Show Perusal

BKLYN THE MUSICAL

BY MARK SCHOENFELD & BARRI MCPHERSON

SHOW PERUSAL

02/06/19 Brooklyn The Musical

Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, and the Berne Convention.

Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, professional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages.

Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Broadway Licensing. No amateur or stock production groups or individuals may perform this Play without obtaining advance written permission from Broadway Licensing. Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. Required royalties must be paid every time the Play is performed before any audience, whether or not concerning amateur and stock performance rights should be addressed to Broadway Licensing (see contact information on opposite page).

Inquiries concerning all other rights should be addressed to Broadway Licensing, as well; such inquiries will be communicated to the author and the author’s agent, as applicable.

Restriction of Alterations. There shall be no deletions, alterations, or changes of any kind made to the Play, including the changing of character gender, the cutting of dialogue, the cutting of music, or the alteration of objectionable language, unless directly authorized by Broadway Licensing. The title of the Play shall not be altered.

Author Credit. Any individual or group receiving permission to produce this Play is required to give credit to the author as the sole and exclusive author of the Play. This obligation applies to the title page of every program distributed in connection with performances of the Play, and in any instance that the title of the Play appears for purposes of advertising, publicizing, or otherwise exploiting the Play and/or a production thereof. The name of the author must appear on a separate line, in which no other name appears, immediately beneath the title and of a font size at least 50% as large as the largest letter used accorded the author. The name of the author may not be abbreviated or otherwise altered from the form in which it appears in this Play.

Publisher Attribution. All programs, advertisements, and other printed material distributed or published in connection with the amateur or stock production of the Play shall include the following notice:

Produced by special arrangement with Broadway Licensing (www.broadwaylicensing.com)

Prohibition of Unauthorized Copying. Any unauthorized copying of this book or excerpts from this book is strictly forbidden by law. Except as otherwise permitted by applicable law, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means now known or yet to be invented, including, without limitation, photocopying or scanning, without prior permission from Broadway Licensing. This Play may include references to brand names and trademarks owned included solely for parody, political comment, or other permitted purposes.

Permissions for Sound Recordings and Musical Works. This Play may contain directions calling for the performance of a portion, or all, of a musical work not included in the Play’s score, or performance of a sound recording of such a musical work. Broadway Licensing has not obtained permissions to perform such works. The producer of this Play is advised to obtain such permissions, if required in the context of the ASCAP (www.ascap.com), BMI (www.bmi.com), and NMPA (www.nmpa.org) for further information on the need to obtain permissions, and on procedures for obtaining such permissions. The Rules in Brief

1) Do NOT perform this Play without obtaining prior permission from Broadway Licensing, and without paying the required royalty. 2) Do NOT photocopy, scan, or otherwise duplicate any part of this book. 3) Do NOT alter the text of the Play, change a character’s gender, delete any dialogue, cut any music, or alter any objectionable language, unless explicitly authorized by Broadway Licensing. 4) DO provide the required credit to the author(s) and the required attribution to Broadway Licensing in all programs and promotional literature associated with any performance of this Play. For more details on these and other rules, see the opposite page.

This Play is protected by United States and international copyright law. These laws ensure that authors are rewarded for creating new and vital dramatic work, and protect them against theft and abuse of their work. A play is a piece of property, fully owned by the author, just like a house or car. You must obtain permission to use this property, and must pay a royalty fee for the privilege—whether or not you charge an admission fee. Broadway Licensing collects these required payments on behalf of the author. Anyone who violates an author’s copyright is liable as a copyright infringer under United States and international law. Broadway Licensing and the author are entitled to institute legal action for any such infringement, which can subject the infringer to actual damages, statutory damages, and attorneys’ fees. A court may impose statutory damages of up to $150,000 for willful copyright infringements. U.S. copyright law also provides for possible criminal sanctions. Visit the website of the U.S. Copyright Office (www.copyright.gov) for more information. THE BOTTOM LINE: If you break copyright law, you are robbing a play- wright and opening yourself to expensive legal action. Follow the rules, and when in doubt, ask us.

Broadway L icensing toll-free phone: 1-866-NEW-PLAY 7 Penn Plaza, Suite 904 email: [email protected] New York, NY 10001 website: www.broadwaylicensing.com

BKLYN THE MUSICAL

PRESET

(A ravaged street corner in Brooklyn. Scaffolding, down right and left, frames a streetlamp, a garbage can, and the remains of an old tenement building with a chain-link fence. A sign on the building shows that there are '15 minutes until showtime’.)

(A soundscape of city sounds: traffic, cab horns, subway squeals, etc.)

(The street performers break through the fence onto their sidewalk stage and begin preparing for their 8:00 PM showPerusal under the Brooklyn Bridge.)

(An empty guitar case is placed at the foot of the streetlamp with a sign that reads “Give Only What You Can”.)

#1 OPENING

(We HEAR a bass & percussion groove coming from a boombox carried by a CITY WEED (CLEAVANT). Soundscape fades, groove continues.) Licensing CLEAVANT (riffing at top of number – may adlib “One More Time”) Yeah, sure look like we got a good crowd goin’ herePRODUCTION tonight on Streetsinger’s Row (I said it sure looks like we got a good crowd going here tonight... yeah, Streetsinger’s Row- that’s where we do our little sidewalk show. Look like every star out in heaven is shining down on Brooklyn tonight...

#2 HEARTFOR BEHIND THESE HANDS

Broadway CLEAVANT (singing) THERE’S A HEART BEHIND THESE HANDS THERE’S A SOUL BENEATH THESE CLOTHES NOT (We HEAR the sound of loose change being tossed into the empty guitar case. “Thank yous” from the troupe.)

THERE’S A STORY BEHIND THESE EMPTY EYES THAT NO ONE WANTS TO KNOW

1 CLEAVANT (CONT’D) BUT IF YOU HAVE THE TIME TO LISTEN

JULIE Ya'll got the time.

CLEAVANT THEN YOU JUST MIGHT UNDERSTAND THAT YOUR VERY LIFE LIES IN THE HANDS OF FATE LIKE THE HEART BEHIND THESE HANDS

(Sound of loose change is HEARD again. More “Thank yous” from the troupe.) Perusal LIKE THE HEART BEHIND THESE HANDS

I ONCE HAD ME A FORTUNE-TELLER TELL ME ABOUT MY LIFE

MELBA SHE SAID, “IF NO ONE’S EVER LOVED YOU, CHILD THEN EVERYONE PAYS THE PRICE...”

DIANA SHE SAID, “LOVE IS ALLLicensing WE LIVE FOR”

JULIE “IT’S GOD’S ONE AND ONLY PLAN” PRODUCTION LEE BUT EVEN GOD MAY STILL ABANDON YOU LIKE THE HEART BEHIND THESE HANDS

FORCLEAVANT (singing to LEE) BroadwayNO, NO BROTHER HE’S THE ONE TO PULL YOU THROUGH HIS LOVE IS YOUR COMMAND... SOMEBODYNOT HELP ME SING IT

THE CITY WEEDS THERE’S A HEART BEHIND THESE HANDS THERE’S A SOUL BENEATH THESE CLOTHES

2 CLEAVANT THE CITY WEEDS THERE’S A STORY BEHIND AAAAHHHHH THESE EMPTY EYES THAT NO ONE WANTS TO KNOW

MELBA AND OH IF YOU FEEL THE SPIRIT MOVE YOU

LEE GIVE ONLY WHAT YOU CAN

DIANA AND I’LL SING MY SONG GOOD AND STRONG Perusal I’M GONNA SING IT

CLEAVANT YEAH, YOU CAN SING IT

MELBA I’M GONNA SING IT, SING IT, SING IT

LEE I’M GONNA SING IT Licensing (JULIE riffs vocally)

THE CITY WEEDS FROM THE HEART BEHIND THESE HANDSPRODUCTION FROM THE HEART BEHIND THESE HANDS

(Song Ends.)

(More loose change is HEARD:FOR ka-ching, ka-ching.)

Broadway CLEAVANT (to gathered crowd) Thank you, thank you sir, God bless you ma’am, you and your family. You see, we’re a family of sorts too... maybe not like the Mom and apple pie kind, nah, we’re more like the cluster of weedsNOT here sproutin’ right up through these concrete streets. Yeah, that’s what we are...

(they pose in a Kodak moment)

3 CLEAVANT & THE CITY WEEDS “The City Weeds.”

(they clap in unison)

(The sound of loose change again. They all look. )

MELBA Now you didn’t just throw some monopoly money in there, now didja boss? I mean we ain’t in the Real Estate bid’ness, but we in bid’ness for real... pullin’ ourselves up by our own bootstraps... okay.

DIANA (singing) Perusal YEAH, WE’RE GONNA SING FOR OUR SUPPER...

LEE And tell y’all a story...

CLEAVANT Yeah, we're gonna tell you our own little sidewalk fairy tale.

THE CITY WEEDS Sidewalk fairy tale. Licensing CLEAVANT It's a tale of family, fame, faith, and fate. And every fairy tale holds a little truth... Ahhh, but whose truth... PRODUCTION

(CITY WEEDS hold for a few beats.)

And who knows, maybe one day us Weeds will rise above this here little patch’a ground and be tellin’ our tales and FORsinging our songs across this here bridge...

Broadway JULIE Yeah, we be playin’ all the great stages...

DIANA ...Carnegie Hall... NOT

MELBA ...Radio City...

4 LEE ...Madison Square Garden!

CLEAVANT Yeah, from the streetlight to the spotlight, who knows y'all...

A CHANGE IS ON THE WAY, I CAN FEEL IT FOR ME

Cuz when you're in America's lost and found, you gotta believe anything is possible.

PARADICE I know that's right.

JULIE Perusal You ain't lyin' tonight.

CLEAVANT Ladies and Gentlemen... Plug it in, plug it in...

(CLEAVANT adjusts the sign on the tenement building to indicate that it is... )

...Showtime! Licensing ALL ... Sceeeeeene One.

(The TROUPE makes drum roll noise asPRODUCTION LEE sprays “Scene 1” on the brick wall. During the course of the play the troupe will continue to spray paint the wall, keeping tally of the scenes for the street crowd.) FOR Broadway NOT

5 SCENE 1

CLEAVANT Once upon a time...A young American went to Paris with nothing but a guitar and a dream. His name was Taylor Collins...

TAYLOR (LEE) I play Taylor Collins.

CLEAVANT ...and he dreamed of being a singer, a poet, a writer of songs. He dreamed of Fame...

(KEVIN struggles with a guitar riff) Perusal Keep dreamin’. It was June, 1969, he was backpacking through France when he walked into this small, this little Parisian café right in the shadow of the Eiffel Tower... and there he met a beautiful, young waitress with dreams of her own. Her name was Faith...

FAITH (JULIE) I play Faith.

CLEAVANT ...and Faith would be a dancer and one day hoped to play the New York stage... yeahhh, love was a song and life was a dance... Why, it was as if their very fate was sealed within the pages of a fairy tale.Licensing And with every fairy tale comes a lullaby, so Taylor was writing one. One that would follow these young lovers for the rest of their lives...

TAYLOR ... LA LA LA LA, LA LA, LA LA LA LA PRODUCTION LA LA LA LA ... OUR LOVE WILL STAY STRONG ... LA LA LA LA, LA LA, LA LA LA LA LET OUR FATE WRITE WORDS TO THIS SONG

That’s all I’ve got so far. FOR

Broadway CLEAVANT ... but even fairy tales come to an end. And before that lullaby was finished...... he had to go back home.

(CLEAVANTNOT hands TAYLOR a draft letter)

He kissed her goodbye.

(TAYLOR and FAITH kiss.)

6 CLEAVANT (CONT’D) A kiss with a promise to love her for eternity. A kiss with a promise to bring Faith to America. A kiss with a promise to finish the unfinished lullaby.

TAYLOR I promise.

CLEAVANT But he never kept that promise. She never heard from him again. Faith had his child. But Taylor - he never knew... and Faith named her little girl for Taylor’s home far away. She named her... Brooklyn. Perusal

Licensing PRODUCTION

FOR Broadway NOT

7 SCENE 2

BROOKLYN (crying like a newborn) Waaaahhhhhhhh!!!!!

(MELBA adds to the scene tally.)

#2A PROLOGUE

CLEAVANT She would rock baby Brooklyn to sleep with that simple, unfinished lullaby...

FAITH Perusal (cradling her baby) ...LA LA LA LA, LA LA, LA LA LA LA... LA LA LA LA... OUR LOVE WILL STAY STRONG...

FAITH AND BROOKLYN (as FAITH wraps BROOKLYN in skirt) ...LA LA LA LA, LA LA, LA LA LA LA

BROOKLYN LET OUR FATE WRITE WORDS TO THIS SONG Licensing I play Brooklyn. But don't worry - I grow up in a few minutes.

CLEAVANTPRODUCTION Well, soon Faith became the dancer she hoped to be. Known throughout the City of Lights as the Parisian Butterfly...

(FAITH points to herself)

...she played all the grande stages, herFOR name on every marquee... Ahhhh, but there was no joy in fame for this delicate young beauty, for the singer, the poet, the writer of songs Broadwaynever returned. So for the next five years, little Brooklyn would watch her mother reveal her broken heart in dance...

(LightsNOT up on FAITH and BROOKLYN in dressing room of Club Le Grande Jete.)

STAGE MANAGER (MELBA) 5 minutes, 5 minutes till show time.

8 BROOKLYN Merry Christmas Mommy!

(BROOKLYN gives FAITH a rose)

FAITH (kissing her) Thank you Brooklyn.

BROOKLYN Mommy, will I get to meet my Daddy this year?

(FAITH puts the rose in her hair and begins to cry.) Perusal Mommy, please don’t cry.

FAITH Always remember, Brooklyn, sometimes with our tears we can water roses.

BROOKLYN (puzzled) Huh?

(Through the window, snow begins to fall outside.) Licensing Oh Mommy look! It’s snowing...

#3 CHRISTMAS MAKESPRODUCTION ME CRY

FAITH (at her dressing table) PEOPLE OUT THERE GIVING CELEBRATION IN THE AIR MIDNIGHT BELLS ARE RINGINGFOR IT’S SNOWING EVERYWHERE Broadway BROOKLYN Do you think it’s snowing where Daddy is? NOT FAITH EVERYONE’S WITH SOMEONE BUT FOR YOU AND I I COULDN’T WAIT FOR CHRISTMAS NOW CHRISTMAS MAKES ME CRY

9 CLEAVANT But far from Paris, in the land of the free and the home of the brave...another voice cries out...

TAYLOR (sitting high atop NYC scaffolding) SANTA CLAUS IS JUST A MAN WEARING FUNNY CLOTHES RUDOLPH’S JUST A SONG SOMEBODY HAS COMPOSED

(BROOKLYN helps FAITH get into her costume.)

