The Black Parade - The Unofficial Musical

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Note from the authors:

In the 15 years since the Black Parade album was released, many fans have imagined that it could be adapted into a stage musical. We set out to create a full script for such an adaptation. The illustrations aren't meant to be the only way things could be staged, but are just to bring the characters to life a bit more. We would love to see any more drawings, recordings, or design ideas that others create. This project is just a fan-made script, with no plans to produce it on stage without MCR's permission or creative input.

 

Synopsis:

An envisioning of My Chemical Romance's "The Black Parade" album as a stage musical. As the Patient dies, in the moments just after his heart stops beating, he sees his life flash before his eyes in the form of a parade performance. Reminiscent of the classic tale "A Christmas Carol," as the Patient revisits his past, he gains new resolve to change his future.

 

Notes:

This show is intentionally set in an anachronistic, ambiguous time and place. The war is not a specific one, but a general representation of pointless conflict that costs young lives. Feel free to mix furniture, uniforms, weapons, and medical technology from throughout history.

 

Additionally, most of the show takes place in a fragmented dream world, and doesn't have to be staged entirely literally. You may want to put plague masks on doctors, gas masks on cheerleaders, or mix in Black Parade skeletons with the ensemble. The Black Parade may also act as ushers, stagehands, or bit parts such as the train conductor.

 

The different versions of the Patient don't need to look alike physically, but they may share a costume color or motif to connect them together. The actors may also work out a posture, character tic, etc. that the Patient carries throughout his life. 

 

The Hospital Patient can watch his memories, but cannot interact with them for most of the show-- like a ghost. He can, however, interact with the Black Parade and with the audience, with whom he is often frustrated for watching his memories as a spectacle. 

Act 1 The End/Dead! Teenagers Summertime My Way Home is Through You Mama Interlude (from "Three Cheers for Sweet Revenge") Emily The Sharpest Lives I Don't Love You This is How I Disappear Welcome to the Black Parade

Act 2 All The Angels The Light Behind Your Eyes Interlude (from "The Black Parade is Dead!") Heaven Help Us House of Wolves Cancer Sleep Disenchanted Kill All Your Friends Famous Last Words Blood

HOSPITAL PATIENT: Male, 26-30, baritone. The present-day Patient who flatlines in the hospital and watches his memories unfold, starring different versions of himself.	TEEN PATIENT: Male, 18-22, tenor. A troubled, angry kid who sees the military as a chance for purpose and belonging. His smile only comes out around his girlfriend Emily, a friend since childhood. Torn between Emily’s anti-establishment beliefs and his desire to finally impress his parents as a war hero.	WAR PATIENT: Male, 20-24, baritenor. Trained and propagandized into the boisterous young soldier persona, determined to fight for his country, his newfound buddies, and his girl back home. Becomes mentally broken after he witnesses (and commits) the actual horrors of battle.	POST-WAR PATIENT: Male, 22-26, baritone. Now considered a hero, but unable to be proud of his actions. A self-destructive, traumatized alcoholic who pushes away those that care about him.
White hair (or no hair), sickly eye makeup, looks ghost-like in his hospital gown	I’m Not Okay-style prep school outfit	Red hair and military style jacket	Beard and jacket

TEEN EMILY: Female,18-22, mezzo. A naive, outspoken rebel and love interest of the Patient.	POST-WAR EMILY: Female, 23-30, mezzo. A thoughtful, strong-willed lawyer who learns to balance her ideals with empathy.

RECRUITER: Any gender, 25-35. Represents the heroic allure of battle. St. Jimmy type - everyone wants them or wants to be them. Charismatic and inspiring, actually completely unhinged. Lots of ways to go with casting and costume - older commanding officer, angry rebel, 40s war bonds poster girl, superhero, older sibling or father figure to the Patient, rockstar, etc.	MOTHER WAR: Female, 45-60. The despairing mother of a soldier the Patient kills. Unclear whether she actually exists or is just a figment of the Patient’s imagination. Old Broadway diva vibes. Can be played by the same actress as MOTHER.	DAUGHTER WAR: Female, 18-22, non-singing. An enemy soldier who is shot by the Patient and dies in her mother’s arms. Like the Patient, she is implied to be a young, naive person recruited straight out of high school.

PRIEST: Male, 45-60. Poses as a man of God and beloved father to his flock. Actually a greedy faith healer exploiting the sick and desperate. Can be played by the same actor as FATHER.	MOTHER: Female, 45-60. A widow who has worked for many years to provide a better life for herself and her son. Frustrated by the Patient’s constant path toward self-destruction as she just wants him to be happy. Buys into things like faith healing and military recruitment in an attempt to find something to believe in.	FATHER: Male, 45-60. The Patient’s deceased father, who he remembers vaguely from childhood and now imagines awaiting him in the afterlife. Almost exists as a hazy, idealized concept of a father from the Patient’s perspective.

SOLDIERS: Any gender, 18-30. Military uniforms in different colors and designs to denote the two sides of the war. Opposing side wears masks, making them look like an inhuman clone army - but when Daughter War dies we get to see her face.

WAR BUDDIES (GREENE, MAL, MURPHY, LEWIS): Any gender, 20-30. Young recruits who become a tight-knit squad during training. GREENE is a naive farm boy, MAL a wild jokester, LEWIS an uptight rule follower, and MURPHY a rebel who ran away from his strict family to fight. In the post-war years, though LEWIS is physically injured, he, MURPHY, and MAL become more stable while the PATIENT cannot.

DOCTORS AND NURSES: Any gender, 30-60. White coats, maybe something anachronistic like plague doctor masks.

THE BLACK PARADE: All genders, 20-35. The Patient’s strongest childhood memory, now distorted into an ominous Greek chorus of the dead. Sometimes represent the Patient’s thoughts or fears, or the inevitability of death. Includes FEAR and REGRET, female, 20-35. FEAR looks as if she has come out of a horror movie, while REGRET looks mournful.

Lighting inspiration board:

Staging concepts: 

 

 

 

xx

ACT 1

SCENE 1

[The stage is dark, the curtain is closed, and we see a projection of a heart monitor. Enter HOSPITAL PATIENT, wheeled in on a gurney by DOCTORS, with spotlight.]

"The End/Dead!"

HOSPITAL PATIENT:

[to audience]

Now come one, come all to this tragic affair

Wipe off that makeup, what's in is despair

So throw on the black dress, mix in with the lot

You might wake up and notice you're someone you're not

[Enter NURSES; they approach the hospital bed, dancing.]

If you look in the mirror and don't like what you see

You can find out firsthand what it's like to be me

[NURSES gather around the hospital bed, and HOSPITAL PATIENT addresses both them and the audience.]

 

So gather 'round piggies and kiss this goodbye

I'd encourage your smiles

I'll expect you won't cry

[Bright white stage lights suddenly turn on. NURSES, DOCTORS dance around HOSPITAL PATIENT.]

 

[As music quiets, ENSEMBLE freezes (with only slight movements to the music). Spotlight on HOSPITAL PATIENT, once again addressing the audience.]

 

HOSPITAL PATIENT:

Another contusion, my funeral jag

Here's my resignation, I'll serve it in drag

You've got front row seats to the penitence ball

When I grow up I want to be nothing at all!

 

[ENSEMBLE wheels HOSPITAL PATIENT around the stage as part of the choreography.] 

 

 

 HOSPITAL PATIENT and ENSEMBLE:

I said yeah, yeah

I said yeah, yeah

ENSEMBLE:

C'mon c'mon c'mon, I said save me!

HOSPITAL PATIENT:

Get me the hell out of here

ENSEMBLE:

Save me!

NURSE:

Too young to die, and my dear

HOSPITAL PATIENT:

You can't--

NURSE:

If you can hear me just walk away and--

HOSPITAL PATIENT:

--take me!

[Heart monitor flatlines. Curtain opens to reveal a parade float, led by a marching band of skeletons-- this is the BLACK PARADE.]

 

 

 BLACK PARADE LEADER:

Yeah!

[HOSPITAL PATIENT doesn't know what's happening to him and looks bewildered. He looks around for the NURSES and DOCTORS who were just with him at the hospital but they have exited.]

 

[MOTHER enters and is spotlighted.]

 

MOTHER:

And if your heart stops beating, I'll be here wondering

Did you get what you deserve? The ending of your life

 

ENSEMBLE:

And if you get to heaven

 

[FATHER exits BLACK PARADE float and is spotlighted. HOSPITAL PATIENT hasn't seen his father since he was very young, and looks taken aback.]

 

FATHER:

I'll be here waiting, babe

Did you get what you deserve?

The end, and if your life won't wait

Then your heart can't take this

 

[ENSEMBLE wheels HOSPITAL PATIENT around as part of choreography. A war RECRUITER and a troop of SOLDIERS enter.]

 

ENSEMBLE:

Have you heard the news that you're dead?

No one ever had much nice to say

I think they never liked you anyway

(You're dead!)

 

[ENSEMBLE pulls HOSPITAL PATIENT out of the hospital bed, and the bed briefly disappears into the darkness, allowing an ENSEMBLE member to get into the bed and serve as a body double.]

 

HOSPITAL PATIENT:

Oh take me from the hospital bed

 

SOLDIERS:

Wouldn't it be grand? It ain't exactly what you planned,

And wouldn't it be great if we were dead?

 

HOSPITAL PATIENT:

[Looking at his dead body in the hospital bed as NURSES crowd around it trying to resuscitate him.]

Oh, dead.

 

[HOSPITAL PATIENT tries to run away but the ENSEMBLE traps him onstage as the figures from his past continue to taunt him.]

 

[Spotlight on EMILY.]

 

EMILY:

Tongue-tied and oh so squeamish, you never fell in love

Did you get what you deserve? The ending of your life

 

ENSEMBLE:

 And if you get to heaven

[MOTHER and FATHER pull HOSPITAL PATIENT towards them and pose like a family portrait.]

 

 

 FATHER:

I'll be here waiting, babe

Did you get what you deserve? The end

MOTHER:

And if your life won't wait

Then your heart can't take this

[ENSEMBLE circles around HOSPITAL PATIENT, trapping him onstage.]

 

ENSEMBLE:

Have you heard the news that you're dead?

No one ever had much nice to say

I think they never liked you anyway

(You're dead!)

 

HOSPITAL PATIENT:

Oh, take me from the hospital bed

 

RECRUITER:

Wouldn't it be grand to take a pistol by the hand?

 

SOLDIERS:

And wouldn't it be great if we were dead?

 

[DOCTORS and NURSES enter in a spotlight.]

 

DOCTOR:

And in my honest observation

During this operation

Found a complication in your heart

So long, 'cause now you've got

 

NURSES:

Now you've got

 

DOCTOR:

Maybe just two weeks to live

 

HOSPITAL PATIENT:

Is that the most the both of you can give? 

