skill" -Vibi4c8 yorce “One of the moat compelling chamber musicals I've seen in ages." “ =b08 ANGELES TIMES “Hoad Showiaas deft an indictment of capitalism run amok any recent political missive... briskly entertaining, haunting, cautionary tale." USA TODAY "Road Show could be considered part of an American history primer by Sondheim and Weidman. The two first collaborated in 19% on Pacific Overtures, a musical about the opening of Japan tothe West by Commodore Matthew Perry ...In the early 1990s, they wrote Assassins, a look at successful and would-be presidential assassins, Now Road Show impressively completes the trilogy. Together with the other two musicals, they provides sterling look at what has shaped the way America is today.*— AP AVARDED THE 2009 OBIE AWARD FOR MUSIC AND LYRICS FOR ITS. OFF-BROADWAY DEBUT AT THE PUBLIC THEATER, STEPHEN SONDHEIM is the lyricist for West Side Story and Gypsy and the composer/lyricist of such masterpieces as Company, Follies, A Little Wight Music, Sweeney Todd and Sunday in the Park with George, among others. JOHN WEIDMAN has written the books for a wide variety of musicals, including Stephen Sondheim's Paciac Overtures and Assassins, and the Tony Award-winning Contact, which he created with Susan Stroman. ‘THEATRE COMMUNICATIONS GROUP == | iiiRoad SHowALSO AVAILABLE FROM TCG Assassins, book by John Weidman Company, book by George Fuh Music and Lyrics by Falls, book by James Goldman : Stephen Sondheim Gating Aus with Murder, co-authored vith George Furth Gypsy, ensic by Jule Syne, book by Arthur Laurents Book by \ John Weidman Into the Woods, book by James Lapine Pacific Overtures, book by John Weidman Passion, book by James Lapine 2009)Propuction History Road Show was originally commissioned by Max Woodward and Larry Wilker of the John F. Kennedy Center for the Performing, ‘Ants, Wise Gis, an easler version of Road Show, was frst presented, by New York Theatre Workshop in New York City (James C. Nicola, Artistic Director; Jo Beddoe, Managing Director). The workshop production opened on October 29, 1999, under the direction of Sam Mendes. The set design was by Mark Thompson, the costume design was by Santo Loquasto, the lighting design ‘was by Peggy Eisenhauer and Jules Fisher, the sound design was by Jonathan Deans, the choreography was by Jonathan Buerel, the orchestrations were by Jonathan Tunick, the music supervi- sion was by Paul Gemignani and the musical direction was by Ted Sperling, The stage manager was Bonnie Panson. The cast was: ADDISON MIZNER Nathan Lane WILSON MIZNER Victor Garber MAMA MIZNER Candy Buckley PAPA MIZNER William Parry HOLLIS BESSEMER Michael C. Hall ENSEMBLE Brooks Ashmanskas, Jessica Boevers, Kevin Chamberlin, Christopher Fitegerald, Jessica Molasky, Nancy Opel, Clarke Thorell, Lauren Ward, Ray Wills Bounce, a revised version of Wise Guys, was originally produced by the Goodman Theatre in Chicago (Robert Falls, Artistic Directors Roche Schulfer, Executive Director). The production opened on June 30, 2003, under the direction of Harold Prince. The sex design was by Eugene Lee, the costume design was by Miguel Angel Huidos, the lighting design was by Howell Binkley, the sound design was by Duncan Robert Edwards, the choreography was by Michael Amold, the orchestrations were by Jonathan Tunick and the musical direction was by David Caddick. The stage manager was Rolando Linares and the production stage ‘manager was Alden Vasquez. The cast was: ADDISON MIZNER Richard Kind ‘WILSON MIZNER Howard McGillin MAMA MIZNER Jane Powell PAPA MIZNER Herndon Lackey HOLLIS BESSEMER Gavin Creel NELLIE Michele Pawk ENSEMBLE Sean Blake, Marilynn Bogetich, ‘Tom Daugherty, Jeff Dumas, Deanna Dunagan, Nicole Grothues, Rick Hilsabeck, Jef Parker, Harriet Nzinga Plumpp, Jenny Powers, Craig Ramsay, Jacquelyn Rite, Fred Zimmerman ‘The world premiere of Road Show was produced by The Public ‘Theater in New York City (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director). The production opened on October 28, 2008, under the direction of John Doyle. The sec design was by John Doyle, the costume design was by Ann Hould- ‘Ward, the lighting design was by Jane Cox, the sound design was by Dan Moses Schreier, the orchestrations were by Jonathan TTunick and the musical direction was by Mary-Mitchell Camp- bell. The production stage manager was James Latus. The castADDISON MIZNER WILSON MIZNER HOLLIS RESSEMER ENSEMBLE swines Alexander Gemignani Michael Cerveris Alma Cuervo William Parry Claybourne Elder Aisha de Haas, Colleen Fitzpatrick, Mylinda Hull, Mel Johnson, Je, Onville Mendoza, Anne L. Nathan, Matthew Stocke, William Youmans, Kristine Zbornik David Garry, Katrina Yaukey (Cuaracrers ADDISON MIZNER ‘WILSON M1zNeR, his brother Mama mrznen, cheir mother apa Mizner, theit father ‘HOLLIS RESSEMER, Addison's boyftiend and business partner Sertine America, 1890s through 1930s.Aurors' Note ‘Addison and Wilson Mizner were born within a year and a half of ‘each other in the carly 1870s in Benicia, California. During the course of their long, colorful and often chaotic lives, they criss- crossed the country—sometimes separately, sometimes together— trying their hands ata dizzying array of different enterprises and pursuits, from prospecting for gold in the Yukon co promoting a tutopian real-estate venture during the Florida land boom. Addi- son died in Palm Beach in 1933, leaving behind 2 handful of uuniquely designed Mizner houses. Wilson died within weeks of him, in Hollywood. Road Show is the story of theit lives—or at any rate, our version of it —Suephen Sondbeim and Jobm Weidman Muscat Numpers Waste Is in Your Hands Now Gold! Brotherly Love ‘The Game Addisonis Tip That Was a Year Isnfe He Something! Land Boom! Talent You ‘The Best Thing That Ever Has Happened ‘The Game (Reprise) Addison's City Boca Raton Get Out / Go Finale The Company Papa Prospector, Mama, Wilton, Addison and The Company Wilton and Addison Poker Players, Wilson, Addison and The Company Addison and The Company Wion, Ketchel, Mr. Yerkes, Armstrong, Jockey and The Company ‘Mama Real-Estate Agent Hollis Addison, Hollis, The Stotesburys, ‘Mrs, Trumbauer, The Cosdens, The Wanamakers, Mr. Dupont, Mrs, Phipps Hollis and Addison Wikon Hols, Wikon, Addison and The Company Boca Girl and The Company Wilon and Addison Won, Addison, Papa and The CompanyAddison Mizner lies in a bed. He is surrounded by an eclectic pra ‘mid of trunks, old furnieure and packing crates. ‘A. woMAN: Mr, Mizner. Theres 2 gentleman to see you. (Addison leans forward expectant then falls back on the pil- lows, dead. The door of «packing eat alls open, revealing Wilton ‘Mizner Lights up on people diseributed around the rates) ‘Think chat he's dead? ANOTHER MAN: Has been for yeas. God, what a waste. Genius, they sai.Sonpuerm/ Weir Man A WOMAN: Opened frontiers. ANOTHER WOMAN Really, such a waste ANOTHER WOMAN All of that style— AMAR: All that Aair— All char guile— ANOTHER MAN: Now, let's be He had a real spark. Made a mark, A WOMAN! Instantly erased, Could have been rich. God, what a waist. AppIson: Excuse me... Roap Sow ‘Two MEN: Son of a bitch Could have been great Now he's just disgraced. appison: Excuse me?— A WOMAN: Such an ascent— AMAN Such a fall— Such a nice gent— He had ital How could he miss, Finish like this? Waste, Remember me? ’m the one that you bough the plantation from. Boy, what a waste. ‘That was a waste A woMan: (Overlapping) Remember me? I'm the one with the house you designed — What a waste, what a terrible waste, What a waste. uSonpueim/Weroan (Overlapping:) Remember me? Tim the one chat you baited the suckers with. Waste Waste of your money and waste of my time. Remember that? Remember tha? ‘Whac a waste, what an asinine waste wo women: (Overlapping) Remember me? T’m the one that you used in the ads. Honey, that was a waste, ‘That was a waste and a half Remember chat? Remember that? ‘What a waste, what a silly old waste AMAN: (Overlapping) Remember me? I’m the one with the fireworks business— Awaste if I ever saw waste, ‘And, believe me, I recognize waste ‘When I come across waste. ANOTHER MAN: (Overlapping) You come into my office ‘And buy all those pineapples. "Nothing but waste. I mean, talk about waste. “That was a waste, no, awaste and a half... 2 Roap Suow (Overlapping) Not to mention ‘The door you forgot to include ‘And the stairs chat went nowhere There was awaste, ‘There was a terrible waste... (Overlapping?) Remember me? Tm the one with the Klondike saloon. ‘What a waste, what a god-aveful waste. Tmean, that was a waste A. woMan: (Overlapping: Remember me? T’m the one that you promised a mansion ro HANDSOME YOUNG MAN: Remember me? I'm the one that you fucked. (Addison blinks at him, stunned.) Such a good star, Such a bad end— Leaves a bad taste. {fm the one that you fucked. (Pause,) BSonpiteim/WEIDMAN Squandered his art, Cheated his friend— Allofica waste App1son: Youte the one that I loved. THREE MEN: Destined to fail— Poor old guy. crowr 1: Losing the trail — ‘And you know why. wiLson: Everybody shoo! I said shoo! I mean you . .. shoo! (Opening bis arms) A bug for your old brother? (Climbing into bed beside Addison) ‘Wasting your time, Listening co thern— TThat was the waste Appisow: Willie— wisn ‘Whar was your erime? You were a gem, They were strictly past. 4 Roan SHow app1son: Willi, listen to me— So it got rough, Why the guile Look at the seuff That you built So you got burned. Look what you've learned!