT NOW IS THE TIME FOR ALL GOOD MEN TO COME TO THE AID OF
MY COUNTRY 'TIS OF THEE SWEET LAND OF LIBERTY GOD SAVE •••
TRIO SHEILA I BELIEVE IN LOVE I BELIEVE IN LOVE I BELIEVE IN LOVE I BELIEVE IN LOVE I BELIEVE IN LOVE I BELIEVE IN LOVE I BELIEVE IN LOVE DON'T YOU BELIEVE IN LOVE
I BELIEVE IN LOVE I BELIEVE THAT NOW IS I BELIEVE IN LOVE THE TIME FOR ALL GOOD MEN I BELIEVE IN LOVE TO COME TO THE AID OF LOVE I BELIEVE IN LOVE
ALL YEAH! (Music out) 1-13
(Poster is turned around, and it says: LAY DON'T SLAY. This is the beginning of the Rally)
(Chant)
(Military drums accompany chanting into next number)
SHEILA WHAT DO WE WANT?
TRIBE PEACE
SHEILA WHEN DO WE WANT IT?
TRIBE NOW
SHEILA WHAT DO WE WANT?
TRIBE FREEDOM
SHEILA WHEN DO WE WANT IT?
TRIBE NOW
PEACE NOW FREEDOM NOW PEACE NOW FREEDOM NOW
BLACK, WHITE, YELLOW, RED COPULATE IN A KING SIZE BED BLACK, WHITE, YELLOW, RED COPULATE IN A KING SIZE BED
HELL NO WE WON'T GO HELL NO WE WON'T GO
THREE TRIBE MEMBERS AS KKK GUYS WHAT DO WE THINK IS REALLY GREAT? TO BOMB, LYNCH AND SEGREGATE
TRIBE WHAT DO THEY THINK IS REALLY GREAT? TO BOMB, LYNCH AND SEGREGATE
17 1-14
I 11 I AIN'T GOT NO GRASS
TRIBE (Cont'd) PEACE NOW FREEDOM NOW PEACE NOW FREEDOM NOW PEACE NOW
(THEY start to sing marching with banners)
AIN'T GOT NO GRASS CAN'T TAKE NO TRIP AIN'T GOT NO ACID CAN'T BLOW MY MIND AIN'T GOT NO CLOTHES YOUR FULL OF PUS AIN'T GOT NO PAD YOUR FULL OF PISS AIN'T GOT NO APPLES WE GOT BALLS AIN'T GOT NO KNIFE CAN'T CUT YOU UP AIN'T GOT NO GUNS WE GOT BANANAS AIN'T GOT NO GARBAGE WHITE TRASH AIN'T GOT NO DRAFT CARD
ALL BURNED IT, BURNED IT, BURNED IT
AIN'T GOT NO EARTH AIN'T GOT NO FUN AIN'T GOT NO BIKE AIN'T GOT NO PIMPLES AIN'T GOT NO TREES AI.N' T GOT NO AIR AIN'T GOT NO WATER CITY BANJO TOOTHPICKS SHOELACES TEACHERS FOOTBALL TELEPHONE RECORDS DOCTOR BROTHER SISTER UNIFORMS MACHINE GUNS AIRPLANES GERMS M-1, BANG BANG BANG M-2, BANG BANG BANG
@ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni Nat Shapiro and United Artists Music Co., Inc. 1-15
ALL (Cont'd) A-BOMBS H-BOMBS P-BOMBS Q-BOMBS CHINESE CZECHS HINDUS BIND US ITALIANOS PO LACKS GERMANS YOUSE JEWS UPS AND DOWNS
GIRLS VIETNAM, JOHNSON, HIGH SCHOOL, SEX
BOYS COFFEE, BOOKS, FOOD, SCISSORS, MAGAZINES, NEWS, CIGARETTES
GIRLS HOLLYWOOD, TV, TUESDAY WELD, BURTON-TAYLOR
BOYS POP ART, POP OFF, POPCORN, POPSICLE
GIRLS ANDY WARPOP, POP PAPER, POP UP, POPEYE
ALL POPPERS, NAPALM, ENGLAND, OUTER SPACE ASTRONAUTS, JESUS, AIR, AIR, AIR, AIR AIR, AIR, AIR.
(Music segues)
(Trap in stage opens up, and JEANIE appears wearing a gas mask. CRISSY and DIONNE sing the background on this song)
I 12 I AIR
JEANIE WELCOME SULPHUR DIOXIDE HELLO CARBON MONOXIDE THE AIR THE AIR IS EVERYWHERE
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
19 1-16
JEANIE (Cont'd) BREATHE DEEP WHILE YOU SLEEP BREATHE DEEP
BLESS YOU ALCOHOL BLOOD STREAM SAVE ME NICOTINE LUNG STEAM INCENSE INCENSE IS IN THE AIR
BREATHE DEEP WHILE YOU SLEEP BREATHE DEEP
CATACLYSMIC ECTOPLASM FALLOUT ATOMIC ORGASM VAPOR AND FUME AT THE STONE OF MY TOMB BREATHING LIKE A SULLEN PERFUME EATING AT THE STONE OF MY TOMB
WELCOME SULPHUR DIOXIDE HELLO CARBON MONOXIDE THE AIR THE AIR IS EVERYWHERE
BREATHE DEEP WHILE YOU SLEEP BREATHE DEEP (Cough) DEEP (Cough) DEEP DE-DEEP (Cough)
(Music out)
(JEANIE now stands up and we notice that SHE is pregnant)
JEANIE I wired my parents for money. I told them I was pregnant. They said, stay pregnant.
DIONNE That's Jeanie.
JEANIE And that's Dionne.
20 1-17
CRISSY And I'm Crissy.
JEANIE I live with a whole bunch of people on Teeny Bopper Island.
DIONNE And Jeanie loves Claude.
JEANIE I dig this groovy, hip, beautiful living hunk of gold, blond, blue-eyed man, muscle of all muscle, smooth skin animal. Claudio, I'd die for you. I am lost in the unfathomable infinities of your mystical third eye. I wish it was your baby inside my body. I was knocked up by some crazy speed freak. Wouldn't ya know? Claude is my acid, Claude is my trip. Methedrine's a bad scene, and Claude loves me. (SHE disappears back into the trap)
I 13 I INITIALS TRIBE LBJ TOOK THE IRT DOWN TO 4TH STREET USA WHEN HE GOT THERE WHAT DID HE SEE THE YOUTH OF AMERICA ON LSD
LBJ IRT USA LSD LSD LBJ FBI CIA
FBI CIA LSD LBJ
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
I 14 I KAMA SUTRA
(The music becomes very Oriental or East Indian, and the TRIBE dances the "Kama Sutra. '' Out of this emerges MOM I, pushing an antiquated Hoover vacuum cleaner. BERGER, WOOF, and STEVE end up D.R. as "the Stone Indians")
(Music out)
21 1-18
MOM I Ugh, I'm beat.
I 15 I 1930's BERGER (Sings) HELLO THERE EVER THOUGHT OF HOW YOU'RE LIVING RIGHT SMACK BANG IN THE MIDDLE OF THE STONE AGE WELL THIS FOLKS IS THE PSYCHEDELIC STONE AGE.
(Orchestra continues under dialogue)
CLAUDE Hello there ••• ever thought of how you're living right smack bang in the middle of the Stone Age? Well, this folks, is the Psychedelic Stone Age. Without doubt, the most exciting time this weary, whirling square globe has seen for generations. And it's your age . ••• you are living it, you are psyching it, you are stoning it.
(Music out)
MOM I (Starts picking up newspapers) What is this?
CLAUDE It's the age of electronic dinosaurs and cybernetic Indians, the age where it's more fun than ever to be young.
DAD I Did you see about that job today, Punk?
CLAUDE The age where it's more fun than ever to be stoned.
MOM Il Claude, there are mountains of paper all over this house ••. your clippings, your magazines, your news papers ••.
CLAUDE Got to keep up with the times, tra la ...
MOM III Tear, tear, tear. You're nothing but tissue paper.
CLAUDE (North Country accent) You save S & H Green Stamps, and King Kern Stamps, and bloody Plaid Stamps and box tops and Betty Crocker coupons,
1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
22 1-19
CLAUDE (Cont'd) and Cut Rite and Kellogs and soap coupons and Co-op and God-knows-what coupons. I've seen you pasting one regular King Korn Stamp in each 30 spaces on this page and pasting five Big Ten King Korn stamps here and licking one Super Bonus King Korn Stamp for each 50 blocks on this page. You cut out, rip open, paste on and save, and I'm your lover, and I demand me civil rights.
DAD II Stop that! You stop that right now. I work hard for a living.
MOM I Start being an American.
DAD III Get a job, boy. Damn.
MOM II The trouble with you is you're not an American.
MOM III And what's with this Manchester? It's disgusting.
MOM II Face it, you're a Polack.
DAD I Look at yourself.
I 16 I MANCHESTER II (Reprise: MANCHESTER, ENGLAND) CLAUDE MANCHESTER ENGLAND ENGLAND ACROSS THE ATLANTIC SEA AND I'M A GENIUS GENIUS
(DAD I whacks CLAUDE with rolled-up newspaper. Music cut off.)
CLAUDE. But I don't know how long me bloody old man's gonna put up with that, do I?
~ 1966, 1967, 1968, 1970 Galt MacDermot, James Rado, Gerome ,. Ragni, Nat Shapiro and United Artists Music Co., Inc.
23 1-20 MOM III He told me he's not giving you any more money.
CLAUDE Oh, I've got to get me out of this flat and start Liverpoolin' it up with me mates.
MOM I What are you going to do with your life? What do you want to be •••
3 DADS • • • besides •••
3 MOMS ••• disheveled?
CLAUDE Kate Smith.
BERGER, WOOF, STEVE (Humming) "When the moon ••• "
MOM II Start facing reality.
CLAUDE Which reality, Mom? This reality, or that reality, the void, the astral •••
MOM III Your father and I love you, but how long do we have to support you?
CLAUDE I was born right here in dirty •••
3 MOMS slummy
3 DADS mucky •••
CLAUDE polluted •••
BERGER, WOOF, STEVE ••• Flushing.
MOM I Look at those trousers.
24 1-21
CLAUDE I'm Aquarius, destined for greatness or madness.
MOM II So's your father. Don't shame us Claude.
CLAUDE Out onto the technicolor streets with me daffodils •••
MOMS & DADS The Army •••
CLAUDE Me pretty little daffodils •••
MOM III The Army'll make a man out of you.
DAD II Your draft notice arrived today.
MOMS & DADS (Handing HIM envelopes) Greetings. (At which point CLAUDE grasps envelopes, puts in a pile on the floor, lifts HIS leg, pantomimes pissing on draft notices)
CLAUDE ••• tambouring it up and everyone lookin' at electronic me.
3 MOMS The Army
CLAUDE Step aside sergeant.
3 DADS The Navy.
CLAUDE I'm sleeping out tonight.
MOM II This is where it's at baby, not out there •..
MOM I You will change your trousers before you leave this home.
MOM III And take off my beads. What is this?
25 1-22
CLAUDE Mother, it's embarrassing ••• the audience.
3 MOMS Hello there.
MOM II This is not a reservation •••
DAD III Tonto.
CLAUDE This is 1968 dearies, not 1948.
3 DADS 19681
MOM I What have you got ••.
MOM III ••• 1968 .•.
MOM II •.• may I ask?
DAD III What have you got, 1968
DAD I ••• that makes you so damn superior
DAD II ••• and gives me such a headache?
