WORK IN PROGRESS

THE VISITORS

A MUSICAL PLAY ABOUT

commitment and convenience. 

by Paul Avrom Toshner

 

STORYLINE 

Music journalist Billy and singer/songwriter Jane fall in love; each on a mistaken premise, he is infatuated with her authenticity and how real she seems from afar, and she for what he could do for her career. Then of course it comes apart when push comes to shove, when she is getting all the attention thanks to his help, and there was nothing deeper.

 

“A love that is dependent on something when the thing ceases, the love also ceases. 

But a love that is not dependent on anything never ceases.”

Ethics of the Fathers, 5:16

 

SCRIPT DEVELOPMENT 

The overarching design can be quickly perceived by reading the "context / director notes" below, as well as hearing the demo recordings (since adapted to the story), and reading the script.

 

NEXT STEP

(LOOKING FOR DIALOGUE IN PLACES 

please email paultoshnersong@gmail.com)

The thrust of each piece tells the story, but it is going to benefit from additional dialogue between some songs to emphasise choosing a partner both because of what "is" that you love, AND what "could be", BUT importantly not because one or the other.

 

THE PLAYERS

Jane: rebel singer, purple hair. 

Billy: music journalist. 

Barman (narrator)

Danna International (cameo)

 

MUSIC

Piano: Paul Toshner

Bass: Mesoud Benasully

Drums: 

 

STAGE DESIGN

Lighting  Camera, Set design 

(outside in snow, restaurant, bar, music and award stage, at home)

Thanks to Mesoud Benasully, Jacob Applebaum and James Fuchs for reading sessions.

ACT I & ACT II DIRECTOR NOTES

Act I

1: You don’t say – (scene: standing outside the Grammy awards building in the snow)

We open (in the middle of act II) at a low point in the couple’s relationship 

Jane having just been stood up sings about Billy

 

2: American Star – (scene: restaurant)

Now we go back in time and Billy tells us how it all got started

 

3: Writer Man Jane sings her cynical song about journalists 

 

4: Hey You

Billy responding to the attack full of empathy regardless, sees past the scathing attack to Jane’s troubled upbringing while defending himself saying “I’m not this monster you say I am”. He sings the chorus with a tone of “hey I didn’t make a sound” / I’m innocent (like “Innocent Man”)

 

5: To None Other Than Me

It’s late at night, they part ways. Jane muses as Billy’s response shocked her into thinking “maybe I’m going crazy” and she tries to explain what happened, why she’s the way she is, why she’s so cynical. Introspective and starting to fall for him, Jane vacillates from remorse at her selfish ways, to assuring herself that he is still to blame and she need not be afraid of him.

 

6: The Girl Next Door– (scene: a second interview)

However messed up he loves her anyway, with a touch of fatal attraction to the wild rebel in her.

 

7: Beautiful Sunshine     Jane accepts Billy’s proposal 

 

8: Artist

Billy at his desk writing a glorifying article on Jane’s behalf, at the same time commenting to the audience on this great partnership.

 

9: You Make Me Rock N Roll (scene: live concert at Grammy ceremony)

Sitting together in the audience at the awards ceremony Jane has to go to get ready to perform.

Jet propelled by all the articles from Billy Jane expresses appreciation while acknowledging the strain her success is causing.

 

10: Hey Ah! – (scene: in the empty bar for the after party at Grammy ceremony)

Billy gets up and makes his way to the back stage after party bar. Everything was skyrocketing but it comes to a crash. As song Jane is just finishing, Billy drinks on his own and starts to feel left out at the attention Jane is now getting “thanks to him” he feels, and is having doubts 

 

11: Nowhere Else

Jane comes backstage looking for Billy and seeing how sad he is tries to console him

 

12: The Visitors

A song from the barman / narrator to Billy. The barman is being a typical philosopher barman talking to a guy who’s lost his dame somehow. Billy chips in on the chorus alluding to only getting to see Jane for brief moments at a time, and thus refers to her as “the visitor”

 

THE AWARD CEREMONY AFTER PARTY STARTS TO FILL UP

13: Gentle Words. – (scene: from the bar)  BARMAN NARRATOR

Act II

1: You Don’t Say… Anything – (scene: still at the bar)

Billy and Jane duet drunkenly argue things out in a manner so as to try not to draw attention to themselves

 

2: From a Watchers Point of View 

By now with everybody watching them Billy and Jane duet / continue the fight (the surrounding cast joining in for the big choruses)

 

NOTICING THE ATTENTION THEY ARE NOW GETTING, PART COMPANY.

JANE GETS SURROUNDED BY ACOLYTES AND ATTENTION FROM OTHER MEN 

3: Painful Bother 

Billy and Jane duet (from opposite sides of the stage / room)

 

3.5: dialogue (from opposite sides of the stage / room)

 

4: Paper Gun – (scene: band in the background play the Paper Gun chorus)

Billy and Jane duet having bumped into each other at the party in front of a bunch of people. They continue to go at each other subtlety, at times in the 3rdperson addressing others. 

 

5: Faith

Billy looks heavenward 

     

6: You And Your Own

Jane

 

TIME PASSES TO WINTER To where we are caught up with how we opened act I.