 

[Guitar solo. Choreography of BLACK PARADE.]

 

[Two BLACK PARADE marchers break off from the crowd-- they are FEAR and REGRET. FEAR looks as if she's from a horror movie, REGRET looks mournful.] 

 

 

 FEAR:

We got a live one.

REGRET:

Not for much longer.

HOSPITAL PATIENT:

Who are you?

REGRET:

You'll come to know us very well.

FEAR:

Your fears...

REGRET:

Your regrets...

FEAR:

You avoided us in life, but in death we walk together.

REGRET:

You have a choice to make, but not much time.

FEAR:

Your blood is already running cold.

[FEAR and REGRET leave him.]

 

HOSPITAL PATIENT:

Wait--come back!

 

BLACK PARADE:

[Whistle blown by leader.]

One, two, one two three four!

 

[HOSPITAL PATIENT keeps trying to exit the stage, but is blocked by various members of the ENSEMBLE circling around him.]

 

ENSEMBLE:

LA LA LA LA LA!

LA LA LA LA LA LA!

LA LA LA LA LA LA LA!

HOSPITAL PATIENT:

Well come on!

ENSEMBLE:

LA LA LA LA LA!

LA LA LA LA LA LA!

LA LA LA LA LA LA LA!

 

HOSPITAL PATIENT:

Oh, motherfucker!

 

MOTHER (and ENSEMBLE):

If life ain't just a joke (LA LA LA LA LA!)

Then why are we laughing? (LA LA LA LA LA LA!)

 

RECRUITER (and ENSEMBLE):

If life ain't just a joke (LA LA LA LA LA LA LA!)

Then why are we laughing?

 

EMILY (and ENSEMBLE):

If life ain't just a joke (LA LA LA LA LA!)

Then why are we laughing? (LA LA LA LA LA LA!)

 

HOSPITAL PATIENT (and ENSEMBLE):

If life ain't just a joke (LA LA LA LA LA LA LA!)

Then why am I dead?

 

ENSEMBLE:

DEAD! 

 

 

 

SCENE 2 

[A few BLACK PARADE members march across the stage, playing music to mark the transition to a high school setting.]

HOSPITAL PATIENT:

[to audience] My old high school? I guess I am in hell.

[STUDENTS shuffle by on their way to class. A hall monitor stands guard.]

 

 HOSPITAL PATIENT:

Look, there's Mr. Monroe!

[walking over to him, waving] Hello, Mr. Monroe! It's me!

[Mr. Monroe has no response.]

 

 HOSPITAL PATIENT:

Maybe he doesn't recognize me anymore, seeing as-- [HOSPITAL PATIENT reaches up to touch his own hair-- or lack thereof]

Or maybe he can't see me at all. [waves hands in front of MR. MONROE] I guess not.

[HOSPITAL PATIENT looks around at his old school for a while, taking everything in. He stops suddenly when he sees TEEN PATIENT, who is slouching across the stage, lighting a cigarette. A lot of preps stare at him.]

 

[HOSPITAL PATIENT tries to play it off, but he is obviously affected by seeing a young, pre-war version of himself.]

 

HOSPITAL PATIENT:

Is that really me? It's been so long! I can't believe I went to school looking like that.

MR. MONROE, to TEEN PATIENT:

Coats buttoned, shirts tucked! And put that cigarette out, young man! We try to keep appearances here at Pencey Prep.

[hands him a demerit slip, his demeanor softening]

Oh... it's you again. I hate to keep giving you these.

TEEN PATIENT:

I don't mind, sir.

MR. MONROE:

That's the problem. You're graduating this year, yes? Do you have any idea what you'd like to do with your life?

TEEN PATIENT:

No, sir.

MR. MONROE:

[more loudly than TEEN PATIENT would like] Now that's exactly the problem. I hate to see bright young scholars fail to apply themselves. I'd be happy to offer guidance if you'd come in to study hours-- I know you don't have many friends around here.

TEEN PATIENT:

I'll be sure to do that, sir. You know, I'd better get going. Wouldn't want to be late for... um...

MR. MONROE:

[chuckling] I'll let you go, son. But think about what I said.

[TEEN PATIENT takes the demerit slip and slouches away.]

 

TEEN PATIENT:

[mutters, after MR. MONROE is out of earshot] Yeah, whatever.

 

[TEEN EMILY comes up behind him, wearing a punk-ified school uniform and carrying her mallet from croquet practice. She does something cute (ex. covers his eyes to make him laugh).]

 

TEEN EMILY:

Hey, you.

 

TEEN PATIENT:

Hey.

 

[It's obvious seeing her is one of the few things that makes him happy. They have a silent cutesy conversation or freeze, while the lights dim on them and brighten on HOSPITAL PATIENT.]

 

HOSPITAL PATIENT:

...Emily. This was before she hated my guts, obviously. She's not coming to weep over my lifeless body now.

 

[Watching his younger self and TEEN EMILY with sadness, he can't believe how happy they once were. Again, he's trying to be flippant but is clearly hurt by remembering the past.]

 

[Lights return to TEEN PATIENT and TEEN EMILY. She takes the demerit slip from him.]

 

TEEN EMILY:

Another demerit? [tsks at him in cutesy mock disapproval]

 

[reading in a whiny authority voice] "Once again, student has failed to meet proper standards of grooming and dress. They are not upholding the Pencey Prep Promise."

 

You're gonna get expelled if you get any more of these.

 

TEEN PATIENT:

Good. Then I could finally get out of this goddamn place.

 

TEEN EMILY:

We will get out. After graduation, remember?

 

TEEN PATIENT:

I thought you'd dropped the whole running away thing. With your scholarship and all.

 

TEEN EMILY:

Screw the scholarship, it's more of my parents' thing anyways. We can find jobs somewhere, start a new life. Get away from all this bullshit.

 

TEEN PATIENT:

You can't do that, Emily. Not with me.

 

TEEN EMILY:

What do you mean?

 

TEEN PATIENT:

You've got a future, is all I'm saying. I'll never amount to anything. I don't know why you keep me around.

 

TEEN EMILY:

You can't mean that. You're good at lots of stuff. I'm sure you'll find something.

 

RECRUITER:

Fifteen!

 

[TEEN EMILY and TEEN PATIENT turn to see a military RECRUITER counting a student's pull-ups on a pull-up bar. A crowd has gathered to watch and some students are reading pamphlets. The student on the pull-up bar collapses in exhaustion.]

RECRUITER:

You got spirit, kid. We could use you on the front lines. Now, do you want to stay in your hometown and work some dead-end job, or do you want to make something of yourself?

TEEN EMILY:

Not this guy again. Do people actually buy into this garbage?

[TEEN PATIENT wanders towards crowd, buying into this garbage.]

 

Hey-- wait up!

"Teenagers"

 

 

 

 RECRUITER:

They're gonna clean up your looks

With all the lies in the books

To make a citizen out of you

Because they sleep with a gun

And keep an eye on you, son

So they can watch all the things you do

Because the drugs never work

They gonna give you a smirk

'Cause they got methods of keeping you clean

 

TEEN EMILY:

[Tearing down posters from the walls and tearing up pamphlets. She shakes the TEEN PATIENT, waves a hand in front of someone's face. She is ignored.]

They gonna rip up your heads,

Your aspirations to shreds

Another cog in the murder machine

 

RECRUITER, and a few STUDENTS:

[TEEN EMILY is pushed aside. More STUDENTS gather, RECRUITER leads them in push-up and pull-up bar contests.]

They said all teenagers scare the living shit out of me

They could care less as long as someone'll bleed

So darken your clothes or strike a violent pose

Maybe they'll leave you alone, but not me

 

RECRUITER:

[singles out TEEN PATIENT]

The boys and girls in the clique

The awful names that they stick

You're never gonna fit in much, kid

 

But if you're troubled and hurt

What you got under your shirt

Will make them pay for the things that they did

 

[STUDENTS cheer and sing, surrounding the RECRUITER.]

 

ENSEMBLE:

They said all teenagers scare the living shit out of me

They could care less as long as someone'll bleed

So darken your clothes or strike a violent pose

Maybe they'll leave you alone, but not me

 

RECRUITER:

Ohhh yeah!

 

 

 [Guitar solo. RECRUITER leads students in a military-style march.]

ENSEMBLE:

They said all--

TEEN EMILY:

[exasperated, trying to stop TEEN PATIENT from joining the growing crowd]

Teenagers scare the living shit out of me

They could care less as long as someone'll bleed

 

TEEN PATIENT:

[to TEEN EMILY]

So darken your clothes or strike a violent pose

Maybe they'll leave you alone, but not me

 

RECRUITER:

[pulling TEEN PATIENT into the crowd. TEEN EMILY throws up her hands and leaves in frustration; they'll fight about this later.]

All together now!

[STUDENTS are now marching in an organized fashion]

 

ENSEMBLE:

Teenagers scare the living shit out of me

They could care less as long as someone'll bleed

So darken your clothes or strike a violent pose

Maybe they'll leave you alone, but not me

[RECRUITER screams]

Teenagers scare the living shit out of me

They could care less as long as someone'll bleed

So darken your clothes or strike a violent pose

Maybe they'll leave you alone, but not me

 

[The RECRUITER strikes a pose and the crowd goes wild. The BLACK PARADE marches by playing Pomp and Circumstance to mark the scene transition.]

 

 

 

SCENE 3

[TEEN EMILY and TEEN PATIENT sit on a swing set outside the school.]

 

TEEN EMILY:

So, graduation. We finally made it.

 

TEEN PATIENT:

[sarcastically] Pencey Prep's best and brightest.

 

TEEN EMILY:

[hesitant, as though she's been thinking about this for a long time] You're not really gonna go fight in the war, are you? I don't think you know what you're getting yourself into.

 

TEEN PATIENT:

I promise, I do. This is my chance to prove myself, to be someone. My mom's been telling all her church friends I'm gonna be a hero like my dad. I've never seen her so proud of me.

 

TEEN EMILY:

Who cares what she thinks? This is your life.

 

TEEN PATIENT:

It's what my dad would have wanted.

 

TEEN EMILY:

You don't know what he would have wanted. If I were him, I'd want my kid to stay alive. Look, you don't know what it's like out there-- I've heard stories--

 

TEEN PATIENT:

You think I can't handle it?

 

TEEN EMILY:

That's not what I said. It's just that-- the war, it changes people. And I don't want you to change. I thought we were gonna get out of this place together.

 

TEEN PATIENT:

We're not kids anymore, Emily. Look, you're the best thing that's ever happened to me, but nothing you say can stop me from going. I promise when I get back, we can run away like you wanted, wherever you want.

 

"Summertime" 

 

 

TEEN PATIENT:

[standing up from swing to hold TEEN EMILY's hands] 

When the lights go out

Will you take me with you

And carry all this broken bone

Through six years down in crowded rooms

And [hallways] I call home?