— AappIson: You know what I learned, Willie? I learned that the only thing wrong with my life was you. You conniving son of a bitch! (He swats Wilson) witson (Swatting him back): Hey, cut it out! ADDISON (Another swat): You ruined me! witson (Another swat): You ruined yourself ADDISON (Another swat): Say ie You ruined me! ‘witson: Did not! ppison: Did so! witsow: Did not! Appison: Did so! (They fight om the bed, the twsle becoming more and more childlike) WILSON AND ADDISON: Mama...Mama...Mamat (Mama Mizner appear.) Mama: Addison! Wilson! Children, stop that this instant! witson: He started it ApoIsON: I started a lot of things! Who finished “em?! ‘witson: Blames everybody but himself App1soN: Not everybody! Mam: I said, that’s enough, boys! 15Sonpuerm/Werosan (They stp fighting) This is no time for squabbling, Your papas been asking for you. (The bed is now occupied by Papa Mizner.) ‘witson: Sorry, Mama. How is he? Mama: The doctor says it’ time now. ADDISON: Poor Papa. ava: Wille? Addie? Is that you, boys? ‘witsow: Were here, Papa. papa: Good, good. Come close, boys. Listen. Boys, your fore- fachers were given a greac gift. A New World, pristine and tunspoiled, in which anything was possible. Ie was my gen- eration’ task to make of that New World a nation. Nov with the dawning of a new century, your work begins. The work of determining what type of nation we shall be. Behind you, at your backs, the boundless riches of a mighty land. Before you, unfolding at your feet ‘Theres a road seraight ahead, ‘There’ a century beginning There's a land of opportu: Is in your hands now. and more, “There are dreams to be fed, ‘Theres a world that’s worth the winning, ‘There's a legacy of riches that’s in store. Now its up to you, ‘And you'l see it through, If you stay on track ‘And you dont look back. Is in your hands now. Time to sare your journey now. 16 Roap SHow Never falter, never rest Until you know You've achieved the very best ‘That you can be, Never pausing in your quest For something better just around the corner. Up to you to set the course Of where well go, With the limitless resources You can plumb, Keep your eyes on what’ afar, Not on what we are, But what we can become! Follow on where we've ledy ‘Make the past an underpinning For the future, for the road you must explore. As the road extends, 1k gets rough as ic ascends, And it often bends, Buri never, ever ends. Iewill ake you anywhere you want, Ifyou know where you're going. Ik’ in your hands now, boys, Make of it what you will, but make me proud— ‘Make me proud. Make me. (Papa falls back on the pillow, dead.) Appiso: Whar do we do now; Mama? ‘MaMa: That’ up to you, boys. You're the men of the family now. vwitson: Mamas right, we ae. awa: Which means you need to know exactly how things stand, Your papa was ill for a very long time, boys. Caring for him was expensive "7SonpHerm/ Weinman witson: You don't mean we're poor? ‘Mama: I mean when opportunity knocks, we need to answer. ADDISON: Ie’ just like Papa said. Somewhere out there, there's a road. A toad for us ‘witsow: The question is, how do we find i? (A Prospector appears) PROSPECTOR: Gold! Bet yous little tiey, boy! Gold! PROSPECTOR: Gold! ‘Noggets this thick! Gold! Prospector: Gold! Go to Dawson City, boy— Ieisn very prety, But i’ ge rich quick! Found me a mother lode, Warnt no tick! ‘Wanna find another lode? Dig in any mountain, an in any crick! Grab yourselfa bucket And a shovel and a pick ‘And with a litle bit of luck ic Means you... 18 Roap SHow THE COMPANY: Get rich quick! Mana (Asif quoting a newspaper): “GOLD RUSH IN THE YUKON!” “WILSON: “aicnest Starke since SUTTER’ MILL!” ‘xpp1s0N: Boy, oh, boy, if Papa was alive— Manta: He isa wwitson: Let’ go! Appison: Where? To Alaska? Haven't you been listening? Gold, Sivting there and glistening! Gold just Lying around! Gold dust Glittering and litcering the goddamn ground! Appison: But in Alaska? Way up in Alaska? witson: ‘Oh, come on, Addie, ‘The cwo of us together!— Whar fun! App1sow: Bue what about Mama? We cantt just leave her here. ama: Why not?! You and me against the world, Addie, You and me against the world! You and me rogether, ‘Weathering the weather, Fording the crevasses — 19Sonpuenm/ WEIDMAN ADDISON: Freezing off our asses— WILSON; ‘Welll never make our fortune Just by sitting on the porch ‘a Looking wistful, When there are nuggets by the fs Manta: Nuggets by the fistful! — Time to leave the nest, Time to venture forth. WILSON AND MAMA: CCanie go further west, Might as well go north, ‘Where theres all that— app1son: Cold Gold! Appison: [dont know .. " “Grab the opportunity!” ADDISON: How would we even get there? “Thats what Papa said. App1soN: The whole thing might be over by the time— 0 Roan Siow “Grab the opportunity ‘And rake the road ahead!” App1son: I dont think he meant any oppor— MAMA: Never be content with what you are, Buc think of what you can become! ‘witson: Listen to Mama. She knows best. Not to grab the chance, ‘Wouldnic that be dumb? Papa said co grab, ‘And the world’s your plum! ADDISON: Did he? I suppose s0, in a way Mamta: Your papa said you'd find your road and here iti. ‘witson: The road to rich ‘THE compaNY: Gold! ADDISON: I'm not sure he was talking about riches, Willie— Gold ‘witson: Not only riches! Enterprise! Adventure! ‘THE COMPANY: Gold! Gold! aSonpieim/WerpMan AppisoN: Alaska ‘wiLsow: Okay. IF you won't go—then how about you? ama: Wai while I go gec my shaw! Appison: Hey! ‘THE COMPANY: Gold! ‘witsow: Joke! I can't go without you. We're a team! Gold! ADDISON: A team. We would be, wouldn't we? Gold! Gold witsow: You bet we would— ADDISON: Okay, well do ie! Me and you! ‘A century's beginning— Gold will make ie tick! A century of enterprise For you and me to lick! Papa made ie clear, ‘The opportunity is here, And if to be a pioneer Means that you get rich quick, So? MAMA: A century’ beginning, Gold will make i A century of enterprise 2 Roap SHow For both of you to lick! “That's what Papa meant—you'te Going offon an adventure! Justa shovel and a tent, you'e (Offand entering the century— (Overlapping:) You and me against “The world, Addie! You and me against ‘The world! You and me together, ‘Weathering the weather— ADDISON: (Overlapping) A shovel and a tent, “We're off and entering the century— ADDISON, MAMA AND WILSON: You and me (he) Against the world, Addie (Willie)! You and me (he) Againse the world! You and me (he) together, ‘Weathering the weather ‘As we're (youte) entering the century (Of ger rich quick! (Simultaneously with Addison, Mama and Wilson: ‘The cencury’s beginning, Gold will make it tick! Dig in any mountain, pan in any crick. Al you need’: a bucket and a shovel and a pick 2BSonpuer/Wero san [And with a littl bit of luck it Means you get rich quick! Get rich quick! Get rich quick! Ge! ut (Except Mama and Addon: Rich— Quick! Gold! (Alaska. Addison and Wilson lie in sleeping bags. The wind ow.) ‘wrtsow: Jesus, ifs cold... Are you awake? ... Are you awake? appison: Lam now, Wille. ‘w1tsow: Then pass me the canteen, will you? I cant reach it with- out getting out of my sleeping— Oh, shie. AppIsow: What’ the matter? ‘witsow: What's the matter? You want to know what's the matter? appison: Willie— ‘WILSON: Every hour of every day forthe past three months I have been either freezing cold or soaking wet or both! For three ‘months I have worked halfa dozen different claims, digging great big bottomless holes which have produced exactly noth- ing! And my sleeping bag, which has been soggy since the blizzard last week, just split up the middle! That, for starters, is whar’s che matter! appison: You can sleep in my bag if you want. ‘witsow: And where are you going to sleep? appison: We could share it. ‘wirsow: That's going to be kind of a tight squeeze, Addie, ADpIsON: Youre right. Bad idea. ‘witson: What the hell— m4 Roan SHow (Wilton dashes through the howling wind and slides into ‘Addisons sleping bag. He and Addison are squeezed up against ‘each other, spoom syle, with Addison behind Wilon. Paws Wilkon ries to warm himself) app1sow: You know what this reminds me of witson: No. What? ADDISON: Remember when I was in bed with the mumps ‘And had to stay in New Yen's Eve? witsow: Frankly, no. ADDISON: Remember how I was so down in the dumps ‘When everyone started to leave?— witsow: Jesus, ic’ cold! ADDISON: ‘Are you sorry we came, Willie? You sorry we came? witson: Yes. No. Go to sleep. ADDISON ‘Ac midnight, with everyone down at the lake To take in the fireworks show— WILSON (Remembering): Oh, yeah. ADDISON: 1 exied til 1 fell half asleep by mistake— 25SonpHerm/ Warp Man ‘And I snuck upstairs and I shook you awake— ADDISON: ‘And you bundled me up in 2 couple of quilts ‘And you carried me up all the way to che roof— (Simultaneously with Addison, above:) Upall the way to the toof— (Wind rises) ADDISON: ‘And that slippery patch! — WILSON: ‘Yeah, we nearly got killed’ — AppIsoN: But we got to see everything! wiLson: (Simultaneously with Addison, above:) Bur we gor to see every— Remember the whizbangs—? (The wind howls, drowning them out as they tumble over each other in reminiscences, singing in pantomime. As the wind dies down:) ‘We had lots of good times (They chuckle in memory. Pause.) %6 Roan Snow ‘We slept thete till dawn, Allwrapped up in thse quilts WILSON: Boy, Mama was madder than hell. (They snicker. Pause) ADDISON: You always looked our for me, no matter what . witsow: Just brotherly love, brother, brotherly love— (Sniff) Jesus, I smell app1so) Tm not sorry I came, Willie, Just as long as you're here. (The wind rises as the music fades. Addison looks suddenly uneasy. He pivots away nervously so that he and Wibon are ‘back to back.) ‘witson: Turn around, will you? appison: I'm fine like this. ‘wisn: Maybe you are, but I cant breathe. Turn around. App1son: I'm comfortable this way. watson: For Christ’ sakes— Appison: No! witsow: Fine! Sell! Take the whole shing! (Wilton throws himself out of the seeping bag.) Appison: What are you doing? 