Barman still behind the bar

7: You don’t say – (scene: standing outside the Grammy awards building in the snow)

Billy actually did not stand her up but arrives late just missing her and sings about Jane

 

8: Coming Home–(scene: Billy finds door to Grammy theatre open, makes way to the empty bar – ¾ way through the song Jane does the same)

Billy over a drink decides he wants to return to Jane

 

9: In Love AgainBilly and Jane duet 

10: Time Billy and Jane duet 

11: The Time Billy and Jane duet 

 

12: Beautiful Sunshine    …HAPPY ENDING 

–(scene: they are at home, Billy on his way upstairs to bed thinking Jane is asleep)

Billy sings

 

13: An Artist   …BUT

Jane awake, not in the room yet, contemplatively. 

Billy joins in a duet to ask “the” abstract question of the piece

 

Curtain down / up - CAST TAKE A BOW AND PLAY OUT AS THEY SING

14: The Visitors(chorus only reprise)

Billy and Jane reiterate, highlighting that the whole thing is cyclical.

SONG DEMO'S

PRIOR TO SCRIPT ADAPTATION

SCRIPT ADAPTATION

ACT I

JANE

You see, I’m missing the action, I don't get much satisfaction

I climb really fast, and I swim really hard, and I play really strong 

And I try to belong, at the same time I sing my song.

This life’s not enough, not enough for us “we”

For us “we” are those who try to see while we live to be.

And we live to be while we try to see.

Give more to me, give more to me, and I’ll be free, and I’ll be free.

 

1: You don’t say – (scene: standing outside the Grammy awards building in the snow)

We open (in the middle of act II) at a low point in the couple’s relationship 

Jane having just been stood up sings about Billy

 

1. YOU DONT SAY

JANE

You don’t say…

 

I want to love you, but the truth is in the way

You want to love you, that's what I want to say

 

Call me any time you please

But don't expect me there

Why do you want to find me

I know you know I know 

you don’t care

 

I was sure that I could

live without your smile

The truth is that I’ve been finished

with you for quite a while

 

Yet it seems like just a moment away

That it all could be ok

That's my punishment for 

Turning what I’d say

Returning what you say

For finding out a way

From whatever I don't say

 

What has love become

It’s being willing to die for someone

That you yourself want to kill anyway

 

Usually For whatever U don’t say

12345678 all the children want to get away

 

 

 

2: American Star – (scene: restaurant)

Now we go back in time and Billy tells us how it all got started

 

2. AN AMERICAN STAR  

BARMAN / NARRATOR: “Hi I’m the barman from the Grammy award show after party. You will hear more from me later. For now here is Bill and Jane to tell us how it all got started”

 

BILLY to JANE

- “Hello I’ve come to do an interview with you

  I hope that’s alright”

 

BILLY 

I had a job at a local rag 

citing everything she’d say

I fell in love before we met 

which for a journalist never pays

So when the day came along in a restaurant 

And I heaped upon her praise 

she coldly asked me what I want 

I said "tell me ‘bout the early days"

 

She said - (sigh);

JANE

my mother would never leave without 

her favourite fender strat

she rushed us both to the hospital 

in my fathers old black cat

I was born at the side of the road 

my friend and that was that

 

BILLY

- "well tell me where did you grow up"

 

JANE

(Sigh) Yes I did “grow up!” and in a neighbourhood 

where emotion is not revealed 

maybe years have passed, I think you've guessed, 

still I have not healed

But I would borrow my mothers strat

and sneak out to a club in “the old black cat”

and sneak out to a club in “the old black cat”

 

BILLY (now typing up the article)

Born - how!?  In an Englishman’s car

With a mothers guitar 

An American star is born

down, where the tears do not cry

But a voice in her eyes. 

And accompanying sighs are born...

Then she said something really quite strange and I saw it in her eyes

 

JANE

“I don’t believe in journalists, they ruin so many lives”

 

BILLY

I said “I’m sorry, it’s an age old fight. But I don’t take no liberties because of my rights, 

I don’t take no liberties because of my rights” 

 

Born – down, in an Englishman’s car

With a mothers guitar

An American star is born

 

Down, where the tears do not cry

with a voice in her eyes. 

And accompanying sighs are born 

 

Now  in the land of the free

As she wants it to be

But she’d rather believe in me

 

JANE

well thanks very much, bye!

 

BILLY

It's a free land, it's a price you pay

 

JANE

It’s not a free land with you behind the pen

 

BILLY

I’m a journalist I’m “just doing my job” it’s a two edged sword: 

canonising you as the superstar, and letting people read in their daily papers how you are also “just human”; “It’s all honey in the morning with a little bit of toast on the side”

 

 

3: Writer Man

Jane sings her cynical song about journalists 

 

3. WRITER MAN 

JANE

It’s all honey in the morning with a little bit of toast on the side!!

He can plagiarize the blood and sell himself no matter what the soul

He’s the cat in the hat rat kind of diplomat.