CLAUDE Well, if you really want to know, 1948 •••
I 17 I I GOT LIFE
I GOT LIFE MOTHER I GOT LAUGHS SISTER I GOT FREEDOM BROTHER I GOT GOOD TIMES MAN
I GOT CRAZY WAYS DAUGHTER I GOT MILLION-DOLLAR CHARM COUSIN I GOT HEADACHES AND TOOTHACHES AND BAD TIME TOO LIKE YOU
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
26 1-23 (2 .MOMS and 2 DADS exit)
CLAUDE (Cont'd) I GOT MY HAIR I GOT MY HEAD I GOT MY BRAINS I GOT MY EARS
I GOT MY EYES I GOT MY NOSE I GOT MY MOUTH I GOT MY TEETH
I GOT MY TONGUE I GOT MY CHIN I GOT MY NECK I GOT MY TITS
I GOT MY HEART I GOT MY SOUL I GOT MY BACK I GOT MY ASS
I GOT MY ARMS I GOT MY HANDS I GOT MY FINGERS GOT MY LEGS
I GOT MY FEET I GOT MY TOES I GOT MY LIVER GOT MY BLOOD
TRIBE I GOT LIFE MOTHER HE'S GOT LIFE I GOT LAUGHS SISTER HE'S GOT LAUGHS I GOT FREEDOM BROTHER HE'S GOT FREEDOM I GOT GOOD TIMES MAN GOOD TIMES MAN I GOT CRAZY WAYS DAUGHTER HE'S GOT CRAZY WAYS I GOT MILLION-DOLLAR CHARM COUSIN HE ' S GOT CHARM I GOT HEADACHES AND TOOTH ACHES HEADACHES, TOOTHACHES AND BAD TIMES TOO LIKE YOU LIKE YOU
I GOT MY HAIR GOT MY HAIR I GOT MY HEAD I GOT MY BRAINS GOT MY BRAINS I GOT MY EARS
I GOT MY EYES GOT MY EYES I GOT MY NOSE I GOT MY MOUTH GOT MY MOUTH I GOT MY TEETH GOT MY TEETH
27 1-24
CLAUDE (Cont'd) TRIBE (Cent' d) I GOT MY TONGUE GOT MY TONGUE I GOT MY CHIN I GOT MY NECK GOT MY NECK ·I GOT MY TITS
I GOT MY HEART GOT MY HEART I GOT MY SOUL I GOT MY BACK GOT MY BACK I GOT MY ASS GOT MY ASS
I GOT MY ARMS GOT MY HANDS I GOT MY HANDS I GOT MY FINGERS GOT MY LEGS GOT MY LEGS
I GOT MY FEET GOT MY TOES I GOT MY TOES I GOT MY LIVER LIVER I GOT MY BLOOD GOT MY BLOOD GOT MY I GOT MY GUTS GOT MY GUTS I GOT MUSCLES GOT MY MUSCLES
I GOT LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE
MOM I And you got a lot of nerve, baby.
CLAUDE AND I'M GONNA SPREAD IT AROUND THE WORLD MOTHER AND I'M GONNA SPREAD IT AROUND THE WORLD SISTER AND I'M GONNA SPREAD IT AROUND THE WORLD MY BROTHER SO EV'RYBODY KNOWS WHAT I GOT
TRIBE AMEN AMEN
(Music out)
(BERGER jumps off the first level of the tower)
(Indian drums ad lib)
(Alternate Entrance used in N.Y. and L.A. by G. Ragni: BERGER is on the Supremes Wagon, yelps a series of war whoops, flings HIMSELF off the wagon into the arms of 6 waiting TRIBE BOYS)
28 1-25
WOOF Berger!
BERGER Woof!
HUD Berger!
BERGER Hudl Como esta usted? Muy bien gracias, y usted?
HUD White Man speak with forked tongue.
BERGER Is Claude back from the draft board yet?
HUD No.
BERGER (This speech is accompanied by appropriate sound effects on rnic. by a TRIBE MEMBER) He entered. (Sound) He locked the door. (Sound) He checked out the scene. (Sound) He put ·his right hand on his left breast (Sound) and stretched his left hand high above his head, (Sound) waving to his blue-eyed soul brothers with a smile
STEVE (Falsetto on rnic.) Hi, boys.
BERGER ••• as a hush carne over the room. (Sound)
PAUL My daughter, let me tell you about my daughter. She sees flying saucers, and monsters, and all sorts of rneshugener things, and now she's floating around in that San Francisco someplace, and it's all because of those pills.
MARY Oi veyl
29 1-26
BERGER My daughter's the same way.
BERGER & PAUL What's a mother to do?
BERGER (Starts handing out imaginary pills) One pill for Rabbi Schultz •.. one for the Rockefeller Foundation ••• one for Tricky Dicky Dicky's Dick, one . for poor Humphrey Dumphrey ••• Ah •.• one for the Pope ...
EMMARETTA Give the Pope a pill!
BERGER One for James Brown.
HUD "I feel good." (Does James Brown bit, and falls down. Is carried off. Optional ad lib, drums and piano with the "bit" cued by HUD)
BERGER And one for Alabama Wallace. (HE sticks that one up HIS ass) Blowing his cool ••. (There is a loud explosion) Blowing his other cool ••• (There is another loud explosion) .•• he said, (To WOOF) unhand me. Woof, I finally made it, I finally got out.
WOOF Out of who?
MARY Out of "whom."
I 18 / GOING DOWN
BERGER ME AND LUCIFER LUCIFER AND ME JUST LIKE THE ANGEL THAT FELL BANISHED FOREVER TO HELL
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
30 1-27
BERGER (Cont'd) TODAY I HAVE BEEN EXPELLED FROM HIGH SCHOOL HEAVEN
BERGER TRIBE (Optional) ELEVATOR GOING DOWN ELEVATOR GOING DOWN GOING DOWN, GOING DOWN DOWN, DOWN, GOING DOWN EV'RYBODY GOING DOWN EV'RYBODY GOING DOWN GOING DOWN, GOING DOWN DOWN, DOWN, GOING DOWN
PAUL High school dropouts, don't give up on your diploma. Dial OR 7-3295 for our free booklet telling how you can get it at home.
BERGER THIS IS MY DOOM MY HUMILIATION OCTOBER NOT JUNE AND IT'S SUMMER VACATION SUCH A DISGRACE, HOW CAN I FACE THE NATION WHY SHOULD THIS PAIN BRING ME SUCH STRANGE ELATION?
BERGER TRIBE (Optional) ESCALATOR GOING DOWN ELEVATOR GOING DOWN GOING DOWN, GOING DOWN DOWN, DOWN, GOING DOWN EV'RYBODY GOING DOWN EV'RYBODY GOING DOWN GOING DOWN, GOING DOWN DOWN I DOWN I GOING DOWN
(THREE PRINCIPALS appear in Caps and Gowns and Hitler mustaches. ONE speaks with a German accent)
PRINCIPAL I Attention.
PRINCIPAL II Attention.
PRINCIPAL III Achtung!
PRINCIPAL I This is your principal
PRINCIPAL II Mister Brain ••.
PRINCIPAL III .•. Washer •••
PRINCIPAL I What is this school becoming?
PRINCIPAL II A costume party?
PRINCIPAL III Some kind of giant festival Mother Goose Land? 31 1-28
PRINCIPAL I Mr. Berger •••
PRINCIPAL II we do not send our chemistry teachers on trips!
PRINCIPAL III Your hair.
PRINCIPAL I Your dress.
PRINCIPALS II & III Further rema~ks.
BERGER I'm tired of your brainwashed education Up your curriculum!
PRINCIPAL I One of your rebellious
PRINCI~AL II beatnik leaders
PRINCIPAL III •.• has just been expelled by me.
PRINCIPAL II And let this be an ultimatum to the rest of you.
ALL THREE PRINCIPALS (Unison) This is World War Three!
BERGER Cosmic Fart!
BERGER & TRIBE Mr. Brainwasher!!!
BERGER EMANCIPATION, PROCLAMATION OH DOCTOR LINCOLN MY HEAD NEEDS SHRINKIN' LU LU LU LU LU LU LU LU LU LU LU LUCIFER AND ME DOOMED FROM HERE TO ETERNITY BA-A-A-A-A-A-A-A
BERGER TRIBE (Optional) GROWING UP, GOING DOWN GROWING UP, GOING DOWN GOING DOWN, GOING DOWN DOWN, DOWN, GOING DOWN EV'RYBODY GROWING UP, EV'RYBODY GROWING UP GOING DOWN, GOING DOWN GOING DOWN, GOING DOWN
32 1-29
BERGER TRIBE FORGIVE ME IF I DON'T CRY DOWN DOWN IT'S LIKE THE FOURTH OF JULY EVERYBODY GOING (repeats) THANK GOD THAT ANGELS CAN FLY DOWN DOWN DOWN DOWN DOWN DOWN DOWN DOWN
ALL GOING DOWN DOWN GOING DOWN DOWN DOWN GOING DOWN.
(Music out)
(TRIBE collapses and all that is heard is heavy breathing on stage)
CLAUDE I am the son of God. Beware. I sha~l vanish and be forgotten! Yeow! (Tosses flowers over TRIBE) Bless you, bless you, bless you, bless you ••• (Feeling someone's rear end) Bless you again •.• (Someone sneezes) God bless you, bless you, Bergerbaby. I believe in Jesus!
BERGER Hey, let's have some more rock and roll: one, two, three, four, everybody twist •••
I 19 I FREAK OUT (BERGER, WOOF, HUD and entire TRIBE run over to greet CLAUDE)
TRIBE Claude •.. Claude ••• Claude ...
BERGER Wait . . . wait, wait . . . don't tell us. WOOF Did you pass it?
HUD Are you physically fit?
(CLAUDE nods "yes")
WOOF No kidding.
BERGER That's death body man
33 1-30 HUD Tough luck baby.
CLAUDE That's all right. I've thought it over -- I'll tell them I'm a faggot and hide out in Toronto. Shit. I'm not going in. I'll eat it first. I'm not.
WOOF Eat what?
CLAUDE My draft card.
BERGER I thought you burned it.
CLAUDE That was my driver's license.
WOOF Eat it on CBS television.
BERGER r-~ U.S. Grade-A Government-Inspected Meat!
CLAUDE Berger, help me, how am I gonna get out of going?
BERGER Dance bare assed down 42nd Street
CLAUDE C'mon, what am I gonna do?
BERGER Take me with you, tell them I'm your girlfriend and you can't sleep without me.
HUD Tell them your mother volunteered to fight in your place.
WOOF Do they know she's a Viet Cong?
CLAUDE I want to be over here doing the things they're over there defending.
WOOF Become a nun.
HUD Wet the bed, baby.
34 1-31
CLAUDE (Takes a card from HIS wallet) They're not gonna get me. That's it, they're not gonna get me. (Strikes a match and lights the card)
HUD (Reading from the N.Y. Times) "The draft is white people sending black people to make war on yellow people to defend the land they stole from the red people."
BERGER (Reading over HIS shoulder) Mr. Claude Hooper Bukowski -- New York Public Library. (CLAUDE stamps out the flame)
CLAUDE Now I can't even get a book out. Berger, if I go, I'll get killed or a leg shot off or something ••• I know it they're not gonna get me.
BERGER Oh yes, they are. You will go, and you will loot, rape, and kill ••• you will do exactly what THEY tell you to do.
(HUD puts large chrysanthemum between WOOF's legs)
CLAUDE m not going. r It took me years to get it this long, and I'm not gonna let them cut it off.
(HUD snips off the flower, hands it to CLAUDE)
Sheila, my flower is well plucked.
(MARGARET MEAD and HUBERT come down the aisle, interrupting the action on stage)
MARGARET MEAD Excuse me, young man. May I ask you a question?
BERGER Claudio, I got kicked out of school ••• I'm Vietnam bait now.
HUD We're all Vietnam bait.
TRIBE GUYS Yeah, we're all Vietnam bait •••
MARGARET May I ask you a question?
35 1-32
CLAUDE Sure, of course, would you like to come up?
MARGARET Oh, no.
CLAUDE Yes, come up. (Leads HUBERT and MARGARET up on stage)
MARGARET Oh, dear. May I introduce myself, here's my card.
(Card passed from CLAUDE to BERGER to WOOF. WOOF eats the card)
Thank you. And this is Hubert. We're on our honeymoon. I did overhear just a wee portion of your conversation, and I would like to ask you a question, if you don't mind?