 

[TEEN PATIENT offers his hand to dance with TEEN EMILY in an old-timey fashion, and twirls her around]

 

Something I can't know 'til now

'Til you pick me off the ground

With a brick in hand, your lip-gloss smile

Your scraped-up knees and

TEEN EMILY:

[breaking free from TEEN PATIENT]

If you stay I would even wait all night

Or until my heart explodes

How long?

Until we find our way in the dark and out of harm

You can run away with me anytime you want

 

[TEEN PATIENT and TEEN EMILY walk to TEEN PATIENT's house, where an extended instrumental plays as a short dialogue occurs.]

 

TEEN PATIENT:

Mom, I'm home!

 

MOTHER:

[hugging TEEN PATIENT] Oh, I'm going to miss you when you leave.

 

 TEEN PATIENT:

I'll be fine, Mom.

 

MOTHER:

Don't forget to write home, okay? And write Emily too. Don't lose that one.

 

[TEEN EMILY and TEEN PATIENT continue walking.]

 

MOTHER:

Emily and my future soldier. What a pair!

 

[TEEN EMILY and TEEN PATIENT have now reached TEEN PATIENT's room, where he begins packing a suitcase for the war.]

 

TEEN PATIENT:

Terrified of what I'd be

As a kid from what I've seen

Every single day when people try

And put the pieces back together

Just to smash them down

Turn my headphones up real loud

I don't think I need them now

'Cause you stop the noise and--

 

[We see HOSPITAL PATIENT on the side of the stage, watching the memory.]

 

TEEN EMILY:

If you stay I would even wait all night

Or until my heart explodes

How long?

Until we find our way in the dark and out of harm

You can run away with me anytime you want

[TEEN EMILY becomes more distressed as she realizes TEEN PATIENT is serious about going to war.]

 

Well, anytime you want

Well, anytime you want

[Guitar solo. TEEN EMILY stops TEEN PATIENT from packing and takes off a locket. She puts it over his head, tucks it under his shirt, then hugs him. At the same time, spotlight on HOSPITAL PATIENT. He reaches under his hospital gown and pulls out an identical locket, looking at it with a tortured expression.]

 

TEEN EMILY:

Don't walk away

Don't walk away

Don't walk away

 

HOSPITAL PATIENT:

Don't walk away!

 

TEEN EMILY and HOSPITAL PATIENT:

'Cause if you stay I would even wait all night

Well or until my heart explodes

How long?

Until we find our way in the dark and out of harm

TEEN EMILY:

You can run away with me

TEEN PATIENT:

You can write [from where you are]

TEEN EMILY:

You can run away with me anytime you want

[TEEN PATIENT walks away with his bags, leaving TEEN EMILY alone on the stage. She sits down in despair. So does HOSPITAL PATIENT.]

 

 

 

SCENE 4

 [The BLACK PARADE marches by as we enter a new scene. We are now in the war training camp. The PATIENT is played by a new actor with bright red hair and a soldier's uniform-- this is WAR PATIENT. Another recruit, GREENE, is seen writing a letter.]

 

[WAR PATIENT crosses to GREENE with an exaggerated tough soldier walk, pretends to spit on the ground, etc. He hasn't seen combat and doesn't know what he's doing.]

 

WAR PATIENT:

You writin' to someone special there, pal? [punches GREENE on the shoulder]

 

GREENE:

Hey, what was that for?

WAR PATIENT:

I don't know-- I'm sorry. Can we start over? [awkwardly holds his hand out, dropping the tough persona]

 

GREENE:

[shakes WAR PATIENT's hand] The name's Greene.

 

[Lights dim on WAR PATIENT and GREENE as they continue to talk, other soldiers gathering around them. We see HOSPITAL PATIENT watching their conversation.]

 

HOSPITAL PATIENT:

Poor Greene. And that's me, with the red hair. We were all so young then.

 

[Lights back on WAR PATIENT and his new group of WAR FRIENDS.]

 

WAR PATIENT:

[mid-conversation, showing the locket to the group] Emily's getting her law degree. She's amazing.

 

MAL:

So can she get me out of the drunk and disorderly charges I got last week? Because I might really need help.

 

[everyone laughs, some exasperated cries of "Mal--!"]

 

LEWIS:

[to MAL] You think that's trouble-- wait 'till Murphy's family finds out he's out here fighting.

MURPHY:

What? I never told anyone about that. Stay out of my business!

LEWIS:

All I'm saying is I'd never lie to my family like that.

MURPHY:

Well that's your family, Lewis. You don't know mine.

WAR PATIENT:

[changing the subject] Alright guys, break it up. We're a team here. We gotta stick together if we're gonna survive our first day. I heard the Recruiter's real tough on the rookies.

GREENE:

I heard he sends half the guys home crying.

MAL:

I heard he can headshot a gas-mask with both eyes shut.

LEWIS:

I heard he named his gun after his dead mother.

MURPHY:

I thought it was his dead sister.

WAR PATIENT:

[in a hushed voice] Look, here he comes!

LEWIS:

The Bayonet Barber!

MAL:

The Switchblade Saint!

MURPHY:

Mr. Massacre himself!

[The RECRUITER enters and the music starts. The recruits rush to stand shoulder-to-shoulder.]

 

"My Way Home is Through You"

RECRUITER:

[with "Here's Johnny!" energy] Kids, I'm home!

[screams, and then runs wildly in front of the line of recruits, as they stare in frightened silence]

 

Gonna take off all my skin

  Tear apart all of my insides

When they rifle in

Mom and Dad think you'll be saved

They never had the time

They're gonna medicate your lives

You were always born a crime

We salute you in your grave

WAR PATIENT:

Can't find my way home

But it's through you and I know

What I'd do just to get back in her arms

GREENE:

Can't find my way home

But it's through you and I know

What I'd do just to get back in her-er-er

RECRUITER:

 Well my gun fires seven different shades of shit

So what's your favorite color, punk?

MURPHY:

[to RECRUITER]

Do you wanna hold my hand? 

 

GREENE:

[to RECRUITER]

Could you sign this photograph?

 

LEWIS:

[to RECRUITER]

'Cause I'm your biggest fan

 

MAL:

[to RECRUITER. Lying on ground exhausted after doing push-ups.] 

Would you leave me lying here?

RECRUITER:

[steps on MAL.]

We're not here to pay a compliment

Or sing about the government

Or Oxycontin genocide

Adolescent suicide

I'll give you my sincerity

Don't give a fuck about a Kennedy

Here's what I've got to say

 

ENSEMBLE:

[choreography of army training, like push-ups, pull-ups, etc.]

Can't find my way home

But it's through you and I know

What I'd do just to get back in her arms

 

Can't find my way home

But it's through you and I know

What I'd do just to get back in her-er-er

 

[Instrumental.]

 

RECRUITER:

[yelling, to WAR PATIENT] Are you a murder machine?

 

WAR PATIENT:

Sir, yes, sir!

 

RECRUITER:

I can't hear you!! Are you a murder machine??

 

WAR PATIENT:

Yes, sir!

 

RECRUITER:

Now look alive, or get shot dead!

[Choreography of army drills. RECRUITER can continue to shout over the ENSEMBLE.]

 

ENSEMBLE:

Oh, woah-oh, way-ay

Oh, woah-oh, way-ay

Oh, woah-oh, way-ay (We've got to go, we've got to go, we've got to go, we've got to go)

Oh, wah-ah aaaaaaa (We've got to go, we've got to go, we've got to go, we've got to go)

 

RECRUITER:

Go!

 

[Guitar solo. Recruits are now a fully trained and organized marching group of SOLDIERS. RECRUITER can continue to yell instructions, mock them, etc. over the instrumental.] 

ENSEMBLE:

Can't find my way home

But it's through you and I know

What I'd do just to get back in her arms

Can't find my way home

But it's through you and I know

What I'd do just to get back, well, in her arms

Can't find the way

Cant find the way

Can't find the way-yay-yay-yay-yay

Can't find the way

Can't find the way

Can't find the way-yay-yay-yay-yay

RECRUITER:

[in a mocking tone, singling out SOLDIERS]

Come on angel, don't you cry

Come on angel, don't you cry

Come on angel, don't you cry

Come on angel, don't you cry 

SCENE 5

[The BLACK PARADE marches across the stage playing an instrumental motif from "Mama" to mark the transition into the war. Sound of gunfire and shells in the distance.]

 

[Spotlight on MURPHY carrying in GREENE, who has been fatally wounded in battle.]

 

MURPHY:

Man down! Couple gas-masks ambushed us-- he didn't even know what hit him.

 

MAL:

Who is it?

MURPHY:

Greene.

LEWIS:

Goddammit.

[WAR PATIENT and the other war buddies gather around.]

 

WAR PATIENT:

He's gonna make it, right? [He looks around at the group, his voice breaking]

Greene. I know you can hear me, buddy. Wake up. [shaking him. No answer.] Greene!

 

[GREENE is carried away with a sheet over him, while the war buddies look on in horror. The lights darken.]

 

"Mama"

[Spotlight on a soldier encampment-- crates, camouflage, maybe a medical tent. SOLDIERS sit outside, writing letters home. Bombs can be heard in the background.]

 

 

WAR PATIENT:

[writing]

Mama, we all go to hell

Mama, we all go to hell

I'm writing this letter and wishing you well

Mama, we all go to hell

 

LEWIS:

[writing]

Oh, well, now

Mama, we're all gonna die

Mama, we're all gonna die

 

MURPHY:

[writing]

Stop asking me questions

I'd hate to see you cry 

Mama, we're all gonna die

ENSEMBLE:

[Choreography of fighting in war. The parade float rolls onstage converted into an approximation of a military tank. Lots of flashing lights. We see LEWIS take a bullet for MURPHY in the chaos.]

 

And when we go don't blame us, yeah

We'll let the fires just bathe us, yeah

You made us oh so famous

We'll never let you go

And when you go don't return to me my love

MAL:

Mama, we're all full of lies

Mama, we're meant for the flies

And right now they're building a coffin your size

Mama, we're all full of lies

LEWIS:

[Brought out on hospital bed by DOCTOR and NURSE, sits up to sing. He has bandages on his legs and one or both eyes. MURPHY is hovering by his bedside in a panic.]

 

Well Mother, what the war did to my legs and to my tongue

You should've raised a baby girl

I should've been a better son

 

ARMY DOCTOR:

[to NURSE]

If you could coddle the infection

They can amputate at once

 

ENSEMBLE:

You should've been

 

LEWIS:

I could have been a better son

 

ENSEMBLE:

[Choreography of fighting in war. LEWIS is carried to the side of the stage, where medics crowd around him.]