 

He’s got so much to say, about a mask a raid 

a masquerade, the part he plays, the party plays

 

so now you’re a writer, in a room with a view to a stage

so sow you’re a writer, I’d say that room is a cage

 

so now you’re a writer, you know you ought to talk about love

so now you’re a writer, or is it lord above

so now you can think of yourself 

 

BILLY

- collectively

 

JANE

coz you’re thinking of somebody else 

 

BILLY

- allegedly

 

JANE

you’d write for somebody else 

 

BILLY

- respectively

 

JANE

over a notion around your self

 

writer man, off to write the word

telling everybody today I can write the world away

writer man, off to write his words

to pen and ink you have to prey

on your feat made of cliché

  

so now you’re a writer and everything’s so intense, 

so in tense, sewing tents

look at the subject, then spin on the fence

 

BILLY

I think it’s you that needs the Dr 

Not the poor Journalist 

That just wants to write a peach

 

JANE

turn to the left, spin to the right

spin to the left, turn to the right

it’s hand relief

 

with his pen in the sand

ever shifting to make me stand

it’s my north and south, not another man’s plan

 

writer man justify your words

writer man just defy your words

to pen and ink you have to prey

on your feat made of cliché’ 

writer man off to write the world

I’m not a politician at play, 

so be careful Dr

bricks and mortar have got lots to say

 

writer man, 

gets off tolight with words, 

gets off toolight with words

this party piece is at the stage, 

nothing new with a view to a wage

 

 

4: Hey You

Billy responding to the attack full of empathy regardless, sees past the scathing attack to Jane’s troubled upbringing while defending himself saying “I’m not this monster you say I am”. He sings the chorus with a tone of “hey I didn’t make a sound” / I’m innocent (like “Innocent Man”)

 

4. HEY YOU

BILLY

Each day is valentines day…

 

I’m sorry if I came 

around and yelled at you 

without a sound, hey you, hey you

 

From the dark to the dark

your journey it seems

Wherefore art thou

in my dreams

 

When will you see me

Where are you now

Your future is darker somehow

 

I’m sorry if I came 

around and yelled at you 

without a sound, hey you, hey you

 

What did you speak of

What is at stake

Reality, duality

My friend I’m no fake

 

What can be borne, if it’s torn!?

Even harder to mourn, impossible to hold

breaking the mould

 

Excuse me my rhyme

It’s how I spend my time

I’m sure I’d feel a bit better

If I could refine

 

I’m sorry if I came 

around and yelled at you 

without a sound, hey you

 

The future’s unknown 

But it preys on my mind

if it’s the present I own

What’s the closing line

 

Lifting things 

we can not carry

Diamonds and rings

Perhaps we should marry

 

Is your figure less than Greek

Is your mouth a little weak

When you open it to speak are you smart?

But don't change a hair for me

Not if you care for me

Stay little valentine, stay

 

I’m sorry if I came 

around and yelled at you 

without a sound, hey you, hey you

 

 

5: To None Other Than Me

It’s late at night, they part ways. Jane muses as Billy’s response shocked her into thinking “maybe I’m going crazy” and she tries to explain what happened, why she’s the way she is, why she’s so cynical. Introspective and starting to fall for him, Jane vacillates from remorse at her selfish ways, to assuring herself that he is still to blame and she need not be afraid of him.

 

JANE

Wow he seems like a special guy, I think!?

Did I screw up, is he being real?

Not scared of man, not scared to be himself

 

5. TO NONE OTHER THAN ME  

JANE (soliloquy) 

I hear the train in the distance 

I think I’m going quietly mad

It’s one thirty in the morning

things have never been quite so bad

I feel the hair on the back of my neck

the blood gone from my cheeks

I feared the abyss 

But I didn’t expect this

 

Call it an error I made

Call it silently paid

But can I go beyond to admit

So as to excuse all of it

 

Years of devotion, to none other than me

and now I am a prisoner, to none other than me

 

No reason to lie, no reason to see

the man he is good

He wants me to be

Not scared of men

not scared to be myself

 

I’m sure he’s to blame

confused by his game

I may even be wrong

But that’s me singing his song

This time it’s through

But what can I do

I hope G-d will forgive me

I hope I forgive me too

 

If a fool I have been

Time and again I think I win

and wherever I am

I think perhaps I can

 

Got scared of man

scared to be myself

 

No reason to lie, no reason to see

the man he is good

He wants me to be

Not scared of men

not scared to be myself

 

BILLY (soliloquy) 

I’m sorry I love you, you have your issues

hope against hope, with a box of tissues

Hard to live up to, harder to swallow

easily choked on, left feeling hollow

 

Writer man. Getting scared to be himself

 

No reason to lie, no reason to see

the girl she is good

she wants me to be

Not scared of man

not scared to be himself

 

But I’m in a hole

 

JANE

I’m under duress

 

BILLY

What will happen now

 

JANE

It’s anyone’s guess

Just don’t creep around in disguise

Like a journalist who lies

Till' you can safely say: 

you did rue the day

 

BILLY

Perhaps she will change

Though probably not

G-d help me I care 

If that’s my lot.

 

Not scared of man

not scared to be myself

 

No reason to lie, no reason to see

the girl she is good

she wants me to be

Not scared of man

not scared to be myself

 

 

6: The Girl Next Door– (scene: a second interview)

However messed up he loves her anyway, with a touch of fatal attraction to the wild rebel in her.