PEOPLE ARE A’CAROLING Perusal BUT I WON’T EVEN TRY I USED TO SING AT CHRISTMAS NOW CHRISTMAS MAKES ME CRY

CUZ EVERYONE’S WITH SOMEONE WHO THEY LOVE

FAITH EVERYONE’S WITH SOMEONE WHO THEY LOVE Licensing TAYLOR AND FAITH EVERYONE’S WITH SOMEONE BUT FOR YOU AND I PRODUCTION I USED TO LAUGH AT CHRISTMAS

TAYLOR NOW CHRISTMAS MAKES ME CRY FOR M.C. (MELBA) BroadwayMesdames et Messieurs, Le Grande Jete is proud to present the Parisian Butterfly in her tour de force -- “The Unfinished Lullaby”.

(FAITH performs “The Unfinished Lullaby” in dance as CLEAVANTNOT narrates.)

(TAYLOR continues singing “CHRISTMAS MAKES ME CRY” as underscoring.)

10 CLEAVANT The only prop on stage... a hangman’s noose. Placing the coarse rope around her neck, she would ascend to unknown heights.

Suddenly she would drop from the rafters, swaying in dance at the end of a noose, then floating to the stage like a summer butterfly.

Audiences would cheer “Bravo! Magnifique!”

CITY WEEDS Bravo! Magnifique!

CLEAVANT But all that love and adulation could not fill the hole in Faith’sPerusal young soul... a soul left empty by Taylor Collins.

TAYLOR I USED TO LAUGH AT CHRISTMAS NOW CHRISTMAS MAKES ME CRY

CLEAVANT And so on a cold, snowy Christmas night, Faith, the Parisian Butterfly... ended her dance...

LicensingBROOKLYN Mommy?

CLEAVANT (drum roll) PRODUCTION ...in death.

BROOKLYN (screaming) Mommy ! FOR

Broadway #4 NOT A SOUND

ALL BUT BROOKLYN (a capella)NOT AAHHH AAHHH AAHHH AAHHH....

JULIE CLEAVANT, MELBA, LEE A BEAUTIFUL LITTLE GIRL OOOH

11 MELBA BORN OF MUSIC, MADE OF DREAMS

CLEAVANT HER WORLD, JUST FIVE YEARS OLD

JULIE UNRAVELING

LEE AND AS THE SNOW FALLS DOWN

MELBA ON THE COLD, HARD GROUND Perusal

LEE THERE’S NOT A WORD NOT A WHISPER NOT A SOUND

ALL EXCEPT BROOKLYN AND AS THE SNOW FALLS DOWN ON THE COLD, HARD GROUND

LicensingBROOKLYN THERE’S NOT A WORD NOT A WHISPER NOT A SOUND PRODUCTION

FOR Broadway NOT

12 SCENE 3

(JULIE adds to the scene tally.)

CLEAVANT Motherless and Fatherless... little Brooklyn was sent off to an orphanage - The Sisters of Charity.

MELBA Guess who’s the sister?

CLEAVANT Then two years to the day her mother died... A seven year-old Brooklyn walked into the orphanage chapel. And though her hands had never touchedPerusal the church organ before ... She began to play.

#4A BROOKLYN INTRO

(On the organ. We see BROOKLYN at the church organ. She began to sing the “Unfinished Lullaby”.)

BROOKLYN LA LA LA LA, LA LA LA LA... LET OUR FATE WRITE WORDS TO THIS... Licensing (BROOKLYN slams her fists on the organ keys. We hear a distorted crash of organ tones.) PRODUCTION #5 BROOKLYN GREW UP

THE CITY WEEDS BROOKLYN GREW UP FOR JULIE CLEAVANT, MELBA, LEE BroadwayLOOKING IN THE MIRROR AAHH NEVER KNOWING WHO SHE REALLY WAS OOOHHH WITH A HAIRBRUSHNOT IN HER HAND LIKE A MICROPHONE AAHH SHE WOULD SING THE SONG THAT HER MOTHER WOULD SING AAHH

13 BROOKLYN (angrily) LA LA LA LA, LA LA, LA LA LA ...

THE CITY WEEDS FROM THE DAY SHE WAS BORN BROOKLYN SANG OUT THIS SONG

CLEAVANT, JULIE, MELBA, LEE AH AAHH

BROOKLYN CLEAVANT, JULIE, MELBA LEE MY DADDY DON’T KNOW AH AAHH THAT I WAS EVER BORN Perusal THIS PAIN IN MY HEART IS GETTING STRONGER

THE CITY WEEDS STRONGER

BROOKLYN CLEAVANT, JULIE, MELBA, LEE AND I DON’T THINK DON’T THINK I CAN TAKE IT ANY LONGER I CAN TAKE IT ANY LONGER THIS WEIGHT IN MY HEART WEIGHT IN MY HEART THIS ACHE IN MY SOULLicensing ACHE IN MY SOUL THIS YEARNING IN MY HEART YEARNING IN MY HEART JUST KEEPS ON GOING ON KEEPS ON GOING ON

‘CAUSE MY DADDY DON’T PRODUCTION

THE CITY WEEDS DADDY DON’T

BROOKLYN FOR CLEAVANT, JULIE, MELBA, LEE DON’T EVEN KNOW BroadwayNO, MY DADDY DON’T KNOW NO, MY DADDY DON’T KNOW THAT I WAS EVER BORN THAT I WAS EVER BORN

DADDY! DADDY! NOT THERE’S A VOICE DEEP INSIDE VOICE DEEP INSIDE AND IT CRIES AND IT CRIES AND IT CRIES AND IT CRIES SOMEONE IS CALLING ME FAR AWAY OOO OOO OOO OOO

14 BROOKYLN (CONT’D) CLEAVANT, JULIE, MELBA, LEE (CONT’D) FAR AWAY OOO OOO

(We hear streetnoise.)

#5A INTO ONCE UPON A TIME

(Music begins: “ONCE UPON A TIME” BROOKLYN hums as she writes her poetry and music on the bedroom wall.)

CLEAVANT You see, as Brooklyn found music, she found a way to rid the torment from her soul ... A soul filled with musical gifts passed down to her from aPerusal father she never knew.

(FAITH appears as an angel.)

FAITH Brooklyn...

BROOKLYN Mommy?

(Music starts) Licensing Mommy!

FAITH PRODUCTION Brooklyn, I’m sorry I didn’t give you a happy ending. I know I stole that from you... But always keep the Lullaby close to your heart... learn the truth about your father, it will help you heal.

BROOKLYN But... how, where would I even beginFOR to...

Broadway FAITH Trust the voice inside you, Brooklyn ... Follow it ... to America.

(BROOKLYNNOT connects her melody with her poetry for the first time.)

#6 ONCE UPON A TIME

15 BROOKLYN HAS ANYONE EVER SUNG YOU A LULLABY...

FAITH ...there’s magic in your music...through your music your father, he'll hear you...

BROOKLYN YOU CAN FLY ABOVE THE RAIN CLOUDS, CLOSE YOUR EYES...

FAITH ...just let the melody carry you, leave all your fears behind...

BROOKLYN LET THE MELODY CARRY YOU, LEAVE ALL YOURPerusal FEARS BEHIND...

FAITH ...and ‘once upon a time’... will find you.

BROOKLYN AND FLOAT ACROSS THE RAINBOW SKY TO ONCE UPON A TIME

FAITH ONCE UPON A TIME

LicensingBROOKLYN I BELIEVE IN MIRACLES

FAITH ONCE UPON A TIME PRODUCTION

BROOKLYN I BELIEVE LOVE WILL CONQUER ALL

FORFAITH ONCE UPON A TIME Broadway BROOKLYN I BELIEVE ANYTHING IS POSSIBLE

NOTBROOKLYN AND FAITH NOW ONCE UPON A TIME HAS NEVER FELT MORE RIGHT

16 CLEAVANT And soon Faith’s beautiful little girl became a famous young woman. Famous for a song, a song that finds the lost child in all of us. Oh, and now she’s famous where it counts, where nothing but fame counts... America.

(BROOKLYN’s bedroom transforms into Carnegie Hall.)

Perusal

Licensing PRODUCTION

FOR Broadway NOT

17 SCENE 4

(JULIE adds to the scene tally.)

M.C. (LEE) Ladies and Gentlemen, Carnegie Hall proudly welcomes “Paris’ Amazing Grace”, Brooklyn!

BROOKLYN HAS ANYONE EVER READ YOU A FAIRY-TALE AND TAKEN YOU TO PLACES MAGICAL WHERE HOMES ARE MADE OF GINGERBREAD AND SKIES ARE ALWAYS BLUE WHERE PUMPKINS TURN TO COACHES Perusal AND WISHES ALL COME TRUE

HAS ANYONE EVER SUNG YOU A LULLABY YOU CAN FLY ABOVE THE RAIN CLOUDS CLOSE YOUR EYES

LET THE MELODY CARRY YOU LEAVE ALL YOUR FEARS BEHIND AND FLOAT ACROSS THE RAINBOW SKY TO “ONCE UPON A TIME” Licensing THE CITY WEEDS ONCE UPON A TIME

BROOKLYNPRODUCTION I BELIEVED IN MIRACLES

THE CITY WEEDS ONCE UPON A TIME FOR BROOKLYN BroadwayI BELIEVED THAT LOVE WOULD CONQUER ALL

THE CITY WEEDS ONCE UPON A TIME NOT BROOKLYN THE CITY WEEDS I BELIEVED ANYTHING WAS POSSIBLE OOOOHHHHH

BROOKLYN AND I BELIEVED AGAIN THE MOMENT WHEN I SAW YOU HERE TONIGHT NOW

BROOKLYN AND THE CITY WEEDS ONCE UPON A TIME

BROOKLYN THE CITY WEEDS HAS NEVER FELT MORE RIGHT AAAAAHHHHH Perusal THE CITY WEEDS ONCE UPON A TIME

BROOKLYN I BELIEVED IN MIRACLES

THE CITY WEEDS ONCE UPON A TIME

BROOKLYN I BELIEVED LOVE Licensing

THE CITY WEEDS ONCE UPON A TIME PRODUCTION BROOKLYN WOULD CONQUER ALL I BELIEVED

BROOKLYNFOR AND THE CITY WEEDS ANYTHING Broadway BROOKLYN WAS POSSIBLE

NOT THE CITY WEEDS AAAHHHHH

BROOKLYN ONCE UPON A TIME

19 THE CITY WEEDS WE BELIEVED IN MIRACLES

BROOKLYN ONCE UPON A TIME

THE CITY WEEDS WE BELIEVED THAT LOVE WOULD CONQUER ALL

BROOKLYN THE CITY WEEDS OH YES I BELIEVED THAT ANYTHING WAS POSSIBLE OOO OOO OOO Perusal AND I BELIEVED AGAIN THE MOMENT WHEN I SAW YOU HERE TONIGHT NOW ONCE UPON A TIME

HAS NEVER FELT MORE RIGHT AAAAHHHHHH NEVER FELT MORE MORE RIGHT AAAAHHHHHH

(Carnegie Hall breaksLicensing into applause.)

(BROOKLYN, in dim light.)

CLEAVANTPRODUCTION Oh yeah, they say if you were in attendance that night, then you my friend were a witness to history, aaahhh but with a touch of mystery... You see, before her final bow, Brooklyn would always sing the “Unfinished Lullaby”...

FORBROOKLYN (singing “UNFINISHED LULLABY”) BroadwayLA LA LA LA, LA LA, LA LA LA LA, LA LA LA...

CLEAVANT ...though she wouldNOT never sing the words.

(BROOKLYN continues singing a capella “LA LA LA LA, LA LA, LA LA LA LA”)

20 CLEAVANT (CONT’D) Y’see, if you remember, only one other person knew those words and she longed to hear his voice sing them back to her... but where’s he been for the past twenty years? (beat) God only knows.

#6A AFTER ONCE UPON A TIME

Perusal

Licensing PRODUCTION

FOR Broadway NOT

21 SCENE 5

(LEE adds to scene tally.)

CLEAVANT (CONT’D) And so Brooklyn would use her new found fame in America to call for her father. Aaahh...but fame in the land of the Pilgrims’ Pride ain’t no fairy tale. You see, a lot of people want it, few get it, and once you got it, you ain’t never gonna give it up. Oh and people lemme tell ya, nobody knew that better than the Brooklyn born and bred Ms. Paradice –

(A mattress falls to reveal PARADICE)

PARADICE Perusal Now this may come as quite a little shock to you all, but I didn’t know my daddy either.

CLEAVANT A force of nature, a natural born world shaker. Born on Mean Street right across from Ugly Road, honed on hustle and raised on riot. Educated in the Red Hook Projects, got her Ph.D. in survival, and would do whatever it takes to remain America’s Diva of the Decade.

(beat)

Oh and people, lemme tell you,Licensing don’tchu ever misspell her name, that’s P.A.R.A...

PARADICE (in her dressing room at Radio City Music Hall) ...D.I.C.E. ‘cause I was born with nothin’ but a pair-a-dicePRODUCTION around my neck. And from that pair-a-dice, I built me a paradise. And no one...

(The BAND plays in a low rumble as M.C. introduces PARADICE) FOR

Broadway M.C. (LEE) Faster than a speeding bullet...

PARADICE No how... NOT

M.C. (LEE) More powerful than a locomotive...

22 PARADICE No way...

M.C. (LEE) Able to devour all superheroes with just one single kiss...

PARADICE ...will invade my domain! ‘Specially no French-vanilla import who has the audacity to call herself “Brooklyn”.

M.C. (LEE) Ladies and Gentlemen, Saturday morning was never like this. Radio City Music Hall is proud to present the one, the only, Mzzzzzz Paradice. Perusal (PARADICE, center stage, Radio City Music Hall.)