And when we go don't blame us, yeah

We'll let the fires just bathe us, yeah

You made us oh so famous

We'll never let you go

 

MURPHY:

[opening a letter]

She said: "You ain't no son of mine

For what you've done they're gonna find

A place for you, and just you mind your manners when you go

And when you go, don't return to me, my love"

That's right

 

WAR PATIENT:

[with war choreography behind him]

Mama, we all go to hell

Mama, we all go to hell

 

LEWIS:

[being attended to by medics]

It's really quite pleasant

Except for the smell

Mama, we all go to hell

 

ENSEMBLE:

2-3-4

 

 

[The enemy soldiers, looking inhuman in their masks, are advancing on the encampment. It's a kill or be killed situation.]

 

Various ENSEMBLE members, as the stage descends into chaos:

Mama! Mama! Mama! Ohhh!

 

[With the RECRUITER standing behind him, egging him on, WAR PATIENT shoots DAUGHTER WAR (an enemy soldier) and looks horrified.]

 

Mama! Mama! Mama! Ma...

 

[MOTHER WAR slowly walks onto stage towards them amidst the chaos. It's unclear whether she's really there or just a figment of WAR PATIENT's imagination, as it seems no one else can see her.]

 

MOTHER WAR:

[Cradling DAUGHTER WAR as she dies, she takes DAUGHTER WAR's mask off and a heavenly light falls on them.]

And if you would call me your sweetheart

I'd maybe then sing you a song

[DAUGHTER WAR dies.]

 

WAR PATIENT:

[looking at the gun in his hands. The RECRUITER has left him.]

But the shit that I've done with this fuck of a gun

You would cry out your eyes all along

 

ENSEMBLE (and MOTHER WAR):

[During this section, MOTHER WAR drifts across the battlefield, visiting the fallen soldiers. The ENSEMBLE marches in unison.]

We're damned after all

Through fortune and flame we fall

And if you can say then I'll show you the way

To return from the ashes you call

 

We all carry on (We all carry on)

When our brothers in arms are gone (When our brothers in arms are gone)

 

ENSEMBLE:

So raise your glass high

For tomorrow we die

And return from the ashes you--

 

WAR PATIENT:

(screaming)

 

MOTHER WAR:

(sobbing as she leaves the stage) 

 

"Interlude" - from "Three Cheers for Sweet Revenge"

 

 

[The battle is over. The BLACK PARADE provides a somber melody as the soldiers collect their dead and injured.]

[Spotlight on DAUGHTER WAR. HOSPITAL PATIENT walks out onto the battlefield, looking at her with a tortured expression.]

REGRET:

[BLACK PARADE accompanies with choir-like harmonies]

Saints protect her now

Come angels of the Lord

Come angels of unknown

 

 

 

SCENE 6

 

[We see WAR PATIENT back in the camp, guilt-stricken. He writes a letter to EMILY to try and make sense of what happened. Meanwhile, the parade float is converted from a tank into a train.]

 

"Emily"

 

 WAR PATIENT:

[writing]

Dear Emily, I wanted to write this, because I'm not sure I can tell you to your face. I understand if you can't forgive me. I just wanted you to know-- you were right.

 

It was the worst thing that I ever done

It was a headshot

You know, [he] gave me the gun

 

Oh please, just hide me now

I won't tell a soul

It was the worst part

[What I did to this girl]

Oh please, don't leave me now

Baby please, don't go away

[During the chorus, WAR PATIENT crosses the stage, and is awarded a medal by the RECRUITER. He looks haunted, not smiling.]

 

ENSEMBLE (choir-like, singing WAR PATIENT's thoughts):

Emily, [I'm] far from home

And Emily, we'll figure, if I could figure it out

We'll both never be afraid

Emily, [I'm] home

 

[Guitar interlude. WAR PATIENT boards the train returning home.]

 

TRAIN CONDUCTOR:

Two hours 'till the next stop, boys. Hope you're ready for a hero's welcome.

 

WAR PATIENT:

[staring out the train window, still holding the letter in his hands. He doesn't know what he'll do with it yet.]

 

It was the last time I saw her alive

Sometimes you do things you need to do to survive

Oh please, don't leave me now

I'll miss you so much

Oh please, don't go away

I'm needing your touch, but please don't leave me now

Baby, please don't go away

 

ENSEMBLE:

Emily, [I'm] far from home

And Emily, we'll figure, if I could figure it out

We'll both never be afraid

Emily, [I'm] home

 

[The train is arriving home. POST-WAR EMILY, now played by a new actress, waits among a crowd of people, waving to WAR PATIENT. WAR PATIENT, looking conflicted, quickly (but conspicuously) stuffs the letter into the pocket of his jacket. He's not ready for EMILY to know the truth.]

 

Now Emily, [I'm] home

Now Emily, [I'm] home

 

WAR PATIENT:

Now Emily, [I'm] home

 

EMILY:

Hey, you. [She embraces WAR PATIENT. He barely reacts.]

 

[A final musical sting and fade to black.] 

 

 

 

SCENE 7

[The BLACK PARADE marches by to indicate the passage of time. We see POST-WAR PATIENT, now played by a new actor, asleep on the couch at EMILY's apartment.]

 

HOSPITAL PATIENT:

[to audience] So, I lied to her. We never left the city like I promised. Emily had her new job at the legal office downtown, and I was... well. I was using my benefits to go out drinking every night with my war buddies. I know Emily wanted to help me, she really did. But she was moving up in the world and I was dragging her down.

 

POST-WAR PATIENT:

[tossing and turning, in the midst of a spooky Catholic hell dream] No! No! I'm sorry!...

 

EMILY:

[shaking POST-WAR PATIENT awake] Wake up! Baby, can you hear me?

 

POST-WAR PATIENT:

[waking violently] Emily?

[he groans, looking around the apartment] What time is it? 

 

EMILY:

It's midnight. You're in the apartment. You fell asleep here this morning-- again.

POST-WAR PATIENT:

Ah... so it must be a Monday. [rubbing his eyes] Why'd you have to wake me up so goddamn early?

EMILY:

You were having another nightmare. Do you wanna talk about it this time?

POST-WAR PATIENT:

Emily, there's nothing to talk about. I'm fine.

EMILY:

Like hell you are. Have you seen yourself these past few months?

Something happened over there. You're not the same as you were when you left. [growing more frustrated] And if you really loved me like you used to, you would talk to me about it!

[WAR FRIENDS enter the apartment awkwardly. They are about a year older now and seemingly better adjusted to civilian life than POST-WAR PATIENT. LEWIS, who was injured in the war, now has a prosthetic leg or perhaps a wheelchair.]

 

LEWIS:

Is this a bad time?

 

POST-WAR PATIENT:

When isn't it? Are we going?

[he gets up, ignoring EMILY's attempts to get him to talk]

 

"The Sharpest Lives"

 

POST-WAR PATIENT:

[to EMILY]

Well it rains and it pours

When you're out on your own

If I crash on the couch

Can I sleep in my clothes?

'Cause I've spent the night dancing

I'm drunk, I suppose

If it looks like I'm laughing

I'm really just asking to leave

[to WAR BUDDIES]

This alone, you're in time for the show

[to EMILY]

You're the one that I need

I'm the one that you loathe

  

You can watch me corrode

Like a beast in repose

'Cause I love all the poison

Away with the boys in the band

[He leaves the apartment with his WAR BUDDIES, heading past a brick wall framed with streetlamps to a bar on the other side of the stage.]

 

POST-WAR PATIENT:

I've really been

On a bender and it shows

[to WAR BUDDIES]

So why don't you blow me

One kiss before she goes?

 

POST-WAR PATIENT and WAR BUDDIES:

[WAR BUDDIES pass alcohol to POST-WAR PATIENT-- this is the first meaning of "shot." Choreography of a wild night out at the bar.]

Give me a shot to remember

And you can take all the pain away from me

A kiss and I will surrender

The sharpest lives are the deadliest to lead

 

A light to burn all the empires

So bright the sun is ashamed to rise and be

In love with all of these vampires

So you can leave like the sane, abandon me

 

[They leave the bar.]

 

MURPHY:

There's a place in the dark

Where the animals go

You can take off your skin

In the cannibal glow

 

MAL:

[playfully, to POST-WAR PATIENT]

Juliet loves the beat

And the lust it commands

Drop the dagger and lather

The blood on your hands, Romeo

 

POST-WAR PATIENT:

I've really been

On a bender and it shows

[to WAR BUDDIES]

So why don't you blow me

One kiss before she goes? 

 

POST-WAR PATIENT and WAR FRIENDS:

[In the street, they notice a cheesy poster of the RECRUITER, who is now selling cars. They mime guns in unison at the poster-- the second meaning of "shot."]

 

  

Give me a shot to remember

And you can take all the pain away from me

A kiss and I will surrender

The sharpest lives are the deadliest to lead

 

A light to burn all the empires

So bright the sun is ashamed to rise and be

In love with all of these vampires

So you can leave like the sane, abandon me

[Guitar solo. POST-WAR PATIENT returns to EMILY's apartment. They mime having an argument.]

 

POST-WAR PATIENT:

[The final meaning of "shot"-- he begs EMILY to give him one more chance.]

Give me a shot to remember

And you can take all the pain away from me

A kiss and I will surrender

The sharpest lives are the deadliest to lead

 

A light to burn all the empires

  So bright the sun is ashamed to rise and be

In love with all of these vampires

So you can leave like the sane, abandon me

Ooh, Ooh, Ooh yeah, Ooh yeah

[POST-WAR PATIENT collapses on the sofa, and the note falls out of his jacket pocket and onto the floor. EMILY picks it up and opens it suspiciously-- is it a receipt for secret purchases? Drugs? A letter from another girl? Her expression changes to horror as she reads it.]

 

[Light on HOSPITAL PATIENT and REGRET, watching the scene.]

 

HOSPITAL PATIENT:

No, I know what happens when she reads it. Don't show me. Please.

 

[REGRET has no response. Exit REGRET.]

 

EMILY:

[reading the letter] "Dear Emily, I wanted to write this because I'm not sure I can tell you to your face...

What I did to this girl... it was a headshot..."

Oh, god.

[to POST-WAR PATIENT, who is collapsed on the sofa] I'll bet you feel like a real hero now. Did you make your dad proud?

POST-WAR PATIENT:

[with concern, but still in a haze] What are you talking about? Emily--

[he sees the note in her hand and his expression changes to horror] Wait-- I can explain--

EMILY:

Please, do.

POST-WAR PATIENT:

I know, I should've told you, and I was going to, one day-- when I was ready.

EMILY:

It's not even about that. Ever since you got back from the war it's been different. You were the love of my life, and now you won't even touch me. You used to tell me everything, and now I can't even talk to you because you're passed out on the couch. This is just the last nail in the coffin.

POST-WAR PATIENT:

Emily, I still love you.

EMILY:

I don't believe that anymore.