7Sonpnei/ Warp Man wwitson: We need supplies. 'm going back ro Skagway. I'll pice them up along with a new sleeping bag and I'l be back tomorrow night. app1son: I'll go with you. ‘witson: Youll stay here and work the claim. That’ why we got all excited about coming up here, remember? App1sow: Okay; bur hurry, all right? (A ramshackle saloon, Three Poker Players playing cards. They je Wakkon as e enters) POKER PLAYERS 1-3: Gold . POKER PLAYER 1 Got us a beginner, boys— POKER PLAYERS 1-3: Gold. Fresh off the ground. POKER PLAYERS 1-3: Gold! Gold! POKER PLAYER 1 This one is a winner, boys— POKER PLAYER 3: Pluck i froma mountain (Or pluck it from a hick — ‘When you see a chance, you pluck it Off of someone who has struck i— 28 Roap SHow POKER PLAYER 3: You don't have to have a bucket (Ora shovel or a pick— POKER PLAYER 1: All you really ned is luck or ‘An accommodating sucker Who imagines that he's slick— POKER PLAYERS 1-3: ‘And who doesn't know he's thick— POKER PLAYER I: And it —looks like you've been roughin’ it out there for quite some time, fella witson: Three months— POKER PLAYER 1: Three mont ‘witson: Thanks, but I dont — POKER PLAYER 1 (Brandishing cards): Why don't you take a load off and relax? 3! Mickey, pour this boy a drink! witsow: Poker? Oh, no thanks. I play little rummy sometimes, that’ about it. Besides, my brother's waiting for me— oxeR paver 1: The game is ive-card stud. One-eyed jacks and deuces wild. wuLson (Half beat): One-eyed jacks? What are one-eyed jacks? (Back at the claim, Addivon is swinging a pickax.) ‘THE COMPANY: Gold! ADDISON: Grab the opportunity... 2»Sonpitemm/We1DMan ‘THE COMPANY: Gold! ADDISON: Two musketeers ‘THE COMPANY: Gold! ADDISON: Part of a community Of pioneers! “Oh, come on, Addie, ‘The ewo of us together, What fun!” — Fun... Tm straining every sinew, Getting blisters and continually — (Sneezes) Sneezing, ‘Wolves are howling and it’s freezing, ‘Where’ the goddamn gold?! ‘This is really silly—gold! ‘And where the hell is Willie? (He bits a rock with his pickax.) Ow! Maybe this is not the road, Papa, Maybe nor the road for me. Maybe it’ for Willie — Yes, I know I'm being silly, But ie iste what I want I dont think i’ what T want Ac the moment all I want Is Willie. Roap Sxow (Back at the saloon, where Wilzon bas joined the game.) oxen Laver 1: Ill see your ewo-ify and I'l raise you three thousand, Assuming, of course, you gor three thousand. wttson (Counting bit chips): Two thousand one hundred and cighty-five. poxer Laver 1: Whi Tm afraid means chat you forfeit the— (Addison enters) ADDISON: There you are! witsow: Addie! ADDISON: Don't “Addie” me! Where the hell have you been for the las cree weeks! ‘witson: Three weeks! It hasnt been — ADDISON: Do you know what it was like for me out there?! ‘Alone?! Do you know what I had to live with?! Blizzards! Frostbite! Wolves! And for what?! For what! (Grins, draws Wilson aside, producing a large nugget) As it earns out, for this: We found it, Willie! I's all ours! All we have to do is digicup! ‘witsow: Jesus, would you look at that? You got the claim with you? ‘ADIs 0N: Of course I've got the claim! Boy, oh, boy, wait'll Mama witsow: Hang on. Boys, this is my brother Addison and he just dug up ehis nugget in the middle of this claim. Now we can argue about what they're worth, or I can see your three thou- sand— (Brandishing she nugget) And raise you, say, five hun- ddred— (Brandishing the claim) AppIson: Would you excuse us for a minute? Just one minute « (Drawing Wilson aside) Willie, what are you doing?! Betting the claim! You cant bet the claim! witsow: Addic, listen. We came up here to strike it rch, right? Well, we did. Twice. You out there and me in here Appisow: What are you talking about?! 31Sonim /WetDMaN ‘witsow: How long’ it going to take us to dig that gold out ofthe ground? Three months? Three years? I can dig it out ofthat guys pocket in three seconds! appison: Willi! Never let a chance go by, Addie, Ise chat what Papa meant? ‘Now and then you miss one, But I guarantee you this one Isawinner, Tm no longer a beginner! ‘Addie, take the chance Or it disappears! Every card you'r deale opens new frontiers— Lets be pioneers! -app1son: Willie, tha claim could be worth a fortune! Why would ‘we gamble it! ‘witson: Why wouldn't we? ADDISON: Oh God witsow: ‘The whole things nothing more than just a game. ‘And, Addie, what I'm good at is the game. They said, “Come on in, sucker!” Now they'e sorry that I came, 1 cell you, kid, there's nothing like the game Better chan girls, better than booze, Beating ace high with a pair of ewos. Better than snowdrifts in your shoes, Even if now and then you lose— Appison: Exactly! 32 Roap SHow wisn: ‘The thing that rally matters is the game. es more than just the winning, its the game. That moment when the card is turned ‘And nothing is the same— ‘The only thing that matters is the game. Better than smokes, better than snuff Hooking a sucker just enough, Betting your bundle on a blaff— Jesus, what a moment! Is more than just the money that’ at stake. ‘That’ nice, but ie’ just icing on the cake. Ies your life every pot, Who you are, not what you've got: ‘Compared to that, the world seems pretty tame. ‘The thing that really matters isthe game. ‘What do you think Papa would say? “Boys,” hed say, “Seize the goddamn day! This is your chance—" ADDISON: Alright, okay! (Wilton makes the bet, reveals his hand. The Poker Players throw down their cards in a frustrated rage.) app1son: What happened? Poxer paver 1: Heart flush. POKER PLAYERS 1-3: Your buddy won. ADDISON: Id like a drink, please. (The Bartender starts to pour) Abig one. (The Bartender urns to face him. Its Papa.) 33Sowpnenm/ Wer Man apa: “Go forth and make me proud—" Appison: Oh, Jesus— para: Games of chance, cheap liquor. What's next? Dancing girls and a roulette wheel? Appison: It was one hand, Papa. And we won. ava: You think so, huh? (Papa disappear) witson: Brother, we're in business! appison: What? witson: Ten thousand dollars ‘apisow: And the claim. Time to go back and work the claim. ‘w1Lson: Chiims gone. I swapped it forthe saloon. Appison: You swapped it what? ‘witsox: For the saloon. Hey, I said we were in business! Sure, the place looks like a dump now. But I'm thinking well puc in a little stage for dancing girls, Maybe a roulette wheel— Appison: Gimme the money. witson: What? AppIson: Give me the money! (Addivon snatches roughly half the cash and beads ff) ‘wILson: Where are you going? ADDISON: Away from you! (Out font) Tim on my way! Look, Mama, on my own! ose my way— “That was just an episode, Tim on my way, Off to worlds I've never known — Tm looking for my road! 34 Roap Suow (Ship's horn.) Let Willie stay. Tmean, Willie's found his niche, have to say, ‘We were getting just too entwined. But thar’s okay, ‘And so what ifI dont get rich? Pm on my way to find My road! ( Hawaiian” music. Addison arrives in Honolulu and meets a Hawaiian Businessman.) HAWAIIAN BUSINESSMAN: Aloha, Mr. Mizner, Welcome to Hawai ‘And congratulations, you just bought yourself a half share in United Pineapple! Appison: Great! ‘witsn (Outside the scene, observing): Unfortunately, che pineap- ple plantation— (Crackling flames, Screams...) just caught on fire— (Three Hawaiians appear, hawking souvenir.) ‘THREE HAWAIIANS: Souvenir of your visit to Hawaii Souvenir, so the memory will stay in your mind... Souvenir of the day you say goodbyii . .. Souvenir for the giel you left behind (Light glows on Mama) Native spear. 35Sonpuetm/ Wer Man ADDISON: Justa litle serback, Mama. Buy ic here ADDISON: Little setbacks ate allowed ‘THREE HAWAIIANS: Souvenir By the time I get back, Youll be proud. (Addison buys souvenirs.) Ym on my way, Discouraged nor at all Tim on my way ‘To I donie care where of when. Abrand-new day ‘And a brand-new port ofcall— Tm on my way again! (Ship's born.) A small delay Docsnit shake my confidence. mon my way To discover who Iam. ‘And on my way ve acquired experience, lus 2 ratan stool from a native hut, 36 Roap Snow ‘Accandle stand made of coconut, A whatnot made out of god-knows-what— Tm on my way again! Hor damn! (Tudian” music, Addison arrives in Bombay and meets an Indian Businessman.) INDIAN BUSINESSMAN: Congratulations, Mr. Mizner. You have just become a full partner in Bombay's Emporium of Pre- cious Gems. app1son: Great. ‘WILSON: Unfortunately the Emporium was just hit— (Gjelonie winds, Screams...) —by acycone— (Three Indian Souvenir Seles appear) INDIAN : Sahib like a chair With inscription of a swami? Something very rare— Made for raja only one of a kind INDIAN 3: How about a pais, (One for Daddy, one for Mommy?