CLAUDE I have no mind. No! Yes, anything you want to know, yes! Know, yes!
MARGARET Well ... this may sound a bit naive ... foolish ... oh, my, I don't know why I feel so embarrassed ••. I .. . being a visitor from another generation like myself ...
CLAUDE You're cool. What would you like to know?
MARGARET Hubert, I'm cool. Well ... why? I mean ..• why? ••. Why?
CLAUDE (Finally realizing that SHE means HIS hair) Oh, you mean this?
MARGARET Yes. Why that? I mean, is it because you're a . . . oh, dear .•• Are you? Please forgive me ••• Are you a hippie?
(TRIBE reacts very strongly, affecting exaggerated hippie behavior, then cutting off abruptly)
Hubert, a whole haggle of hippies.
HUBERT Who are your heroes?
BERGER Medusa, darling, Medusa.
36 1-33
------Optional Cut------
WOOF Doris Day.
HUD Wonder Woman.
CLAUDE Veronica Lake.
STEVE Little Orphan Annie.
TRIBE MEMBER John the Baptist. (Throwing a glass of water on TRIBE MEMBER)
PAUL Annette Funicello.
RONNY Buckwheat.
------End Optional Cut------
HUD Hey, Big Daddy, Little Daddy. (Yells) Big Daddy, I'm talking to you!! It's very simple. You ask me why? Like I like the feel of the long silky strands on my ears, and the back of my neck, and on my shoulders, and down my back. Like it's goose-bump time, know what I mean?
MARGARET That's very interesting. (To HUBERT) You see, dear, he does it for the sensual experience, that's why.
I 20 I HAIR
CLAUDE (Starts to sing) SHE ASKS ME WHY
HUD (To HUBERT) You dig my Dixie Peach?
HUBERT Dixie who?
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
37 1-34
MARGARET Dixie Peach, Hubert. She's one of the Suprernesl Don't get involved.
CLAUDE I'M JUST A HAIRY GUY I'M HAIRY NOON.AND NIGHT HAIR THAT'S A FRIGHT I'M HAIRY HIGH AND LOW DON'T ASK ME WHY -- DON'T KNOW
IT'S NOT FOR LACK OF BREAD LIKE THE GRATEFUL DEAD
CLAUDE & BERGER DARLIN'
GIVE ME A HEAD WITH HAIR LONG BEAUTIFUL HAIR SHINING GLEAMING STEAMING FLAXEN WAXEN
CLAUDE, BERGER & TRIBE GIVE ME DOWN TO THERE HAIR SHOULDER-LENGTH OR LONGER HERE BABY THERE MAMA EV'RYWHERE DADDY DADDY
TRIBE HAIR HAIR HAIR HAIR HAIR HAIR HAIR HAIR FLOW IT SHOW IT LONG AS GOD CAN GROW IT MY HAIR
CLAUDE & BERGER LET IT FLY IN THE BREEZE AND GET CAUGHT IN THE TREES GIVE A HOME TO THE FLEAS IN MY HAIR
A HOME FOR FLEAS Yeah! A HIVE FOR BEES Oh Yeah! A NEST FOR BIRDS THERE AIN'T NO WORDS FOR THE BEAUTY THE SPLENDOR THE WONDER OF MY
TRIBE HAIR HAIR HAIR HAIR HAIR HAIR HAIR HAIR
38 1-35
TRIBE (Cont'd) FLOW IT SHOW IT LONG AS GOD CAN GROW IT MY HAIR
CLAUDE & BERGER I WANT IT LONG STRAIGHT CURLY FUZZY SNAGGY SHAGGY RATTY MATTY OILY GREASY FLEECY SHINING GLEAMING STEAMING . FLAXEN WAXEN KNOTTED POLKADOTTED TWISTED BEADED BRAIDED POWDERED FLOWERED AND CONFETTIED BANGLED TANGLED SPANGLED AND SPAGHETTIED
TRIBE OH SAY CAN YOU SEE MY EYES IF YOU CAN THEN MY HAIR'S TOO SHORT
CLAUDE & BERGER DOWN TO HERE DOWN TO THERE I WANT HAIR DOWN TO WHERE IT STOPS BY ITSELF
TRIBE DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO DOO
CLAUDE & BERGER THEY'LL BE GA-GA . AT THE GO-GO WHEN THEY SEE ME IN MY TOGA MY TOGA MADE OF BLOND BRILLIANTINED BIBLICAL HAIR.
CLAUDE, BERGER & TRIBE MY HAIR LIKE JESUS WORE IT HALLELUJAH I ADORE IT HALLELUJAH MARY LOVED HER SON WHY DON'T MY MOTHER LOVE ME
TRIBE HAIR HAIR HAIR HAIR HAIR HAIR HAIR HAIR FLOW IT SHOW IT LONG AS GOD CAN GROW IT MY
HAIR HAIR HAIR HAIR HAIR HAIR HAIR HAIR 39 1-36 , TRIBE (Cont'd) FLOW IT SHOW IT LONG AS GOD CAN GROW IT MY
HAIR HAIR HAIR HAIR HAIR HAIR HAIR HAIR FLOW IT SHOW IT LONG AS GOD CAN GROW IT MY HAIR
MARGARET Ooooo. You little pop tarts are terrific. Hubert says you're every bit as good as the Mormon Tabernacle choir.
TRIBE HALLELUJAH!
(Music out)
MARGARET (To Audience) I wish every mother and father-. in this theatre would go home and make a speech to their teenagers and say: Kids, be free, no guilt, be whoever you are, do whatever you want, just as long as you don't hurt anyone." Right?
TRIBE Right!
MARGARET Now remember this kids, and don't forget it ••• I am your friend. (SHE extracts mic. from between BERGER's toes)
(Music starts for next number)
TRIBE MEMBER Ah ... she's gonna sing!
I 21 I MY CONVICTION
MARGARET I WOULD JUST LIKE TO SAY THAT IT IS MY CONVICTION THAT LONGER HAIR AND OTHER FLAMBOYANT AFFECTATIONS OF APPEARANCE ARE NOTHING MORE THAN THE MALE'S EMERGENCE FROM HIS DRAB CAMOUFLAGE INTO THE GAUDY PLUMAGE WHICH IS THE BIRTHRIGHT OF HIS SEX
€D 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
40 1-37
MARGARET (Cont'd) THERE IS A PECULIAR NOTION THAT ELEGANT PLUMAGE AND FINE FEATHERS ARE NOT PROPER FOR THE MAN WHEN ACTU'LLY THAT IS THE WAY THINGS ARE IN MOST SPECIES.
(Music out)
Can we get a picture of you kids?
TRIBE Sure. I want to be in pictures. Hi, America.
MARGARET Hubert! (Gives HIM camera instructions, to one side)
CLAUDE Be manipulated and be mutilated.
WOOF (To BERGER, referring to HUBERT) See him? That's you two years from now.
BERGER (To WOOF) See her? That's you one year from now. (To MARGARET) Love your dress, call me Thursday.
MARGARET Oh, but I'm not wearing a dress. (SHE opens her coat, revealing jockey shorts. SHE crosses the stage, pauses, turns to Audience in reaction to their applause) Why, thank you. (Then turns again to suppress their laughter, and indicating HUBERT) Shhh ..• he doesn't know. (Then to HUBERT) Get the best shot dear. When I go like this •.. (Fingers up in "V")
TRIBE (Poses for photograph) SPEEEEEED!
(HUBERT snaps the picture)
MARGARET Thank you, thank you one and all. Well, good bye all you sweet little flower pots. See you.
(MARGARET and HUBERT exit, back into the Audience)
41 1-38
TRIBE (Calling after THEM) Thank you, Margaret Mead and husband.
MARGARET (Turning back) Oh, fuck you, kids!
(SHEILA is now carried to center stage)
WOOF It's Democracy's Daughter.
CLAUDE Fasten your seatbelts.
HUD She is flying at an altitude of 10,000 c.c.'s.
I 22 I SHEILA FRANKLIN
TRIBE SHEILA FRANKLIN SECOND SEMESTER NYU AND SHE'S A PROTESTOR
(Music out) SHEILA We marched on the Pentagon, the five-sided Dragon, and we levitated itl Then we attacked the F.B.I. building, but they tear-gassed us •••
(CLAUDE and BERGER circle HER, Indian style. WOOF and HUD do THEIR own Indian dance on either side)
BERGER Ugh! This Indian land, white woman, buzz off.
CLAUDE (Indian accent) Yeah, yeah, Sheila baby, what you do here? You should be out there somewhere picketing, ughl
BERGER No. No. No. Protesting, ugh!
SHEILA No, No, No, spreading the groovy revolution.
CLAUDE Spread, spread, spread.
~ 1966, 1967, 1968, 1970 Galt MacDerrnot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 42 1-39
(CLAUDE and BERGER get HER in an embrace and bring HER down to the floor, ending up with each other, SHEILA apart from THEM)
SHEILA Isn't love beautiful? I live in the East Village with these two magnificent beasts. Claude, the purest mind on Avenue c.
BERGER Mommy, mommy, there's a dragon in your mouth!!
SHEILA And Berger, the grooviest ball on Avenue B.
CLAUDE Oh my God, you two are beautiful together.
WOOF Oh my God, you three are beautiful together.
HUD We 1 r ·e gonna have beautiful all-American babies.
WOOF Hey, let's go to the park, man, and scare some tourists.
HUD (Reading from a newspaper) Tomorrow morning on the front steps of City Hall there will be a huge suck-in for peace. Bring your blankets and something to suck. ·
SHEILA (Going to her bag) Sheila brought back Berger a beautiful yellow satin shirt. (Pulls out shirt) Take that filthy rag off.
BERGER Ooooooo, Sheila! My eyes cannot behold such beauty.
("Trash" instead of "beauty" is optional)
CLAUDE What about Claude?
SHEILA It's for all three of us. (Then to BERGER) You dig it, delicious?
43 1-40
(BERGER takes off HIS own shirt, and with WOOF and HUD forms "DaVinci Man," arms outstretched)
WOOF A body •·s a wonderful thing.
SHEILA Give me some skin, baby.
BERGER Ooooo, Sheila, you shouldn't have ••• Oh, I'm turn-y on-y, flippy outy, stony switchy ony, freaky outy ••• you really shouldn't have done it. It's boss, a groove, a gas. Send me to Saigon, it's a Sears Roebuck button down.
SHEILA Berger, stop it! You like it?
BERGER (Suddenly very angry) Don't tell me to stop. You always do that. You don't allow me to have any friends, you're jealous, suspicious, you use the double standard, you test me, spy on me, you nag, nag, nag, you won't allow me to be myself, you follow me, you're always picking a fight, and then you expect me to love you ..• well, I can't have sex that way. SEX! (HE slaps HER. BERGER is followed closely across stage by CLAUDE, WOOF, and HUD -- all mouthing the same dialogue and slapping motion as BERGER)
That's the last thing I'd want. (HE starts stomping on the shirt) Sex, sex, sex, sex, sex, sex, sex
SHEILA BERGER, you're so crazy, I adore you.
CLAUDE The Twentieth Century: SEX.
BERGER It's super-goosey-gassy. I'm hungey-upey -- Oh, I'm hung, hung on the sides over my ears down my leg straight down my back open the door pull it out my shirt collar I'm hung
(SHEILA and CLAUDE take the shirt and cover BERGER's head with it to keep HIM quiet. BERGER grabs the shirt and rips it)
44 1-41 SHEILA (Almost in tears) Why did you do that?
BERGER (Hiding shirt behind HIS back) What?
SHEILA That!
BERGER I don't know -- it was fun.
SHEILA Fun?
BERGER I hate yellow.