SCENE 8

"I Don't Love You"

 

[This is the last straw for EMILY. She kicks POST-WAR PATIENT out, unable to deal with his actions in the war and his downward spiral since. HOSPITAL PATIENT observes this scene unfolding in despair, unable to change the past.] 

 

 

 

EMILY:

Well, when you go

Don't ever think I'll make you try to stay

And maybe when you get back

I'll be off to find another way

Well, after all this time that you still owe

You're still a good-for-nothing I don't know

So take your gloves and get out

Better get out

While you can

When you go

Would you even turn to say

"I don't love you

Like I did

Yesterday"

Sometimes I cry so hard from pleading

So sick and tired [and you're so self-defeating]

[So maybe] when they knock you

Down and out

Is where you oughta stay

Well, after all the blood that you still owe

Another dollar's just another blow

So fix your eyes and get up

Better get up

While you can

Whoa, whooa

When you go

Would you even turn to say

"I don't love you

Like I did

Yesterday"

Well come on, come on

[Guitar solo. EMILY opens the apartment door. POST-WAR PATIENT stands up, looking for a second like he will try to say something to fix things, but then walks slowly towards the door.]

 

EMILY:

When you go

Would you have the guts to say

"I don't love you

Like I loved you

Yesterday"

 

I don't love you

Like I loved you

Yesterday

 

I don't love you

Like I loved you

Yesterday

 

[Exit POST-WAR PATIENT. HOSPITAL PATIENT looks away; he can't watch this anymore.]

 

HOSPITAL PATIENT:

That was the last time I ever saw Emily.

[turning suddenly and angrily to the audience] So you guys can go. You don't need to watch any more of this.

SCENE 9

"This is How I Disappear"

 

 

 

[Heartbroken over EMILY, HOSPITAL PATIENT snaps at the audience for watching his life as a spectacle. EMILY is still in the apartment, unable to see HOSPITAL PATIENT.]

 

HOSPITAL PATIENT:

[to audience]

GO!

To unexplain the unforgivable

[He dramatically pulls the IV out of his arm and waves it at the audience] 

Drain all the blood and give the kids a show

 

By streetlight this dark night

[He gestures to the audience on "s&eacuteance down below" - the audience is like a s&eacuteance in that they are contacting the dead]

Not s&eacuteance down below

There's things that I have done

You never should ever know!

[He suddenly turn to sing the chorus to EMILY. She can't hear him.]

And without you is how I disappear

And live my life alone forever now

And without you is how I disappear

And live my life alone forever now

[He does some kind of dramatic/silly walk across the stage, making a caricature of himself for the audience]

Who walks among the famous living dead

Drowns all the boys and girls inside your bed

[Collapsing onto his knees, he pleads with the audience. DAUGHTER WAR briefly appears in a spotlight, a ghost of his regret.]

And if you could talk to me

Tell me if it's so

That all the good girls go to heaven

Well, heaven knows!

[to EMILY]

That without you is how I disappear

And live my life alone forever now

And without you is how I disappear

And live my life alone forever now

Can you hear me cry out to you?

Words I thought I'd choke on figure out

 

  I'm really not so with you anymore

I'm just a ghost

So I can't hurt you anymore

So I can't hurt you anymore

[to audience, really dramatically-- maybe he even walks down into the aisles to confront them directly. Lots of flashing lights.]

 

And you, you wanna see how far down I can sink?

Let me go, fuck!

So you can, well now so, you can

[to EMILY]

I'm so far away from you

[to audience]

Well now so, you can

[to EMILY]

And without you is how I disappear

And without you is how I disappear

And without you is how I disappear

And without you...is how, is how, is how

Forever, forever now!

SCENE 10

[Lights out on EMILY; the apartment set is disassembled. The BLACK PARADE marches onto stage, followed by the parade float. HOSPITAL PATIENT has seen enough and runs in front of the parade, attempting to stop it.]

 

HOSPITAL PATIENT:

Stop! Stop. I get it, okay? I ruined my life when I went to the war, I screwed everything up with Emily, and then? I got cancer and died. I got what I had coming. I don't need to see any more.

 

[The PARADE stands still, not reacting.]

 

Fine, I'll admit it. I'm scared to die. But I didn't have much of a life to miss anyways. No one was there at my hospital bed and they won't be there at my funeral. I don't care. I can't change any of it now. So why are you doing this?

 

This parade. This celebration. Of what? What in my life was ever worth celebrating?

 

[The PARADE skeleton points slowly upstage, where FATHER and YOUNG PATIENT are sitting watching the parade (YOUNG PATIENT is a non-singing role, played by an ensemble member dressed as a young boy). HOSPITAL PATIENT has a moment of realization.]

 

"Welcome to the Black Parade"

 

HOSPITAL PATIENT:

When I was a young boy

My father took me into the city

To see a marching band

He said,

 

FATHER (to YOUNG PATIENT) and HOSPITAL PATIENT:

"Son, when you grow up

Would you be the savior of the broken, the beaten and the damned?"

 

HOSPITAL PATIENT:

He said,

 

FATHER (to YOUNG PATIENT) and HOSPITAL PATIENT:

"Will you defeat them

Your demons, and all the nonbelievers, the plans that they have made?

Because one day I'll leave you

A phantom to lead you in the summer

To join the Black Parade."

 

[Exit FATHER and YOUNG PATIENT. The BLACK PARADE plays the drum part.]

 

HOSPITAL PATIENT and ENSEMBLE:

When I was a young boy

My father took me into the city

To see a marching band

He said, "Son, when you grow up

Would you be the savior of the broken, the beaten and the damned?"

 

[Guitar solo. The BLACK PARADE float starts moving again, despite HOSPITAL PATIENT's earlier attempt to stop it. Upbeat choreography of ENSEMBLE. Enter RECRUITER with SOLDIERS.]

 

HOSPITAL PATIENT:

[gestures to EMILY in spotlight]

Sometimes I get the feeling she's watching over me

[gestures dying]

And other times I feel like I should go

 

SOLDIERS:

And through it all, the rise and fall, the bodies in the streets

 

ENSEMBLE, surrounding HOSPITAL PATIENT:

And when you're gone we want you all to know

We'll carry on

We'll carry on

And though you're dead and gone, believe me

Your memory will carry on

We'll carry on

 

HOSPITAL PATIENT:

And in my heart I can't contain it

The anthem won't explain it

 

REGRET, to HOSPITAL PATIENT:

A world that sends you reeling from decimated dreams

 

FEAR, to HOSPITAL PATIENT:

Your misery and hate will kill us all

 

RECRUITER:

So paint it black and take it back

Let's shout it loud and clear

Defiant to the end

We hear the call

 

ENSEMBLE, surrounding HOSPITAL PATIENT:

To carry on

We'll carry on

And though you're dead and gone, believe me

Your memory will carry on

We'll carry on

And though you're broken and defeated

Your weary widow marches

 

SOLDIERS:

On and on we carry through the fears

Ooh ha haaa

 

RECRUITER:

Disappointed faces of your peers

Ooh ha haaa

 

HOSPITAL PATIENT:

   Take a look at me, 'cause I could not care at all!

ENSEMBLE:

Do or die

You'll never make me

Because the world, will never take my heart

Go and try, you'll never break me

You want it all, you wanna play this part

EMILY:

[briefly in spotlight]

I won't explain or say I'm sorry

 

SOLDIERS:

I'm unashamed, I'm gonna show my scar

Give a cheer, for all the broken

Listen here, because it's who we are

 

HOSPITAL PATIENT:

I'm just a man, I'm not a hero

I'm just a boy, who had to sing this song

I'm just a man, I'm not a hero

I-- don't-- care!

 

ENSEMBLE:

[picking up HOSPITAL PATIENT like he is crowdsurfing,  forcing him to be a part of the song]

We'll carry on

We'll carry on

And though you're dead and gone, believe me

Your memory will carry on

You'll carry on

And though you're broken and defeated

Your weary widow marches on

 

(Do or die, you'll never make me

Because the world, will never take my heart

Go and try, you'll never break me

You want it all, you wanna play this part)

We'll carry on

We'll carry on

(Do or die, you'll never make me

Because the world, will never take my heart

Go and try, you'll never break me

You want it all, you wanna play this part)

We'll carry

We'll carry on

 

[drum part is played by the BLACK PARADE. Lights out.]

 

 

   

 

 

 

 

 

 

 

 

 

[INTERMISSION]

 

 

 

 

 

 

 

 

 

 

 

 

ACT 2 

SCENE 11 

"All the Angels"

[The curtain is closed, and we are back in the present day. Alternating red and blue ambulance lights flash across the stage. Spotlight on EMILY at her apartment. Two BLACK PARADE soloists (FEAR and REGRET) elsewhere acting as narrators.]

[We hear a phone ringing, which EMILY picks up.]

 

REGRET:

She got the call

And then she threw her jacket on

And stormed off down the hall

 

They got the call

And picked him up at 4 AM

And tore off down the road

 

BLACK PARADE:

And all the angels say ooh... ooh...

You are all to blame

'Cause all the angels say ooh... ooh...

You are all to blame

 

FEAR:

She went alone

And went to the emergency

And parked her car in the dark

 

[EMILY tries to rush past the NURSES and DOCTORS, but they hold her back.]

 

FEAR:

They told her, "Please,

He only has but minutes more

You might just say goodbye"

 

BLACK PARADE (with choir-like harmonies):

'Cause all the angels say ooh... ooh...

You are all to blame

'Cause all the angels say ooh... ooh...

You are all the same

 

[Suddenly EMILY hesitates outside the door. What if the Patient doesn't want to see her?]

 

REGRET:

[to EMILY]

And if you maybe figure it out

Would you still explain?

 

[to HOSPITAL PATIENT, who is unconscious in the hospital bed]

 

And if she said she was sorry now

Would you still complain? 

 

And if you open up your heart

And stay so far away

But you are all the same

And if you maybe find a better way

To love [her] then

You are all to blame

BLACK PARADE (with choir-like harmonies)

'Cause all the angels say ooh... ooh...

You are all to blame

'Cause all the angels say ooh... ooh...

You are all to blame

[HOSPITAL PATIENT flatlines just as EMILY finally enters the hospital room. The NURSES try to resuscitate him but to no avail. The next song starts just as EMILY realizes he is dead.]

 

[Time seems to freeze and this song takes place in just a few moments, the NURSES and DOCTORS moving around in a slow ballet.] 

 

"The Light Behind Your Eyes"

 

EMILY:

[to HOSPITAL PATIENT. While she speaks, the instrumental intro begins.] 

 

You know, I thought if I ever saw you again that I'd tell you how I didn't blame you for going to the war. How we were both just kids at the time. How I was so afraid that the war would change you, and when it did, I didn't know how to deal with it.