— INDIANS 1 Dorit you care For the girl you lef behind? (Light glows on Mama again) ‘Chandelier 37Sonpiem/We1pMan ADDISON: I've still got resources, Mama— INDIANS 1-5: For your dear... ‘And I'm learning as go. INDIANS 1-5: Souvenir... ADDISON: Failing merely forces You to grow. (Adelson buys mare souvenirs) Pm on my way, ‘At sea but far from wrecked. went astray, As who doesn't now and then? Buc on my way ve acquired some self-respect, Plus an old stone jug ‘And a fakir’s rug, A chandelier that’ a bitch to lug ‘And a rattan stool and 2 coconut ‘And a whatnor which wasnt worth i, but Tm on my way again— Again. Chinese” music. Addison arrives in Hong Kong and meets an English Businessman.) ENGLISH BUSINESSMAN: Congratulations, Mr. Mianed! You are now co-oviner of Hong Kong’ premier freworks manufactory. 38 Roan SHow AppisoN: Great. wnisow: Unfortunately — (A spectacular explosion. Screams... Three Chinese Souvenir Sellers appear.) CHINESE Souvenir— Cant go empty-handed! CHINESE 2: Blue veneer— Very hard co find .. CHINESE Gift to cheer Missy feeling stranded— cunvese 1-3: Missy who you left bebind! (Light lows on Mama again) Souvenir... souvenir I've halfa dozen lewers to mail you... Dont worry, Mama, I wont fail you (Addizon buys more souvenirs) Pm in my way. Isa bie disheartening, Pm in my way, Sill 'm doing as I please, Facing life's adversities {ve gor lots of memories— 39Sonpitem/We1pMan Plus a Ming cureen Made of opaline And a ten-foot scroll ‘And a lacquered sereen ‘And a chandelier And a swamischaie And a sense that worse is to come, but where? — (Fiery “Latin music.) GUATEMALAN: In Guatemala, Where everyone feels hot and free Enjoy your stay in Guatemala, ‘The land of sensuality . (Addison arrives in Guatemala City and meets a Guasemalan Plantation Owner) Appison: That’ it, that’ all che money I've got left. I know you cant guarantee me a sure thing, but— PLANTATION OwNeR: Asa matter of fact, Mr. Mizner, that’ pre- cisely what [ can guarantee you. The coffee business in Guatemala is a cartel, controlled by the same wealthy fami- lies that control the government. So frankly, unless we have a revolution— native 1: Revolution! (Ganshots, Screams... Addivon grabs bis souvenirs and runs for his life) app1soN: This s ridiculous .. . Where am I going? ... What am I doing? I give up! 40 Roap SHow ‘Two years, halfway around the world, and what have I got 10 show for i Embarrassment! Humiliation! Malarial— And a gilded mirror, an iron trunk, A statue carved by a Spanish monk ‘And a ton of other assorted junk! “Boys, be bold!” “Your path is clear” Ha! The only thing that’ clear is chat no matter what [ try, [ make a big, fa fool of myself! 'm sorry, Papa. I know I said I make you and Mama proud. I know you said there was a road out there, somewhere, even for me, Well, maybe there is, but P've looked everywhere and, Papa, I cant find it (He shumps, totally defeated. The Company rearranges his sou- venir.) No, they ll seem out of place (The Company rearranges them again.) Now ieall looks too compressed... ‘What I need to have is space ‘That holds crucifixes, A Bombay chest, A comple bell And a condor’s nest ‘And commodes and mirrors and all the rest — Til nced a hundred rooms! (Pause. Quietly) So I'l make a hundred rooms (With growing enthusiasm:) Give the Chinese scroll an entire wal, The gilded mirror a separate hall, Build an atrium for the chandelier, Give the rug a room with some atmosphere, aSonpHerM/ Werp Man Build a marble niche for the Ming tureen ‘And a mezzanine for the lacquered screen, ‘And an archway here and a skylight there Unuil everything has a place somewhere— Til build a goddamned house! Pm on my way (Thunder. The sound of rain. Addison is now in an atelier in Greentich Village. Wilon appear) swrtson: Surprise, -ADpIsoN: Willie! (Mama appears) Mana: Hello, deat. app1soN: Oh my God— ‘wisn: Now thati a surprise, huh? app1sow: Mama, I dont believe itt Where did you come from?! How did you find me?! I wrote you, both of you. In San Francisco, and Alaska. I thoughe you were sil in Skagway, ig that saloon— switson: Won it with a heart flush, lost ic with a busted one. Anyway, where does a boy go when all he’ gor left in the world is frostbite a pair of ratty longjohns, and a sob story? Mama: Home to Mama. \witsow: Home to Mama! And as it turns out, in the nick of time, too. There she was, living like a hermit, rating around in that big old empry house. I rated around with her for 2 while, No one could track you down — appison: I know, I— ‘WILSON: So we sold the house and started moving east. Santa Fe. Mama: St. Louis. 2 Roap Snow ‘wisn: One adventure after another— Manta: [old your brother, I said, ust once when we check out of a hotel [i like to take a nice, boring walk right out che front door instead of climbing down the fire excape. ‘wisn: And here we are—New York, New York! Now how ‘bout you? Last time T saw you, you were running like a thie through six fet of snow with a fistful of my poker winnings. appison: Yeah. You know, I'm sorry about that, Willie. I guess, Tjuse .. . Tdont know, I fle like— ‘wILson: If you were ever going to find your road you were going, to have to do it without me. appisow: Yeah. wirsow: And did you? App1sow: It turns out I've got a talent, Willie. Not for making money, but for making art. I'm going to build things, all kinds of things. sce them all, inside my head. Office build- ings, railway stations, concert halls. Its like there’ a whole new way America should look and its all up here, between these ears. See this? (Indicates an architectural plan) The American Society of Architects has an annual competition, this year for a “major country residence,” and I'm entering, Echoes of Guatemala, a touch of the British Raj, a litle bie of everything I picked up while I was traveling. And I've gor my first commission. A pool house for a widow out in Oyster Bay. It isn't much, bue it pays che bills—wel, ic almost pays the bills. And most important, it’ a start ‘ama: You must be very pleased, deat. witson: Hell, he’s on his way! (A knock.) ADDISON: Goodness, I almost forgot. I've got an appointment. My client, Myra Yerkes— winsoN: Myra Yerkes? ADDISON: She's come to see my plans. To approve them and to pay me the first half of my fee. 2BSonpuerm/ Wer Man watson: You don't mean the Myra Yerkes whose husband walked in front of one of his own streetcars and left her fifty million bucks? That Myra Yerkes? Appison: Willie, please. The woman's still in mourning. (Mrs. Yerkes enters.) Mas. verkes: Who's he? ADDISON: I'm sorry? Oh, my brother Wilson, Mrs. Myra Yerkes— ‘witsow: Dear lady, please accept my most profound condolences. AppIsoN: And now, for your pleasure, and I hope for your approval, Mrs. Yerkes— (Revealing set of plans) Your new pool house! ‘witsow: Forgive me, but 'm curious. A woman of your standing obviously eravels with a car and driver, but it appears that you've been forced to walk. ns. YERKES: My chauffeur. He shot his big mouth off once too often so canned him. ‘witsow: Despicable. When youte ready to leave, pethaps you'll permit me to put you ina cab, as. vers: Let's go (They exit. Organ music.) suisten’s voices... by the Sovereign State of New York, now pronounce you man and wife. You may kiss the bride. (Or, Yerkes and Wilton is, A bell rings and Stanley Ketohel 4 prizefghte. appears) canta (In bed, holding a newspaper): Addie, look at this! Your brother’ in the prizefight business! ‘wILson: Kid! “ Roap Snow KETCHEL: Hiya, Willie! wiLson How you doing? KETCHEL: Juse great MRS. YERKES: ‘Who's that! ‘WILSON: Stanley Ketchel, cing Sailor Boy Mackenzie For the tile. For the ttle? For the middleweight crown We bought his contract For a measly fifty thousand. We did? Remind me, when exactly did we buy his—? xereHe1: [just wanna say thankyou to our Lord and Savior Jesus Christ, © my sainted mother, may she rest in peace, and ‘most ofall to the greatest manager a fighter ever had, Willie Mizned! (The crowd roars.) 4sSonpuemm/ WEIDMAN Willie had styl, Wille had brass, Willie said, “Stan, I'm gonna give you some clas.” Taught me to dress, ‘Made me a sport, ‘Gave me social status and something to snort. Learned a lot from Willie, Havin’ laughs, gettin’ tight, Coked till we were silly By the dawn’ early light. Learned so much from Willie 1 forgot how to fight, But oh, what a year, ‘Thac was a year! MRS. YERKES: Next time you go shopping with my dough, ler me know, okay? God, [love this town! Don't you love this own? es gorall of these Opportunities, Some may not work out. Some go up the spout, Plenty more around the corner— [And what's waiting round the comer, Isnt that what life is all about? Appison (On the phone): I know you'e busy, Willie, I read the papers. But Mama thought she was going to see you Sunday and she—. This Sunday? You're sure? Okay, just as long as youre sure, And don't forget to bring my fee! (Hangs up) 46 Roap SHow tama: Addie, you won't believe i! Your brother's written a Broad- way play! (Paul Armserong, a famous playwright, flamboyantly sheatri- cal, appears) ARMSTRON. wad wit, had brains, ie had contacts in the lower domains. Knew how they lived, Knew what they say. ‘That’ why I said, “Willie, ler’s write a play.” Bus where the hell was Willie Came the time to rewrite? ‘Way the hell in Philly, (Off promoting some fight. Half play with Willie Closes opening night, Butoh, what a year! ‘That was a year MRS. YERKES: You're saying I invested in this play? witsow: God, [ove it here! Don't you love it here? MRS. YERKES: That I invested fificen thousand bucks in this play? witson: Every place you look Is.an open book, Every street a new fronties If you sizzle, swell. 