#7 SUPERLOVER

PARADICE WELL, SUPERMAN AIN’T PACKIN’ NO ROCKET ‘CAUSE HIS RED SHINY CAPE HANGS IN MY BEDROOM CLOSET

NOW I HEAR MISS LANELicensing WANTS TO EVEN THE SCORE WELL I SWING BOTH WAYS, LOIS COME KNOCK ON MY DOOR PRODUCTION

I’M YOUR SUPERLOVER I’VE GOT SPECIAL POWERS YOU’LL BE WEAK AND HELPLESS MY LOVE WILL DEVOUR FOR (speaking/vamping over groove) Broadway Like Sampson and Delilah, like Adam and Eve, women like me bring men to their knees Read about it... it’s in your Bible. NOT THE ITSY BITSY SPIDERMAN CLIMBED UP THE WATER SPOUT WITH THE POWER OF SEDUCTION I TOOK THAT SPIDER OUT

23 PARADICE (CONT’D) HE’S NO LONGER SPINNING WEBS TO SAVE HUMANITY HE’S JUST SPINNIN’ BENEATH MY SHEETS IN INSECT-UAL-ITY

PARADICE LEE, JULIE & DIANA I’M YOUR SUPERLOVER HOO SUP-SUPERLOVER I’VE GOT SPECIAL POWERS HOO AH AH AH AH AH YOU’LL BE WEAK AND HELPLESS HOO SUP-SUPERLOVER MY LOVE WILL DEVOUR HOOPerusal AAAHH

LEE, JULIE & DIANA POW! WHAM! BAM! KABOOM!

LEE HOLY CUNNILINGUS!

JULIE & DIANA BATMAN’S SHAKIN’ THE ROOM!

LicensingPARADICE BATMAN!

I’M GONNA STEAL HIS CAR I’M GONNA STEAL HIS THUNDER PRODUCTION AND WHEN I’M THROUGH I’M GONNA DO THE BOY WONDER

PARADICE (speaking over the groove)FOR Now what’s this I hear about parents and teachers picketing this very theater, saying Broadwaythat I’m robbing their children of their innocence... like I’m some wicked witch of the hood, or somethin’. Well, take a look at your children - they’re having unprotected sex, are they not? And that could be costly, could cost them their lives. Now, me? I’m just having a little friction with fiction, baby. Hi Ho Silver... NOT WELL, THE OL’ LONE RANGER GOT A BRAND NEW HOBBY TONTO’S ON THE WARPATH I’M THE NEW KIMOSABE

24 PARADICE (CONT’D) AND SOME SAY THIS GIRL AIN’T UP TO THE TASK WHY DON’T YOU DO Y’SELF A FAVOR AND ASK THE LONE RANGER WHILE I SIT ON HIS MASK

PARADICE LEE, JULIE & DIANA I’M YOUR SUPERLOVER HOO SUP-SUPERLOVER I’VE GOT SPECIAL POWERS HOO AH AH AH AH AH YOU’LL BE WEAK AND HELPLESS HOO SUP-SUPERLOVER MY LOVE WILL DEVOUR Perusal HOO AAAHH

PARADICE And as far as losing innocence, America, you lost yours long before I came on the scene. And no little Virgin Mary from Gay París is gonna bring it back home to ya. I mean, ‘Give me your tired, your poor, your huddled masses yearning to breathe free...’ You ain’t no melting pot... you a crock! A country of immigrants, and you all hate immigrants. White hates Black, Black hates Jew, and you all hate anyone new! And you think your kids don’t see that? I mean, we got crack on the street...

(to street crowd) Licensing

...but brother I know you got a coupla’ six- packs in your icebox and baby, get yourself to AA ‘cause I can smell the liquor on your breath from here...you think your kids don’t see that? And let’s not kid ourselves, America, youPRODUCTION sometimes go to war just ‘cause it’s good for the old pocketbook; and AIDS...? Hmmmm, sounds like genocide to me.

I mean, you got priests raping little boys, you got third graders walking to school with crayons in one hand and an AK-47 in the other. Well you look at me, America, look at me and look at me good! You see, youFOR created me. And I am nothin’ if not a true blue, red-blooded, home-grown, pull-yourself-up-by-the-bootstraps American Hero! Broadway PARADICE AHHHH.....

PARADICENOT LEE, JULIE & DIANA I’M YOUR SUPERLOVER SUPERLOVER SUP-SUPERLOVER I’VE GOT SPECIAL POWERS SPECIAL POWERS AH AH AH AH AH AH YOU’LL BE WEAK AND HELPLESS WEAK AND HELPLESS

25 PARADICE (CONT’D) LEE, JULIE & DIANA (CONT’D) SUP-SUPERLOVER MY LOVE WILL DEVOUR!!!! WILL DEVOUR AH AH AH

Perusal

Licensing PRODUCTION

FOR Broadway NOT

26 SCENE 6

(MELBA adds to scene tally. BROOKLYN is seen walking the streets of Brooklyn.)

#7A AFTER SUPERLOVER

CLEAVANT Now while Paradice was causing her usual mischief and mayhem, it was the little orphan girl from Paris who had captured the heart of America. Brooklyn!

(he snaps BROOKLYN’s picture; camera flash)

But all the love and adulation in the world could not fill thePerusal hole in Brooklyn’s young soul...Nooo, you see she needed the love of only one, but he never answered her call... So she crossed over this here bridge to walk the very same streets her father once upon a time called ‘home.’ She rode the A Train...Had a slice of Junior’s Chocolate Mountain Cheesecake, breathed the Coney Island air... had one of Nathan’s Famous, mmm mmm mmm, smothered with onions and relish.

Y’see, while Brooklyn was busy trying to feel the very soul of the city that bears her name, the Press was rolling into Flatbush like a battalion of tanks for Paradice was being immortalized...

(Music as the WallLicensing of Fame is set.)

Immortalized on the “Brooklyn Wall of Fame.” PRODUCTION (Lights up on PARADICE, in all her glory, posing in front of the “Brooklyn Wall of Fame.” An artist is adding her portrait to the throng of famous faces.)

(A barrage of flashbulbs explodes on PARADICE. Mics and cameras are everywhere.FOR The Press surrounds her, their voices coming from a boom box that CLEAVANT controls.) Broadway PARADICE ... George Gershwin, Barbra Streisand, Jackie Robinson, and me. What a thrill this is. To love me where I liveNOT is the highest honor one could ever bestow on me.

PRESS #1 (BOOM BOX) (interrupting) Paradice, how's it feel to be eclipsed by America's newest obsession, Brooklyn?

27 PARADICE (ignoring Press) It humbles me to see my face between Henny Youngman and the incomparable Abe Vigoda.

PRESS #2 (BOOM BOX) Faces of the past, Paradice...Brooklyn’s the face of the future.

(PARADICE gives a look to kill. All freeze.)

CLEAVANT Yeah, what took fifteen long years for Paradice to achieve would take Brooklyn a mere fifteen days. For you see, on that very same day, on that very same wall, Brooklyn was also being inducted. Perusal

(Music as the Wall of Fame turns 180 to reveal BROOKLN’s portrait.)

BROOKLYN This is such an honor...I would like to thank this wonderful community for making me feel like I belong...

(Boom box: applause. PARADICE reappears and presses ‘stop’ on the boom box.) Licensing PARADICE Belong?! There ain’t no part of you that belongs on these streets. And as for your face on this wall, honey, don’t be too proud- in sixteen minutes, you’ll just be another face in the crowd. PRODUCTION

(Boom box: oooos.)

BROOKLYN Ladies and Gentlemen, Ms. ParadiceFOR is a legend and I respect her feelings but my father’s from these streets... I have Brooklyn in my blood. Broadway (Boom box: thunderous applause.)

PRESS #1 (BOOM BOX) Brooklyn, any wordNOT from your father?

BROOKLYN No, not yet, but I’ll keep singing the Unfinished Lulla...

28 PARADICE Oh Puhleezzzz...the Lullaby?

(singing/sarcastic)

LA LA LA LA, LA LA...

Do you know the words?

PARADICE (CONT’D) (feigns crying)

DADDY!? Perusal (sarcastic)

If you believe all this cry-baby horse-shit then I got a bridge to sell ya.

(they all look up)

PRESS #1 (BOOM BOX) Ms. Paradice, you're past your prime. Even Don King couldn't promote your behind.

PARADICE (beat) Licensing Boys, if you gonna talk about my behind, let me put it on the line and offer up this: me and Brooklyn, in competition, on one stage - like heavy weights in the ring.

(to BROOKLYN) PRODUCTION So whaddaya say Mon Cherie, time to put on the gloves?

BROOKLYN Excuse me? FOR PARADICE Broadway(to street crowd)

Did I stutter?

(to BROOKLYN)NOT

29 PARADICE (CONT’D) Time-to-put-on-the-gloves. You and me singing like a coupla mothas and America chooses one or the other. But, here’s the catch, my little French Fry: Winner take all! I’m talking movie rights, record sales, product endorsements, a payday so big it will have more Os than Cheerios. I’m talking the greatest stage on earth: Madison Square Garden! It'll be a war of words! A war of style! A war of song! I’m talking... THE WAR THAT ROCKED THE WORLD!

(Scene continues without music.)

BROOKLYN Ms. Paradice, I accept your challenge.

PARADICE Perusal Atta girl.

BROOKLYN Madison Square Garden.

PARADICE The greatest stage on earth.

BOTH Winner take all. Licensing (ANY Times Drop is raised onstage)

PRESS #1 (BOOM BOX) Brooklyn! What are you going to do with the moneyPRODUCTION if you win?

BROOKLYN (to street crowd) Gods work. I’ll give it all away... give it all to charity. FOR PARADICE BroadwayCHARITY?! "Charity begins at home," sister.

BROOKLYN And if you don't have a home? NOT PARADICE A-haaaa, the homeless.

30 BROOKLYN That's right.

PARADICE Ladies and Gentlemen, The Mother Theresa of Show-bid’ness...

(beat)

Well, need I remind you, you in my home now- The United Streets of America– and we print the name of God on all our money and I don’t hear Him complainin’.

(to street crowd) Perusal When I win, let it be known that I will keep every - last - dime.

BROOKLYN Ms. Paradice, I will find my father and together, on that night, on that very stage, we will finish the Unfinished Lullaby and make sure you never see ONE – LAST – DIME!

PARADICE YEAH IM YOUR SUPERLOVER I’VE GOT SPECIAL POWERS YOU’LL BE WEAK ANDLicensing HEPLESS MY LOVE WILL DEVOUR

#8 BROOKLYN IN THEPRODUCTION BLOOD

#8A BROOKLYN IN THE BLOOD PLAYOFF

FOR Broadway NOT

31 SCENE 7

(DIANA adds to the scene tally.)

(A melancholy BROOKLYN continues to walk the streets looking for her father.)

#8B BROOKLYN GREW UP

BROOKLYN THIS WEIGHT IN MY HEART THIS ACHE IN MY SOUL THIS YEARNING IN MY HEART JUST KEEPS ON GOING ON THERE’S A VOICE DEEP INSIDE Perusal AND IT CRIES AND IT CRIES ...

CLEAVANT (beat) Well, it seems our little heroine has backed herself into a corner, now don't it. Our cunning villain, Ms. Paradice, threw down the gauntlet and Brooklyn took the bait... accepting a challenge, promising to deliver the father she has yet to find... and all this to help the homeless.

PARADICE Ugghhhhh! Licensing

(DIANA adds to scene tally) PRODUCTION CLEAVANT Man, it sure feels like this next scene is jus' beggin' for me to play a part. Cuz I jus' can't bear to see that little girl hurtin' no more.

#9 MAGIC MAN FOR BroadwayYOU CAN CHANGE THE WORLD BY CHANGING SOMEONE AND MAYBE THAT’S WHAT WE’RE PUT ON EARTH FOR I KNOW THAT’S WHAT I’M ON EARTH FOR

I’LL MAKE THISNOT RUSTY OLD CROWBAR A GOLD SAXOPHONE AND LIKE A MAGICAL WAND , I’LL WAVE MY MUSIC ON YOU CAUSE WHEN YOU CHANGE SOMEONE’S LIFE YOU’RE CHANGING YOUR OWN AND BABY AIN’T THAT WHAT WE’RE ALL HERE TO DO? I KNOW THAT’S WHAT I GOT TO DO

32 (CLEAVANT plays a sax lick)

CLEAVANT (CONT’D) Now in Cinderella they had a fairy Godmother, right? But in my show...

I’LL BE YOUR MAGIC MAN- IN THIS FAIRY TALE I’LL BE YOUR MAGIC MAN- TONIGHT AND FROM THIS PATCH’A GROUND I’LL MOVE THE STARS AROUND AND SHOWER YOU IN LIGHT

CLEAVANT THE CITY WEEDS SO I’LL BE YOUR MAGIC MAN- MAGICPerusal MAN OO OO IN THIS FAIRY TALE I’LL BE YOUR MAGIC MAN- MAGIC MAN TONIGHT AND FROM THIS SIDEWALK STAGE I’LL SET THE SKY ABLAZE AHH AHH AND FROM THIS SIDEWALK STAGE AHH AHH I’LL SET THE SKY ABLAZE AHH AHH

LicensingCLEAVANT TILL EVERY STAR OUT IN HEAVEN SHINES ON BROOKLYN...TONIGHT

CLEAVANT THE CITY WEEDS PRODUCTIONMAGIC MAN, YEAH, YEAH, YEAH, YEAH SHINING DOWN FROM THE HEAVENS MAGIC MAN, YEAH, FOR YEAH, YEAH, YEAH ALL OVER BROOKLYN Broadway MAGIC MAN, YEAH, YEAH, YEAH, YEAH

STREETSINGER Now, every life needsNOT a little magic, right?

(sax lick)

33 (CLEAVANT has become the STREETSINGER and continues playing sax licks.)

(We hear the sound of coins being dropped in bucket. BROOKLYN watches STREETSINGER work his patch of ground.)

STREETSINGER (CONT’D) Thank you, ma'am.

I CAN SEE THE SUN PEEKING OUT FROM THEM CLOUDS I HEAR A CHOIR OF SPARROWS SINGING OUT FROM THEM TREES

(sound of coins) Perusal Bless you, sir.

CAUSE A CHANGE IS ON THE WAY I CAN FEEL IT IN ME.

(sax lick)

(We hear BROOKLYN drop money into his bucket.)

STREETSINGER (CONT’D) Thank you, and Merry ChristmasLicensing to you young lady.

(BROOKLYN removes her scarf and offers it to STREETSINGER.) PRODUCTION BROOKLYN Merry Christmas.

STREETSINGER Oh, no, no, don’tchu worry ‘bout meFOR none, noooo, I’m just like these here weeds, sprouting right up through this concrete. Yeah, that’s me alright... strong as a city weed. Broadway BROOKLYN Weeds? I only see roses.

(STREETSINGERNOT looks at BROOKLYN a little more closely.)

(FAITH, as an angel, appears in the broken tenement window behind them.)

34 STREETSINGER I been waitin’ for you. You’re that famous little girl been lookin’ for her daddy, now ain’tcha.

BROOKLYN (softly) And who are you?

STREETSINGER They call me “The Streetsinger"...