 

BILLY CALLS JANE UP TO MEET AGAIN FOR “TO FINISH THE INTERVIEW”

 

6. THE GIRL NEXT DOOR 

BILLY

How different are you with you're purple hair   

How different are you I love to stare 

at you're purple hair a ring through you're nose 

black paint on you're toes 

how different are you deep inside 

did you never find something to hide  

would I love to know a little bit more 

a little bit restless I adore not like

 

the girl next door she's such a bore its

just as well for the stories she’ll tell about

girl next door  so much amore then

dinner tonight with a banker that’s right         

Oh no its the girl next door I cant take any

More meeting girl next door 

 

you're different on the outside I can see so

something on the inside had to be

more than meets the eye 

A little bit restless and wanting to cry

A little bit helpless and wanting to die 

Or just a little crazy & wanting to fly, 

 

not like the girl next door she's such a bore 

it’s just as well for the stories she’ll tell   

about a girl next door so much amore 

than dinner tonight with a banker that’s right      

No’...No its girl next door Oh wo Oh    Oh'

I cant take any more meeting girl next door

I cant take any more.  

 

BILLY TO HIMSELF

She’ll be very lucky, and I’ll be self assured.

 

BILLY TO JANE

“will you marry me”

 

JANE

Yes

 

 

7: Beautiful Sunshine 

Jane accepts Billy’s proposal 

 

7. BEAUTIFUL SUNSHINE 

JANE

It’s all honey in the morning with a little bit of toast on the side

It’s all honey in the morning with a little bit of toast on the side

I wake up in the morning, beautiful sunshine

I wake up in the morning all I see is you

 

BILLY

Shall I compare thee to a summer's day

You're more beautiful 

Than anything Shakespeare could say

Isho yiras Hashem

False is grace beauty is vain

You have risen above them all the same

 

BILLY + JANE

And I wake up in the morning,

beautiful sunshine

I wake up in the morning

all I see is you

 

 

 

8: Artist

Billy at his desk writing a glorifying article on Jane’s behalf, at the same time commenting to the audience on this great partnership.

 

8. AN ARTIST 

BILLY TO HIMSELF

Finally letting go,

finally sitting down,

finally what I know

laughing like a clown in town

 

“She’s so out there, tapping into the rhythms of the universe”

 

BILLY TYPES AN ARTICLE GLORIFYING JANE

“An artist has to make some room

in everything she sees

taking that the higher lines are free

she doesn’t care about the surreptitious,

she’s into helping you get rid of the delicious,

junkie and monkey on your back

 

An artist has to make some room

in everything she sees

taking that the higher lines are free

 

she cares about the sense of it,

she’s into the defence of it,

but not with violence, or silence, 

she is free

 

she doesn’t care 

about the critical,

it’s way too political,

or any spiritual, visible, lyrical melody

 

An artist has to make some room

in everything she sees

taking that the higher lines are free”

 

BILLY TO THE AUDIENCE

And so we sang together,

we sang together, we sang for gold

 

 

9: You Make Me Rock N Roll (scene: live concert at Grammy ceremony)

Sitting together in the audience at the awards ceremony Jane has to go to get ready to perform.

Jet propelled by all the articles from Billy Jane expresses appreciation while acknowledging the strain her success is causing.

 

9. YOU MAKE ME ROCK N’ ROLL​ 

JANE

You make me rock n roll

you make me take the can

you make me roll 

 

what did I to deserve someone like you

what do I say when you tell me that the life you knew

makes you wanna go away

I didn't meant to hurt you that way

Like you don’t mean all the things you say

 

You say too true, 

You say sometimes we say

the things we really don't want to do

You say we can understand

when we lend a hand,

when we stay for the fight if we hang in there tonight

 

You make me rock n roll

you make me take the can

you make me roll 

 

what do we do!?

we stick at it for what we knew 

but the situation’s hanging on the brink 

How do we mend this parting 

Tell you what, this is how I’m starting

Tellin you now that I’m in for keeps

 

You make me rock n roll

you make me take the can

you make me roll 

 

 

10: Hey Ah! – (scene: in the empty bar for the after party at Grammy ceremony)

Billy gets up and makes his way to the back stage after party bar. Everything was skyrocketing but it comes to a crash. As song Jane is just finishing, Billy drinks on his own and starts to feel left out at the attention Jane is now getting “thanks to him” he feels, and is having doubts 

 

10. HEY AH! 

BILLY

Life was full of choices

Now my head is full of voices

Things are what they are

Accepting it is hard

 

If I could change I would

What you want is good

but how I would undo

I’m talking to me not you   (not wanting to be too hasty)

 

Hey, ahhh!

 

To upturn the very essence

The requirement is effervescence

Oh what will give me this

must I persist 

 

But failure is not fear

if it’s the only way to travel

 

If you know why

The how is easy

If you know why

The how is easy

But do, not try

and only stop if your feeling queasy

 

Hey, ahhh!