7Sonputeim/We1pMan Ifyou fanle—wel, Nothing fis for long, fit doesnt ly, ie doesnt, ‘And it’ time to sing another song! (CHORINES, KETCHEL AND ARMSTRONG: Broadway Willie, Prince of bon vivants— Everybody wants Broadway Willie Mizner! Knocks ‘em silly, Lowlifes and Duponts, ‘Cops and debutantes Appison (On the phone again): You didn't make it last Sunday or the Sunday before, Willi, what makes you think you're going to make it—. .. Fine, Ill tell her. And Willie, please, [need that Fe! (Hangs up) awa: Look at this picture, dear! Your brother kissing a racehorse! (A Jockey in handcuff.) jockey: Wille and me, we had a run, Doin’ some things we shouldnt of done, Till we get rumbled for this race we try to fix. Willie says, “Kid, I'm your support Let me explain things to the court.” So he explains and beats the rap ‘And I get sent up for six. ARMSTRONG: Now I write a show, Ie doesrit get on cy Roap Snow kerenst: Offer me some dough, I dive like a swan jockey: ‘Once I was a pro, And now I'ma con. Bur oh, what a year! KETCHEL AND ARMSTRONG: ‘That was a yeat! From the mayor to the cop on the beat, ‘Who's the only guy they all want to meet? ‘Who's the man they call the King of the Street? THE COMPANY: Good Time Willie Mizner! ‘When you write about New Yorkers of note, Who's the witiest by popular vore, Always ready with a quip or a quote? ‘witson: Be nice to the people you meet on the way up, “cause they're the same people you're gonna meet on the way down, ‘THE Comrany: Night club flies, Writers, racketeers, Everybody cheers Good Time Willie Mizner! Ziegfeld lilies, Pimps and financiers— ADDISON (Back on the phone): What fee? The fee for the pool house, Willie! Thats whae fee! 9Sonpueim/ Warp Man MRS. YERKES: Willie had style, Willie had gall. Willie had ladies round the block and down the hall. Perfect in looks, Perfect at sex, ‘Not so goddamn perfect at forging my checks. werent: Sure, I lose the crown, but I made lots of green .. ARMSTRONG: Sute, he took his time, but we wrote a great scene . JocKEy: | was voted “biggest wit" in cell block eighteen . . MRS. YERKES, KETCHEL AND ARMSTRONG: ‘Thanks to Willie Mizner, Nimble Willie Mizner— Sharp asa hawk— ARMSTRONG: ‘Cocke of the walk — ans, verkes: Youre elling me... JOCKEY: King of Noo Yawk! “tu compan Stick around with Willie, you run out of luck. Sxick around with Wille, you fe! like a chuck. 50 Roap Sow Stick around with Willie, youre gonna get stuck, But you'll geca year!— yocker: Maybe ten to ewenty— THE COMPANY: You'll have a year!— MRS. YERKES: (One was more than plenty! — ‘THE COMPANY: ‘You'll have the time of your life! MRS. YERKES: Thad the time of my life! wiLson: God, [love this town! Broadway Willic, King of New York! (Mama, tucked up inthe bed in Addison studio, A tray les on her lap with dinner on it and the newspapers. Beside the bed, Addison's drafting table.) ADDISON: Okay, you've got your cutlet, your parsleyed poratoes, and your green beans. Here's the papers. And dont forget ‘what Dr Stanton told you about getting out of bed. Mama: Those are your plans, aren't they? For your pool house? ‘That means youre going to see Wilson. App1son: [Fhe won't come to see me, I'm damn well going to go see him. StSonpueim/WetDMaN aaa: Well, I should chink you would. And you make sure you get yout fee this time, too. App1son: You bet | will. Anything else? Manta: Yes. You tell your brother I want to know when they'e ‘going to run a story about him visiting his poor old shut-in ofa mother. AppIson: We may not live the high life like Willie does, but T think the ewo of us ae doing fine. And you know what il bee? I'l bet he’s going to stop by fora visit any day now. asta: You know what Pl be? I'l bet youre going to lose that bet. Never comes to see me, Hardly ever calls. ‘When he sends me letters, They're just two-line serawls Isnit he something! ADDISON: Something —? ‘Things he says outloud I woulda dare, (Or fd have to hide. Skates along through life without a care Ora shred of pride, But look at him glide! : He having the time of his life, Life filled to the brim. ‘And I’ve had the time of my life, Living through him. Some men are tender souls ‘With worthy goals ‘They keep fulfilling. 52 Roap Sow Some men ignore the rules, ‘Are rogues and fools, And thrilling Honey, fhe had the slightest sense of shame, Te would be a shame. ‘And isn't he shameless? Doesn't he glide? Isnit he something! I've been a very lucky woman, Addie, To have one son who's thrilled me and excited me. And another one I knew would care for me and make me comfortable no matter what. CCarelessness and being free of care, Arenit they the same? ‘Some men live to be good, Some men live to be bad, Some men live just to sparkl ‘And doesnt he sparkle? See how he glides! Isnit he something! (Mama falls back agains the pillows, dead.) ADDISON: Mama... ? (Wilton appears) ‘witsow: Prodigal Kid Makes Comeback! appison: Willie— (Addison jumps up and pivots the bed away from Wikon.) wtson: Hel-Lo, Addie! And Hel-lo, Mama! Sorry. Bad time? 33Sonpuem/WetDMaN App1son: No, no. I'm just... You took me by surprise tha’ all. Long time no see, you know? wrtsow: Hey, do Lever! I'll tell you, pal [love this town, but its a full-time job. Appison: I can imagine. Mama’ been keeping track of your adventures in the papers. ‘witson: Truths! Truths! Nothing but truths! How is she? Appison: How are you? Hows Myra? ‘wiison: Myra? Well, 'm guessing, but Td say she’s better than, she was before she threw me out. poison: She threw you out? ‘witsow: Like yesterday's papers. App1son: I'm sorry. wwitson: Yeah? I'm not. Face to the Future, Brother! Good-bye to all that! ‘ADDISON: And all that includes the pool house, I guess. ‘WItson: The pool house? ... Oh, the poo! house. Hey, you can ‘stop wasting your time on that crap. Build what you want Bean artist! That's what you said you were. Well, now's your chance to stop kissing up o rich widows and prove it! App1sON: Good advice. Thanks wwitson: I had a thought coming over here. I've got no present plans, no place I have to be. How "bout if | moved in with you and Mama for a while? Give us a chance to atch up, ‘swap a yarn or two about the Yukon, What d’you say? ADDISON: I think Mama would like that, ‘witsow: Would she? I havent been around much. She isnt sore at me, is she? ADDISON: At you? Nothing you could do could make her sore at you, you know that vwitsow: Yeah, I guess Ido. (Addison turns the bed, revealing Mama.) Mama! ... She's asleep. poison: Ies okay. Wake her up. 54 Roap SHow witson: No, no— ADDISON: Go on. Surprise her with a kiss. ‘witson: Like sleeping beauty. That’ good. (Wilson hises her.) Mama? ... Mama? ... She's cod. ADDISON: Jesus, you dont suppose she could be dead? witson (Startled): What? AppIsoN: I said, “Jesus, you don't suppose she could be dead” Yup, that’ how it looks. Well, what the hell. How'd you put ie You had a good phrase. “Face to the future, Brother! Good-bye to all that!” witson: You crazy bastard — (Wilton banges at Addison.) Appison (Grabbing a knif off Mamat tray): Get out. Get the fuck out! (A beat.) ‘witson: Goodness, would you look at che ime. Tm afraid you'll have to excuse me... We may not see each other for some time. A kiss before parting, Brother? (He steps toward Addison, puts a hand on the back of his neck. Addison shoves him viciously away A Real-Estate Agent appears.) Land boom! ‘With a double whammy, boy! Land boom! Profits this thick! Land boom! Down around Miami, boy— 55SonpHemM/WerpMaN ‘The weather’ kinda dammy, But its get rich quick! Brand-new communities, Just take your pick. Lots of opportunities— All you need is capital, ‘litle does the rick. Beg or steal or borrow, Tell double by tomortow. Only gee your ass to Fl ‘And get rich quick! (The bed has been transformed into a railway compartment. In it sts the Handsome Young Man from the opening number. Addison enters, carrying a suitcase and a rolled-up st of archi- sects plans.) HANDSOME YOUNG MAN: Excuse me, but I'd prefer to have this compartment ro myself Appisow: So would I, but the train is ful. (Addison sts, looks at the young man appraisingly. A beat.) HANDSOME YOUNG MAN: What? ADDISON: I was wondering ifI should smile and introduce myself or just shut the fuck up? HANDSOME YOUNG MAN: I’m sorry. Please, forgive me. I'm not usually... havent slept, chat’ all— Appison: Addison Mizner. HANDSOME YOUNG MAN: Hollis Bessemer ‘ADDISON: That seemed to go all right, Shall we quit while we're ahead or ry a lice small talk? outs: To tell the ruth— appison: Where ae you headed? HOLLIS: Florida 56 Roan Snow aDD150N: Uh-oh. Competition! nous: I'm sorry? ‘ADDISON: I'm off to Miami to make my fortune. I wouldn't want anybody making theits ahead of me. HOLLIS: No, of course you wouldnt. Well, may you make your fortune, may you make ten fortunes, and