AND I'LL BE YOUR MAGIC MAN - IN THIS FAIRY TALE

#9A AFTER MAGIC MANPerusal

(STREETSINGER magically begins to play “UNFINISHED LULLABY” on his crowbar sax. BROOKLYN follows the music, which leads her to a rundown, twenty-four hour bar on Flatbush Ave. called “Nobody’s.)

TAYLOR (from offstage) ...OUR LOVE WILL STAY STRONG

(BROOKLYN hearsLicensing a man’s voice singing the secret words to the Unfinished Lullaby. She realizes this must be her father.)

TAYLOR/BROOKLYNPRODUCTION ... LA LA LA LA, LA LA, LA LA LA LA... LET OUR FATE ...LA LA LA LA... WRITE WORDS TO THIS SONG

#9B ONCEFOR UPON A TIME REPRISE

BroadwaySTREETSINGER, MELBA & JULIE ONCE UPON A TIME

BROOKLYN I BELIEVE INNOT MIRACLES

STREETSINGER, MELBA & JULIE ONCE UPON A TIME

35 BROOKLYN I BELIEVE LOVE WILL CONQUER ALL

STREETSINGER, MELBA & JULIE ONCE UPON A TIME

BROOKLYN I BELIEVE ANYTHING IS POSSIBLE AND I BELIEVED AGAIN THE MOMENT WHEN I SAW YOU HERE TONIGHT

BROOKLYN & STREETSINGER NOW ONCE UPON A TIME Perusal HAS NEVER FELT MORE RIGHT

BROOKLYN NOW ONCE UPON A TIME HAS NEVER FELT MORE RIGHT

Thank you, Streetsinger.

(He has vanished.)

Streetsinger? Licensing PRODUCTION

FOR Broadway NOT

36 SCENE 8

(CLEAVANT adds to scene tally.)

(BROOKLYN enters Nobody’s. TAYLOR strums the Unfinished Lullaby, humming. Beside him: a near empty whiskey bottle.)

TAYLOR ... LA LA LA LA, LA LA, LA LA LA LA LA LA LA LA... OUR LOVE WILL STAY STRONG ... LA LA LA LA, LA LA, LA LA LA LA LET OUR FATE WRITE WORDS TO THIS SONG

BROOKLYN Perusal (interrupts - softly; sweetly) Hello.

(beat)

I wondered if I’d ever find you.

(beat)

Do you know who I am? Licensing TAYLOR (shocked, his mind scrambling) I know who you are. I’m not your father. PRODUCTION BROOKLYN But you know the words... No one else knows them but him.

TAYLOR (stumbling) FOR I... I knew your father. We were in the army together - best friends. He taught me that Broadwaysong, that lulla ...

BROOKLYN What’s his name? NOT TAYLOR Taylor Collins.

37 BROOKLYN Taylor Collins.

(beat)

Where is he? Do you know where he is?

TAYLOR Your father’s dead.

#9C REPRISE - NOT A SOUND

CLEAVANT (a capella) Perusal AND AS THE SNOW FALLS DOWN...

BROOKLYN Dead?

MELBA (a capella) ON THE COLD HARD GROUND

BROOKLYN When? How did it happen? TellLicensing me something ... Anything...

JULIE (a capella) PRODUCTION THERE’S NOT A WORD ... NOT A WHISPER ...

TAYLOR (after several beats) He talked about your mother all theFOR time...

Broadway BROOKLYN (upset) Well, did he know my mother killed herself because of him? NOT (The little life left in TAYLOR drains from him. His eyes well up as he tries to conceal his pain from BROOKLYN.)

TAYLOR No...No, he didn’t...

38 TAYLOR (CONT’D) (beat)

But I know he loved her more than life itself.

CLEAVANT (a capella) NOT A SOUND...

(Brooklyn, crying, runs out of Nobody’s and stops just outside the open door.) TAYLOR (crying) I’m sorry...I’m sorry. Perusal

(BROOKLYN can’t help but watch TAYLOR through the open doorway.)

#10 LOVE WAS A SONG

TAYLOR (CONT’D) LOVE WAS A SONG ONCE TENDER AND WARM LIKE THE BREATH OF A COOL SUMMER MORNING Licensing AND LIFE WAS A DANCE ONCE GRACEFUL AND SWEET LIKE A TUMBLING LEAF PRODUCTION A TUMBLING LEAF

(A young FAITH appears in the broken tenement window.)

THEN FATE, LIKE THE WIND SWEPT IT AWAY FOR AND LEFT ME WITH NOTHING BroadwayTO SING OR TO PLAY

IS IT ALL BY DESIGN OR SIMPLY NOTBY CHANCE LOVE WAS A SONG ONCE AND LIFE WAS A DANCE

(TAYLOR hallucinates FAITH appearing in front of him. He reaches out to her.)

39 TAYLOR (CONT’D) (loudly whispered) Faith...

LOVE WAS A SONG LIKE MIST IN THE SPRING MY FINGERS WERE YOUNG AND COULD DANCE ON THESE STRINGS

AND LIFE WAS A DANCE AN ENDLESS BALLET SUSPENDED IN TIME AND THEN SWEPT AWAY FATE, LIKE THE WIND Perusal WILD, UNTAMED LEFT ME WITH NOTHING BUT SHAME

(Music stops.)

(Whispering above the silence we HEAR strange words whirling about TAYLOR.)

(TALYOR appears shaky, nervous, fearful, as the whispering grows more intense. TAYLOR taps his arm in search of a vein. He draws out a syringe...)Licensing

V.O. (TAYLOR) Hey, Preacher man? Sugar? Beans? Beans? PRODUCTION (We HEAR an explosion as TAYLOR jabs his arm and leans his head back, then closes his eyes.)

V.O. (TAYLOR) (screaming) FOR FAIIIIIIIIIIITH.... Broadway (The music resumes.)

TAYLOR IS IT ALL BYNOT DESIGN OR SIMPLY BY CHANCE LOVE WAS A SONG ONCE AND LIFE WAS A DANCE

40 TAYLOR (CONT’D) LET OUR FATE WRITE WORDS TO THIS ... SONG

(TAYLOR passes out, his limp body on the cold, dirty floor.)

(Lights up on BROOKLYN still outside the door of Nobody’s.)

#11 I NEVER KNEW HIS NAME

BROOKLYN Taylor Collins...

I NEVER KNEW HIS NAME BUT I IMAGINED WHAT HE’D LOOK LIKE Perusal IMAGINED HOW HE’D SMILE A HUG, TIGHT A KISS GOOD NIGHT THE WAY A FATHER HOLDS HIS CHILD

I NEVER KNEW HIS NAME BUT I IMAGINED HIM A HERO A BRIGHT AND SHINING KNIGHT AND DADDY’S EYES WOULD STOP MY CRIES AND MAKE EVERYTHING ALL RIGHT Licensing AND DADDY’S EYES WOULD STOP MY CRIES AND MAKE EVERYTHING ALL RIGHT PRODUCTION

I NEVER KNEW ... I NEVER KNEW HIS NAME

(BROOKLYN, upset, turns and re-enters Nobody’s.) FOR Taylor Collins. Broadway (TAYLOR instinctively looks up. Underscore: “THE TRUTH” on bass guitar.)

NOT TAYLOR Yeah?

(realizing that BROOKLYN caught him in his lie, he looks away)

41 TAYLOR (CONT’D) Oh, shit.

BROOKLYN Can’t you even look at me?

TAYLOR What do you want from me, huh?

BROOKLYN The truth.

#12 THE TRUTH Perusal TAYLOR The truth.

FROM THE TIME WE’RE VERY YOUNG WE’RE TAUGHT THE TRUTH IS SOMETHING PRECIOUS SOMETHING NOBLE, SOMETHING REGAL IT WILL LIFT US LIKE THE WIND AND GIVE US WINGS JUST LIKE THE EAGLE

THE CITY WEEDS BUT THAT’S THE FURTHESTLicensing THING FROM THE TRUTH

TAYLOR FROM THE TIME WE’RE VERY YOUNG PRODUCTION WE’RE TAUGHT THE TRUTH IS LIKE A BEACON SOMETHING HOLY, LIKE A SPIRIT IT WILL FREE US FROM OUR FEARS THE CLOSER WE GET NEAR IT

THEFOR CITY WEEDS BUT THAT’S THE FURTHEST THING FROM THE TRUTH Broadway BROOKLYN DID YOUR HEART BELONG TO SOMEONE OTHER THANNOT MY MOTHER DON’T I HAVE A RIGHT TO KNOW? HAVE I A SISTER OR A BROTHER?

42 THE CITY WEEDS (to TAYLOR) DON’T I HAVE A RIGHT TO KNOW? DON’T I HAVE A RIGHT TO KNOW?

BROOKLYN (angry) Huh?!!

TAYLOR THE TRUTH IS BUT A FLAME THAT ENGULFS THE BUTTERFLY IT DESTROYS ALL THINGS OF BEAUTY KEEP YOUR ILLUSIONS AND YOUR LIES Perusal

TAYLOR & THE CITY WEEDS AND WALK OUT THAT DOOR

THE CITY WEEDS FROM THE TIME WE’RE VERY YOUNG FROM THE TIME WE’RE VERY YOUNG FROM THE TIME WE’RE VERY, VERY VERY, VERY, VERY, VERY, VERY VERY, VERY, VERY YOUNG... Licensing BROOKLYN FROM THE TIME THAT I WAS YOUNG I THOUGHT THE TRUTH WAS LIKE A MIRROR I WANNA FACE IT, I WANNA FEEL IT PRODUCTION I WANNA FIND OUT WHO I AM BUT LIKE A COWARD YOU CONCEAL IT

THE CITY WEEDS BUT THAT’S THE FURTHESTFOR THING FROM THE TRUTH

Broadway TAYLOR Look, I don’t know you. And you don’t know me. You know nothing of me!

BROOKLYN I know this... NOT

YOU LEFT A WOMAN AND A CHILD HAVE YOU NO SENSE OF SHAME WERE YOU SO YOUNG AND SELFISH

43 BROOKLYN (CONT’D) IT’S MY MOTHER THAT YOU BLAMED

WHAT COURAGE DOES IT TAKE TO LOOK ME IN THE EYES YOU CAN’T BURY ‘TRUTH’ IN SILENCE LIKE A TREE IT’S GONNA RISE

THE CITY WEEDS LIKE A TREE IT’S GONNA RISE LIKE A TREE IT’S GONNA RISE LIKE A TREE IT’S GONNA RISE LIKE A TREE IT’S GONNA RISE Perusal TAYLOR THE TRUTH IS BUT A WIND THAT ROBS THE AUTUMN FROM THE TREES

(holding the syringe)

IT LEAVES THINGS EMPTY LIKE THIS NEEDLE NO, THE TRUTH WON’T SET YOU FREE SO

TAYLORLicensing AND THE CITY WEEDS WALK OUT THAT DOOR

THE CITY WEEDS (to street crowd) PRODUCTION FROM THE TIME WE’RE VERY YOUNG FROM THE TIME WE’RE VERY YOUNG FROM THE TIME WE’RE VERY, VERY VERY, VERY, VERY, VERY, VERY VERY, VERY, VERY YOUNG...FOR

Broadway TAYLOR AND BROOKLYN FROM THE TIME WE’RE VERY YOUNG

ALL WE’RE TAUGHTNOT THE TRUTH IS ALL THAT MATTERS

BROOKLYN IT GIVES YOU STRENGTH IT MAKES YOU WISE

44 TAYLOR BUT IN TRUTH IT ONLY SHATTERS SO DON’T LOOK INTO MY EYES DON’T YOU LOOK INTO MY EYES

(TAYLOR turns his back to BROOKLYN.)

(BROOKLYN, angry, turns him around to face her.)

#13 DOES ANYBODY WANNA BUY A MEMORY?

CLEAVANT But to find the truth, Brooklyn had to look into those eyes. She looked past the poisons, past the emptiness, she looked back to a time when youngPerusal men were called upon to serve their country...

(TAYLOR crawls along the ground as if in combat. In his mind he relieves a suppressed memory.)

(BROOKLYN watches his memory come to life.)

MELBA, CLEAVANT & JULIE DOES ANYBODY WANNA BUY A MEMORY... IT’S THE ONLY THING LEFT WE OWN... SINGING OUT OUR PAINLicensing LIKE A SYMPHONY...

MELBA, CLEAVANT & JULIE ...BUT EACH OF US SINGS ALONE PRODUCTION

(TAYLOR is now with his old army buddies: SUGARFLY, BEANS, and PREACHER MAN.)

(We HEAR the sound of a chopper flying overhead.) FOR SUGARFLY (JULIE) BroadwaySomeone’s going home, man.

TAYLOR (to himself,NOT longingly) Home... BEANS (MELBA) Hey, play that song again will ya, Taylor?

45 SUGARFLY AND PREACHERMAN (ad libs) Not that lullaby again!, Oh no that song sucks, etc.

TAYLOR Just a minute, Beanzy - I’m almost done.

Perusal

Licensing PRODUCTION

FOR Broadway NOT

46 PREACHER MAN (CLEAVANT) (to TAYLOR) Damn!

(PREACHER MAN snatches the letter from TAYLOR.)

TAYLOR Hey...

PREACHER MAN How many letters you gonna write before you get one back? Man, you write more than William Shakespeare.

SUGARFLY (JULIE) Perusal Shakespeare, yeah man, that's you.

BEANS (MELBA) Shoot- you 0 for 19, brother!

SUGARFLY (JULIE) (reading the letter sarcastically) “My beautiful Faith... Just the thought of you dancing is keeping me safe...”

LicensingTAYLOR Come on, Sugar.

BEANS (MELBA) Man, she’s really got a hold on you Shakes... PRODUCTION

SUGARFLY (JULIE) Yeah, carving her name into that ukulele of yours...

FORTAYLOR (finishing the letter) BroadwayI’ll never stop loving you Faith...Private First Class Taylor Collins.

BROOKLYN (to herself - taking the letter) But I thought she neverNOT heard from him.

47 CLEAVANT (to audience) She didn't. Because there was someone who saw to it she never would. Not one love letter ever reached her eyes.

(Cleavant tears up the letter.)

#13A VIETNAM SEQUENCE

(Across the stage a suitcase flies through a window, landing at the feet of a young, pregnant FAITH.)

(BROOKLYN watches this other truth.) Perusal FAITH (inconsolable) Papa, please! I love him. Where will I go? Please...

Papa, please! He loves me! He’ll come back for me!

(The window slams shut. The word “Whore” is written on it. FAITH wanders the streets of Paris alone.)