 

 

11: Nowhere Else

Jane comes backstage looking for Billy and seeing how sad he is tries to console him

 

 

11. NOWHERE ELSE  

JANE

what else can I do

you look so blue

a shoulder to cry on

or you can rely on

but I cant decide

what to tell to those eyes

 

how to get it through to you

I tell you what I’d do

climb every fountain

swim to the sky

look at these soaking eyes

what need no-one tries

 

what if I wipe those tears

holding back the pain

that I know you’ve been fighting

put it in writing

and don’t even tell me why

It’s the hardest thing to try

 

There is nowhere else you’d rather be

There is no one else you’d rather see

There is no one else as close to me - laughing at the sea

 

hardest thing to try

in a fountain

I can swim to this guy!

 

There is nowhere else you’d rather be

There is no one else you’d rather see

laughing in the blue

 

JANE IS CALLED AND RUSHES OFF TO RECEIVE HER AWARD

 

 

12: The Visitors

A song from the barman / narrator to Billy. The barman is being a typical philosopher barman talking to a guy who’s lost his dame somehow. Billy chips in on the chorus alluding to only getting to see Jane for brief moments at a time, and thus refers to her as “the visitor”

 

 

12. THE VISITORS

BARMAN TO BILLY

What brings you to these parts my friend

Is their something you’ve lost

Has the wind been strong

Did you not belong

Was the ground awash with frost

 

Come in I say

Warm those feet of clay

We’re not all Vincent Van Gogh

 

Its been foretold 

That a colourless soul

or the not so bolden rainbow

 

Gets to re-engage

Even centre stage

And somehow comes to pass

 

Or at the very lease

doth find some peace

in what’s left of his ass

 

People die

things do change

if this is goodbye

it’s not so strange

not so strange at all

 

BILLY

In the summer

my lover comes south  

to visit the visitors

but no commitment inconvenience

 

 

THE AWARD CEREMONY AFTER PARTY STARTS TO FILL UP

 

13: Gentle Words. – (scene: from the bar)  BARMAN NARRATOR

 

 

13. GENTLE WORDS 

BARMAN talking to JANE

 

I saw your husband, he was talking quite intimately with Dana International about “How come this terrible music is being made, and why is dat, and how come it get bought....” (talking about Jane’s music)

“Danna” he said “it’s because there’s two market place out there! There’s a market for it because there’s people out there without a heart, and there’s people out there with a heart.”

Then Danna, drunk, replied “It’s not entirely true, more true is there’s a lot of people who keep their heart a secret. And sometimes it becomes ......a secret from themselves.”

 

JANE GOES TO INTERRUPT HER HUSBAND AND DANNA

“The only way I know how to tell the truth is through music and art, but the new chemistry is marketing” - Jane said - and she didn’t like to be sold entertainment - “you better not drink this or you might get to near a climax of reality” she said in an American accent to the Israeli entertainer and friend of Stephen Spielbergs as she threw back her shot, just after she compared New York to Israel due to it’s finger snap style of living.

 

DANNA (cameo)  “Gentle words are the harshest” – “a secret from themselves” 

 

 

 

- - - - - - - - - - - - - - End of act I- - - - - - - - - - - - - - -  

Act II

 

1: You Don’t Say… Anything – (scene: still at the bar)

Billy and Jane duet drunkenly argue things out in a manner so as to try not to draw attention to themselves

 

 

1. YOU DONT SAY, ANYTHING 

BILLY: You don't say

JANE …. Anything! 

 

BILLY ah, you stole yourself from me 

JANE ah, what do you need to see

BILLY how you stole yourself from me 

 

JANE 

u don’t say ...anything

BILLY 

u don’t need me

BILLY+JANE

at all

 

BILLY

u were so generous on stage,   

but in private u couldn’t 

give anything away

 

JANE

I was so generous at home,

but in public no-one knew

i was alone

 

BILLY

u don’t c me any more

no need to keep the score 

 

JANE

call me time and time again

like never before and in 5mins 

u’ll forget me, 

 

BILLY+JANE

the truth’ll set you free 

 

BILLY

if I was so cynical with words     

how come in private I couldn’t get 

a word in even over heard

 

JANE

you say we’re so close,

when u r verbose! 

 

 

2: From a Watchers Point of View 

By now with everybody watching them Billy and Jane duet / continue the fight (the surrounding cast joining in for the big choruses)

 

2. A WATCHERS POINT OF VIEW 

JANE

From a watchers point of view

he can see what he wants to do

 

BILLY

From a watchers point of view

He got married to misconstrue

 

JANE

He likes to think that he likes to think

And he likes a wink when he gets the drinks

But he takes the change it’s a little strange

Then a hunch back train flew over the saine…  (BILLY looks on incredulous)

Inside his head he’s braved a world that didn’t give him much to choose

 

BILLY

She’ll get around but she wont go down unless she’s taking you

From a watchers point of view

 

JANE

who me? 

 

BILLY

who knows 

 

BILLY + JANE

not you! 

 

JANE

he agrees with everything you do

 

BILLY

who me?

 

JANE

who knows

 

BILLY + JANE

not you! 

 

JANE

but you’ve got admire him, for being so shrewd!