I 23 I EASY TO BE HARD
SHEILA (Accompanied by an acoustic guitar on stage) HOW CAN PEOPLE BE SO HEARTLESS HOW CAN PEOPLE BE SO CRUEL EASY TO BE HARD EASY TO BE COLD
HOW CAN PEOPLE HAVE NO FEELINGS HOW CAN THEY IGNORE THEIR FRIENDS EASY TO BE PROUD EASY TO SAY NO
ESPECI'LLY PEOPLE WHO CARE ABOUT STRANGERS WHO CARE ABOUT EVIL AND SOCIAL INJUSTICE DO YOU ONLY CARE ABOUT THE BLEEDING CROWD? HOW ABOUT A NEEDING FRIEND I . NEED A FRIEND
HOW CAN PEOPLE HAVE NO FEELINGS YOU KNOW I'M HUNG UP ON YOU EASY TO GIVE IN EASY TO HELP OUT
AND DON'T YOU WONDER HOW LONG WE CAN TAKE IT THE WAY THAT WE PLAY AND MAKE FUN OF EACH OTHER ARE WE JUST PRETENDERS IN A WORLD WE MADE? WHERE'S THE HEART OF YOU AND ME? I NEED A FRIEND
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
45 1-42
SHEILA (Cont'd) HOW CAN PEOPLE HAVE NO FEELINGS HOW CAN THEY IGNORE THEIR FRIENDS EASY TO BE HARD EASY TO BE COLD EASY TO BE PROUD EASY TO SAY NO
(Music out)
(BERGER picks up the torn shirt and goes to SHEILA, who opens HER arms to HIM)
------Optional Cut------
CLAUDE Sheila, let me take you out of this soap opera. I wrote a new scene for you in my movie.
(BERGER picks up the torn shirt and starts to go)
SHEILA Where are you going?
BERGER I'm going to the Singer Sewing Machine convention. (Alternate lines: I'm going to sew it together. I'm going to stitch it up)
CLAUDE (To Audience) I wrote a new scene for Sheila in my movie.
SHEILA Oh, Claude, not that film thing again.
CLAUDE Will you do this scene with me?
SHEILA Let's do it.
HUD Are you ready on that follow spot, boy?
BLACK TRIBE MEMBER (Who is running up the tower to follow spot) Who the hell are you calling "boy," Mr. Poitier?
HUD Quiet on the set. Make up. Sound. Speed.
46 1-43 SUZANNAH Speed? Where, where???
HUD Damn, I can't take you all no where! Action!
(The TRIBE starts playing different "instruments," some form a movie camera, and STEVE makes a boom mic. for the scene. Two chairs are set in the center)
CLAUDE Don't you ever get lonely? (HE offers SHEILA a cigarette) Fag?
SHEILA Of course I do, but I don't dwell on it, do I?
CLAUDE What would you like to drink, eh? drink, eh? drink, eh?
SHEILA Oh, Claude, why do you treat me like a wanton (Mispronounced "won ton") woman? I'll have an egg cream. (Optional: "Orange Julius" inst~ad of "egg cream")
CLAUDE One egg cream, (Or Orange Julius), one won ton please.
(WAITRESS come on, hands THEM drinks, and on HER way out, SHE conks HER head on the microphone)
I'm sorry, Sheila. Shouldn't have been so careless ••• all my fault.
SHEILA I just hope I'm not knocked up. I don't want to have a baby, do I? (SHE and CLAUDE drop to the floor, crawl toward foot of stage and are followed by the mic. and TWO TRIBE MEMBERS waving reflector/wind sheets, as dialogue continues)
CLAUDE I wonder if you would say the same thing if it were Berger's baby?
SHEILA Claude, I don't understand why you're writing this about me. 47 1-44 CLAUDE Because you still love Berger, and you're having my baby.
SHEILA Oh, Claude, please let's not start again. I can't take it.
CLAUDE Oh, Sheila, Sheila, this would never have happened if only you had used HALO SHAMP0011 TRIBE HALO SHAMPOOOOOO •••
HUD All right. Kill it.
TRIBE Kill it. Cut. (The Scene is over)
SHEILA Oh, Berger, before I throw up, tell him it's too much. I can't take it.
BERGER I loved it. Loved it. It's boring -- avant garde. "Oh, I hope I'm not knocked upJ I don't want to have a baby, do I?"
CLAUDE "I wonder if you would say the same thing if it were my baby?"
SHEILA I'm trying to control myself, but sometimes you guys just go too far.
BERGER What do you want from my life? Leave us alone. We want to be alone.
CLAUDE Cool it baby, groove on one of your posters.
SHEILA Trouble with me is, I'm hung up.
BERGER No. No. The trouble with you is, I'm hung.
48 1-45
JEANIE (Pops HER head out of the trap) This is the way it is. I'm hung up on Claude. Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger. And as a prospective mother, I would just like to say that there is something highly unusual going on here, and furthermore, Woof is hung up on Berger.
WOOF No, I'm not. What do you know? (HE closes the trap door) I'm hung up on Mick Jagger.
BERGER And I'm hung up on Donna. MaDonna.
I 24 I HUNG UP
(The TRIBE grabs together in a big clump and moves off, hopping backward and singing:)
TRIBE HUNG HUNG HUNGEY HUNGEY HUNG HUNG HUNGEY HUNGEY •.• etc.
(The lights go to black. The lights come up, revealing someone stand ing on stage, covered with a flag. Music out)
------End Optional Cut------
BERGER (HE enters with WOOF) What art thout that usurps this time of night? If thou has any sound or use of voice, speak to me.
BERGER & WOOF (Italian accent) Speak-a to me, speak-a to me, speak-a to me.
STEVE (Covered by flag) Om mane padme om Om mane padme om Om mane padme om Shanti, Shanti, Shanti. (Harmonica music. Ad lib played by one of the TRIBE on stage. THEY all get under the flag with STEVE. Then THEY come out. After harmonica - orchestra starts next number under dialogue)
1966, 1967, 1968 Galt MacDerrnot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
49 1-46
WOOF Folding the flag means taking care of the nation. Folding the flag means putting it to bed for the night. Oh, I'm lost in the folds of the flag. Oh, I'm falling through a hole in the flag. (HE is rocked in the flag) Help!
BERGER (Heavy southern accent) It's a beee-a-u-tiful day in Selma, Alabama this morning, ladies and gentlemen.
I 25 I DON'T PUT IT DOWN
WOOF, BERGER & STEVE DON'T PUT IT DOWN BEST ONE AROUND CRAZY FOR THE RED. BLUE AND WHITE CRAZY FOR THE RED BLUE AND WHITE YOU LOOK AT ME WHAT DO YOU SEE CRAZY FOR THE WHITE RED AND BLUE CRAZY FOR THE WHITE RED AND BLUE 'CAUSE I LOOK DIFFERENT YOU THINK I'M SUBVERSIVE CRAZY FOR THE BLUE WHITE AND RED CRAZY FOR THE BLUE WHITE AND RED
MY HEART BEATS TRUE FOR THE RED WHITE AND BLUE CRAZY FOR THE BLUE WHITE AND RED CRAZY FOR THE BLUE WHITE AND RED AND YELLOW FRINGE CRAZY FOR THE BLUE WHITE RED AND YELLOW
(During this song THEY have folded the flag in the proper military manner. THEY exit, as the TRIBE enters from wings and runs into the Audience with leaflets inviting people to come to the Be-In. JEANIE and CRISSY remain on stage)
(Music out)
TRIBE Corne to the Be-In! Corne to the Be-In!
JEANIE Dig it, people, I'm tripped, high, zonked
~ 1966, 1967 Galt MacDerrnot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
50 1-47
HUD See the hippies get busted •••
JEANIE Stoned •••
LINDA by the New York City Police .•
JEANIE right here, right now .•. in this theatre.
PAUL See them smoke marijuana, the killer weed.
JEANIE I've had every drug going except some jungle vines somewhere.
WALTER Bring your own Pot.
JEANIE I have a right to put anything I want in my body •••
NATALIE Tourists ••• come to the orgy!
JEANIE What's going on inside all those little Daily News Heads?
DIANE See the freak show.
JEANIE This is my living room, and I'm going to say something I've always wanted to say:
TRIBE See them •••
JEANIE Anybody who says Pot is bad .•.
MARY Watch the beatniks ..•
WALTER See them get arrested
JEANIE Is full of shit.
(CLAUDE returns to the stage)
Why don't you ever call me?
51 1-48
CLAUDE Jeanie, you know you don't have a phone.
JEANIE We had a good time,. didn't you like it?
CLAUDE Yeah, Jeanie, but •••
JEANIE But I found that book I told you about.
CLAUDE What .book?
JEANIE (Producing the book from HER bag) "The Art and Practice of Astral Proj~ction" by Ophiel.
CLAUDE (Taking book) Far-out!
JEANIE Are you going to burn your draft card at the Be-In?
CLAUDE I'm gonna astral project!
JEANIE Claude, are you gonna burn your draft card?
CLAUDE Jeanie, be a good fly and buzz off! (HE exits)
JEANIE He loves me. Well, Crissy, are you going to stay here or are you going to the Be-In like a human being.
CRISSY I'm gonna wait.
JEANIE Still waiting for him, eh? (SHE takes a drag on HER joint) Well, don't hold your breath.
(JEANIE exits)
52 1-49
I 26 I FRANK MILLS CRISSY (Sings) I MET A BOY CALLED FRANK MILLS ON SEPTEMBER 12TH RIGHT HERE IN FRONT OF THE WAVERLY BUT UNFORTUNATELY I LOST HIS ADDRESS HE WAS LAST SEEN WITH HIS FRIEND, A DRUMMER HE RESEMBLES GEORGE HARRISON OF THE BEATLES BUT HE WEARS HIS HAIR TIED IN A SMALL BOW AT THE BACK
I LOVE HIM BUT IT EMBARRASSES ME TO WALK DOWN THE STREET WITH HIM HE LIVES IN BROOKLYN SOMEWHERE AND WEARS THIS WHITE CRASH HELMET
HE HAS GOLD CHAINS ON HIS LEATHER JACKET AND ON THE BACK ARE WRITTEN THE NAMES "MARY" AND "MOM" AND "HELL'S ANGELS"
I WOULD GRATEFULLY APPRECIATE IT IF YOU SEE HIM TELL HIM I'M IN THE PARK WITH MY GIRLFRIEND AND PLEASE TELL HIM ANGELA AND I DON'T WANT THE TWO DOLLARS BACK ... JUST HIM
(Music segues)
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
(The Be-In. The sound of bells from offstage. The TRIBE enters in a processional)
I 27 I BE-IN "HARE KRISHNA""
TRIBE HARE KRISHNA HARE KRISHNA KRISHNA KRISHNA HARE HARE
HARE RAMA HARE RA~~ RAMA RAMA HARE HARE
HARE KRISHNA HARE KRISHNA KRISHNA KRISHNA HARE HARE
HARE RAMA HARE RAMA RAMA RAMA HARE HARE
@ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
53 1-50
TRIBE (Cont'd) HARE KRISHNA HARE KRISHNA KRISHNA KRISHNA HARE HARE
HARE RAMA HARE RAMA RAMA RAMA HARE HARE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE
COME ON COME ON COME ON COME ON
BE IN BE IN BE IN BE IN OMMMMMMMM!vlM
STEVE What's happening to our bedrock foundation of baths and underarm deodorant?
TRIBE LOVE LOVE OMMMMMMMMMM
LEATA New York is fun city -- Blah!
TRIBE LOVE LOVE OMMMMMMMMMM
WOOF Physical contact with any of these animals would repulse me.
TRIBE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE
TUNE IN TUNE IN TUNE IN TUNE IN
54 1-51
TRIBE (Cont'd) BE IN BE IN BE IN BE IN OMMMMMMMMMM
SHEILA Sex isn't love, it isn't even a pleasure any more.
TRIBE LOVE LOVE OMMMMMMMMMM
BOY I'd like to see this daffodil crowd in front of a machine gun.
TRIBE LOVE LOVE OMMMMMMMMM
GIRL (Kisses BERGER good-bye) Ship these Peaceniks to the Vietnam meat-grinder.