FAITH OH OH OH OH OH OHLicensing OH OH OH OH OH OH OH OH OH OH OH OH... PRODUCTION (We see her enter a door with a cross on it that reads: ‘Sisters of Charity’ and ‘with our tears we can water roses.’)

BROOKLYN (to herself) Sisters of Charity! FOR

Broadway TAYLOR (reading his letter with pride) Private First Class Taylor Collins. NOT (Underscore ends. Back to Vietnam.)

BEANS C’mon Shakespeare, play that song again will ya?

48 TAYLOR All right fellas...here we go...

(he raises his guitar in the air, with the word “Faith” carved into it)

To home!

BEANS, SUGARFLY, AND PREACHER MAN (ad libs) Yeah! To Home! Home, brother...

TAYLOR WITH BEANS, SUGARFLY, AND PREACHER MAN Perusal (happy and drunk)

LA LA LA LA, LA LA, LA LA LA LA, LA LA...

(TAYLOR and his friends continue to sing.)

(BROOKLYN continues to watch, trapped within the memories. Suddenly, we HEAR an explosion.)

TAYLOR (crawls to PREACHERLicensing MAN, whispering, fearful) Hey, Preacher? Preacher Man?

CLEAVANT Dead. PRODUCTION

TAYLOR (crawls to BEANS) Beans? Beans? Wake up Beanzy! FOR CLEAVANT BroadwayDead.

TAYLOR (crazed with anger) Sugar? Sugar, oh manNOT ... Sugar!

CLEAVANT Dead.

49 (TAYLOR grabs his M16 and starts firing wildly.)

TAYLOR (screaming) Aaaahhhhh!

(Silence. TAYLOR hears a twig crack behind him. He starts firing his M16 again.)

Aaaahhhhh!!

(We HEAR the cries of women and children screaming. TAYLOR spins around firing with insanity in his eyes. The screaming stops. Silence. We hear the solitary cry of an infant. TAYLORPerusal crawls to the infant.) TAYLOR (cradling the baby) It's OK. It's OK. What are you doing here... Where's your Mommy... where's your Da...

(Looking around, he realizes he just massacred families.)

TAYLOR (mumbling in horror) Oh God, oh my God... what... what have I done... Licensing (TAYLOR screams in agony.)

TAYLOR FAAAIIIITHHHH!!!!! Help me Faith... PRODUCTION

#14 HEART BEHIND THESE HANDS REPRISE

MELBA, CLEAVANT & JULIE THERE’S A HEART BEHINDFOR THESE HANDS THERE’S A SOUL BENEATH THESE CLOTHES Broadway CLEAVANT THERE’S A STORY BEHIND THESE EMPTY EYES THAT NO ONENOT WANTS TO KNOW

TAYLOR (holding himself in pain) Forgive me Faith, I can’t come back. I just can’t...

50 BROOKLYN Why, soldier, why?

CLEAVANT (ceremonially) For gallantry above and beyond the call of duty, Private First Class Taylor Collins is hereby awarded the Silver Star...

TAYLOR I'll never forgive myself. I don't deserve you, Faith.

CLEAVANT OH YOUR VERY LIFE LIES IN THE HANDS OF FATE Perusal

TAYLOR ...I'm a monster. I'm a monster.

BROOKLYN You're my Daddy.

CLEAVANT LIKE THE HEART BEHIND THESE HANDS

(BROOKLYN understandsLicensing now and embraces TAYLOR. TAYLOR’s mind comes reeling back to the present, and slowly, hesitantly, embraces BROOKLYN.)

(We HEAR the subway rumble through PRODUCTIONas the lights come up on CLEAVANT. He seems lost in the memory.)

CLEAVANT Ain't it funny the things we come to value in this life... A stone that shines and sparkles can make a young girl an old man'sFOR wife... I said the right piece of dirt in the right part of town can make you lord of the land... and if you happen to be born in just the right Broadwayhome, you've got the future in the palm of your hand... but a memory... a memory is just a worthless thing... with every year the price goes down... until it's dusted off and sold for what you can get... in America's lost and found.

(The soundNOT of a coin toss finally pulls him out of the moment.)

(to street crowd)

CLEAVANT (CONT’D) This is the moment y'all been waiting for. Father and daughter have finished the Unfinished Lullaby and Ms. Paradice is about to- Ah well, I’m gonna let y’all see that for yourselves.

(beat)

All you need to know is Madison Square Garden. Backstage. Moments before showtime... now how did the Post put it...? Oh yeah –

Perusal

Licensing PRODUCTION

FOR Broadway NOT

52 SCENE 9

(Backstage, Madison Square Garden. Lights up on PARADICE, entering her dressing room reading headline story in newspaper.)

PARADICE (aloud to herself) ... “Fairy Tale Ending In The Garden Tonight” Brooklyn, the Parisian orphan who has captured the heart of America, will unite with her long lost...

CLEAVANT ...father, an American War Hero, in hopes to...

PARADICE Perusal ...win the pot of gold at the end of the rainbow, a pot of gold that will...

CLEAVANT feed and shelter all of America’s homeless...

PARADICE ...and as for the aging Ms. Paradice ...

CLEAVANT ...well, you know what they say, “Old Divas never die... Licensing (As CLEAVANT begins to exit, Brooklyn enters.)

BROOKLYN (reading NY Post) PRODUCTION ...They just fade away”...

(to PARADICE)

But it doesn’t have to be that way. FOR

Broadway PARADICE (without facing BROOKLYN) Ya know, for five years I went looking for my daddy and no one cared. But that’s all right, that’s all right. NOT (CLEAVANT adds to scene tally.)

BROOKLYN Did you ever find him?

53 PARADICE (beat) Sometimes it’s better to love the thought of someone than the real thing.

(turning to BROOKLYN)

Did you come in here just to read me the paper? Dontchu go believin’ all you read, honey. ‘Cause the only thing fadin’ around here tonight is that halo around your head.

BROOKLYN Look, Paradice, there's no need for us to compete. Let's just go out there, put on a great show, and in the end, give the money away to those who need it most.

PARADICE Perusal Oh, please.

BROOKLYN Look, I know it's not the money you want.

PARADICE So whadda I want?

BROOKLYN What everyone wants. Licensing STAGE MANAGER (JULIE) Ten minutes till showtime.

BROOKLYNPRODUCTION Thank you.

(to PARADICE)

Think about it. When you change someone'sFOR life, you change your own.

Broadway(BROOKLYN exits.)

#15 RAVEN NOT PARADICE GOLIATH WAS A GIANT, TOUGH AND MEAN DAVID WAS A SWEETHEART, SQUEAKY CLEAN BUT IT STILL TAKES TWO TO TELL THAT STORY SO I’LL PLAY MY PART, AND IN ALL MY GLORY

54 PARADICE (CONT’D) I’LL FLY LIKE A RAVEN IN A SKY OF DOVES I’LL MAKE YOU LOVE TO HATE ME BUT THAT’S STILL LOVE... IT’S STILL LOVE

LOVE IS WHAT I WANT, LOVE IS WHAT I NEED YOU SEE, BENEATH THIS SUIT OF ARMOR I STILL BLEED I STILL BLEED

HE USED TO HOLD ME LIKE A FLOWER KISS ME OH SO SLOW AND WE’D TALK ABOUT FOREVER BUT THAT WAS LONG AGO Perusal

AND NOW FOREVER’S JUST A PLACE IN SOMEONE ELSE’S STORY AND THOUGH MY HEART STILL BREAKS I’M GONNA FIND MY GLORY

AND FLY LIKE A RAVEN IN A SKY OF DOVES I’LL MAKE YOU LOVE TO HATE ME BUT THAT’S ALRIGHT BECAUSE IT’S STILL LOVE... IT’S STILL LOVE

AND LOVE IS WHATLicensing I WANT, LOVE IS WHAT I NEED YOU SEE, BENEATH THIS SUIT OF ARMOR I STILL BLEED, SO I’LL

FLY JUST LIKE A RAVEN IN A SKY OF DOVESPRODUCTION I’LL MAKE YOU LOVE TO HATE ME BUT THAT’S STILL LOVE... IT’S STILL LOVE

AND LOVE IS WHAT I WANT, LOVE IS WHAT I NEED YOU SEE, BENEATH THIS FORSUIT OF ARMOR I STILL BLEED BroadwayOH I, I STILL BLEED

(Song NOTends.)

55 SCENE 10

(DIANA adds to scene tally.)

(Backstage, Madison Square Garden. We see TAYLOR in his dressing room. Shaking. Sweating. Strung out. PARADICE enters.)

PARADICE Ya know Private Collins, before I arrived at the Garden tonight, escorted by New York’s finest... Oh, you don’t mind if I call you Private, now do you?... Well, like I was saying…

TAYLOR Perusal (strung out) What do you want?

PARADICE I’m here to save you baby.

TAYLOR Save me...

PARADICE Mmm hmm. Licensing

TAYLOR ...from what? PRODUCTION PARADICE The slings and arrows of outrageous fame. You think war was savage? The press is gonna rip your life open for all to feast upon. Oh yeah, I can just see them headlines tomorrow mornin': “Brooklyn’s Amazing Dis-grace”... “Daddy’s Little Heroin”... which reminds me, I come bearing gifts... FOR

Broadway(She drops a gift box heroin in front of him.)

Just a little something to soothe them opening night jitters...

(beat) NOT

Ooooh looks like you jonesin’ reeeeal bad, Private.

(pushing the box closer to him)

56 PARADICE (CONT’D) Pure as the driven snow.

(beat)

You don’t wanna go out on that stage tonight, humiliate your daughter, shame her. Lookatcha self...lookatcha self... the whole world’s watchin’, this is what you want them to see? A main linin’, crack smokin’, booze guzzlin’, “I’ll work for food” hustlin’, degenerate and despicable shell of a man?

STAGE MANAGER (JULIE) (poking her head into dressing room) Five minutes to show time! Perusal PARADICE (to STAGE MANAGER) Ok, sweetie.

(PARADICE pushes the box even closer to TAYLOR.)

(back to TAYLOR)

...here, this will get you right, then you’ll see that I’m right. The stage ain’t the place for a man like you, Shakespeare. Licensing #16 SOMETIMES

TAYLOR PRODUCTION THE WORLD IS A STAGE

TAYLOR & THE CITY WEEDS AND WE ARE THE PLAYERS

FORTAYLOR SOMETIMES A VILLAIN BroadwaySOMETIMES A SAVIOR DO WE CHOOSE OUR OWN ROLES? DO WE WRITE OUR OWN LINES? A LIFETIMENOT OF ASKING I’M LEFT... WITH ‘SOMETIMES’

TAYLOR & THE CITY WEEDS ‘SOMETIMES’ HAS COME

57 TAYLOR WHAT ROLE DO I PLAY

TAYLOR & THE CITY WEEDS ‘SOMETIMES’ IS NOW

TAYLOR WHAT WORDS DO I SAY? EVERY STAR OUT IN HEAVEN SHINES ON BROOKLYN TONIGHT DO I STAY IN THE SHADOWS OR STAND IN THE LIGHT?

THE CITY WEEDS Perusal DO YOU BELIEVE IN HAPPY ENDINGS?

TAYLOR ONCE UPON A TIME I DID

THE CITY WEEDS DO YOU BELIEVE IN HAPPY ENDINGS?

TAYLOR ONCE UPON A TIME I DID Licensing THE CITY WEEDS DO YOU BELIEVE IN HAPPY ENDINGS?

TAYLOR PRODUCTION ONCE UPON A TIME I DID

THE CITY WEEDS ONCE UPON A TIME ONCE UPON A TIME FOR ONCE UPON A TIME Broadway TAYLOR I SAW MY OWN EYES WHEN I LOOKED INTO HERS SUCH A BEAUTIFUL CHILD SHE’S ALL YOUNOT ONCE WERE

LIKE AN ANGEL SHE’S FLYING MUCH TOO CLOSE TO THE GROUND DID YOU SEND HER TO FIND ME, FAITH?

58 TAYLOR (CONT’D) I’M FINALLY FOUND

‘SOMETIMES’ HAS COME WHAT ROLE DO I PLAY? ‘SOMETIMES’ IS NOW WHAT WORDS DO I SAY?

EVERY STAR OUT IN HEAVEN SHINES ON BROOKLYN TONIGHT DO I STAY IN THE SHADOWS OR STAND IN THE LIGHT?

EVERY STAR OUT IN HEAVEN Perusal SPELLS OUT BROOKLYN TONIGHT DO I STAY IN THE SHADOWS OR STAND IN THE LIGHT HMMM HMMM HMMM

(TAYLOR looks at PARADICE’s gift, contemplates, then grabs it and leaves.) Licensing PRODUCTION

FOR Broadway NOT

59 SCENE 11

(JULIE adds to scene tally.)

#16A MADISON SQUARE GARDEN

(The BAND plays in a low rumble as the lights slowly rise to show the stage as a boxing ring.)

M.C. (JULIE) Ladies and Gentlemen! Madison Square Garden welcomes you to the night we’ve all been waiting for...

By calling in and casting your vote, you decide the destinyPerusal of these two divas and hanging in the balance, the biggest purse in the history of histories.

Storming into the ring right now, a native citizen of the United STREETS of America, and she’s about to prove to you tonight that grace is sometimes a breathtaking display of lightning. It’s a majestic eruption of a volcano. Yes, grace is sometimes even a raging fire. Brothers and Sisters, I give you the Prophet of Paradise, MZZZZZZ PARADIIIIIIIIIICE!

(The band kicks into a nasty funk groove as PARADICE pushed in a grocery cart. Fearless. Ferocious. Flamboyant. She owns the stage.) Licensing

#17 LOVE ME WHERE I LIVE PRODUCTION PARADICE I WAS BORN ON MEAN STREET, BABY RIGHT ACROSS FROM UGLY ROAD YOU WERE BORN ON SWEET LANE, BABY HAD THEM THINGS I’VE NEVERFOR KNOWN

BroadwayNOW I GOT WHAT YOU WANT BABY AND IF YOU WANT ME TO GIVE SACRIFICE YOUR PARADISE LOVE ME WHERE I LIVE NOT (spoken with a laugh)

Trash never looked so good.