 

JANE

he’s got two critics eyes 

to tip if I extemporize 

but he’s other-wise 

 

BILLY

She’ll calculate evaluate, 

but the boom bada bing 

if you know what I mean 

She’ll just spectate

 

JANE

he’ll look around to qualify his 

graduated, 

 

BILLY

elevated

 

JANE

never made it, 

 

BILLY

compensated, 

 

JANE

syncopated, 

 

BILLY

un-dilated 

 

BILLY + JANE

stuck on auto automated answer coz he’s watching you

From a watchers point of view

 

BILLY

see what he wants to do

 

JANE

go down taking you

 

BILLY + JANE

From a watchers point of view

 

BILLY

Watch her point of view

 

JANE

“Ooo their loafers no laces in his shoes”

Watch him Miss Construe

He’d say anything, 

 

BILLY

and everything, 

 

JANE

absolutely anything

 

BILLY + JANE

Something that is mostly just a little bit of nothing

HeW an sToP is sOnY our TreeT oo

 

 

 

NOTICING THE ATTENTION THEY ARE NOW GETTING, PART COMPANY.

JANE GETS SURROUNDED BY ACOLYTES AND ATTENTION FROM OTHER MEN 

3: Painful Bother 

Billy and Jane duet (from opposite sides of the stage / room)

 

 

3. PAINFUL BOTHER

BILLY

I know you want the best for me

but I do not judge you favourably 

 

JANE

The past is ever present

where you are less than pleasant 

 

BILLY

I love you true

but you are not

 

JANE

I’m the obligated one

just as you are inseparable 

with your nose and thumb

 

BILLY

I act in honour

protecting us both 

from more “painful bother”

 

JANE

You conclude I’m not your friend 

but I never really should have been

Something else I would much rather

Were it that all this had not been harboured

 

BILLY

I can not help but love you

and I will come to your grave

and I'll pray for you and I'll cry for you

and for both of us to be saved

 

JANE

But hate consumed 

and you inhaled the fumes

and even more so come to anger

Love is a reality

but you think of it as banality

 

BILLY

Fare thee well 

on the rest of your journey 

life is short

 

JANE

I'll see you in hell

just as sorry for what I'm not

Where your charm and humour,

 

BILLY

    unless of course G-d is a rumour

 

JANE

And being made of ice

 

BILLY

     just as you are really nice

 

JANE

Will catch no sympathy 

 

BILLY

     "if it’s all serendipity"

 

JANE

to save you the heat

 

BILLY

     perhaps you think people are just pieces of meat

 

 

 

3.5: dialogue (from opposite sides of the stage / room)

 

BILLY to self

There’s something needs to be done.

It's like something in you that says I need to do this.

And if I don't do anything else I know that I know that I know that I have to do this!

JANE to self

...when someone has wronged you that’s their problem

but that it happened to you is yours...

where have men been,

what have they become

​​

BILLY ​to Jane

Probably you prefer that I told you that I 

want to buy you pizza than I tell you I love you

 

JANE ​to Billy

forget it, forget it, give up, don't do it,

don't do it to yourself, don't do it to your family

it's ok, good to love, good to look at other people, 

you just must to understand yourself

 

BILLY​ (in 3rdperson addressing other in the group)

what is normal, we all ask that question

the funny thing is being unusual nowadays is so bloody 

normal that nobody really notices if you are unusual or not 

in fact being normal is much more unusual than being unusual

 

JANE  (in 3rdperson addressing other in the group)

The synergy is what counts

where in lies the reality

how fickle we are, how tempted to the unknown

the gender makes no difference

BILLY​ (in 3rdperson addressing other in the group)

when action is replaced with emotion

instead of going to do something silly

get it out on paper

then perhaps you'll calm down later

or maybe not it depends how much 

or how little self restraint you've got

Gun, paper gun paper gun

Gun, paper gum paper gone

Gun, paper gun paper gone

soon she’ll be seeing the light

 

JANE to Billy

Hope you are well, that's all I am saying

have a wonderful evening and whatever it is

you're not doing, don't do it for long

because if you don't do it what you're not doing

who knows what you'll end up doing

 

BILLY to Jane

Coz truth be told I am more bold

where you can not outrun

your hate, from love

that you thought so little of

as you laughed...at my paper gun

 

JANE ​ (in 3rdperson addressing other in the group)

I think every person at one point  in their lives

they had this strong feeling that they have to do something

about a situation, maybe they were raised in a way that they shouldn't,

I'm saying...something must be done

 

4: Paper Gun – (scene: band in the background play the Paper Gun chorus)

Billy and Jane duet having bumped into each other at the party in front of a bunch of people. They continue to go at each other subtlety, at times in the 3rdperson addressing others. 

 

4. PAPER GUN

JANE to self

paper gun paper gun

Gun, paper gum paper gone

Gun, paper gun paper gone

soon he’ll be seeing the light

bang bang bang bang

 

BILLY

Like a social misfit

you play the scene

“there’s  good and bad in everyone”

so you think you’ll come out clean

well I wont give you the pleasure

from me you wont get a rise.