may your riches bring you happiness—although if I were you, I damn well wouldn't count on it ADDISON: On second thought, maybe Iwill just shut the fuck up. HOLLIS: Bessemer. Does that name mean anything to you? AppIsoN: Ie might if [saw it on the side of a blast furnace— oLLIs: My grandfather, he invented it. My father perfected it. Made millions from it. Expected me to help him make mil- lions more. Unforcunately, commerce, industry, dont inter- ‘estme, I told him that a thousand times. Told him again last night (Train sounds decelerating.) We'e stopping, Why are we stopping? ADDISON: Can't see. It’s probably — nootuis: I cant afford to be delayed! ADDISON: I'm sure i’ just— rots: You dontt understand! He's cut me off No allowance! No inheritance! Nor so much as a penny! It’s happened before, of course, but not like this. I have an aunt. Two hours before the tain le I found out she was stopping in Palm Beach. ‘Appison: Palm Beach? otis: Tiny town, middle of nowhere. Nothing there but a monstrosity of a hotel. She's looking for a place to build a house. ADDISON: Really? A house? otis: I sent her a telegram, begged her to wait for me— ADpIsON: Friendly refuge till the storm clouds clear eh? otis: It’s more than that. I need her help. AppIsoN: With what? If you'd rather not 7Sonpiem/We1pMan HoLuis: No, no, I'll tell you. ‘When I was a tyke, I said, “What [like Isart Tknow I'ma boy, Bur what I enjoy Isat” Looking at paintings, going to plays, ‘Music and books informing my days, Filling my mind, Flooding my heart With art 1 had this dream of becoming an artist— A painter, a poet, who knows? Thad 2 nice litle ealent for drawing, ‘And a nacural feeling for prose. leven began to compose So many talents, ‘Wasnt I blessed! Al of them good, [A few of them bere None of them best, Just enough talene ro know ‘That I hadn't the talent So put my dream ‘And my self-esteem To rest pp1son: That must have been difficult wots: Yes, But it didn’t matter. I merely had co find out what Twas meant to be. 58 Roap SHow eouldae decide, ‘Then one day I spied Palm Beach. ‘A speck on the map, No more than a gap— Palm Beach. Jungle and seashore, muddy and raw, But in a flash I suddenly saw ‘What it would cake, ‘What [could make Palm Beach! had this dream of a city of artist, Versailles by the Florida sea, A sort of world congregation of artists, All encouraged to set themselves free. Tknew what I wanted to be! Td be their host and supporter, ‘The patron saint ‘Of the chings that they write ‘And compose and paint. I shall wander among them with lavish praise As they carve ther statues, Construct their plays, Design their buildings, Recite their rhymes, Making modern are Fic for modern times! So many talents, Gathered en masse! Painters and poets, Artists and dreamers, ‘Watered like grass. 7°Sonpueim/We1DMan ‘And ifthe talene I have Is for nurturing talent, ‘Then succeed or fail, will see they sail First class, [And my father can go stick it up his as. (Palin Beach, Sounds ofthe sea. Edward and Eva Stotesburyon the veranda of the hotel) ‘Aunt Eva, Uncle Edward— Mas. storesaury: Oh, hello, Hollis— Mr. sroressury: Hello, boy. Eva said you might be turning. wp ‘otis: I'm relieved to find you here. I was afraid you might have checked out. Mex, sToTEsBuRY: Leaving this afternoon. eRs, sTOTESBURY: Fleeing is more like it. (For the benefit of a passing waiter) This is 3 very bad hotel oxuts: Wel: I assume you got my telegram. Mas. storespuRy: Your telegram? HOLLIS: About the artist colony. Mas. storespury: The artists? Oh, that. Hollis, honestly, I don’t know where you get these outlandish notions. nous: Aunt Eva — Mas. sTOTESBURY: You know, your father sent me a telegram, ‘00. I didn’t know Western Union printed words like that. Ma. sroressury: Sounds like you've torn it this time, boy! otis: Aunt Bva, Uncle Edward, please. He's cut me off without a cent! This colony means everything to me! Please, I need your help! ers, storessuny: I need a house. HOLLIS: You have three houses! er, storesBuRy: Sophie Wanamaker has fou. ADDISON (Joining she group): But Sophie Wanamaker hasn't got anything that looks like this. oo Roan Suow (He unfierls bis plans. Hollis stares at him.) ans. storessury: Excuse me, who are you? ots: This is— ADDISON: Addison Mizner. I'm an architect, in business with your nephew. He cold me you wanted a house and here it is gs, sToressury: Hollis, you didn'e— ADDISON: He wanted to surprise you. Have a look. Please— (The Stotesburys peer as the plans.) as. storesnuny: Goodness, I've never seen a house like this before. ADDISON: I should hope not! Echoes of Guatemala, a touch of the British Raj ans, sToressury: Whats this bi? It’s peculiar, AppIsoN: Well, I think every house should have a history, don't you? imagined this one as an ancient castle on the coast of Spain... . One stormy night it’s overrun by Saracen invaders. ‘They tear down the battlements, blow up the armory, and. add a master bedroom suite with bach and powder room here, and a cloister for tea dances and tables of bridge, here. Next come the Goths, demolishing the dungeons and replacing them with ballrooms and a billiard room. They add a Venetian loggia up here and are pondering a breakfast ‘nook, when who appears? The Moors! Raping and pillaging, and putting in cabanas and a tennis court before they're routed by the last invader—me—who adds an orangery, a servant's wing, and tops the whole thing off with Spanish tiles and the odd parrot. That's the peculiar bit. The parrot. Mas, sToTESBuRY: Edward, give this man money. He's building usa house. AppIsON: Where? as, storessury: Where? Mg, sroressury: Well, I suppose it might as well be here. Hollis kknows the town. He'll help us find a piece of property — 61Sonpueim/WeipMan ‘And ifthe talene I have Is for nurturing talent, ‘Then succeed or fail, I will see chey sail Fist class. ‘And my father can go stick it up his as. (Palm Beach, Sounds ofthe sea. Edward and Eva Stotesburyon the veranda ofthe hotel) ‘Aunt Eva, Uncle Edward— Ms, storespury: Oh, hello, Hollis— Ma. storessuny: Hello, boy. Eva said you might be turning wp otis: I'm relieved to find you here. I was affaid you might have checked out. Ma. sTOTESBURY: Leaving this afternoon, MRS, STOTESBURY: Fleeing is more like it. (For the benefit of a passing waiter) This is a ery bad hotel. HOLLIS: Wel: assume you got my telegram. : Your telegram? HOLLIS: About the artists colony. Mas. storesaury: The artists? Oh, that. Hollis, honesty, I don't know where you get these outlandish notions. mous: Aunt Eva— as. storessurY: You know, your father sent me a telegram, too. I didn't know Western Union printed words like that. Mg. sToTesBuRY: Sounds like you've torn it this time, boy! otis: Aunt Eva, Uncle Edward, please. He's cut me off without a cent! This colony means everything to me! Please, I need your help! rs. sTorEspuRY: I need a house HOLLIS: You have three houses! mr. sroressury: Sophie Wanamaker has four. ADDISON (Joining the group): But Sophie Wanamaker hasn't got anything that looks like sis. 60 Roan Suow (He unfurl his plans. Hollis sares at him.) Mas, sToressury: Excuse me, who are you? motu: This is— App1soN: Addison Mizner. I'm an architect, in business with your nephew. He told me you wanted a house and here itis! Ms. sToTEsBuRY: Hollis, you didntt— ADDISON: He wanted to surprise you. Have a look. Please— (Te Stteshurys peer atthe plans, ens. storessuny: Goodness, I've never seen a house like this before. ADDISON: [should hope not! Echoes of Guatemala, a touch of the British Raj— ens. sTorEspuRY: What's this bi? It’s peculiar. ADDISON: Well, I think every house should have a history, don't you? I imagined this one as an ancient castle on the coast of Spain... . One stormy night ie's overrun by Saracen invaders. ‘They tear down the battlements, blow up the armory, and add a master bedroom suite with bath and powder room haere, and a cloister for tea dances and tables of bridge, here. Next come the Goths, demolishing the dungeons and replacing them with ballrooms and a billiard room. They add a Venetian loggia up here and are pondering a breakfast ‘nook, when who appears? The Moors! Raping and pillaging, and putting in cabanas and a tennis court before they're routed by the last invader—me—who adds an orangery, a servants wing, and tops the whole thing ofF with Spanish tiles and the odd parrot. That's the peculiar bit. The parrot. as. storsspury: Edward, us a house, Appison: Where? ers, sTorEssuRY: Where? an, stoesuRY: Well, I suppose it might as well be here. Hollis knows the town. He'll help us find a piece of property— 6Sonpuerm/WerpMan appisow: On the beach! ns. sroressury: The beach. Hoxtis: Would you excuse us for a moment? (Taking Addison aside) What in God's name is this about?! We aren in busi- ness! I'm not interested in building houses! I want to build an artists colony! ‘ADDISON: Look— Never lec a chance go by; Hollis — Dont you see that here's your chance? How to stoke the fre Is the problem in acquiring a patron Every patton has a matron. Lec her fee fulfilled. ‘Trust me, she'll be thrilled ‘Once she sees the house that I'm going to build! ‘And you'll get your guild outs: Aunt Eva, Uncle Edward, allow me to introduce you £0 ‘your new house (The Szoesburys Palm Beach mansion appears) MRS, STOTESBURY: Look at