 

I guess all that doesn't do you any good now. Listen... you're my best friend. We've known each other since we were kids. And I've missed you. A lot. If Id've known you were sick... if youd've answered your calls...

If you can hear me, don't go yet.

EMILY:

So long to all my friends

Every one of them met tragic ends

With every passing day

I'd be lying if I didn't say

That I miss them all tonight

And if they only knew what I would say

If I could be with you tonight

I would sing you to sleep

Never let them take the light behind your eyes

One day I'll lose this fight

As we fade in the dark

Just remember you will always burn as bright

[taking HOSPITAL PATIENT's hand]

 

Be strong and hold my hand

Time becomes for us, you'll understand

We'll say goodbye today

And I'm sorry how it ends this way

If you promise not to cry

Then I'll tell you just what I would say

[As music intensifies, lights change and NURSES and DOCTORS dance around the hospital bed as EMILY stays by HOSPITAL PATIENT's side.]

 

EMILY:

If I could be with you tonight

I would sing you to sleep

Never let them take the light behind your eyes

 

I failed and lost this fight

Never fade in the dark

Just remember you will always burn as bright

The light behind your eyes

The light behind your eyes

The light behind your eyes

The light behind your eyes

 

The light behind your eyes

The light behind your eyes

The light behind your eyes

The light behind your eyes

The light behind your eyes

The light behind your eyes

 

[As the song ends, the NURSES and DOCTORS spring back to life and rush around the PATIENT, trying to save his life.]

 

[The hospital set is taken offstage, the curtain opens, and the BLACK PARADE marches by to signify that we are now back in the dream world.]

 

 

 

SCENE 12

 

[Enter HOSPITAL PATIENT. He is unaware that in the real world., EMILY came to visit the hospital.]

 

HOSPITAL PATIENT:

[to audience] So you're all back. Seems like I can't get rid of you. Well, if you really want to know the rest, after Emily dumped me, I went back to live with my mom and took up my old job from high school. I know, pathetic. But you're the ones who wanted to watch this shit.

 

Well, the good news is that it's almost over. I started feeling a little under the weather. You know, coughing up blood, vultures circling overhead, that whole deal. Maybe I finally got what was coming to me. I was a sick man, at first only in spirit, but it wasn't long before it spread to my body as well.

 

Or maybe it was all the cigarettes.

 

"Interlude (Live in Mexico City)"

 

[We see POST-WAR PATIENT at the hospital, where DOCTORS point at charts and tests. Then he walks over to the other side of the stage, where MOTHER is standing; they are spotlighted.

  

  

SCENE 13

[MOTHER and POST-WAR PATIENT stand in a spotlight while the church is set up behind them.]

 

 MOTHER:

Why don't you go to the faith healing at the church, sweetie?

POST-WAR PATIENT:

You know we can't afford that with my chemo.

MOTHER:

Your auntie swears by it. She went there last year when she had her heart trouble.

POST-WAR PATIENT:

Marie was sick?

MOTHER:

I didn't want to worry you.

[changing the subject] Have you heard from Emily lately?

POST-WAR PATIENT:

 I wouldn't want to worry her.

 

MOTHER:

Listen, you should give the healing a chance. [gesturing upwards] I know you've almost given up on Him, but He hasn't given up on you.

 

POST-WAR PATIENT:

If you say so.

 

 

 

SCENE 14

"Heaven Help Us" 

 [During the song, the clergy gradually finishes setting up the church. A faith healing is beginning, and the clergy is seen collecting money from everyone that walks in.]

 

 

 PRIEST, to ENSEMBLE:

Hear the sound

The angels come screaming

[to attendee]

Down your voice

I hear you've been bleeding

[to another attendee]

Make your choice

They say you've been pleading

ENSEMBLE MEMBER:

Someone save us!

[choreography of  the ENSEMBLE raising their hands in worship]

ENSEMBLE:

Heaven help us now

Come crashing down

We'll hear the sound

As you're falling down

POST-WAR PATIENT:

[entering the scene]

I'm at this old hotel

But I can't tell if I've been breathing or sleeping

Or screaming or waiting for the man to call

And maybe all of the above

'Cause mostly I've been sprawled on these cathedral steps

While spitting out the blood and screaming

 

ENSEMBLE MEMBER:

Someone save us!

 

ENSEMBLE:

Heaven help us now

Come crashing down

We'll hear the sound

As you're falling down

 

MOTHER:

And will you pray for me?

Or make a saint of me?

And will you lay for me?

Or make a saint of--?

 

PRIEST:

'Cause I'll give you all the nails you need

Cover me in gasoline

Wipe away those tears of blood again

 

POST-WAR PATIENT:

[sarcastically]

And the punchline to the joke is asking

"Someone save us!"

 

ENSEMBLE:

Heaven help us now

Come crashing down

We'll hear the sound

As you fall

 

ENSEMBLE (and POST-WAR PATIENT):

And would you pray for me?

(You don't know a thing about my sins)

(How the misery begins)

Or make a saint of me?

(You don't know)

(So I'm burning, I'm burning)

And will you lay for me?

(You don't know a thing about my sings)

(How the misery begins)

Or make a saint?

(You don't know)

('Cause I'm burning, I'm burning)

'Cause I'll give you all the nails you need

(I'm burning, I'm burning again)

Cover me in gasoline again

SCENE 15

 

[The PRIEST addresses POST-WAR PATIENT. POST-WAR PATIENT had originally planned to silently attend the faith healing to appease his mother, but given the opportunity to give the scam church a piece of his mind, he can't resist.]

 

PRIEST:

What was that you said, son?

POST-WAR PATIENT:

Nothing.

PRIEST:

I haven't seen you here before. Why don't you introduce yourself to everyone?

POST-WAR PATIENT:

No thanks, I'm good. [doubles over coughing while the PRIEST talks over him]

 

PRIEST:

If you're here to support a family member, perhaps you would consider donating to the church so we can continue the Lord's work. [gestures to the people carrying collection bins]

 

MOTHER:

No, sir, actually my son is here today to be healed.

POST-WAR PATIENT:

[exasperated] Mom--

PRIEST:

Don't be ashamed, son. We are all sinners; we all need healing. And that healing cannot begin until we come before the Lord and repent. Tell me, what do you have to repent for?

"House of Wolves"

POST-WAR PATIENT, to PRIEST:

[stepping up to the front of the crowd]

Well, I know a thing about contrition

Because I got enough to spare

And I'll be granting your permission

'Cause you haven't got a prayer

Well, I said hey, hey hallelujah

I'm gonna come on sing the praise

And let the spirit come on through ya

We got innocence for days!

 

Well, I think I'm gonna burn in hell

[MOTHER looks horrified and crosses herself]

Everybody burn the house right down

 

[Churchgoers look around at each other, shocked. Choreography with the clergy holding collection tins.]

 

POST-WAR PATIENT:

And say, ha

What I wanna say

 

[contrasting lighting to indicate heaven and hell]

 

Tell me I'm an angel

Take this to my grave

 

Tell me I'm a bad man

Kick me like a stray

 

 Tell me I'm an angel

Take this to my grave

 

 

 CLERGY:

[circling around POST-WAR PATIENT and rattling collection tins]

S-I-N, I S-I-N

S-I-N, I S-I-N

S-I-N, I S-I-N

S-I-N, I S-I-N

 

[the circular choreography is maintained for the next verse]

 

POST-WAR PATIENT, to PRIEST:

   You play ring around the ambulance

Like you never gave a care

So get the choir boys around you

It's a compliment, I swear!

And I said, ashes to ashes, we all fall down

I wanna hear you sing the praise

I said rrrrrrashes to ashes, we all fall down

We got innocence for days!

Well, I think I'm gonna burn in hell

Everybody burn the house right down

[PRIEST and ENSEMBLE try to kick POST-WAR PATIENT out of the faith healing]

 

POST-WAR PATIENT:

And say, ha

What I wanna say

 

Tell me I'm an angel

Take this to my grave

 

Tell me I'm a bad man

Kick me like a stray

 

Tell me I'm an angel

Take this to my grave, oh!

 

ENSEMBLE MEMBER:

You better run like the devil

'Cause they're never gonna leave you alone!

 

ENSEMBLE MEMBER 2:

You better hide up in the alley

'Cause they're never gonna find you a home!

 

POST-WAR PATIENT:

[being pushed out the door]

And as the blood runs down the walls

You see me creepin' up these halls

I've been a bad motherfucker

Tell your sister I'm another

 

ENSEMBLE:

Go! Go! Go!

 

POST-WAR PATIENT:

And I said, say

What I wanna say

 

Tell me I'm an angel

Take this to my grave

 

Tell me I'm a bad man

Kick me like a stray

 

Tell me I'm an angel

Take this to my grave

 

Tell me I'm a bad, bad, bad, bad man

Tell me I'm a bad, bad, bad, bad man
Tell me I'm a bad, bad, bad, bad man
Tell me I'm a bad, bad, bad, bad man

 

ENSEMBLE:

So get up!

So get out!

 

POST-WAR PATIENT:

S-I-N, I S-I-N!

 

[POST-WAR PATIENT is kicked out of the church, and MOTHER runs out after him.]

 

MOTHER:

Sweetie, what was that? Talk to me.

 

POST-WAR PATIENT:

They can't help me, Mom. The only thing they worship is their bank account.

 

MOTHER:

I see now. You don't want help. That's all I was trying to do for you.

 

POST-WAR PATIENT:

Help? Like when you "helped" by encouraging me to go to war? That did a lot of good. I'm sure Dad would be proud!

MOTHER:

 Enough. You're on your own from now on.

POST-WAR PATIENT:

See you in hell!

[He storms off. Lights dim on the church set (it will remain on stage in the dark). Spotlight on HOSPITAL PATIENT as an approximation of a hospital setting is assembled behind him.]

 

 HOSPITAL PATIENT:

And that was it. I was sick, alone, I'd driven away Emily, my war buddies, and now my mom. The rest of my memories are of hospital curtains, vomiting up blood, and morphine-induced nightmares.

And is that all there is? I didn't even have anyone to say goodbye to.

[Spotlight out.]

 

 

 

SCENE 16

"Cancer"

[POST-WAR PATIENT is in the hospital setting. We see a progression of time in which his cancer gets worse, ending with him alone in a hospital bed.]

POST-WAR PATIENT:

[to NURSES]

Turn away

If you could get me a drink

Of water 'cause my lips are chapped and faded

Call my Aunt Marie

Help her gather all my things

And bury me in all my favorite colors

My sisters and my brothers, still

I will not kiss you

[He pulls out the locket he got from EMILY.]

'Cause the hardest part of this

Is leaving you

 

[NURSES take off POST-WAR PATIENT's jacket and put a hospital gown onto him. Choreography of NURSES and DOCTORS doing medical procedures.]