Anyway you’re blissfully un-aware

of why you should be so despised

      DIRECTED AT THE MALE ATTENTION JANE IS RECEIVING:

“never rub another mans rhubarb”

always good advice 

like "an eye for an eye

a tooth for a tooth"

there’s a price

so avert your gaze and a little less praise

yes avert your gaze and a little less praise

when temptation fires your ego.

you’ll notice in time

you’re not paying the fine

“Im all right jack” doesn’t cover the legal

     DIRECTED BACK AT JANE

but I am your enemy my friend

and until the bitter end

you are the reason

for my mindful treason

It's broken so what’s to mend!?

 

JANE

In hot and bloody cool disdain

you’ve justified most every lie morality can feign

the end was over before the war begun

I left you weaving your only fun

twas pen and paper that used to be

your field of no retreat

and now you’re doing all you can

that we should never meet

Gun, paper gun paper gun

Gun, paper gum paper gone

Gun, paper gun paper gone

soon he’ll be seeing the light

 

 

AS HE STARTS TO WALK AWAY TOWARDS THE STAGE AREA

BILLY

She’s like one of those people that they need to climb Mt Everest

and it requires years of training and then facing the unknown up there

and so many people they have tried and they have failed

and some people even have lost their lives, G-d forbid!

I don't have more words to continue

 

JANE

In my dreams we laugh but I know this can not be

if I ask what’s become of you you’d ask the same of me

the right line at the right time

in right place with the right face

 

 

 

5: Faith

Billy looks heavenward 

 

5. FAITH

BILLY (stands on the stage to an empty theatre, looking heavenwards)

I know it’s all easier said than done be it money, health or love, or loosing someone 

When things seem black it’s a time to stop 

but not look back a time to rest and see

what tomorrow will be

If you want call it a test but be assured that 

He knows best His truth abounds

without a sound even in a mess

If you see the good you'll see the best

We're not naive to trust it's just opposite for us

if things seem bad try faith a tad

I know it's easier said than done

be it money, health or love, or loosing someone 

Dilegua, o note (Vanish, o night)

Tramontate, stele (Set your stars)

Tramontate, stele (Set your stars)

All'alba (At daybreak)

Vincerò (I will win)

 

The right line in the right time, with the right face in right place

 

 

 

6: You And Your Own

Jane

 

6. YOU AND YOUR OWN

JANE

It’s such a shame when we complain

About our nearest and dearest

About the ones we need the most, who give us all we are

 

And yes I know your not alone

it’s not just you, I know it’s everyone

but we pass it off, in saying

“we always hurt the ones we love”

 

You and your own, it just makes sense

In the battle zone, not sitting on the fence

If you go I will test you right away,

I will test you right away, if you go

 

BILLY WALKS OFF OUT OF THE THEATRE

 

 

 

TIME PASSES FROM SUMMER TO WINTER 

To where we are caught up with how we opened act I.

Barman still behind the bar

7: You don’t say – (scene: standing outside the Grammy awards building in the snow)

Billy sings about Jane

 

NARRATOR / BARMAN 

“we are now caught up with how we opened act I.

We see Jane walking off in the snow, Billy having just missed her”

 

JANE

What has love become

It’s being willing to die for someone

That you yourself want to kill anyway

 

7. YOU DONT SAY

BILLY

You don’t say…

Yet it seems like just a moment away

That it all could be ok

 

JANE (heard in the distance)

It could be

 

BILLY

That's my punishment for 

Turning what I’d say

Returning what you say

For finding out a way

From whatever I don't say

What has love become

It’s being willing to die for someone

That you yourself want to kill anyway

Usually For whatever U don’t say

 

 

8: Coming Home–(scene: Billy finds door to Grammy theatre open, makes way to the empty bar – ¾ way through the song Jane does the same)

Billy over a drink decides he wants to return to Jane

 

8. COMING HOME

BILLY

The Christmas bells are ringing now

I heard u say!

You better get it right now

And how you feel about coming home

 

Just a little smile

Just a little feeling of what you’ve been 

Missing for a while

In every song you play

 

I’m coming home

I’m coming home for Christmas 

  

The angels cry for what you know

Just close your eyes and just let go

 

       JANE SEES BILLY BUT STAYS OUT OF SIGHT

 

Now close the door

Turn out the light

I’ll tell you more

When I arrive tonight

I’m coming home for Christmas 

 

JANE (now joins in)

The atmosphere

The hands are there

So hold them out

For someone you care

And come on home for Christmas 

I’m coming home for Christmas ​

 

 

JANE - dialogue

If you want to love me – love me, in your heart

If you want to forgive me – forgive me, in your heart

 

 

 

 

 

9: In Love Again

Billy and Jane duet 

 

9. IN LOVE AGAIN

JANE

Tonight when we see we want to be

under the stars and the moonlight

 

BILLY

we can be lovers, undiscovered

to the whole world, beautiful girl

I’ve never before 

than when you’re with me

I wont let you go, forever I see

you as for me

 

JANE

As for you, or any two lovers who, just like me

 

BILLY

just like you

 

BILLY + JANE

oh oh oh Ohhhh I’m in love again

 

BILLY

3rd time today

 

JANE

with you

 