it! Look at it Look at it! Hollis, darling, you may put me at the head of the list of sponsors for your artists’ colony. You may even name the administration building—the Eva and Edward Stotesbury Building. If Mr. Mizner will design i, of course. -Appisow: Just as soon as my schedule permits. HOLUS: You ‘Where have you been all my life? 62 Roan SHow MRS, STOTESBURY: Look at Look at it! MR, AND MRS. STOTESBURY: Look at ie You. ‘You're the answer co my prayers. rs. sTorEsunY: Notice che details HOLUs: You. You're one in a million. Mg, storesaury: What's thae? Its enormous! AppIsoN: Remember the breakfast nook? You... ‘Where have you been all my life? Rs, sToTEsBURY: Wait till Edith Trumbauer sees it. outs: About that administration building — (Another pair of millionaires, Mr. and Mrs. Horace Trumbauer, appears) gs. TRUMBAUER: Hollis Bessemer! outs: Hello, Edith. Mas, TRUMBAUER: Where’ this Michelangelo you found for your Aune Eva? 63SonpHetm/WerpMan ows: Edith Trumbauer, Addison Mizner. MRS. TRUMBAUER: Me, Mizner, the house you built for Eva isa work of art. You must build me one exactly like it -appison: No, sins. TRUMBAUER: No? ADDISON: No, it has to be something for you 1 see eypress arches, mosaic floors Reminiscent of the conquistadors, I see colonnades In a hundred shades, ‘With a Roman cloister to house the maids, T see: (The Trumbauer mansion appears) Mas. TRUMBAUER: Lovely... Isnt it? You ‘You'te the answer to my prayers Mas, TRUMBAUER: Lovely. Absolutely lovely. You... Youre one in a million, Houtts: Edith, Tm sure Aunt Eva's told you about this artists’ colony I'm cooking up— ns. TRUMBAUER: Yes, yes. But why is mine smaller than hers? HOLLIS: That's merely the west wing... (The Trumbawer mansion is now larger than the Stotesburys:) ADDISON: You Roap SHow HOLLIS: You... ADDISON AND HOLLIS: ‘Where have you been all my life? You... ADDISON: You You have the vision— ‘They have the money— HOLLIS: ADDISON AND HOLLIS: Both have a dream, HOLLIS: Me, Td say we'te a team, ADDISON: Me, too, ADDISON AND HOLLIS: ‘Who knew that you'd come into my life? ‘Where have you been? 6Sonpitem/We1DMAN (Mt. and Mrs, Joshua Cosden appear.) Mas. cospEN: Hollis Bessemer! HOLLIS: Lily Cosden! I know—say hello to Addie Mizner. Ms. COSDEN: My Joshua is being very naughty, Addie. He insists ig me one of your handsome houses for my birth- on gi thy. ‘ADDISON: When is your birthday? Rs, COsDEN: March tenth. Appison: Cant be done, 1x. cosDEN: Money is no object. ADDISON: I'll see what I can do. Rs. cospeN: Make ic like Edith Trumbauer’, Only in blue. ADDISON: Blue is for Norwegians, dear, Blue is not you. ns. cosDEN: No? No, youte a hacienda, a happy fusion Of Indonesian and Andalusian— I see gingerbread, 1 see Chinese red ‘And a huge Victorian potting shed— MRs. COsDEN: Fine, fine, just as long as it’s finished by March tenth, (Under his breath) ‘And a pond where you can go soak your head .. nowtrs: Happy birthday! 66 Roap SHow (The Cosden mansion appear) MR. AND MS. COSDEN: Look at it! Look at i! MRS. STOTRSBURY: Look at it ‘Their house has a view of the ocean, Addie, And such a view of the ocean!— Hots: Yes, but yours has the acreage Yours has the privacy Yours has the cupola— MRS. STOTESBURY: The cupola — HOLLIS: ‘The cupola that Addie’ just designed for you— Looking down on the Cosdens’ ‘And out at the ocean Down on the Cosdens’ Hous: ‘And out at the ocean .. You!— HOLL: You!— oSonpnenM/ WEIDMAN (More couples appear.) MRS, WANAMAKER: Yoo-hoo, Mr. Mizner, Ahhouse for me .. HOLLIS: Addie, Sophie Wanamaker... MR. DUPONT: And one for me! MR, PHIPRS: Well ake wo... MR, DUPONT: Make that three .. Hous: MRS, WANAMAKER: ‘Ahouse for Mr. Dupont! Pardon me, but I was next. A house for Mrs. MR. DUPONT: Wanamaker! Don't be ridiculous. sce minarets. Aled, cell her I was next see parapets MR, WANAMAKER: She's next. I see gargoyles. Te happens to be our tu Hou Ahhouse for Mrs. Phipps! 68 Roap SHow ADDISON: Grottoes .. ‘Another house for Mrs. Phipps!— ‘Ahouse for me! HUSBANDS: Abhouse for us! wives: A house for them! HUSBANDS: Ahouse for me! us, Them! HUSBANDS AND WIVES: Us Abbh (Papa appears) papa: My God, what a spectacle perate to outdo each othe: you have a gf Don't le— ‘Yammering featherheads, des- boorish ostentation! My boy, ADDISON: Papa? Get lost.Sonpuen/ Wer Man ADDISON AND HOLLIS: You, where have you been HUSBANDS AND WIVES: All my life? You, where have you been All our lives? You, you'te the answer ‘To my prayers. You, you're the answer To our prayers. ‘We, we'll make 2 Paradise here. You, You'e one in a million .. ‘And with your permission— ‘And your ambition— ADDISON AND HOLLIS: ‘And their tradition Of acquisition, Well build place ‘Where a brand-new world can play. ‘Where have you been all my life? Don't go away! Yes, but thers has a floating gazebo... (A tropical night. Hollis and Addison at home.) First there's cocktails at the Cosdens’— 70 Roap SHow ADDISON: Oh, Jesus . HOLLIS: Hon, we've gor fish to fry Appisow: Why don't you do this one without me? HOLLIS: Then there's dinner at the Dodges’ ‘The reception at che Roosevelts— ADDISON: I think I'm going to dic. Hous: ‘And every party filled With millionaires who want to build ‘The biggest villa since the days of ancient Rome. So what do you say We just seay Home? ADDISON: ‘You are the best thing that ever has happened to me, You are. (Hollis waves him away blushing) Okay then, One of the best things that’s happened ro me, You are. ‘They say we all find love— {never bought it. never thoughe it ‘Would happen to me. ‘Who could foresee? nSonpieim/ WEIDMAN ‘You are the godddamnedest ching that has happened to me, Ever ‘When did I have this much happiness happen to me? Never. Tcant believe my luck, And all Tan do Is be the best thing chat’s happened to you. So what do you say We just stay home? ‘What do you say we just go ‘Out on the boat and gee smashed ‘And make love on the beach ‘And stare up at the moon?— appison: Holly .. You might just be the best ching chat has happened to me, So fit. OF course not much ever realy has happened ro me, So far. I didave much like love, always fought ic. I never thoughe it ‘Would happen like this. ADDISON: Give usa kiss. ADDISON AND HOLLIS: ‘We may just be the best thing that has happened to us— n Roap Suow ADDISON: Kiddo HOLS: Parcner . ‘Another moment like this may not happen to us— ADDISON: Partner .. HOLLIS: Lover... ADDISON AND HOLLIS: ‘When alli said and done, Ihave to agree: You are the best thing that’s happened ro me. HOLLIS: Who knew? ‘Who dreamed? ADDISON AND HOLLIS: Beats me, (Addison snores a line of cocaine. Lights down on Hollis, Thunder. Wilson appears. He isin bad shape.) witson: Hello, Brother. appison: And hel-lo, Will. Well, what brings you to Palm Beach? BSonpieim/WetpMan witson: Freight trains for the most part. Though the yard bulls pitched me off the last one in Jacksonville. From there, walked. (Wikon coughs) Well, 1 guess cis isa surprise? ppisow: Not at all. knew youd urn up sooner or later. You don't look good. witsow: You do. ADDISON: Sunshine and money! (Wilion coughs again. Addizom offers him a humidor) Cigar’... They're Cuban. Lady Astor sends 'em over faster than I can burn ‘em up. Well: What can I do for you? ‘witsow: I've been reading about you, in the papers— ADDISON: There's a switch. witson: They say you've got a partner. They meant a business partner, bur I saw the photos— ADDISON: Cut the crap and tell me what you want. ‘wison: I want to help you. ADDISON: Yeah? I made a half a million bucks last month. You crawled in here spitting blood. What could you possibly do to help me? ‘watson: I've got an idea— ppIsoN: You mean youve got a scheme. ‘witson: Ican help you, Addie. Honestly — apprsow: Honesty? When did you ever help anybody honesth? ‘witsow: Okay, maybe I deserved that, but youte a businessman now, Addie, just like me— ADDISON: Just like you, huh? All T'm saying is, sometimes in business you have 0 stretch the truth a litde bit, you know that now— ADDISON: You know what else I know? Thar in the end, no mat- ter how much I stretch the truth,” the suckers / hook get “ Roap SHow good value. They get great, big, beautiful house. What did anybody ever get from you besides a couple of cheap laughs, aa hangover and an IOU? witsow: Addie, listen — AppIsoN: Tell you what. IF decide to build a whorehouse or a saloon, Til cll you. Until chen— witson: Listen One day up, the next day down, ‘That’ the way i goes. ‘One week you can own the town— Next week, hey, who knows? You and me, though, Brother mine, we'te pros. ‘The whole thing’s nothing more than just a game, [And what we both are good at isthe game, Believe me, I'm not asking for Forgiveness—all the same, Tim asking to get back into the game. Given up booze, given up coke, Given up gies, dont even smoke. Got a bad break and wound up broke, Jesus, my life is one sad joke... (Pause, Addison just ares at him) ‘Want me to beg? Want me to crawl? “Wane an apology? Your call Iwasa prick, but after all, Jesus, 'm your brother! (Another pause, Wilton sings with increasing desperation:) es mote than just the money that’ a stake, es even more than begging for a break 5Sonpuem/WerpMan Joke or not, it’s my life! IF you want to ewist the knife, Then ewise the knife... Only please (Wilion tls forward and collapse.) pp1sow: Iewont work, Willie... Up and at’em ... Willie? (Wilton doesnt move.) Shit, (Thunder The following morning.) szavanr: We heard about your brother, sit. How is he? xppisow: The doctor says he’ going to live. savant: That must be a great relief sr. appisow: Fm getting a second opinion. (Hollis appears) HOLLIS: I have just had the most extraordinary conversation with your brother! He's got the most marvelous idea— -appisow: Every idea my brothers ever had has been a marvelous idea. HOLLIS: Look, he was quite frank with me, I understand the ewo ‘of you arent on the best of terms— ADDISON: Best of terms? Last time I saw him I tried to stab him. routs: All right, allright, but listen, He wasnt trying to per- suade me, just describe this notion that he has, and I have to tell you, it sounded, well, ro me it sounded . (Wilson joins Hollis.) 