TRIBE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE
DROP OUT DROP OUT DROP OUT DROP OUT
BE IN BE IN BE IN BE IN
GROUP I TAKE TRIPS GET HIGH LAUGH, JOKE AND GOOD BYE
BEAT DRUM AND OLD TIN POT I'M HIGH ON YOU KNOW WHAT GROUP II TAKE TRIPS HIGH GET HIGH HIGH LAUGH JOKE AND GOOD BYE WAY UP HERE
55 1-52
TRIBE (Cont'd)
BEAT DRUM AND OLD TIN POT HIGH I'M HIGH HIGH ON YOU KNOW WHAT IONOSPHERE GROUP III TAKE TRIPS HIGH HARE KRISHNA
GET HIGH HIGH HARE KRISHNA
LAUGH JOKE AND GOOD BYE WAY UP HERE
BEAT DRUM AND OLD TIN POT HIGH HARE KRISHNA I'M HIGH HIGH HARE KRISHNA ON YOU KNOW WHAT IONOSPHERE
MARIJUANA MARIJUANA JUANA JUANA MARI MARI
MARIJUANA MARIJUANA JUANA JUANA MARI MARI
BEADS FLOWERS FREEDOM HAPPINESS BEADS FLOWERS FREEDOM HAPPINESS BEADS FLOWERS FREEDOM HAPPINESS BEADS FLOWERS FREEDOM HAPPINESS
(The intensity builds. The BOYS, one by one burn THEIR draft cards. CLAUDE puts HIS card into the fire, then changes his mind and pulls it out)
(Music segues)
I 28 I WHERE DO I GO
CLAUDE WHERE DO I GO FOLLOW THE RIVER WHERE DO I GO FOLLOW THE GULLS
WHERE IS THE SOMETHING WHERE IS THE SOMEONE THAT TELLS ME WHY I LIVE AND DIE
WHERE DO I GO FOLLOW THE CHILDREN WHERE DO I GO FOLLOW THEIR SMILES
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
56 1-53
CLAUDE (Cont'd) IS THERE AN ANSWER IN THEIR SWEET FACES THAT TELLS ME WHY I LIVE AND DIE
FOLLOW THE WIND SONG FOLLOW THE THUNDER FOLLOW THE NEON IN YOUNG LOVERS' EYES
DOWN TO THE GUTTER UP TO THE GLITTER INTO THE CITY WHERE THE TRUTH LIES
CLAUDE & TRIBE WHERE DO I GO FOLLOW THE CHILDREN WHERE DO I GO FOLLOW THEIR SMILES
IS THERE AN ANSWER IN THEIR SWEET FACES THAT TELLS ME WHY I LIVE AND DIE
CLAUDE & GIRLS BOYS FOLLOW THE WIND SONG WHERE DO I GO FOLLOW THE THUNDER TELL ME WHERE FOLLOW THE NEON IN YOUNG LOVERS' EYES DO I GO
DOWN TO THE GUTTER WHERE DO I GO UP TO THE GLITTER DO I GO INTO THE CITY WHERE THE TRUTH LIES TELL ME WHERE DO I GO
CLAUDE WHERE DO I GO FOLLOW MY HEARTBEAT WHERE DO I GO FOLLOW MY HAND
WHERE WILL THEY LEAD ME AND WILL I EVER DISCOVER WHY I LIVE AND DIE
TRIBE WHY
CLAUDE I LIVE AND DIE
57 1-54
TRIBE WHY
CLAUDE TRIBE WHY DO I LIVE BEADS FLOWERS WHY DO I DIE FREEDOM HAPPINESS TELL ME WHERE DO I GO BEADS FLOWERS TELL ME WHY FREEDOM TELL ME WHERE HAPPINESS TELL ME WHY BEADS TELL ME WHERE FLOWERS TELL ME WHY FREEDOM
(A siren sound effect is heard at the end of the song)
(Orchestra out)
(When the House Lights come up, TWO POLICEMEN are walking up and down the aisles of the theatre -- ONE downstairs and ONE in the balcony)
POLICEMAN All right, everyone in this theatre is under arrest for watching this lewd, obscene show. (HE picks Someone in the Audience) All right mister, let's go. (To COP in Balcony) Bring them down, one at a time, Joe. (Then to the Person HE picked) All right buddy, let's go. (To rest of Audience) He knows it's intermission.
58 ACT TWO
HUD comes on stage (at end of Intermissio~) and places an ancient Victrola on stage left. Then CRISSY puts a record on, cranks the Victrola, sits down beside it, puts HER head against it to hear Kate Smith singing singing "There'll be Bluebirds Over the White Cliffs of Dover." The first few lines of her song are heard: then "Electric Blues" blasts out from the Band
I 29 I ELECTRIC BLUES ELECTRIC BLUES QUARTET (OLDSTERS) TELL ME WHO DO YOU LOVE MAN? TELL ME WHAT MAN? TELL ME WHAT'S IT YOU LOVE, MAN?
AN OLD FASHIONED MELODY
TELL ME WHAT'S IT THAT MOVES YOU? TELL ME WHAT'S IT THAT GROOVES YOU?
AN OLD FASHIONED MELODY
BUT OLD SONGS LEAVE YOU DEAD WE SELL OUR SOULS FOR BREAD
WE'RE ALL ENCASED IN SONIC ARMOUR BELTIN' IT OUT THROUGH CHROME GRENADES MILES AND MILES OF MEDUSAN CHORDS THE ELECTRONIC SONIC BOOM
IT'S WHAT'S HAPPENING BABY IT'S WHERE IT'S AT DADDY
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
59 2-2
ELECTRIC BLUES QUARTET (Cont'd) THEY CHAIN YA AND BRAINWASH YA WHEN YOU LEAST SUSPECT IT THEY FEED YA MASS MEDIA THE AGE IS ELECTRIC
I GOT THE ELECTRIC BLUES I GOT THE ELECTRIC BLUES I GOT THE ELECTRIC BLUES I GOT THE ELECTRIC BLUES SOLO TWHUMP RACKETY WHOMP ROCK FOLK ROCK RHYTHM AND BLUES ELECTRONS EXPLODING RACKETY CLACK AN OLD FASHIONED WHOMP PLUGGED IN TURNED ON MELODY
RACKETY SHWUMP WHOOMP ROCK AN OLD FASHIONED FOLK ROCK RHYTHM AND BLUES MELODY THWUMP RACKETY CLACK AN OLD FASHIONED WHOOMP WHUMP POOF MELODY
CAVED IN, CAVED IN, YES CAVED IN (Scream) AGHHH
WE'RE ALL ENCASED IN SONIC ARMOUR BELTIN' IT OUT THROUGH CHROME GRENADES MILES AND MILES OF MEDUSAN CHORDS THE ELECTRONIC SONIC BOOM
IT'S WHAT'S HAPPENING BABY IT'S WHERE IT'S AT DADDY
THEY CHAIN YA AND BRAINWASH YA WHEN YOU LEAST SUSPECT IT THEY FEED YA MASS MEDIA THE AGE IS ELECTRIC
I GOT THE ELECTRIC BLUES I GOT THE ELECTRIC BLUES II II II II II II II II II II (These two lines sung silently) I GOT THE ELECTRIC BLUES I GOT THE ELECTRIC BLUES I GOT THE ELECTRIC BLUES I GOT THE ELECTRIC BLUES
(The sound builds and builds until there are three loud explosions. The stage is black and we hear a chant.
Music segues.
60 2-3
The TRIBE comes from rear of house, singing the following lyrics in a soft musical chant. THEY carry candles, wind chimes, moon oysters, and incense sticks. Scene on stage should be in black light. One MEMBER of the TRIBE appears on the stage, naked, painted in day-glo, as the Aquarian water ritual takes place. HE is lifted from the floor and carried over to be bounced in dark net material)
I 30 I OH GREAT GOD OF POWER
TRIBE OH GREAT GOD OF POWER OH GREAT GOD OF LIGHT OH GREAT GOD OF GAS OH CON ED (Optional lyric: BLACK AS NIGHT) OH CON ED (Optional lyric: NIGHT GONE DEAD)
WHERE HAS ALL THE POWER FLED?
HE IS BLOOD HE IS BONE HE IS SKIN HE IS AIR HE IS.
HE IS AQUARIUS HE IS AQUARIUS
APPEAR APPEAR APPEAR APPEAR APPEAR APPEAR
(The naked Aquarian runs off as the lights bump up bright. The TRIBE greets CLAUDE who now stands in the Aqu~rian's stead, carrying a small duffle bag with British flag on it)
(Music segues)
HUD It's Lord Buckingham! €D 1966, 1967, 1968, 1970 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
61 2-4
I 31 I MANCHESTER III (Reprise: MANCHESTER, ENGLAND) TRIBE MANCHESTER ENGLAND ENGLAND ACROSS THE ATLANTIC SEA AND I'M A GENIUS GENIUS I BELIEVE IN GOD AND I BELIEVE THAT GOD BELIEVES IN CLAUDE THAT'S ME.
(Music out)
(TRIBE greets CLAUDE. BERGER pulls HIM aside)
BERGER Claude, where were you?
CLAUDE I had to get away. I was in the jungle, meditating. Today I went down to the "abduction center" and freaked them out all the way, as far as I could go.
BERGER What did you tell them?
WOOF What did you do, man?
CLAUDE I told them I wanna go. I wanna die and kill for my country. I don't even need a gun. I'll kill 'em with my bare hands. (HE strangles BERGER)
BERGER Is that how it was?
CLAUDE No, it wasn't like that at all. (Takes poster from duffle bag)
Woof, Woof, here's a little yip for you. From my bedroom to your bedroom.
WOOF (Unrolls it) Oh, Claude, I love it. Hey, Claude, it's beautiful. Hey, everybody, look what Claude gave me. (To poster) I love you. Oh, I love you. I'm in love with you. I can't help it. You're terrific. I'm in love with this guy, see. I
€D 1966, 1967, 1968, 1970 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
62 2-5
WOOF (Cont'd) like his looks to begin with. Anybody would. Besides, he has a certain spectacular quality. I love him, I can't help it. He's the sun and I'm the earth. He's infinite. He's Leo the Lion. I'm not a homosexual or anything like that, but I'd love to go to bed with him .•• and make great love to you. Mick Jagger. Mick ••• My Mick ••• My Mickey Mick ...
MICKEY JAG MICKEY MICK MICKEY JAG MICKEY MICK (The TRIBE picks up the chant and staFts dancing around the poster, and finally £g the poster)
(Pushing THEM off the poster) Off of my love!
CLAUDE Hey, Woof, you got life, man.
(Music vamp for next number starts)
I got life man. (Slaps 10 with BERGER)
DIANE You got life? Uh-uh. (SHE points at one of the BLACK BOYS) He's got life!