I WAS RAISED ON HUSTLE, BABY

60 PARADICE (CONT’D) YOU WERE RAISED ON SUNDAY SCHOOL I WAS RAISED ON RIOT, BABY YOU WERE RAISED ON GOLDEN RULE

NOW I CAN RAISE YOUR HEARTBEAT, BABY CAN YOU TAKE WHAT I CAN GIVE SACRIFICE YOUR PARADISE AND LOVE ME WHERE I LIVE

(speaks to a member of the street crowd)

I call it Salvation Armani. Perusal PARADICE THE CITY WEEDS YOU CAN’T GET ME OFF WITH DIAMONDS NO, NO, NO MY JEWELRY IS DICE MY BODY’S RICH FOR WHAT YOU ITCH BUT YOU GOTTA PAY MY PRICE... AAAHHHH LOVE ME WHERE I LIVE... Licensing (speaking to street crowd)

Ya know, I been hearing some rumblings out there, sayin’ my time is done, that I should just accept my fate. Funny thing, it seems wheneverPRODUCTION me and fate go toe to toe, it’s always fate that does the... no show.

I’LL WALK INTO A LIGHTNING STORM WITH METAL IN MY FIST DARING FATE TO STRIKE FORME DOWN BUT YOU KNOW IT’S GONNA MISS Broadway I’LL CURSE INSIDE THE HOUSE OF GOD OR ANY CHURCH I PLEASE ‘CAUSE I DON’T BOW TO NO ONE, BABY NOTHIN’ GETSNOT ME ON MY KNEES

AND YOU LIKE ME FOR THAT...

61 THE CITY WEEDS I LIKE YOU FOR THAT

PARADICE (solicits audience and raises the roof) I WANNA HEAR YOU LIKE ME FOR THAT

THE CITY WEEDS I LIKE YOU FOR THAT PARADICE OH, YEAH, YOU LIKE ME FOR THAT

THE CITY WEEDS I LIKE YOU FOR THAT Perusal

PARADICE YEAH, BABY, LOVE ME WHERE I LIVE

YOU CAN TIE ME TO A RAILROAD TRACK AND LET THAT DIESEL RUN

PARADICE THE CITY WEEDS DO DO DOO BUT YOU’LL NEVER SEE A DROP OF SWEATLicensing ‘CAUSE TEMPTING FATE IS FUN DO DO DOO I’LL TAP DANCE ON A MINE FIELD AND NEVER FEEL A THING PRODUCTION DO DO DOO YOU CAN THROW ME IN THE LION’S DEN BUT GUESS WHO COMES OUT KING

AND YOU LIKE ME FOR THATFOR

Broadway THE CITY WEEDS I LIKE YOU FOR THAT

PARADICE I WANNA HEARNOT YOU LIKE ME FOR THAT

THE CITY WEEDS I LIKE YOU FOR THAT

62 PARADICE OH YEAH, YOU LIKE ME FOR THAT

THE CITY WEEDS I LIKE YOU FOR THAT

PARADICE OH BABY LOVE ME WHERE I

Well hello there Mr. Four-car garage, suburban home, 1 wife, 2.3 kids, 2 dogs, 1 cat, 1 mistress, Armani wearin’, Wall Street Journal bearin’, Cuban smokin’, Republican votin’ magnanimous and magnificent hunk of a man!

I know what you're thinkin'... Ms. Paradice... is one baaaadPerusal motha”...

THE CITY WEEDS Shut yo’ mouth!

PARADICE And you like me for that...

HEY, BURY ME IN REDHOOK, BABY RIGHT THERE IN MY NEIGHBORHOOD AND WHEN YOU DIE, I KNOW YOU WANNA REST IN PEACE IN HOLLYWOODLicensing

BUT YOU AIN’T RESTIN’ NO HOW, BABY ‘TIL YOU GOT A PIECE OF THIS SACRIFICE YOUR PARADICE PRODUCTION

PARADICE THE CITY WEEDS AND LOVE ME WHERE I LIVE LOVE ME WHERE I YOU GOT TO LOVE ME FOR YOU GOT TO LOVE ME SACRIFICE YOUR PARADISE BroadwayAND LOVE ME WHERE I LIVE LOVE ME WHERE I YOU GOT TO LOVE ME YOU GOT TO LOVE ME SACRIFICE YOUR PARADISE AND LOVE MENOT WHERE I LIVE LOVE ME WHERE I

THE CITY WEEDS (continuous chanting) P-A-R-A-D-I-C-E

63 THE CITY WEEDS (CONT’D) P-A-R-A-D-I-C-E P-A-R-A-D-I-C-E…

PARADICE Well, America, I sung for you. I danced for you. I bared my soul for you. I made you laugh. I made you think. I made you mad. You loved me and you loathed me and you made me rich... And that’s the American way... And I play that game well.

AAAHHH, BUT I GOT A MESSAGE FOR YOU THIS EVENIN’...

... If you turn your back on me now, if you turn your back on me now, if you turn your back on me now, America... you can all kiss my black ass! Perusal PARADICE AND THE CITY WEEDS SACRIFICE YOUR PARADISE LOVE ME WHERE I LIVE!

(Song ends.)

M.C. (JULIE) Ladies and Gentlemen. Ladies and Gentlemen. She came to America looking for the lyric to her life.

And so tonight, Madison SquareLicensing Garden is proud to bring you the long awaited, much anticipated union of father and daughter. Performing tonight for the very first time on this stage, the greatest stage on earth, I give you Paris’ Amazing Grace, Brooklyn. PRODUCTION #17A INTO LOVE FELL LIKE RAIN

(BROOKLYN, alone, takes the stage.)

#18 LOVEFOR FELL LIKE RAIN

Broadway BROOKLYN SHE WAITED TABLES IN A SMALL CAFE IN PARIS, 1969 NOT HE WAS A SINGER FROM BROOKLYN U.S.A. I HEAR IT WAS A SPECIAL TIME

64 BROOKLYN (CONT’D) LOVE FELL LIKE RAIN FROM THE WARM PARIS SKY THIS SONG HE SANG AS HE KISSED HER GOODBYE

LA, LA, LA, LA, LA, LA, LA, LA, LA, LA...

Ladies and Gentlemen, my father...

(With joy and anticipation she turns for her father’s entrance.) Perusal (TAYLOR does not appear.)

(Awkward and desperate silence.)

(PARADICE appears in broken tenement window.)

PARADICE Do I smell a forfeit?!

(beat.) Licensing Isn’t this rich, the Phantom Daddy is M.I.A.

(with towel) PRODUCTION Well, I got a towel... wanna throw it in?

#18A MAGIC MAN REPRISE

STREETSINGERFOR (V.O.) YOU CAN CHANGE THE WORLD BY CHANGING SOMEONE BroadwayAND MAYBE THAT'S WHAT WE'RE PUT ON EARTH FOR

PARADICE Who the hell is that?NOT

(STREETSINGER appears from the crowd. He walks ringside singing...)

65 STREETSINGER I KNOW THAT'S WHAT I'M ON EARTH FOR

BROOKLYN Streetsinger, what are you doing here?

STREETSINGER Like I told you before,

I'LL BE YOUR MAGIC MAN IN THIS FAIRY TALE...

BROOKLYN (to STREETSINGER) What happened? Where did he go? Perusal

STREETSINGER Oh Brooklyn, fate has an agenda all it’s own... And war makes orphans of us all.

PARADICE Who the hell are you?

STREETSINGER (to PARADICE; with surprise in his voice) Ohhh, you must be the famous Ms. Paradice I've heard so much about. But'cha seem a little troubled there Grandma.Licensing

PARADICE Grandma? I gotchyo Grandma. PRODUCTION STREETSINGER Oh, don'tchu you worry none, cause

A CHANGE IS ON THE WAY I CAN FEEL IT FOR YOU FOR They call me the Streetsinger. Broadway PARADICE I call you 'wastin' my time'. So what's little Mother Theresa gonna do now? Look like all them po' homeless folk gotta pull themselves up by their own bootstraps... just like I did. Well... we're allNOT waiting.

(swinging the towel)

66 STREETSINGER Brooklyn.

BROOKLYN Ms. Paradice, Streetsinger and I would like to use my time and turn the greatest stage on earth into a little patch of ground on Flatbush Avenue.

PARADICE As far as I'm concerned baby, you can sing with the Mormon Tabernacle choir, but I warn ya, this is America, and the winners always win.

BROOKLYN Ms. Paradice, the gloves are comin’ off. Perusal PARADICE Excuse me?

BROOKLYN (with attitude, to street crowd) Did I stutter?

Ladies and Gentlemen... On every corner of this great city, roses can sprout up through the concrete streets.

Licensing#19 STREETSINGER

BROOKLYN (CONT’D) HE TOOK THE STREET ALONE PRODUCTION JUST AN OLD COAT AND A SAXOPHONE AN’ OLE BEAT UP CARDBOARD SIGN THAT’S WHAT HIS NAME WAS SCRAWLED UPON

MY NAME WAS UP IN LIGHTS HIS SOUL LIT UP THE NIGHTFOR A VOICE ON A SIDEWALK STAGE Broadway HE HELD THE CROWD AMAZED AND THE SOUNDS THAT HE PLAYED WERE TENDERNOT AND STRO NG AND THEN HE SANG HIS SONG

(BROOKLYN takes STREETSINGER by the hand and leads him into the ring.)

67 STREETSINGER I CAN SEE THE SUN PEEKIN’ OUT FROM THEM CLOUDS I HEAR A CHOIR OF SPARROWS SINGIN’ OUT FROM THEM TREES

THERE’S A NEW CONSTELLATION OH, I’M GONNA SING IT OUT LOUD OH, A CHANGE IS ON THE WAY I CAN FEEL IT IN ME

BROOKLYN ON A STREET IN THE HEART OF TOWN A COLD WIND, THE SUN GOES DOWN Perusal A CROWD STARTS TO GATHER ‘ROUND AND HE’S SINGING FOR FREE

A SOUL THAT CAN MOVE THE STARS SLEEPS ON SIDEWALKS AND SUBWAY CARS THE PRINCE OF THE BOULEVARD AND HE’S DOWN ON HIS KNEES

THERE WAS HOPE, JOY, AND PAIN IN EVERY REFRAIN WHEN HE SANG HISLicensing SONG AGAIN

STREETSINGER NOW WE ALL ARE SINNERS PRODUCTION IF WE LOOK INSIDE OURSELVES AND LOVE CAN SAVE THE WRETCHED FROM LIFE’S MISERY

WE ARE BORN IN HIS GOODNESSFOR WE CAN SHARE IN HIS WEALTH BroadwayYES A CHANGE IS ON THE WAY I CAN FEEL IT FOR YOU

BROOKLYN AND THE STREETSINGERNOT SHOWED ME THAT LIFE JUST AIN’T FAIR SOME PEOPLE GO FAR AND SOME GO NOWHERE

68 BROOKLYN THE CITY WEEDS DO DO DOO SOME LIVE WITH LOVE AND SOME NEVER DO

BROOKLYN AND STREETSINGER (riffing off each other) AND A CHANGE ON THE WAY I CAN FEEL IT FOR YOU A CHANGE (IS) ON THE WAY I CAN FEEL IT FOR YOU ...

(riffing continues) Perusal THE CITY WEEDS YES A CHANGE ON THE WAY I CAN FEEL IT FOR YOU

YES A CHANGE ON THE WAY I CAN FEEL IT FOR YOU

YES A CHANGE ON THE WAY Licensing I CAN FEEL IT FOR YOU

YES A CHANGE ON THE WAY PRODUCTION

BROOKYLN THE CITY WEEDS I CAN FEEL IT I CAN FEEL IT FOR

BroadwaySTREETSINGER FEEL IT, FEEL IT, FEEL IT, LITTLE GIRL I CAN FEEL IT FOR NOT BROOKLYN & STREETSINGER I CAN FEEL IT FOR YOU YOU

69 #19A STREETSINGER PLAYOFF

(Piano continues as BROOKLYN speaks.)

BROOKLYN Thank you, thank you so much. I want you all to know... That I still believe in happy endings. Thank you New York! Goodnight! I love you!

(As the music swells, BROOKLYN blows a kiss to the crowd and exits.)

THE CITY WEEDS Perusal THERE'S A CHANGE ON THE WAY I CAN FEEL IT FOR FEEL IT FOR YOU

Licensing PRODUCTION

FOR Broadway NOT

EPILOGUE

(Outside the Garden; lights up on CLEAVANT.)

CLEAVANT The crowd roared... the votes poured in. But y'see magic isn't forever. Paradice won.

PARADICE And I’m gonna keep every – last - dime!

GOD BLESS AMERICA, LAND THAT I LOVE...

CLEAVANT Brooklyn was no longer news. Just another face in the crowd,Perusal on her way back home to Paris.

(Lights up on BROOKLYN, suitcase in hand.)

But you see, there's something we all have that lasts longer than magic... (beat) For in that crowd...

(TAYLOR enters, holding a single rose.)

...was another face. Licensing TAYLOR (to BROOKLYN) Brooklyn... PRODUCTION #20 FINALE

MELBA, CLEAVANT & JULIE ONCE UPON A TIME WE BELIEVED IN MIRACLESFOR

Broadway TAYLOR Forgive me. I’ve spent a lifetime on these streets... I, I just couldn’t. I couldn’t be there with you, not on a world stage... NOT (BROOKLYN sets down her suitcase.)

MELBA, CLEAVANT & JULIE ONCE UPON A TIME WE BELIEVED THAT LOVE WOULD CONQUER ALL

TAYLOR I can’t pretend to finish something that ...

(beat)

... that in my heart will forever remain unfinished. I’m not the same man your mother fell in love with.

(TAYLOR approaches but BROOKLYN pulls away. He places the rose on BROOKLYN’s suitcase and starts to go.)

MELBA, CLEAVANT & JULIE ONCE UPON A TIME WE BELIEVED ANYTHING WAS POSSIBLE Perusal

BROOKLYN My mother fell in love with a man who loved her so much that he sacrificed his life for her happiness. And she ended her life for she could find no happiness without him...

MELBA, CLEAVANT & JULIE AND I BELIEVED AGAIN THE MOMENT WHEN I SAW YOU HERE TONIGHT

(BROOKLYN picks up the rose and turns to him.) Licensing BROOKLYN And with our tears we can water roses.

BROOKLYN & TAYLORPRODUCTION NOW ONCE UPON A TIME HAS NEVER FELT MORE RIGHT

MELBA, CLEAVANT & JULIE OH OH, ONCE UPON A TIMEFOR HAS NEVER FELT MORE RIGHT Broadway (BROOKLYN and TAYLOR embrace.)

CLEAVANT (to streetNOT crowd) So you gotta ask yourself... Do you believe in happy endings?

DIANA, LEE, JULIE, & MELBA THERE’S A HEART BEHIND THESE HANDS

CLEAVANT You wanna know something? Once upon a time, I did.