 

POST-WAR PATIENT:

Now turn away

'Cause I'm awful just to see

'Cause all my hair's abandoned all my body

Oh, my agony

Know that I will never marry

Baby, I'm just soggy from the chemo

But counting down the days to go

It just ain't living

And I just hope you know

 

[POST-WAR PATIENT lays down in hospital bed as DOCTORS and NURSES continue to do medical procedures around him.]

 

POST-WAR PATIENT (and NURSES):

  That if you say (if you say)

Goodbye today (goodbye today)

I'd ask you to be true ('cause I'd ask you to be true)

 

POST-WAR PATIENT:

'Cause the hardest part of this

Is leaving you

'Cause the hardest part of this

Is leaving you

 

[enter DOCTOR]

 

DOCTOR:

You need to get some rest.

 

POST-WAR PATIENT:

I know. I haven't been able to sleep for days. I keep having these nightmares. Like I'm being buried alive in my hospital bed... I wake up with these tremors. Well, they're not tremors-- they're these terrors. It feels like as if somebody was gripping my throat. Like last night--

 

DOCTOR:

This should help.

[He puts a new medicine into the IV line.] Don't worry, you won't feel a thing. 

 

 

 

SCENE 17

"Sleep"

[The lighting changes to the surreal lighting of a nightmare. POST-WAR PATIENT is asleep in the hospital bed, tossing and turning. We are about to see one of his nightmares.]

 

 

RECORDED VOICE OF POST-WAR PATIENT:

They're these terrors, and it's like

It feels like as if somebody was gripping my--

They're these terrors, and it's like

It feels like as if somebody was gripping my throat

Like last night, uh, they're not like tremors

They're worse than tremors, they're, they're these terrors

Like last night, uh, they're not like tremors

They're worse than tremors, they're, they're these terrors

And it's like--

It feels like as if somebody was gripping my throat

And squeezing, and--

It feels like as if somebody was gripping my throat

 

 

[Enter ENSEMBLE, in a funeral procession. They pick up the hospital bed, with the POST-WAR PATIENT still tossing and turning inside it, and bring it to the front of the church like a casket.]

 

[Enter HOSPITAL PATIENT, perhaps through the aisles in the audience. When he reaches the funeral attendees, he gestures that they can't see him as in the Helena music video.]

 

HOSPITAL PATIENT:

Some say, now suffer all the children

And walk away a savior

Or a madman and polluted

From gutter institutions

 

 

[to funeral attendees]

Don't you breathe for me

Undeserving of your sympathy

'Cause there ain't no way that I'm sorry for what I did

 

[The funeral ENSEMBLE does choreography similar to that in the Helena music video]

 

HOSPITAL PATIENT:

And through it all

How could you cry for me?

'Cause I don't feel bad about it

 

[to POST-WAR PATIENT, who is asleep]

 

So shut your eyes

Kiss me goodbye

And sleep

Just sleep

The hardest part is letting go of

Your dreams 

 

[crashing his own dream funeral, maybe taking a drink and raising it towards the audience]

 

HOSPITAL PATIENT:

A drink for the horror that I'm in

For the good guys, and the bad guys

For the monsters that I've been

Three cheers for tyranny

Unapologetic apathy

'Cause there ain't no way that I'm coming back again

 

HOSPITAL PATIENT:

[to audience]

And through it all

How could you cry for me?

'Cause I don't feel bad about it

 

[to POST-WAR PATIENT, asleep in hospital bed]

 

So shut your eyes

Kiss me goodbye

 

[HOSPITAL PATIENT helps the ENSEMBLE to pick up the hospital bed again like a casket, carrying it out of the church]

 

HOSPITAL PATIENT:

And sleep

Just sleep

The hardest part's the awful things that

I've seen 

 

RECORDED VOICE OF POST-WAR PATIENT:

[Everyone on stage freezes and the spotlight illuminates POST-WAR PATIENT, tossing and turning in the hospital bed while being carried by the procession.]

 

Sometimes I see flames and sometimes

I see people that I love dying, and it's always

 

[Everyone starts moving again. HOSPITAL PATIENT helps to "bury" POST-WAR PATIENT, lowering the hospital bed into a vault etc. along with other funeral attendees.]

  

HOSPITAL PATIENT:

Just sleep

Just sleep

[The choreography here could be another tie-in to Helena-- HOSPITAL PATIENT dramatically kneels in front of his own grave and the ENSEMBLE dances behind.]

 

 

HOSPITAL PATIENT:

Just sleep

Just sleep

Just sleep

Just sleep

 

EMILY:

[In real-world balcony or spotlight. HOSPITAL PATIENT can't hear her.]

Wake up! Wake up! Wake up! Wake up!

 

[The ENSEMBLE disassembles the church set and dances offstage. They leave HOSPITAL PATIENT collapsed with only his own gravestone. The lighting fades from the nightmare lighting but the gravestone remains.]

 

  

HOSPITAL PATIENT:

 I can't-- I can't ever wake up.

SCENE 18

"Disenchanted"

 HOSPITAL PATIENT:

Well I was there on the day

They sold the cause for the queen

And when the lights all went out

We watched our lives on the screen

[Enter TEEN PATIENT.]

 

TEEN PATIENT:

I hate the ending myself

But it started with an alright scene

 

[HOSPITAL PATIENT looks shocked, as his past self is directly talking to him, no longer just a memory.]

 

[Enter WAR PATIENT.]

 

WAR PATIENT:

It was the roar of the crowd that gave me heartache to sing

 

[Enter POST-WAR PATIENT.]

 

POST-WAR PATIENT:

It was a lie when they smiled and said, "You won't feel a thing"

 

TEEN PATIENT:

And as we ran from the cops

We laughed so hard it would sting (yeah, yeah, oh)

 

PAST PATIENTS (to HOSPITAL PATIENT):

If I'm so wrong (so wrong, so wrong)

How can you listen all night long (night long, night long)

Now will it matter after I'm gone

Because you never learned a goddamn thing

 PAST PATIENTS (to HOSPITAL PATIENT):

You're just a sad song

With nothing to say

About a lifelong wait for a hospital stay

Well if you think that I'm wrong

This never meant nothing to you

TEEN PATIENT:

I spent my high school career

Spit on and shoved to agree

POST-WAR PATIENT:

So I can watch all my heroes

Sell a car on T.V.

WAR PATIENT:

Bring out the old guillotine

We'll show 'em what we all mean (yeah, yeah, oh)

[The PARADE FLOAT appears. The BLACK PARADE members do backup choreography.]

 

PAST PATIENTS (to HOSPITAL PATIENT):

If I'm so wrong (so wrong, so wrong)

How can you listen all night long (night long, night long)

Now will it matter long after I'm gone

Because you never learned a goddamn thing 

 

You're just a sad song

With nothing to say

About a lifelong wait for a hospital stay

Well if you think that I'm wrong

This never meant nothing to you

 

HOSPITAL PATIENT (to PAST PATIENTS):

So go

Go away

Just go

Run away

 

TEEN PATIENT:

But where did you run to?

And where did you hide?

 

POST-WAR PATIENT:

Go find another way

 

WAR PATIENT:

Price you pay

 

[HOSPITAL PATIENT tries to reject their help, believing he's just being tortured and there's nothing that can be done to save him.]

 

HOSPITAL PATIENT:

Whoa, whoa, whoa

Whoa, whoa, whoa

 

[The PAST PATIENTS are frustrated that HOSPITAL PATIENT won't listen to them.]

 

PAST PATIENTS (to HOSPITAL PATIENT):

You're just a sad song

With nothing to say

About a lifelong wait for a hospital stay

Well if you think that I'm wrong

This never meant nothing to you

Come on!

 

You're just a sad song

With nothing to say

About a lifelong wait for a hospital stay

Well if you think that I'm wrong

This never meant nothing to you

 

TEEN PATIENT:

At all

 

WAR PATIENT:

At all

 

POST-WAR PATIENT:

At all

 

HOSPITAL PATIENT:

At all 

 

 

 

SCENE 19

[The PAST PATIENTS inspect the gravestone like a couple on HGTV, while HOSPITAL PATIENT goes through it.]

 

TEEN PATIENT:

The view isn't great. Why didn't we get the spot over there?

 

WAR PATIENT:

I don't know, I think the granite's alright.

 

POST-WAR PATIENT:

Daffodils though?

 

HOSPITAL PATIENT:

Please! I've made my choice. I don't care about this whole "Ghost of Christmas Past" thing you're all trying to pull. Just let me die!

 

TEEN PATIENT:

What, old Mr. Scrooge doesn't want to learn his lesson?

 

HOSPITAL PATIENT:

[pacing the stage and thinking to himself, trying to ignore the PAST PATIENTS]

You know what, maybe-- I must be dead already, and this is just the last sputter of light before it all goes dark. That's what this is. [nervous laughter] Nothing to do now but wait for the sweet release of death! ...Or the bitter end! I don't care! [closes his eyes and puts out his arms, waiting for all this to disappear]

 

TEEN PATIENT:

We're not going anywhere-- until you've heard us out. Now get up and tell the class why you've given up on our life. Go on.

 

HOSPITAL PATIENT:

Sorry, kid.

 

TEEN PATIENT:

What about Emily?

 

[HOSPITAL PATIENT just shakes his head.]

 

TEEN PATIENT:

[laughing] You stupid bastard! You screwed up our whole life for nothing. [begins to light a cigarette]

 

WAR PATIENT and POST-WAR PATIENT:

[to TEEN PATIENT, simultaneously] Quit it with the cigarettes./And you screwed up our lungs?/etc.

 

TEEN PATIENT:

Why? Doesn't look like I have a whole lot to look forward to. [gestures to POST-WAR PATIENT] Drinking and lying around Emily's apartment all day. She deserves better than you!

 

POST-WAR PATIENT:

[to TEEN PATIENT] I wouldn't be like this if you'd have listened to Emily and not gone to war!

 

[They all yell over each other. The BLACK PARADE is entertained by this in the background, maybe eating popcorn.]

 

HOSPITAL PATIENT:

[breaking up the fight between his past selves] Shut up, all of you! Emily's gone, and she's not coming back.

POST-WAR PATIENT:

[stepping in, more empathetically] Listen. You hurt her because you were afraid. Afraid to tell her the truth, afraid to scare her away. And look where that got you.

HOSPITAL PATIENT:

Well, there's a reason I couldn't tell her the truth! She would have never forgiven me for what I did.

WAR PATIENT:

Nothing you do now can change what we did in that war. But you have to learn to forgive yourself, to move on. Or you'll just keep bringing that pain to everyone around you.

I thought dad wanted me to be a hero. I thought going to war and getting a shiny medal would make him proud, but I had it all wrong.

HOSPITAL PATIENT:

I get that. Just another thing I screwed up. Add "disappointment to my father" to the list.