I 32 I BLACK BOYS WHITE GIRLS TRIO BLACK BOYS TRIO BLACK BOYS ARE DELICIOUS I'VE GOT BABY, I'VE GOT CHOC'LATE FLAVORED LOVE BABY BABY (etc. backup group) LIC'RICE LIPS LIKE CANDY KEEP MY COCOA HANDY
I HAVE SUCH A SWEET TOOTH WHEN IT COMES TO LOVE
BLACK BOYS ARE DELICIOUS MOCHA MOUSSE HOT FUDGE
MAPLE SYRUP LADDIES AND BROWN SUGAR DADDIES
THEY ARE MY DESSERT TRAY WHEN IT COMES TO LOVE
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
63 2-6
SOLO GIRL ONCE I TRIED A DIET OF QUIET REST NO SWEETS
BUT I WENT NEARLY CRAZY AND I WENT CLEARLY CRAZY BECAUSE I REALLY CRAVED FOR MY CHOC'LATE FLAVORED TREATS
WHITE GIRLS TRIO BLACK BOYS TRIO OOH, BLACK BOYS ARE NUTRITIOUS (backup group) a BLACK BOYS FILL ME UP
BLACK BOYS ARE SO YUMMY THEY SATISFY MY TUMMY
BLACK BOYS ARE DELICIOUS RAISINS IN THE SUN
BLACK BLACK BLACK BLACK BLACK BLACK BLACK BLACK
WHITE GIRLS TRIO BLACK BOYS TRIO BLACK BOYS BLACK BOYS
(THREE BLACK GIRLS appear, in ex aggerated blond wigs, and dressed very brightly a la Supremes)
I 33 I WHITE BOYS
"SUPREMES" TRIO WHITE BOYS ARE SO PRETTY SKIN AS SMOOTH AS MILK WHITE BOYS ARE SO PRETTY HAIR LIKE CHINESE SILK
WHITE BOYS GIVE ME GOOSE BUMPS WHITE BOYS GIVE ME CHILLS WHEN THEY TOUCH MY SHOULDER THAT'S THE TOUCH THAT KILLS
MY MOTHER CALLS 'EM LILLIES I CALL 'EM PICADILLIES MY DADDY WARNS ME STAY AWAY I SAY COME ON OUT AND PLAY-AY-AY-AY
WHITE BOYS ARE SO GROOVY WHITE BOYS ARE SO TOUGH EVERY TIME THEY'RE NEAR ME JUST CAN'T GET ENOUGH
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
64 2-7
TRIO (Cont'd) WHITE BOYS ARE SO PRETTY WHITE BOYS ARE SO SWEET WHITE BOYS DRIVE ME CRAZY DRIVE ME INDISCREET
WHITE BOYS ARE SO SEXY LEGS SO LONG AND LEAN LOVE THOSE SPRAYED-ON TROUSERS LOVE THE LOVE MACHINE
MY BROTHER CALLS 'EM RUBBLE THEY'RE MY KIND OF TROUBLE MY DADDY WARNS ME NO NO NO BUT I SAY WHITE BOYS GO GO GO GO
WHITE BOYS ARE SO LOVELY BEAUTIFUL AS GIRLS LOVE TO RUN MY FINGERS AND TOES THROUGH ALL THEIR CURLS GIVE ME A TALL, A LEAN, A SEXY, A PRETTY, A GROOVY, A JUICY,
WHITE BOYS
WHITE GIRLS TRIO & WHITE TRIBE MEMBERS BLACK BOYS
"SUPREMES" & BLACK TRIBE MEMBERS WHITE BOYS
WHITE GIRLS TRIO & WHITE TRIBE MEMBERS BLACK BOYS
"SUPREMES" & BLACK TRIBE MEMBERS WHITE BOYS
EVERYBODY MIXED MEDIA MIXED MEDIA MIXED MEDIA
(Music out)
BERGER Hud, let's lock up. (HE pulls out a box of "joints" and starts passing them out to the TRIBE) 99 and 44/100 percent pure. I float.
TRIBE MEMBER Jet to Miami -- come on down.
JEANIE (To CLAUDE) Claude ... Claude, I know.
65 2-8 CLAUDE You know what?
JEANIE You know what I mean.
CLAUDE No I don't.
JEANIE Listen Claude, whatever you decide to do, you're still a great guy.
CLAUDE I don't know what you're talking about!
JEANIE Have , a good trip.
TRIBE MEMBER Relieves headache pain fast! Fast! Fast so fast!
TRIBE MEMBER Shrinks hemorrhoids.
TRIBE MEMBER Had any lately?
JEANIE No.
BERGER (Gives a joint to CLAUDE) Come to where the flavor is.
CLAUDE Bless you, sweet child of God.
TRIBE GIRL As Mary Magdalene once said, "Jesus, I'm getting stoned " BERGER (Holds up gorilla head) He got his job through the Village Voice.
CLAUDE Pick up your glow worms. And glow
I 34 I WALKING IN SPACE
TRIBE (SOLO VOICES) DOORS LOCKED DOORS LOCKED BLINDS PULLED BLINDS PULLED
@ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 66 2-9
TRIBE (SOLO VOICES Cont'd) LIGHTS LOW LIGHTS LOW FLAMES HIGH FLAMES HIGH
TRIBE MY BODY MY BODY MY BODY MY BODY MY BODY MY BODY
DIONNE MY BODY IS WALKING IN SPACE MY SOUL IS IN ORBIT WITH GOD, FACE TO FACE
FLOATING, FLIPPING FLYING, TRIPPING
TRIPPING FROM POTTSVILLE TO STARLINE TRIPPING FROM STARLINE TO MOONVILLE
STEVE ON A ROCKET TO THE FOURTH DIMENSION TOTAL SELF-AWARENESS THE INTENTION
LEATA MY MIND IS AS CLEAR AS COUNTRY AIR I FEEL MY FLESH, ALL COLORS MESH
TRIBE RED BLACK BLUE BROWN YELLOW CRIMSON GREEN ORANGE PURPLE PINK VI'LET WHITE WHITE WHITE WHITE WHITE WHITE WHITE
ALL THE CLOUDS ARE CUMULOFT WALKING IN SPACE OH MY GOD YOUR SKIN IS SOFT I LOVE YOUR FACE
HOW DARE THEY TRY TO END THIS BEAUTY HOW DARE THEY TRY TO END THIS BEAUTY
67 2-10
TRIBE (Cont'd) TO KEEP US UNDER FOOT THEY BURY US IN SOOT PRETENDING IT'S A CHORE TO SHIP US OFF TO WAR
IN THIS DIVE WE RE-DISCOVER SENSATION IN THIS DIVE WE RE-DISCOVER SENSATION
SHEILA & JEANIE WALKING IN SPACE WE FIND THE PURPOSE OF PEACE
THE BEAUTY OF LIFE YOU CAN NO LONGER HIDE
TRIBE OUR EYES ARE OPEN OUR EYES ARE OPEN OUR EYES ARE OPEN OUR EYES ARE OPEN WIDE WIDE WIDE
(Music out)
(Lights dim down on stage, except for a spot on CLAUDE. The following is his trip:
SOUND EFFECT: HELICOPTER; thumping guitar stri ngs)
HUD (As TOUGH SERGEANT) Alright, my pretty boys, prepare to bail out ...
(SOLDIERS assemble in bail-out positions)
I nursed you through boot camp, taught you how to kill, now go get that gook before he gets you ••. next stop Vietnam! (HUD jumps) Geronimoooooooo ...
SOLDIER ONE (To WOOF) Hello White Man .•.
WOOF I'm not even 21 yet, and they've got me jumping out of helicopters •..
SOLDIER ONE Skydive, dickhead! (Pushing WOOF out the door)
WOOF Aaaaaaaaaaa •.. 68 2-11
SOLDIER ONE Hello yellow man down there, I'm gonna get you ... (Jumps screaming)
SOLDIER TWO (A Black guy, taking CLAUDE's hand) Black and white go nice together, don't they (THEY jump together screaming)
SOLDIER THREE Gee, it's just like in the movies (Jumps screaming)
(Fade out of HELICOPTER SOUND; the SOLDIERS drift to earth)
SOLDIER ONE I don't want to be anything, especially a hou~ewife with kids.
SOLDIER TWO Don't worry, you won't be.
CLAUDE What's that supposed to mean?
SOLDIERS ONE & TWO Don't ask me, it's your hallucination
ALL SOLDIERS It's your hallucination
HUD Watch this ...
SOLDIERS (Whirling offstage) I'm hanging loooooooooooose ...
(CLAUDE lands in a Vietnamese field. ORIENTAL CRICKET MUSIC: He crouches, as TWO VIETNAMESE NATIVES cross, pursued by an American SOLDIER carrying an M-1 rifle. From offstsge, we hear a loud voice: )
I 35 I GENERAL WASHINGTON
WASHINGTON (BERGER) Revolution ... revolution ...
(Enter BERGER from wings, or down and aisle, on horseback, wearing a powdered wig, and tri cornered hat askew, with very long dark-blue velvet cape trailing after HIM, held up by bloody, bandaged, RAGGLE TAGGLE TROOP of 5 or 6)
69 2-12
WASHINGTON (Cont'd) Hut two three four. Hut two three four. Jump to it lads. Kill the Redcoats. Into the Delaware, men. Grab your muskets, for God, for Country, for Crown, for Freedom, for Liberation, for Mother.
(Music out)
MESSENGER (WOOF) (Running on, beating a drum rather badly) General Washington, General Washington, Your Highness!
WASHINGTON (Slaps HIS face) Practice!
MESSENGER General Washington, news from th~ . front. The word is retreat. Threat of attack.
I 36 I INDIAN MUSIC
(WASHINGTON flees, as INDIANS in warbonnets, with bows, attack)
INDIAN ONE Tonto say white man die. (Shoots)
INDIAN TWO Sitting Bull say, white man die. (Shoots)
INDIAN THREE Crazy Horse say, white man die. (Shoots)
INDIAN FOUR Little Beaver say, white man drop dead. (Shoots -- all of WASHINGTON'S MEN are now dead)
INDIAN ONE Many moons since Roanoke. Once again white man comes. Queen Bess and John Smith from England make peace. Take Papoose Pocahontas. Wahunsunacock kill white man.
INDIAN TWO This Indian land. Oh, Monitou, Great Spirit, White Man come, steal our land, rape our buffalo.
INDIAN THREE Yukl
INDIAN FOUR Don't knock it if you haven't tried it. 70 2-13
(The INDIANS exit in a war dance of victory. A MAN appears wearing a Civil War Rebel uniform)
(Indian drum music out)
U.S. GRANT (Heavy southern drawl) Friends, rnah friends, I want you to meet a grea~ friend of yours .•. Ulysses S
MEN (GIRL TRIBE MEMBERS) Grant!
GRANT I have arrived. I say, General Grant is here. Hey, wake up men. Corne on, get up. We have to push on to Raleigh. Roll call: Abraham Lincoln.
LINCOLN (BLACK GIRL wearing white paper bows in her pigtails, and a black top hat) I's here Boss.
GRANT John Wilkes Booth.
BOOTH (Brandishing pistol) Evah prrresent, Sire.
GRANT Calvin Coolidge.
COOLIDGE Voh-do-dee-o-do, Sir.
GRANT Clark Gable.
GABLE Yup.
GRANT Scarlett O'Hara.
SCARLETT (Southern accent) Here I am, Ulysses. And I'll never go hungry again. You're not gonna catch me eatin' those raw turnips no more. I hate them long hard things.
GABLE That's not what I heard, Scarlett.
SCARLETT Rhett?! 71 2-14
GABLE Hullo, Scarlett ...
SCARLETT Oh, Rhett, change the ending. Take me back. I'm a nervous wreck.
GABLE Frankly, my dear, I don't give a shit!
SCARLETT I've always depended on the kindness of strangers.
GRANT Stealin' from other playwrights -- next! Sister Aretha Franklin!!
ARETHA (Singing "INDIAN LOVE CALL") When I'm calling You-u-u-u!
GRANT Colonel Custer.
CUSTER (JEANIE) (SHE is wearing a walrus mustache) At last.
GRANT Claude Bukowski.
GABLE He couldn't make it.
GRANT All right, men. Heads up, shoulders back ... onward Christian soldiers, on to Appotomax.
JEANIE Appomatox, shmuck.
GRANT Forward Harch!
I 37 I MINUET (THEY dance a minuet, with CLAUDE trying to follow the steps. THEY are attacked by THREE AFRICAN WITCH DOCTORS, in masks, with spears, wearing Dashikis. CLAUDE crouches off to the side)
72 2-15
I 38 I AFRICAN DRUMS
AFRICANS WALLA WALLA GOONA GOONA! ! !
LINCOLN Oh my God, niggers! (AFRICANS kill the people on stage, and remove THEIR masks)
(Drums out)
HUD I cut yo' up. I hate you jive white mothers.
2 BLACK BOYS Go ahead and tell it like it is, Le Roi.
(THEY remove Dashikis)
HUD I oughta harpoon your ass!
LINCOLN Hey, wait a minute, snowflake, I'm one of you, baby.
HUD No shit. Well, what yo' doing here?
LINCOLN Would you believe takin' a suntan?