DIANA, LEE, JULIE, & MELBA THERE’S A SOUL BENEATH THESE CLOTHES

CLEAVANT (looking up, holding back tears) I’ll never stop loving you Faith.

DIANA (to CLEAVANT, revealing his true identity) Hey Taylor...Taylor... come on, man. Perusal CLEAVANT You know, everyone always wants to know if this is really my story. I tell them every fairytale holds a little truth. And every truth... a little fairytale. Now Faith... was truth. Everything else we like to call... Brooklyn.

CLEAVANT (CONT’D) THERE’S A STORY BEHIND THESE EMPTY EYES THAT NO ONE WANTS TO KNOW

MELBA AND OH, IF YOU FEELLicensing THE SPIRIT MOVE YOU

LEE GIVE ONLY WHAT YOU CAN PRODUCTION DIANA AND I’LL SING MY SONG GOOD AND STRONG I’M GONNA SING IT FOR MELBA BroadwayI’M GONNA SING IT, SING IT, SING IT

LEE I’M GONNA SING IT NOT THE CITY WEEDS FROM THE HEART BEHIND THESE HANDS FROM THE HEART BEHIND THESE HANDS

(Blackout.)

(In the dark we HEAR the sound of coins being tossed into the guitar case, then more and more.)

(We HEAR ad libs from the CITY WEEDS “Thank you, thank you sir, God bless you ma’am. You and your family”)

THE END

#21 BOWS

Perusal

Licensing PRODUCTION

FOR Broadway NOT

74 BKLYN THE MUSICAL Perusal BY MARK SCHOENFELD & BARRI MCPHERSON Licensing PRODUCTION SCORE SAMPLE FOR Broadway NOT

02/06/19 Perusal

Licensing PRODUCTION

FOR Broadway NOT

Keyboard 1/Conductor Brooklyn Tour 2 HEART BEHIND THESE HANDS

Schoenfeld/McPherson Orch. by John McDaniel

CUE: Ain't that the truth."

Slow 4 A (vocalists ad lib) STREETSINGER: B C D (To 9) b & b c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ ‰ œ œ Perusal There’s a b & b c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ PNO œ œ #œ œ nœ œ nœ œ œ œ #œ œ nœ œ nœ œ ? b r r r r r j b c ...... j .. .. . w/Bs.œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

9 (ka-ching) 10 11 b œ. Licensingœ. & b œ œ œ œ œ‰ œ œ œ œ œ œ œ‰ œ œ œ œ œ œ . œ œ œ œ ‰. œ heart be-hind these hands There’s a soul be-neath these clothes There’s a sto-ry be-hind these emp-ty eyes ThatR PRODUCTION b & b œ œ œ œ nœ œ œ œ œ œ œ œ Gœm œ œ œ Cœ œ œ œ Cœm œ Fœ9 œ r j j ? b r j œ œ œ œ œ œ b œ.. œ œ. œ .FOR. . . œ . œ

12 Broadway 13 14 b b œ ⋲ œ œ. œ œ. œ œ œ. ‰ œ œ œ œ. œ œ œ‰ œ & . œ œ. œ œ œ. œ œ œ œ no-one wants to know NOTBut if you have the time to lis-ten Then you just might un-der-stand That your b & b B Am7 ( b5 ) D7 œ œ œ œ œ œ œ œ b œ œ #œ Maj7œ nœ œ œ œ Gm Gm Gm7 n Cœ /G œ œ œ œœ œœ ? b œ œ œ #œ r j r j b œ œ œ.. œ œ. œ œ.. œ œ. œ ˙ œ V.S.

M-09842/802/04 Emily Grishman Music Preparation (212) 768-2550 Kbd. 1/Cond. 2. HEART BEHIND THESE HANDS Brooklyn Tour

15 16 17 b r j . & b œ œ œ œ ‰. œ œ œ œ œ œ ⋲ œ œ œ œ œ. œ œ œ ‰ œ œ w ve - ry life lies in the hands of fate Like the heart be - hind these hands

b & b œ œ œ œ ∑ œ œ œœ œœ œ œ œ œ Gm7 œ œ œ œ Eœ œ E 2 Bœ2/ œ Cm /F b b D b œ œ œ œ ? œ œ œ œ bb j j w/Bs. œ . œ ˙ œ. œ œ œ .. œ œ. œ R œ nœ 18 (ka-ching) 19 20 21 j œ. bb œ œ ‰ œ œ œ œ ‰. œ œ. œ ‰ œ œ ˙ . œ œ œ œ œ Œ & œ ˙ œ œ R Perusal J Oh Like the heart be-hind these hands Oh +G1 b œ œ & b œ œ ‰ C9 Cm F Gm D7 œœ œœ >œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ ˙˙. ? b nœ œ œ œ ˙ œ. œ œ #˙ . b ˙ œ .. œ ˙ ‰ œ.. œ ˙ R ˙. œ œ R > . 22 Slightly faster Licensing 5 RAMONA: 3 23 3 b œ & b ‰ œ œ œ œ œ œ œ œ œ Œ ⋲ œ œ œ œ œ Œ œ œ I once had me a for-tune-tel - ler PRODUCTIONTell me a-bout my life She said, +G1 (2 & 4) funkier comping b & b ’ ’ ’ ’ ’ ’ ’ ’ Gm FOR C ? b r j b Broadwayœ .. œ œ œ œ œ œ œ j j . œ œ. œ œ œ œ NOT

M-09842/802/04 Emily Grishman Music Preparation (212) 768-2550 Kbd. 1/Cond. 3. HEART BEHIND THESE HANDS Brooklyn Tour

24 EDEN: 25 3 bb ⋲ œ œ œ œ œ œ ‰. r œ œ œ ‰ œ œ & œ œ œ œ. œ “If no - one’s ev - er loved you, child then ev - ery - one pays theœ price”œ She said, Vcl. bb & w ˙ ˙ F b & b ’ ’ ’ ’ ’ ’ ’ ’ ( 5 ) Cm F9 Bb Am7 b D7 ? b r j b ⋲ œ ‰ œ. œ œ œ œ. œ nœ œ Perusal 26 KAREN: 27 KEVIN: b œ . œ œ œ œ & b œ œ. œ œ œ ‰ œ œ œ œ œ œ ⋲ “Love is all we live for It’sJ God’s one and on - ly plan” But ev - en b & b ’ ’ ’ ’ ’ ’ ’ ’ Gm C

? b j Licensing j b ˙ œ œ. ˙ œ œ. . V.S. PRODUCTION

FOR Broadway NOT

M-09842/802/04 Emily Grishman Music Preparation (212) 768-2550 Keyboard 1/Conductor Brooklyn Tour ONCE UPON A TIME 6

Orch. by John McDaniel

BROOKLYN: A Slower 1 q » ¶∞ 2 b U & b 4 Ó Œ ‰. r ‰. r œ œ œ œ œ œ œ œ. œ œ œ œ ˙ œ Hasœ an - y - one ev - er read you a fair - y - tale... And U Solo Perusal œ œ œ b œœ œœ. œ œ œ œœ ˙ œ œ ˙ œ & b 4 œœ œœ ‰ Œ œ œ ˙˙ œ œ œ œ. œ F7 su s B 2 (no3) Eb/B F/B B wb b b wb ? 4 w w bb 4 ‰ Œ Ó œ œ.

3 4 b j . & b œ œ œ œ. œ Licensingœ œ. œ œ œ ˙ ‰ r tak - en you to plac - es mag - i - cal Whereœ √ b ˙ ˙ ˙ œ œ œ & b ˙ ˙ PRODUCTION˙ ˙ E F/ E b Eb b ? w w bb w FOR w 5 Broadway 6 7 b 2 4 & b œ œ œ œ . œ œ œ œ œ. œ 4 œ. œ œ œ 4 ˙ . ‰. r homes are made of gin - ger - bread And skies are al - ways blue Whereœ NOT 3 b Œ œ œ œ ˙ & b ˙ ˙ 24 ˙ 4 w ˙ ˙ ˙ ww Eb F ? 2 ˙ 4 w bb w 4 ˙ 4 w

G-6960/802/04 Emily Grishman Music Preparation 212-768-2550 Kbd.1/Cond. 2. ONCE UPON A TIME Brooklyn Tour

8 9 10 ten. b 2 4 & b . ‰. r 4 4 ‰ œ. œ œ œ œ œ œ œ œ ˙ Has pump-kins turn to coach - es Andœ wishœ -esœ allœ œ comeœ. true

√œ œ œ b ˙ & b w 24 œ œ œ. 4 ˙ w F ˙ w œ œ œ. ˙ ? bb w 24 ˙ 4 ˙ Ó

11 12 13 b Perusal j & b œ œ œ ‰ œ œ œ œ . œ œ œ. an - œy - oneœ œ evœ - er sung youœ. œa lulœ - laœ - œby ˙ Youœ canœ ﬂy a - bove the rain clouds b & b Œ œ ˙ ˙ K2: Vcl. œ œ œ ˙ œ œ œ œ . P œ œ ‰. œ œ bb R œ œ œ & œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙. œ œ œ œ Bœ œ E /B F/B LicensingBœ ˙. E F/E b b b b b b b j j ? b . . w b +Bs.(8vb)œ œ ˙ œ œ ˙ œ œ œ œ PRODUCTION. J . J

14 15 16 3 bb ‰ œ œ œ œ œ. ‰ . & œ œ œ ˙ œ œ œ œ œ œ œ œ. œ œ r Close your eyes Letœ theœ melFOR- o-dy car -ry you Leave all your fears be-hind Andœ 3 bBroadway & b ˙ . œ œ Œ Mark Tree O . œ ˙ ˙ ˙ œ œ œ K . œ œ ˙ b œ NOT˙ & b œ ⋲ œ œ œ œ œ œ ˙ E œ œ Fœ/ œ Bœ / œ E˙ b Eb b D b ? bb w w ˙ ˙ w œ. œ œ. œ œ. œ ˙ J J J

G-6960/802/04 Emily Grishman Music Preparation 212-768-2550 Kbd.1/Cond. 3. ONCE UPON A TIME Brooklyn Tour

17 18 19 bb 2 ∑ 4 & œ œ œ œ œ œ œ œ œ œ. œ ˙ 4 4 ﬂoat a - cross the rain - bow sky toœ "Onceœ Upœ - œon œ Aœ Time" B.V.: b 2 4 & b ∑ ∑ 4 œ œ œ œ 4 Once up - on œa timeœ

b & b ∑ ∑ 24 ∑ 4

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20 BROOKLYN: 21 22 b 4 & b 4 Œ ‰ œ œ œ . œ œ œ œ œ œ. ˙ Œ Œ ‰ œ œ œ. œ œ. œ I be-lieved in mir - a - cles I believed that

b 4 Licensing & b 4 œ Ó Ó œ œ œ œ œ œ œ œ œ Ó œ œ œ Once up - on œa time Gtr.1 PRODUCTION ˙ ˙ ˙ ˙ b 4 ˙ ˙ w ˙ ˙ & b 4 K ˙ K w K ˙ p b & b 4 œ œ œ œ FORœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B œ œ œ œ BroadwayEb F Bb b/D Eb F ? b 4 œ. œ ˙ j œ œ. œ œ b 4 J NOT œ. œ œ J œ

G-6960/802/04 Emily Grishman Music Preparation 212-768-2550 Keyboard 1/Conductor Brooklyn Tour 11 I NEVER KNEW HIS NAME

Orch. by John McDaniel

BROOKLYN: 1 Colla voce 2 3 4 3 j & 4 r j ⋲ œ œ œ œ . œ œ œ œ œ j œ . œ œ j œ. œ. œ œ œ ˙. œ œ œ . œ œI nev-erœ knew his name but I i - mag-ined what he'd look like I - mag-ined how he'd smile A 4 & 4 ⋲ ∑ ∑ ∑ ∑ ELEGANT PIANO Perusal ˙ Ó œ œ ˙ 4 ⋲ ˙ ˙ w ˙ ˙ & 4 ˙ ˙ ww ˙ ˙ ˙ ˙ œ ˙ ˙ 7œ œ C G/ F2 Œ F Dm7 Dm œ/G G P C Am j ? 4 ˙ ˙ w ‰ œ œ ‰ jœ ˙ œ 4 ⋲ ˙ ˙ w ˙ œ ˙ ˙ œ ˙ w ˙ ˙

5 6 7 8 j j & ˙ ‰ j œ. œLicensing⋲ œ ‰ j œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙ hug... tight, A kiss... good night The way a fath - er holds his child œI PRODUCTION & ∑ ∑ ∑ ∑

œ j œ œ ˙ & œ. œ ˙ œ œ œ ˙ w œ A˙m Em7 A˙mFOR w ˙ G˙ œ Dwm7 D˙m7/G Em7 Broadwayj j œ ˙ ? ‰ œ œ ˙ ‰ œ ˙ Ó ˙ ˙ ˙ ˙ ˙ w w NOT V.S.