WAR PATIENT:

You're not listening. You have to go back to be the person dad would have really wanted us to be. Someone who's kind, selfless. Someone who makes the world better for the people around them. Remember what he told us, all those years ago?

HOSPITAL PATIENT:

 But-- I don't know what will be waiting for me if I go back. I don't have anything to go back to.

TEEN PATIENT:

Emily always said we were good at painting.

HOSPITAL PATIENT:

[dismissively] Painting?

POST-WAR PATIENT:

It's something.

HOSPITAL PATIENT:

Okay, but I don't know that I can ever fix things. Be a better man.

POST-WAR PATIENT:

Look, we'll never know if Dad would be proud of us. We don't know if we'll ever see Emily again. Or mom. But you still have to go out there and live. I spent so many years locked up inside my own head, that I never got to say the things I wanted to the people I, uh.

HOSPITAL PATIENT:

Loved?

[POST-WAR PATIENT nods.]

 

POST-WAR PATIENT:

You've given up before. Don't do it again.

 

WAR PATIENT:

You have to go back, to make dad proud. To give it another shot.

 

TEEN PATIENT:

You have to try. For Emily. For mom. For us.

 

HOSPITAL PATIENT:

...You're right. I'll probably mess things up, I'll probably let people down, but I have to move on from the past. I have to let you guys go.

 

TEEN PATIENT:

So you're going back?

 

HOSPITAL PATIENT:

Yeah. I guess this is goodbye.

 

 

 

SCENE 20

"Kill All Your Friends" 

[HOSPITAL PATIENT has decided to return to the real world. He mocks his past selves before making peace with them.]

HOSPITAL PATIENT:

[to WAR PATIENT]

Well, you can hide a lot about yourself

But honey, what are you gonna do?

[to POST-WAR PATIENT]

And you can sleep in a coffin

But the past ain't through with you

PAST PATIENTS:

[to HOSPITAL PATIENT]

'Cause we are all a bunch of liars

Tell me baby who do you wanna be?

And we are all about to sell it

'Cause it's tragic with a capital T

Let it be, let it be, let it be!

 

[BLACK PARADE choreography]

 

BLACK PARADE:

'Cause we all wanna party when the funeral ends

Ba ba ba, ba, ba ba

And we all get together when we bury our friends

Ba ba ba, ba ba ba

 

HOSPITAL PATIENT:

[to POST-WAR PATIENT]

It's been [3] bitter years since I've been seeing your face

Ba ba ba, ba ba ba

And you're walking away

 

POST-WAR PATIENT:

And I will die in this place

 

[Exit POST-WAR PATIENT.]

  

HOSPITAL PATIENT:

[to WAR PATIENT]

Sometimes you scrape and sink so low

I'm shocked at what you're capable of

 

WAR PATIENT:

And if this is a coronation

I ain't feeling the love

 

TEEN PATIENT:

  'Cause we are all a bunch of animals

That never paid attention in school

WAR PATIENT:

[to TEEN PATIENT]

So tell me all about your problems

I was killing before killing was cool

ENSEMBLE:

[to WAR PATIENT, mocking]

You're so cool, you're so cool, so cool!

 

BLACK PARADE:

'Cause we all wanna party when the funeral ends 

Ba ba ba, ba, ba ba

And we all get together when we bury our friends

Ba ba ba, ba ba ba

 

HOSPITAL PATIENT:

[to WAR PATIENT]

It's been [8] bitter years since I've been seeing your face

Ba ba ba, ba ba ba

And you're walking away

 

WAR PATIENT:

And I will die in this place

 

[Exit WAR PATIENT with a salute.]

 

HOSPITAL PATIENT (and TEEN PATIENT):

[HOSPITAL PATIENT and TEEN PATIENT taunt and challenge the BLACK PARADE side by side.] 

You'll never take me alive, you'll never take me alive

Do what it takes to survive, 'cause I'm still here 

You'll never get me alive, you'll never take me alive

Do what it takes to survive, and I'm still here

You'll never take me alive, you'll never get me alive

Do what it takes to survive, and I'm still here

You'll never get me (get me!), you'll never take me (take me!)

You'll never get me alive

 

BLACK PARADE:

'Cause we all wanna party when the funeral ends 

Ba ba ba, ba, ba ba

And we all get together when we bury our friends

 

HOSPITAL PATIENT:

[to TEEN PATIENT, affectionately]

It's been 10 fucking years since I've been seeing your face 'round here

And you're walking away

And I will drown in the fear

 

[TEEN PATIENT hands HOSPITAL PATIENT a match. Exit TEEN PATIENT.]

 

HOSPITAL PATIENT:

[to BLACK PARADE, scared but putting on a show of false bravery]

So you're all still here. How do I get rid of you?

 

RECRUITER:

[Hops off the parade float, flanked by FEAR and REGRET, and walks towards HOSPITAL PATIENT. He has become a twisted, skeletal figure of death in the Patient's memory.]

 

You don't. You think you're going to go back and make everything better? Your track record isn't great. Face it kid, you're dead as a doornail. Stuck through with a bayonet and buried here with the rest of us. And that's the way it should be. I've seen who you are, and this is where you deserve to be. [holds out his hand]

 

HOSPITAL PATIENT:

Screw you guys, I wanna live.

[He looks at the match TEEN PATIENT gave him, realizing what it is for. He lights the PARADE FLOAT on fire.]

 

 

 

SCENE 21

"Famous Last Words" 

[On the heavy downbeats a heartbeat is projected, and HOSPITAL PATIENT puts his hand over his chest to indicate that he feels his heart beating again.]

 

  

 

RECRUITER:

[to HOSPITAL PATIENT, desperately] 

  Now I know

That I can't make you stay

But where's your heart

But where's your heart

But where's your...

 

HOSPITAL PATIENT:

[to DAUGHTER WAR, who is among the BLACK PARADE]

And I know

There's nothing I can say

To change that part

To change that part

To change

 

[Guitar solo. HOSPITAL PATIENT continues to feel his heart beating.]

 

HOSPITAL PATIENT:

[looking up and shading his eyes as he begins to see bright hospital lights]

So many

Bright lights to cast a shadow

[to characters from his past]

But can I speak?

 

Well is it hard understanding

I'm incomplete?

A life that's so demanding

I get so weak

I love that's so demanding

I can't speak

 

HOSPITAL PATIENT:

[with resolve]

I am not afraid to keep on living

I am not afraid to walk this world alone

 

RECRUITER:

Honey if you stay, I'll be forgiving

 

HOSPITAL PATIENT:

Nothing you can say can stop me going home

 

[HOSPITAL PATIENT continues to feel his heart beating. Hospital lights become brighter, ENSEMBLE brings some elements of the hospital set back onstage.]

 

HOSPITAL PATIENT:

Can you see

My eyes are shining bright

     'Cause I'm out here

On the other side

Of a jet-black hotel mirror

And I'm so weak

 

Is it hard understanding

I'm incomplete?

A love that's so demanding

I get weak

 

HOSPITAL PATIENT:

I am not afraid to keep on living

I am not afraid to walk this world alone

FEAR:

Honey if you stay, you'll be forgiven

HOSPITAL PATIENT:

Nothing you can say can stop me going home

[HOSPITAL PATIENT sees his FATHER one last time and they say goodbye. His FATHER nods at him.]

 

HOSPITAL PATIENT:

 I am not afraid to keep on living

I am not afraid to walk this world alone

REGRET:

Honey if you stay, you'll be forgiven

HOSPITAL PATIENT:

Nothing you can say can stop me going home

[Guitar solo. The hospital lights flash, and the DOCTORS and NURSES wheel the hospital bed back onstage.]

 

[The BLACK PARADE is playing drums to the be beat, while DOCTORS perform CPR on a body double in the hospital bed to the same beat.]

 

HOSPITAL PATIENT:

These bright lights have

Always blinded me

 

These bright lights have

Always blinded me

I say

 

[Extra dramatic pause, stage goes dark, and the only light is the projected flatline of the Patient's heart. HOSPITAL PATIENT lies down in hospital bed.]

 

[Suddenly we hear HOSPITAL PATIENT gasp, and a heartbeat is projected. The stage lights come back on, and HOSPITAL PATIENT is back in the hospital, surrounded by hospital staff, but also, to his surprise, he sees EMILY.]

 

HOSPITAL PATIENT:

[gently]

I see you lying next to me

With words I thought I'd never speak

Awake and unafraid

Asleep or dead

 

EMILY:

'Cause I see you lying next to me

With words I thought I'd never speak

Awake and unafraid

Asleep or dead   

 

HOSPITAL PATIENT:

'Cause I see you lying next to me

With words I thought I'd never speak

Awake and unafraid

Asleep or dead

 

HOSPITAL PATIENT and EMILY:

 

'Cause I see you lying next to me

With words I thought I'd never speak

Awake and unafraid

Asleep or dead

 

[The Patient's MOTHER and WAR FRIENDS enter the hospital room and join the chorus.]

 

HOSPITAL PATIENT and ENSEMBLE:

 I am not afraid to keep on living

I am not afraid to walk this world alone

 

MOTHER:

 Honey if you stay, you'll be forgiven

 

HOSPITAL PATIENT (and ENSEMBLE):

Nothing you can say can stop me going home

(Asleep or dead)

I am not afraid to keep on living

I am not afraid to walk this world alone

 

EMILY:

 Honey if you stay, you'll be forgiven

 

HOSPITAL PATIENT (and ENSEMBLE):

Nothing you can say can stop me going home

(Or dead)

I am not afraid to keep on living

I am not afraid to walk this world alone

(Honey if you stay, you'll be forgiven)

(Or dead)

 

[The lights narrow to a spot on HOSPITAL PATIENT.]

 

HOSPITAL PATIENT:

Nothing you can say can stop me going home

 

[He triumphantly punches the air. Blackout.]

 

 

 

SCENE 22

 "Blood"

[Curtain call]

HOSPITAL PATIENT, in hospital bed:

Well, they encourage your complete cooperation

Send you roses when they think you need to smile

I can't control myself because I don't know how

And they love me for it, honestly, I'll be here for a while

So give them blood, blood

Gallons of the stuff

Give them all that they can drink and it will never be enough

So give them blood, blood, blood

Grab a glass because there's going to be a flood

[MOTHER WAR sings the "oohs"]

 

A celebrated man amongst the gurneys

They can fix me proper with a bit of luck

The doctors and the nurses, they adore me so

But it's really quite alarming, 'cause I'm such an awful fuck

RECRUITER:

[bowing to the audience]

Why thank you!

 

[The lyrics to the last chorus appear so the audience can sing along]

 

HOSPITAL PATIENT:

I gave you blood, blood

Gallons of the stuff

I gave you all that you can drink and it has never been enough

I gave you blood, blood, blood

I'm the kind of human wreckage that you love!