(Music starts for next number)
HUD Never mind. (HE knocks LINCOLN down, takes off HIS Dashiki)
I 39 I ABIE, BABY
TRIO (HUD & 2 BLACK BOYS) YES, I'S FINISHED ON Y'ALL'S FARM LANDS WITH YO' BOLL WEEVILS AND ALL PLUCKIN' Y'ALL'S CHICKENS FRYIN' MOTHER'S OATS IN GREASE I'S FREE NOW, THANKS TO YO' MASSA LINCOLN EMANCIPATOR OF THE SLAVE.
~ 1966, 1967, Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
73 2-16
TRIO (Cont'd) YES, I'S FINISHED ON Y'ALL'S FARM LANDS WITH YO' BOLL WEEVILS AND ALL PLUCKIN' Y'ALL'S CHICKENS FRYIN' MOTHER'S OATS IN GREASE I'S FREE NOW THANKS TO YO' MASSA LINCOLN EMANCIPATOR OF THE SLAVE YEAH YEAH YEAH EMANCI-MOTHER-FUCKIN'-PATOR OF THE SLAVE YEAH YEAH YEAH EMANCI-MOTHER-FUCKIN'-PATOR OF THE SLAVE.
LINCOLN (There is a SHOE-SHINE BOY - preferably a left-over of one of GRANT's men -- and preferably a BLOND GIRL-- who is at LINCOLN'S feet during the address -- shining LINCOLN's shoes with HER blond hair)
(Music continues under dialogue) Four score ••• I said, four score and seven years ago, our forefathers ..• don't get nervous, I mean all our forefathers, brought forth upon this continent a new nation ..• (To TRIO) Sock it to 'em Buckwheat, you're sounding better all the time ••. conceived in liberty ••• and dedicated to the one I love ... I mean •.• dedicated to the proposition, that all men ..• I mean you too, honey ... all men are created .•. (SHE looks down at the SHOE-SHINE BOY) You know something pitiful -- t .hey' re not making shoe shine boys like they used to .•. anyway all men are created equal.
(J.W. BOOTH enters with pistol pointed. Very Shakespearean actor entrance)
TRIO HAPPY BIRTHDAY, ABIE BABY HAPPY BIRTHDAY TO YOU YEAH
HAPPY BIRTHDAY, ABIE BABY HAPPY BIRTHDAY TO YOU
BOOTH BANG!
LINCOLN Bang? Bang my ass ... I ain't dying for no white man.
74 2-17
(Gong.
THEY all exit. We hear loud gongs, 1000 YEAR OLD MONK and 3 BUDDHIST MONKS enter in long saffron robes)
I 40-41 I THE WAR
GIVE UP ALL DESIRES 1000 YEAR OLD MONK ALL YOU HAVE TO DO IS GIVE UP ALL DESIRES ALL YOU HAVE TO DO IS SAY, "OM" STAY HOME, SAY "OM"
3 BUDDHIST MONKS (and offstage TRIBE) OM ••••••••
1000 YEAR OLD MONK Nice, nice, nice, very nice. (Sings:) OM, OM ON THE RANGE, AND EAT LOTS OF FRUIT AND BE CUTE. BE HAPPY GO LUCKY, EV'RYONE SHOULD BE BUDDAH
(Various gongs sound)
FIRST MONK (WOOF) WE ARE ALL ONE
THIRD MONK NO MORE WAR TOYS.
SECOND MONK (SHEILA) (As SHE pulls out gasoline can and starts pouring gas on the 1000 YEAR OLD MONK) USE HIGH OCTANE AND FEEL THE TIGER IN YOUR TANK.
1000 YEAR OLD MONK HUSTLING IS AN HONEST PROFESSION.
(2nd MONK, SHEILA, sets OLD MONK on fire and HE, immolated in flames, runs offstage screaming. The 3 MONKS sit in meditation "Oming" as 3 NUNS enter)
THREE CATHOLIC NUNS HAIL MARY, FULL OF GRACE, THE LORD IS WITH THEE, BLESSED ART THOU AMONGST WOMEN AND BLESSED IS THE FRUIT OF THE LOOM HOLY MARY, MOTHER OF GOD, PRAY FOR US SINNERS, NOW AND AT THE HOUR OF OUR DEATH
~ 1991 Galt MacDermot, James Rado and Gerome Ragni.
75 2-18
INSTRUMENTAL (Pantomime) (Strobe light sequence. The TRIBE MEMBERS enter in groups of three, kill each other in waves, and repeat action, backing up and coming forward to kill again. The TRIBE also includes 3 ASTRONAUTS, 3 CHINESE, 3 GUERRILLAS and 1 NATIVE AMERICAN. The action is repeated three times, each time the actors accelerate their motions. Orchestra percussion - gongs, rattles, etc. - ad lib. with stage business.
Music and action stop with a blackout. Then, after a natural pause, the lights come up on a SERGEANT, and a couple of PARENTS holding a suit on a hangar)
SERGEANT O'Reilly.
ROLL CALL (Underscoring)
HUD Present, Sir.
MOM Momma loves you.
DAD I've waited a long time for this day, son.
SERGEANT Palucci.
HIRAM Present and accounted for, Sir.
MOM Now write me a letter tonight.
DAD You don't know how proud I am of you son, today.
SERGEANT Epstein.
PAUL Present, Sir.
MOM Give us a kiss.
DAD (Shoves a bill into pocket of suit) Be a man.
SERGEANT Claude Bukowski.
76 2-20
TRIBE (Cont'd}
PRIS'NERS IN NIGGERTOWN IT'S A DIRTY LITTLE WAR THREE FIVE ZERO ZERO TAKE WEAPONS UP AND BEGIN TO KILL WATCH THE LONG LONG ARMIES DRIFTING HOME
RIPPED OPEN BY METAL EXPLOSION CAUGHT IN BARBED WIRE FIREBALL BULLET SHOCK BAYONET ELECTRICITY SHRAPNELLED THROBBING MEAT ELECTRONIC DATA (RONNY and WALTER are surveying this scene of destruction from the tower)
I 43 I WHAT A PIECE OF WORK IS MAN RONNY & WALTER WHAT A PIECE OF WORK IS MAN HOW NOBLE IN REASON HOW INFINITE IN FACULTIES
RONNY IN FORM AND MOVING HOW EXPRESS AND ADMIRABLE
BOTH IN ACTION HOW LIKE AN ANGEL.
RONNY IN APPREHENSION HOW LIKE A GOD.
BOTH THE BEAUTY OF THE WORLD THE PARAGON OF ANIMALS.
RONNY I HAVE OF LATE BUT WHEREFORE I KNOW NOT LOST ALL MY MIRTH
THIS GOODLY FRAME THE EARTH SEEMS TO ME A STERILE PROMONTORY
WALTER THIS MOST EXCELLENT CANOPY THE AIR LOOK YOU THIS BRAVE O'ERHANGING FIRMAMENT
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 78 2-21 BOTH THIS MAJESTICAL ROOF FRETTED WITH GOLDEN FIRE WHY IT APPEARS NO OTHER THING TO ME THAN A FOUL AND PESTILENT CONGREGATION OF VAPOURS
WHAT A PIECE OF WORK IS MAN HOW NOBLE IN REASON
I 44 I HOW DARE THEY TRY (Reprise: WALKING IN SPACE)
TRIBE HOW DARE THEY TRY TO END THIS BEAUTY HOW DARE THEY TRY TO END THIS BEAUTY WALKING IN SPACE WE FIND THE PURPOSE OF PEACE THE BEAUTY OF LIFE YOU CAN NO LONGER HIDE
OUR EYES ARE OPEN OUR EYES ARE OPEN OUR EYES ARE OPEN OUR EYES ARE OPEN WIDE WIDE WIDE
(The "trip" is over)
(Music out)
BERGER Claude ...
TRIBE Claude ... Claude ... Claude ...
CLAUDE (Sits up) What happened?
BERGER Face reality, Shakespeare.
CLAUDE Oh my God, what did you put in that joint? Berger, I feel lonely. Let's go to Mexico, George.
BERGER I'll go with you.
CLAUDE I want to sleep in the mushrooms and eat the· sun. I know where it's at.
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
79 2-22
SHEILA You know where it's at!
CLAUDE (To BERGER) I know where it's at!
BERGER I know where it's at. We all know where it's at.
CLAUDE I can't make this moment to moment living on the streets.
BERGER I dig it. I dig it.
CLAUDE I don't. I don't. (HE starts painting HIS chest)
BERGER Putting on his peace paint he said: On with the groovy revolution.
CLAUDE I don't want to be a dentist or a lawyer or a bum or an IBM machine, or a rock 'n' roll hero, or a movie star. I just want to have lots of money.
BERGER I'm gonna go to India •.• float around ... bake bread. Brownies ... I'm gonna stay high. They'll never get me. I'm gonna stay high forever.
CLAUDE I know what I want to be ••. invisible. I don't need drugs. An invisible man, I could float around and slip into people's minds and know exactly what they're doing and what they're thinking. I could go anywhere, do anything •.• I could perform miracles. That's the only thing I want to do or be on this dirt.
BERGER He's the Invisible Man!
TRIBE Zap!
(THEY all touch CLAUDE. Tower Clock strikes one, at the back of orchestra. CLAUDE looks out)
CLAUDE Oh, my God, it's one o'clock.
80 2-23
BERGER I hate the fuckin' world, don't you?
CLAUDE I hate the fuckin' world, I hate the fuckin' winter, I hate these fuckin' streets.
BERGER I wish the fuck it would snow at least.
CLAUDE Yeah, I wish the fuck it would snow at least.
BERGER Yeah, I wish the fuck it would.
CLAUDE Oh, fuck.
BERGER Oh, fucky, fuck, fuck.
CLAUDE I wish it was the biggest fucking snowstorm. Blizzards come down in sheets. Come on! Mountains, rivers, oceans, forests, rabbits, cover everything in beautiful white holy snow, and I could hide out a hermit and hang on a cross and eat cornflakes. (To BERGER) Berger, I was in the shower this morning and I reached down and I couldn't find it ... it fell off and washed down the drain.
BERGER Sheila, Claude lost his thing. It's about this big. (Gesture of 1/4 inch) Anybody see it? SHEILA Tomorrow morning, at dawn, we will take our heads down to the U.S. Army induction center for an Exorcism of the Khaki. We're going to yip out all the bad vibrations -- yip, yip, yip, yip, -- and we're going to yip up the sun -- yip, yip, yip, yip, yip, yipeeee. (To CLAUDE, who is now climbing the tower) Claude, c'mon down and join the tribe.
CLAUDE (HE comes down) Are we all going someplace together?
TRIBE Yeah, yeah, yeah.
WOOF I'm horny, I'm going home.
81 2-24
BERGER C'mon, horny, let's go.
WOOF Crissy, you wanna come with me?
CRISSY No, not tonight, I'm comin' with Walter, ain't I, Walter?
WALTER I don't care. (To SUZANNAH) Is it all right, Suzannah, if Crissy comes with us?
SUZANNAH We slept together last week. I'd rather sleep alone together.
WOOF Everybody, if we all sleep together, it'll be nice and warm.
JEANIE I don't want to sleep with that. DIONNE (To CRISSY) All right then, you sleep with it.
CRISSY Yeah? I'd rather do it myself.
WOOF (To MARY) Hey Mary, I'll walk you home, Mary.
MARY To 125th Street?
MARJORIE (Runs over to WOOF) Woof, I'd like to take a bath with you.
WOOF Ahhh! I'm Catholic!
MARJORIE In Holy Water!
CLAUDE Tonight is the last night of the world. We stick together.
(Music starts vamp for next number)
82 2-25
TRIBE Look at the moon, look at the moon, look at the moon ...