N-01763/802/04 Emily Grishman Music Preparation 212-768-2550 Kbd.1/Cond. 2. I NEVER KNEW HIS NAME Brooklyn Tour Mod. Slow 9 10 11 12 ten. j j j ⋲ œ œ œ. œ œ œ j œ ‰ j & œ . œ œ. œ œ œ œ œ œ œ œ nev - er knew his nameœ œ œ ˙ but I i - mag-ined him my he-ro Aœ bright and shin-ing knight Andœ Clar. K2:Vc. +Clar. ten. œ . œ ∑ ‰ œ ˙ œ œ œ œ ˙ & œ œ œ œ . œ œ P œ œ œ . œ œ œ œ œ . œ œœ œ œ Œ ‰.œ œ œ ˙ œ œœœœœ ˙ Ó & œœ œœ œ œ œ œ œ ˙ œ. œ ˙ Gœ œ R A˙m F2 ˙ su s4 7 C /C F2 Dm7 Dm /G G jœ w œ ? ‰ jœ ‰œ ww œ œ œ œ ‰ j œ Ó œ ˙ w œ˙ œ˙ œ œ ˙ ˙ Perusal˙ ten. A tempo ten. 13 14 , 15 3 16 j œ j & œ. œ œ œ œ œ ‰ j œ œ œ œ. Œ Dad - dy's eyesœ œ œ œ would stop my œ cries andœ make ev - ery-thing allœ right˙. Ac.Gtr. 3 ten. ten. Clar. œ œ œ œ œ œ œ . œ œ œ œ œ œ . œ œ Ó ‰ J folksyœ œ w & œ . œ . œ œ 3 œ . w K w P Licensing +K2 Stgs. & ˙ ˙ ˙ ˙ w Em˙ 7 A˙m ten. E˙m7 A˙m ten. w ˙ ˙ Dwm7 ˙ ˙ j j œPRODUCTION ? j œ œ œ j œ ‰ œ ‰ œ ˙‰ ‰ œ ˙ w w ˙ ˙ +Bs.w Accel. Rall. Rit. 17 18 19 20 U œ œ œ œ œ œ . œ œ œ œ œ & ∑ Ó Œ FORJ . œ œ œ œ œ And Dad-dy's eyes would stop my cries andœ Broadwayj œ œ œ œ œ , œ œ œ œ œ U & ‰ œ œ œ œ œ œ œ ˙ Ó Ó Ó ˙ +Gtr.(comp) NOT U +Vc. œ œ œ ˙ ˙ , œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Dm7 œF Em7 œ Am EmŒ 7 œ Am Am7 F2 Dm7/ /G j G jœ jœ ‰ œ œ j œ U˙ , ? ‰ œ ‰ œ ˙ œ œ ‰ j œ ‰ œ ‰ jœ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ œ ˙

N-01763/802/04 Emily Grishman Music Preparation 212-768-2550 Kbd.1/Cond. 3. I NEVER KNEW HIS NAME Brooklyn Tour

21 3 22 23 24 U ‰ " j œ œ bœ œ œ œ œ & œ œ œ œ œ ˙ j œ œ œ. œ make ev - ery-thing all œ right. œI nev - er knew, I nev - er knew his Clar. U ∑ ∑ ∑ " & w π Gtr,K2,Bs.(out) " U & w œ œ ˙ bw w ˙ ˙ œ œ ˙ Hb w Dwm7 Dm˙7 G œ œ ˙ P /G g g bUw ? Ó ˙ " g w w w œ œ ˙ g bw w +K2œ œ Perusal Move 25 26 27 Rit. 28 U & w w w ˙. Œ

œ . j œ . œ ˙ U & œ J Ó ∑ ∑ P +Gtr, +Clar. K2 j j U j ‰ œ œ œ œ œ œ œ j œ. j œ . œ Licensingœ ˙ œ œ œ œ ˙. & w œ ww˙ ˙ œ ˙. Œ nw G/ . C C F Am F C ˙ j U ‰ œ œ ˙ œ j œ œ œ PRODUCTIONj œ j œ ? w ‰ œ ‰ œ œ ‰ œ ‰ œ ˙. +Bs. J w ˙ ˙ ˙. ˙. œ. (BsP only) FOR Segue Broadway NOT

N-01763/802/04 Emily Grishman Music Preparation 212-768-2550 Keyboard 1/Conductor Brooklyn Tour 17 LOVE ME WHERE I LIVE

Orch. by John McDaniel

Funky 4 [move on when Paradice Funk out & vamp Vamp is about to enter the ring] Vamp A 1 2 3 4 # : & 4 Œ . ∑ ∑ . . ∑ ∑ .

# 4 & 4 Œ . ∑ ∑ . . ∑ ∑ . Ten. Sax solo K2:B-3 Gtr. Perusal (last x) ~ j ¿ ~ # ~ . #œ . . œ #œ ⋲ œ œ . 4 Œ . Ó Œ .~ . œ . œ œ ⋲ œ ⋲ œ ⋲ œ . œ . œ ‰ . ⋲ ⋲ . & 4 . ∑ .~ . œ œ œ œ œ œ . œ œ R J . K2œ . (comp)œ œ œ œ œ . œ PIANO (Gliss last x) ~ ~ ~ ~ # ¿ ~ gliss. 4 ~ . ~ . . œœ œœ . ~ . ∑ ∑ ~ . . ‰ œœœœŒ ‰ œ ⋲ œ‰ . & 4 ~ gliss. ~ œ œ ’ ’ ’ ’ ~ ~ su s ~ ~ Em J R ~ ~ f ~ ~ ~ ~ ? # 4 Œ . ~ . . . 4 . Licensing. . ’ ’ ’ ’ ’ ’ œ ’ ’ . w œ œ w œ œ œ œ œ œ œ œ œ œ ‰ œ œ ⋲ œ ⋲ œ œ œ œ œ œ œ œ ‰ #œ œ œ œ #œ œ Bs. œ œ œ œ œ Drs.(time) PRODUCTION On Q - she gets free of shopping cart 5 6 # & ∑ ∑ (Ten. Sax) FOR j # #œ œ #œ ⋲ œ œ œ . œ œ ⋲ œ ⋲ œ ⋲ œ . œ . œ ‰ . ⋲ ⋲ . & Broadwayœ . œ œ œ œ œ . œ . œ R J > > >œ œ. œ œ œ >œ œ œ œ œ œ œ œ > >œ œ œ >œ œ œ >œ œ œ œ œ œ œ œ œ œ # œ œ œ NOTœ œ œ œ œ œ œ œ œ œ J & œ œ œ œ œ œ œ œ œ > > > > > > > œ œ œ œ œ ˙ > œ œ œ œ œ œ œ œ œ œ ˙ ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ V.S.

G-6960/802/04 Emily Grishman Music Preparation (212) 768-2550 Kbd. 1/Cond. 2. LOVE ME WHERE I LIVE Brooklyn Tour

7 PARADICE: 8 9 # & œ œ œ œ œ œ œ œ œ œI wasœ bornœ œonœ Mean Street,œ baœ œ- byœ rightœ œa-crossœ œfromœ Ug - ly Road Youœ wereœ bornœ œonœ Sweet Lane,œ baœ œ- byœ # & ∑ ∑ ∑

? # ∑ œœ œ ∑ œœœœ ∑ œ ⋲ œ œ Œ ⋲ œ œ œ ‰ œ Œ Bs.(sim.)’ ’ ’ ’ Bs, Drs.(time) J

10 11 12 # Perusal & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ had them things I've ne - ver knownœ œ Now I got what you want, ba - by and if you want me to give # & ∑ ∑ ∑

? # ∑ bœ ⋲ ∑ œœ œ ∑ œœ œ œ œ Œ ⋲ œ ⋲œ . œ ⋲ œ œ Œ ⋲ œ œ œ ‰ œ Œ LicensingJ J

13 14 15 16 # PRODUCTION & œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó ∑ sa - cri-ﬁce, your pa-ra-dise love me where I liveœ +Gtr, K2. 6 7 C M a j 7 A7/C # D B+ Em Gtr.(comp) # & | | | FOR| ’ ’ ’ ’ ’ ’ ’ ’ BroadwayCLAV. # >œ ˙. œ œæ j & | | | | ‰œ # œ œ ˙. œ œ #œ⋲œ⋲œ ⋲œ . J æ æ œ œ œ œ œ . + CM’aj7 ’ A7’/C NOT’ D’6 ’ B7’/D ’ P ‰ Œ # ‰ Œ ‰Œ #‰Œ> ? # ∑ ∑ œ . œ œ œ ‰ Œ œ œ ‰ Œ œ œ ‰ Œ #œ œ ‰ ⋲ J œ œ œ œ œ œ œ œ ‰ œ œ ⋲ œ ⋲ œ œ œ œ œ œ œ œ ‰ #œ œ œ œ#œ œ œ œ #œ œ Bs.

G-6960/802/04 Emily Grishman Music Preparation (212) 768-2550 Kbd. 1/Cond. 3. LOVE ME WHERE I LIVE Brooklyn Tour 17 18 19 # & œ œ œ œ œ œ œ œ œ œI wasœ raisedœ œ onœ hus - tle,œ baœ œ- byœ Youœ wereœ raisedœ œ onœ Sun - day school œI wasœ raisedœ œonœ ri - ot,œ baœ œ- byœ

Gtr...... œœ œœ œœ œœ œœ #œ œœ œœ œœ œœ œœ œœ œœ œœ #œ # œ œ œ œ ¿ ¿ œ œ œ œ œ œ œ œ œ ¿ ¿ œ œ & ‰ J ‰ ⋲ R ‰ ‰ J ‰ Ó ‰ J ‰ ⋲R‰

# . - . & ∑ Ó Œ ⋲ ∑ œ œ ? # ∑ ∑ ∑ (Bass’ con't. sim.)’ ’ ’ F ⋲ Œ ⋲ œ œ œ ‰ Œ œ œ œ œ V.S. œ œ œ œ œ œ œ Perusal J

Licensing PRODUCTION

FOR Broadway NOT

G-6960/802/04 Emily Grishman Music Preparation (212) 768-2550 Keyboard 1/Conductor Brooklyn Tour FINALE 20

Orch. by John McDaniel

Vamp 1 2 C, Ka, R: 3 bbb 2 . ∑ . œ œ œ œ œ c œ ‰ œ œ œ. œ œ œ œ & 4 Last x: "Brooklyn." œ œ Once up - on a time œ we be - lieved in mir - Solo Perusal œ œ œ œ b 2 . œ œ œ . œ œ œ œ œ œ œ & b b 4 . . c œ œ œ œ œ BRIGHT PIANO & CELESTE

b 2 & b b 4 . ˙ . ˙ c ˙ ˙ ˙ ˙ "Not on a world stage." 4 5 6 7 b U & b b œ œ ‰ Œ Ó Licensing∑ Ó Ó 43 Œ œ œ œ œ œ œ c a-cles. Once up - on a time U b œ œ œ œ œ ˙ œ œ œ œ œPRODUCTIONœ ˙ œ œ ˙ & b b 43 œ c

b U 3 ? & b b w ∑FORÓ Ó 4 ∑ c

8 Broadway 9 b œ œ. & b b c œ œ ‰ œ œ œ. œ œ ˙ œ œ œ œ œ œ œ ˙ NOTwe be - lieved that loveœ wouldœ conœ œ- querœ all. bb c œ œ œ œ & b œ œ œ œ œ œ . ˙ œ œ œ . ˙ ˙ ? b ˙ ˙ w b b c

H05893/802/04 Emily Grishman Music Preparation (212) 768-2550 Kbd. 1/Cond. 2. FINALE Brooklyn Tour "...mother fell in love with..." 10 11 12 b U 3 & b b ∑ 4 Œ œ œ œ œ œ œ c U Once up - on a time b Œ œ ˙ ˙ œ œ œ œ ˙ & b b w œ w œ 43 œ c w w ? U 3 bbb w ˙ . œ 4 ∑ c

13 (no rit.) 14 œ œ œ œ bb c œ œ ‰ œ œ œ. œ œ ‰ œ œ œ œ œ Œ & b œ J we be - lieved an - y - thingPerusalwas poss - i - ble. b œ œ ˙ w & b b c œ œ œ ˙ w ˙ w ? ˙ ˙ w bbb c w

"her happiness" "without him." 15 16 17 18 b LicensingU U & b b Ó Œ ⋲ œ œ œ +Glock (Glock out) And I be - œ. œ œ U U b wœ. œ œ œ ˙ ww œ . œ œPRODUCTIONœ ˙ ˙ œ œ œ & b b w œ ˙ ww œ . œ œ œ ˙ ˙ œ . œ œ œ w uw œ . œ œ w Uw w U˙ ? w w w ˙ œ . œ œ bbb w w FOR

19 "water roses." Broadway 20 21 T, B: b œ œ œ œ œ œ œ œ . œ. U U & b b œ œ œ œ œ œ ˙ Œ Ó +Glock œ lieved a - gain theNOTmo-ment when I saw you here to - night. U Nowœ . œ œ œ ˙ bbb œ œ œœ œœ ˙ ˙ œ ˙. & œ œ H ˙˙ ˙ œ ˙. g u w g U ? œ . œ œ. œ g ˙ ˙ œ ˙. bbb J J ˙ œ ˙.

H05893/802/04 Emily Grishman Music Preparation (212) 768-2550 Kbd. 1/Cond. 3. FINALE Brooklyn Tour

22 Colla voce A tempo 23 24 25 b & b b ‰ j œ œ ∑ œ œ œ œ œ œ. œ œ w onceœ upœ - œon œ œa n timeœ œ hasœ nev - er felt more right. C, Ka, R: b & b b ∑ ∑ ∑ Œ ˙ œ ˙ œOh Fl. Œ p ˙ . Œ b œ œ œ œ œ b b ∑ ∑ œ œ œ ˙ & Œ ˙ +GtrÓ ˙ K2:Stgs.π n˙ Solo . ˙ œ ˙ . œ bb g ˙ ˙ ˙ ˙ œ œ œ œ œ œ ˙ . œ œ & b g ˙˙ n˙ ˙ ˙ œ œ œ œ ˙ œ œ g +K2:Stgs.PerusalŒ œœ ˙ g œ n˙ F g w j g w w ‰ œ nœ bœ j jn˙ ? b g w œ ‰ œ œ ‰ œ b b +Bs.(8vb) ˙ ˙

Slower 26 27 28 29 b j U b & b b œ. œ ‰ œ œ œ œ œ œ œ w œ Œ Ó b 24 œ œ œ œ œ. œ œ œ œ œ œ œ œ w œ onceœ upœ - œon œ a time has Licensingnev - er felt more right. œ ^ ^ ‰ œ >œ . >œ . œ œ b j œ >œ œ >œ œ U b b œ . œ . ˙ œ ˙œ œ œ Ó b 2 & b œ œ œ œ K2 ˙ ˙ œ . 4 Ó ˙ ˙ œ . f PRODUCTIONSolo ^ ^ Tutti U œ œ œ œ œ œ. œ. œ œ œ ˙ bbb œ œ œ œ œ œ œ ‰ œ œ. œ œ œ. œ œ œ œ œ œ ˙ bb 2 & œ œ œ œ œ œ œ œ œ œ . œ œ œ ˙ 4 œ œ ‰ œ u FORPIANOf r r J ‰ j œ ‰ jœ ‰ j œ œ Œ ‰. œ œ ‰. œ œ ? bBroadwayœ œ œ œ œ œ b 2 b b ˙ ˙ ˙ œ œ. œ œ œ œ b 4 Œ œ œ. œ œ œ œ +Timpani œ. œ œ. œ > > NOT J J

H05893/802/04 Emily Grishman Music Preparation (212) 768-2550 Perusal

Licensing PRODUCTION

FOR Broadway NOT

Perusal

Licensing PRODUCTION

FOR Broadway NOT

Dedicated to the publication, licensing, and promotion of compelling contemporary musicals.

Delivering superior services to playwrights and composers through traditional publishing, unique online features, and intellectual property protection.

Connecting theaters and audiences with diverse new dramatic works.

www.BroadwayLicensing.com

Broadway Licensing toll-free phone: 1-866-NEW-PLAY 7 Penn Plaza, Suite 904 email: [email protected] New York, NY 10001 website: www.broadwaylicensing.com