BILLY

if one of my dreams

came true to me

then holding my hand

we’d reach for

 

JANE

our own better day

where we went our way

to the whole world

 

BILLY

beautiful girl

you as for me

 

JANE

As for you

Or like any two lovers who

just like me

 

BILLY

just like you

 

BILLY + JANE

oh oh oh Ohhhh I’m in love again

 

BILLY

3rd time today

 

JANE

with you

 

 

 

10: Time

Billy and Jane duet 

 

10. TIME

BILLY

Time, tired of life without change

Time, to re-arrange

to never look back

rise above

don’t cry for pain

only love

only love and time

 

JANE

I’m so tired coz I’m so weak

time to sleep to find my feet

I know you see the world 

that’s through my eyes

you know when I’m weak

it comes as no surprise

time

 

BILLY + JANE

Did we look to close to find 

the love we need

in as much our lovers 

hearts so hard when we

refuse to give

what we receive

 

BILLY

When we’re tired we take the most

think of you think of me so close

 

JANE

remember a new day 

brings another sun

remember the old days

warm from the only one

 

BILLY + JANE

we really don’t need to run

from Time

 

 

 

11: The Time

Billy and Jane duet 

 

11. THE TIME 

 

BILLY

Theirs something in the way you stand  - she said

you look awful funny tonight

there’s something I understand  - she said

when you look at me in that light

 

JANE

I call you my man – she said

I’ll call on you tonight and all of my life 

 

BILLY

she said I’ll give you the time to let you know

give you the time if you need to go

I see the river flowing in you’re soul

 

JANE

I’ll give you the time, my love for you is changing I love you more

 

As I stand alone in this crazy world of “tit for tat”

I still make my home with my mothers Fender Strat

but I know when I’m home, 

coz he knows what I mean!

coz he knows what I mean!

coz he knows what I mean!

 

BILLY

all the things a woman’s fighting for 

are all the things that I believe are yours 

so I’ll give you the time to let you know

I see a river flowing in your song

I’ll give you the time if

you need to go my love for you 

is changing, I love you more

If you don’t go you wont come back.

If you don’t go you wont come back.

this river doesn’t let you step in the same place twice

 

 

 

12: Beautiful Sunshine    …HAPPY ENDING 

–(scene: they are at home, Billy on his way upstairs to bed thinking Jane is asleep)

Billy sings

 

 

12. BEAUTIFUL SUNSHINE 

BILLY

It’s all honey in the morning with a little bit of toast on the side

It’s all honey in the morning with a little bit of toast on the side

 

I wake up in the morning, beautiful sunshine

I wake up in the morning all I see is you

 

At the end of a day of marked success

I take out my cufflinks as I get undressed

I thought of you as I climbed the stairs

Acutely aware I was glad you were there

And even though you’re asleep and unaware

I’m happy that I have someone who cares

 

The words flow easy

That's also your doing

But lets not get carried away though

I'm afraid of approving

 

And I wake up in the morning,

beautiful sunshine

I wake up in the morning

all I see is you

 

Shall I compare thee to a summer's day

You're more beautiful 

Than anything Shakespeare could say

Shall I compare thee to a starry starry night

You’re more dazzling 

than anything Vincent tried to hold in sight

 

 

13: An Artist   …BUT

Jane awake, not in the room yet, contemplatively. 

Billy joins in a duet to ask “the” abstract question of the piece

 

13. AN ARTIST 

JANE (in bed awake)

We sang alone 

 

An artist has to make some room

in everything she seems

taking that the higher lines are free

 

In the middle of the night or a crowded day

I can hear myself and you know I want to say something

 

If an artist has to make some room

in everything she seams

tell me are the higher lines free

so we sang together,

we sang together, we sang for gold

 

How it feels to be seen and known

For what you have, and what you let go, and let show

 

But how it feels to be dreaming though

Everything really quite sad,

if you’re not glad for what you have

 

If an artist has to make some room

in everything she seams

tell me are the higher lines free

so we sang together,

we sang together, we sang alone

 

 

BILLY (enters the room)

Finally letting go,

finally sitting down,

finally what I know

laughing a clown in town

 

JANE

He doesn’t care about the critical,

it’s too political, or any cynical, visible, lyrical melody

 

BILLY

She cares about the sense of it,

She’s into the defence of it,

but not with violence, or silence, she is free

 

JANE

he doesn’t care about the surreptitious,

he’s into helping you get rid of the delicious,

junkie and monkey on your back

 

BILLY + JANE

and so we sang together,

we sang together, we sang alone

 

BILLY 

If an artist has to make some room

in everything she 

 

JANE

he

 

BILLY 

seams

tell me are the higher lines really free

 

JANE

"Yes I do, play the game!"

 

 

 

 - - - - - - - CURTAIN CLOSES / OPENS - - - - - - 

 

 

14: The Visitors(chorus only reprise)

Billy and Jane reiterate, highlighting that the whole thing is cyclical.

CAST TAKE A BOW AND PLAY OUS AS THEY SING

 

14. THE VISITORS

BILLY + JANE

In the summer

my lover comes south  

to visit the visitors

but no commitment inconvenience

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