I 45 I GOOD MORNING, STARSHINE
SHEILA (Sings:) GOOD MORNING STARSHINE THE EARTH SAYS HELLO YOU TWINKLE ABOVE US WE TWINKLE BELOW
GOOD MORNING STARSHINE YOU LEAD US ALONG MY LOVE AND ME AS WE SING OUR EARLY MORNING SINGING SONG
ALL GLIDDY GLUP GLOOPY NIBBY NABBY NOOPY LA LA LA LO LO
SABBA SIBBY SABBA NOOBY ABBA NABBA LEE LEE LO LO
TOOBY OOBY WALLA NOOBY ABBA NABBA EARLY MORNING SINGING SONG
SHEILA GOOD MORNING STARSaiNE THE UNIVERSE RINGS WITH MILKY WAY MUSIC OUR BLUE PLANET SINGS
GOOD MORNING STARSHINE WE'RE HAPPY AND STRONG WE SEND YOU LOVE FROM ABOVE OUR EARLY MORNING SINGING SONG
ALL GLIDDY GLUP GLOOPY NIBBY NABBY NOOPY LA LA LA LO LO
~ 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
83 2-26
ALL (Cont'd) SABBA SIBBY SABBA NOOBY ABBA NABBA LEE LEE LO LO
TOOBY OOBY WALLA NOOBY ABBA NABBA EARLY MORNING SINGING SONG
SINGING A SONG HUMMING A SONG SINGING A SONG LOVING A SONG LAUGHING A SONG SINGING A SONG
SING THE SONG SONG THE SING SONG SONG SONG SING SING SING SING SONG
SONG SONG SONG SING SING SING SING SONG
(Music out)
(FOUR BOYS drag an old mattress on stage)
TRIBE (Spoken chant) Uuuuuuuuuuuuuuu the bed. Aaaaaaaaaaaaaaa the bed. Ooooooooooooooo the bed.
I 46 I THE BED
TRIBE OH THE BED MMMMM THE BED I LOVE THE BED
YOU CAN LIE IN BED YOU CAN LAY IN BED YOU CAN DIE IN BED YOU CAN PRAY IN BED
YOU CAN LIVE IN BED YOU CAN LAUGH IN BED YOU CAN GIVE YOUR HEART OR BREAK YOUR HEART IN HALF IN BED
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 84 2-27
TRIBE (Cont'd) YOU CAN TEASE IN BED YOU CAN PLEASE IN BED YOU CAN SQUEEZE IN BED YOU CAN FREEZE IN BED
YOU CAN SNEEZE IN BED CATCH THE FLEAS IN BED ALL OF THESE PLUS EAT CRACKERS AND CHEESE IN BED.
(THEY have pulled out a huge phallic-like cloth "tunnel," which covers almost the entire stage, and the TRIBE bursts out of it, one by one, with confetti and balloons)
OH THE BED IS A THING OF FEATHER AND SPRING OF WIRE AND WOOD INVENTION SO GOOD
OH THE BED COMES COMPLETE WITH PILLOW AND SHEET WITH BLANKET ELECTRIC AND BREATH ANTISEPTIC
LET THERE BE SHEETS LET THERE BE BEDS FOAM RUBBER PILLOWS UNDER OUR HEADS
LET THERE BE SIGHS FILLING THE ROOM SCANTY PAJAMAS BY "FRUIT OF THE LOOM"
YOU CAN EAT IN BED YOU CAN BEAT IN BED BE IN HEAT IN BED HAVE A TREAT IN BED
YOU CAN ROCK IN BED YOU CAN ROLL IN BED FIND YOUR COCK IN BED LOSE YOUR SOUL IN BED YOU CAN LOSE IN BED YOU CAN WIN IN BED
BUT NEVER NEVER NEVER NEVER NEVER NEVER SIN IN BED
85 2-28
THE TRIBE (Cont'd)
BUT NEVER NEVER NEVER NEVER NEVER NEVER NEVER NEVER NEVER CAN YOU SIN IN BED
(CLAUDE, upstage center, bids goodnight to each of the TRIBE with JEANIE, SHEILA and BERGER, the last three to go)
AQUARIUS GOODNIGHTS
AQUARIUS AQUARIUS AQUARIUS AQUARIUS
(Music segues)
CLAUDE (Left alone on stage, HE rushes forward, shouting out:)
I'm human being number 1005963297.
(Appearrance of VIETNAMESE SNIPER, with rifle)
I 47 I AIN'T GOT NO - Reprise
AIN'T GOT NO AIN'T GOT NO AIN'T GOT NO AIN'T GOT NO (Rifle shot, CLAUDE is hit) AIN'T GOT NO (Hit again) AIN'T GOT NO (Again) AIN'T GOT NO (Again) AIN'T GOT NO (Again) AIN'T GOT NO (Runs off screaming)
(Heavy snowfall begins. TRIBE enters from all directions. Onstage, THEY wrap themselves in blankets playing strange instruments -- cans, flutes, garbage cans, sticks. This builds in rhythm and intensity and goes into)
TRIBE BOOM BOOM BEEP BEEP UMGAWAH FLOWAH POWAH
c 1966, 1967, 1968 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
86 2-29
TRIBE (Cont'd) BOOM BOOM BEEP BEEP UMGAWAH FLOWAH POWAH
HELL NO WE WON'T GO HELL NO WE WON'T GO
DO NOT ENTER INDUCTION CENTER DO NOT ENTER INDUCTION CENTER
(Yipping out bad vibrations, pounding deck:)
YIP YIP YIP YIP YIP YIP YIP YIP YIP YIP YIP YIP YIP YIP YIP YIP WHAT IN THE HELL ARE WE FIGHTING FOR MAKE LOVE NOT WAR BLACK WHITE YELLOW RED COPULATE IN A KING-SIZE BED
(Yipping up the sun:)
YIP YIP YIP YIP YIP YIP YIP-EEE,
YIP YIP YIP YIP YIP YIP YIP-EEEE ..•
(Music continues vamp under dialogue)
BERGER Sheila! Sheila! Where were you? We thought you weren't gonna make it.
WOOF Where's Claude?
BERGER Yeah, where is he?
SHEILA He should be here.
BERGER Claude! Claude!
CLAUDE (Enters, dressed in military uniform, but THEY do not see HIM, or hear HIM)
I'm right here.
(Snow stops falling, TRIBE freezes, and the Music stops. In the silence:)
Like it or not, they got me. 87 2-30
I 48 I THE FLESH FAILURES (LET THE SUN SHINE IN)
WE STARVE LOOK AT ONE ANOTHER SHORT OF BREATH .WALKING PROUDLY IN OUR WINTER COATS WEARING SMELLS FROM LAB'RATORIES FACING A DYING NATION OF MOVING PAPER FANTASY LIST'NING FOR THE NEW TOLD LIES WITH SUPREME VISIONS OF LONELY TUNES
SOMEWHERE INSIDE SOMETHING THERE IS A RUSH OF GREATNESS WHO KNOWS WHAT STANDS IN FRONT OF OUR LIVES
I FASHION MY FUTURE ON FILMS IN SPACE SILENCE TELLS ME SECRETLY •.. EVERYTHING, EV'RYTHING ...
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc.
(Music continues vamp under dialogue)
Berger, I feel like I died.
BERGER (Calling) Claude!
CLAUDE I'm here!
SHEILA Where is he?
CLAUDE If I am unseen, then I can perform miracles ...
BERGER Claude ...
TRIBE (Unison) Claude ...
CLAUDE That's the only thing I want to do on this dirt.
I 49 I EYES LOOK YOUR LAST - Reprise: MANCHESTER, ENGLAND & FLESH FAILURES
CLAUDE TRIO (TRIBE) MANCHESTER ENGLAND ENGLAND MANCHESTER ENGLAND ENGLAND EYES LOOK YOUR LAST ACROSS THE ATLANTIC SEA ARMS TAKE YOUR LAST EMBRACE AND I'M A GENIUS GENIUS AND LIPS, OH YOU, THE DOORS OF BREATH,
~ 1966, 1967 Galt MacDermot, James Rado, Gerome Ragni, Nat Shapiro and United Artists Music Co., Inc. 88 2-31
CLAUDE TRIO I BELIEVE IN GOD AND SEAL WITH A RIGHTEOUS KISS I BELIEVE THAT GOD SEAL WITH A RIGHTEOUS KISS BELIEVES IN CLAUDE THAT'S ME THE REST IS SILENCE THAT'S ME THE REST IS SILENCE THAT'S ME THE REST IS SILENCE (The TRIBE put THEIR hands in front of CLAUDE's face and we no longer see HIM)
SHEILA WE STARVE LOOK AT ONE ANOTHER SHORT OF BREATH WALKING PROUDLY IN OUR WINTER COATS WEARING SMELLS FROM LAB'RATORIES
SHEILA & DIONNE FACING A DYING NATION OF MOVING PAPER FANTASY LIST'NING FOR THE NEW TOLD LIES WITH SUPREME VISIONS OF LONELY TUNES
ALL SINGING OUR SPACE SONGS ON A SPIDER WEB SITAR LIFE IS AROUND YOU AND IN YOU ANSWER FOR TIMOTHY LEARY DEARIE
LET THE SUNSHINE LET THE SUNSHINE IN THE SUNSHINE IN
LET THE SUNSHINE LET THE SUNSHINE IN THE SUNSHINE IN
LET THE SUNSHINE LET THE SUNSHINE IN THE SUNSHINE IN
(THEY all start to leave the stage, revealing CLAUDE lying center, on a black cloth.
BERGER, with drum sticks, circles CLAUDE's body in an "Eagle Dance," then stops and looks down at him)
ALL (Cont'd) LET THE SUNSHINE LET THE SUNSHINE IN THE SUNSHINE IN
LET THE SUNSHINE LET THE SUNSHINE IN THE SUNSHINE IN
89 2-32
(BERGER forms a cross in the air with HIS drum sticks above CLAUDE's body.
CURTAIN. CURTAIN CALLS can be done with no music in the background. ORCHESTRA REPRISE: LET THE SUN SHINE IN, musical number 49, starting bar 42, with Audience and TRIBE singing. TRIBE exits. LIGHTS change and a single NATIVE AMERICAN INDIAN enters, wearing a floor-length feather headdress, holding drum high above HIS head. Enter two INDIAN WOMEN and CLAUDE)
I so I HIPPIE LlFE CLAUDE HOW I LOVE MY HIPPIE LIFE WHAT A FAR OUT TRIP IN MY HEART IS LOVE FOR OTHERS (BERGER enters) ALL MY SISTERS AND MY BROTHERS
CLAUDE & BERGER HOW I LOVE MY HIPPIE LIFE BAREFOOT ON CEMENT BROTHER, CAN YOU SPARE A QUARTER CARE TO SHARE SOME MARIJUANA? (Optional: ... SOME FRESH SPRING WATER?)
0, WE'RE GONNA CHANGE THE WORLD AT LEAST WE'RE GONNA TRY WE'RE GONNA TAKE THIS LOW DOWN WORLD AND MAKE IT HIGH, HIGH, HIGH
CLAUDE, BERGER & TWO WOMEN LIFT IT UP TO SEE THE LIGHT OPEN UP ITS HEART TRY TO END ITS STRESS AND STRIFE TURN IT ON TO HIPPIE LIFE HOW I LOVE MY HIPPIE LIFE
(3 TRIBE GUYS enter DR and cross and FULL TRIBE enters dancing)
3 TRIBE GUYS Keep on truckin,' keep on truckin'!
FULL TRIBE HOW I LOVE MY HIPPIE LIFE WHAT A FAR OUT TRIP WE'RE GONNA SAVE THE DRINKING WATER PEACE IS JUST AROUND THE CORNER
c 1991 Galt MacDermot, James Rado and Gerome Ragni
90 2-33
FULL TRIBE (Cont'd) 0, WE'RE GONNA CHANGE THE WORLD AT LEAST WE'RE GONNA TRY WE'RE GONNA TAKE THIS LOW DOWN WORLD AND MAKE IT HIGH, HIGH, HIGH
LIFT IT UP TO SEE THE LIGHT OPEN UP ITS HEART TRY TO END ITS STRESS AND STRIFE TURN IT ON TO HIPPIE LIFE HOW I LOVE MY HIPPIE LIFE HAPPY HOPI HIPPIE LIFE HOW I LOVE MY HIPPIE LIFE
(AUDIENCE is encouraged to dance onstage with the TRIBE)
I 51 I EXIT MUSIC - Orchestra
THE END
91