6 Roap Snow ADDISON: Marvelous? otis: Yes. ADDISON: Youve got an idea. What is i ‘witson: Okay, straight co che meat, huh? Well, we all know that dozens of new cities are going up all over Florida, righ? Delray Beach, Fort Myers. Fulford-by-the-Sea. What's the cone thing they have in common? outis: They'e all vulgar, tasteless eyesore! witsow: Right. Unlike the exquisite residence in which we now sit, a residence designed by the most celebrated architect, ‘not just in Florida, but maybe— Appisow: You're wasting your time, Willie, 'm not interested in Appisow: For one thing, I've already built one. ‘w1tson: Palm Beach? This isn a city, isa country club. ADDISON: And for another, there are projects 'm considering that Tactually care about. ‘wILson: Like, for example—an artists colony for Hollis... HOLLIS: ‘That’ what I wanted, a city for artists, Versailles by the Florida sea. ‘A kind of haven for hundreds of artists, ‘Whose great patron saint would be me! ‘And then I meet Willie and he Says to me, “Look what Addie's done, ‘And he's just begun! Why be saint ro hundreds? Be saint wo one! ‘Think what he can dot” ‘Think what we can do, Willi, me and you! appison: “Willie”?Sonpuen/ Warp Man Hous: ‘And you... You'll design a city, Addie, Like no city ever seen before. ‘Think of ie: a city, Addie, Every single window, every door— You could build a Paris, Addie, But Paris made anew, [A Paris for today. Paris, USA— Hout: A Paris made by you— ‘Addison’ city! witsow: Venice and jazz combined— Addison's city! Every last stick and stone designed By the same screwy brilliant mind— HOLLIS AND WILSON: Addison's city! HOLLIS: Newport with fiz Rio with shade— 78 Roap SHow Houus: Capri asics, Buc norso staid. wILson: ‘Not so much a city—a parade! HOLLIS AND WILSO: Addisons city! witson: The time is now, The place is now, Your chance to do what you Were born to do Isnow. ‘A.chance like this will never come again, Believe me, Embrace it now. ‘The moment’ now. ‘The door is wide, An opportunity ‘That mustn't be Denied. Dont muffit now. ‘ots: What do you think? ppison: I think my brother would say anything to get what he ‘wants ‘witson: Forget about what I want, what do you want? app1son: Look around, Willie. Did it ever occur to you that already have everything I wane right now? witsow: And how ‘bout what you used to want? You saw it al, remember? “Office buildings, concert halls and railway sta- »Sonpiteim/WetDMaN tions! Ie like there’ a whole new way America should look and it all up here, between these ears!” You found your road, Addie, you were heading down it. You just took a wrong turn .- You should build a city, Addie, [Not just Fancy forts for tich old fats Mach more than a city, Addie, More like an amalgam of the arts. Something international but bold— Everything too much. Hos: European verve— New York City nerve— HoLUs: ‘Only with the Mizner touch— Addison's city! outs: Don't you see? It really ia marvelous idea! appison: Was, maybe— watson: But not anymore, is that ie -AppIsOW: You make choices and you live with chem. witson: Nuts! This is the Land of Opportunities! And that includes the opportunity to sare over. You did like who you were, so you made yourself over into someone else Swell. Now it's time for another change. Time to be the 80 Roap SHow somebody you were going to be before you decided to be me «when you're on the right road and you takea wrong turn, sometimes isa good idea to check the map— MoLLis (Unfuring « map): Boca Raton. xpp1sow: English translation: “The Mouth of the Rat.” wnison: A thousand acres of prime, undeveloped real estate ‘wrapped around an inlet up the coast. It just came on the satket. Iewon' be on the market long. And it a perfect ft ++ One investor... One promoter . .. And one artistic genius with a vision that could change the world, You make it up— (To Hollis:) You make it real. Leave it ro me to make the spiel Everyone gets to spin the wheel! ADDISON: And what else do you get? wnson: ‘A chance for now ‘To make amends, ‘A.chance to ditch the blues And pay my dues To friends. ‘And if I chance to make a buck or two ‘Along the way, and so do you, Why not HouLis: Why nor? A blank canvas, Addie. Waiting for you to fill ieup WILSON: Oh, come on, Addie— ‘The three of us together, what fun! 81SonpHen/We1DMan Hots: Say yes! WILSON: You and me against the world, Brother, You and me against the world! You and me together, Buc in very different weather— Now it’ prety. HOLLIS AND WILSON: Don't you want co build a city? Al ight, okay! HOLLIS AND WILSON: The time is now, The place is here, This isthe chance to open up a new frontier, HOLLIS, WILSON AND ADDISON: [And if there ever was a time to pioncer— (The Company joins them. The Boca Raton promotion begins) : ‘The time is now! witson: So: GROUP OF WOMEN: Boca Ratone! You've gor a charm all your own! witson: Not “tone,” 2 Roan SHow WILSON AND ADDISON: So: Grour oF MEN: Boca Raton! You've gor so much going on! WILSON AND appIson: Better, les where everyone goes, es where everyone's gone, The spot that’s hot Is Boca Raton! (Addivon setles at a drafting table and goes to work.) nowuis: Wel, I know what Addie’ going to do, and I've got a rough idea what you're going to do, but what about me? ‘witson: You closed on the land, righ? HOLLIS: Ie’ all ours, paid in full. ‘wiLson: The promotional account? nous: Fully funded. witson: Line of credit? HOLLIS: Set up for any one of our thee signatures. ‘witson: Then, kid, heres your next assignment: Sit back, relax and watch the Mizner Brothers go to work! (An on are sign lights up. Fanfare, the sound ofa erowing cock,) (Into a microphone) Good morning, Americal Its time t0 wake up to tomorrow! Time to wake up to opportunity! ‘Time to wake up to the life of luxury and leisure, which beckons to you from the golden shores of Boca Raton, Florida! Yes, frends, Boca Raton. First came Coral Gables, then Winter Haven, then Hollywood-by-the-Sea. But now, my friends, now comes the most magnificent piece of real 3Sonpuen/WetoMan estate to hit the marker since the Good Lord foreclosed on the Garden of Eden. Now, my friends, comes . . . Boca Raton! And here to tell you about itis our very own Boca Girl boca GIRL: Boca Raton, Come down to Boca Raton, ‘Where every skys the bluest you've seen, ‘Where all year long the grass remains green ‘And every beach is clean and pristine Buy aloe Oreven owo. Have we got Alor for you! BOCA GIRL Boca Raton, ‘Come down to Boca Raton, Where every vista sparkles and gleams, City beautiful of your dreams! ‘THE COMPANY: ‘The city beautiful, A work of are in itself ‘The city beautiful ‘Could be displayed on a shelE A picture-perfect place, A place of grace and space, A world of seaside sports ‘And leafy malls, ‘A world of ji alai coures ‘And concert halls, Roap SHow A world of boating, hot springs, Golf links, tennis— Newport, Sararoge, Venice .. THE MEN IN THE COMPANY: Boca Racon— You'll cover— Boca Raton! Youll love i! Best, though, not to delay! ‘THE WoMeEN: Come and see ‘The new frontier! THE MeN: Come and be Appioneer! ‘THE COMPANY: You'll agree ‘Tomorrow’ here Today In Boca Raton! ADDISON: How ‘bout this? “Boca Raton! Where the Gulf Stream bends Westward to caress the beach of each and every ocean- front lot!” 85Sonpueim/WerDMaN ‘witson: Not “lor,” “estate.” WILSON AND ADDISON: “Oceanfront estate.” HoLLis: Is chat true? Apprson: Is what crue? HoLis: That the Gulf Stream actually touches the shore at Boca Raton? witsox: Who knows? Is Maxwell House really good to the last, drop? Appisow: Will Listerine really get you the gitl? HOLLIS: Advertising, yes, of course. I just chink we want to keep these claims fairly general, chat all, so they don't come back co bite us— WILSON AND ADDISON: Absolutely! THE COMPANY: Take a boat ora bus, Come by road or by river ‘Throw your bags in a fiver (Or take the sunshine express ‘To your new address: Boca Raton, ‘Come down to Boca Raton .. WHLSON (Into the microphone again): Wilson Mizner again, friends, issuing an invitation. Put your feet up, close your ‘eyes, and join me on a VIP tour of Paradise! There itis, rs- ing up before us like the Emerald City ofthe legendary Oz himself—the shining Shangri-la of the New World THE MEN: Boca Raton, Come down to Boca Raton, ‘Where everybodys wearing a smile, ‘Where everybody's living in style, "Cause everybody's making. pile. 86 Roap SHow THE WOMEN: Don't think twice, Take our advice: Get your slice Of paradise Boca Raton, Come down to Boca Raton, ‘Where you can swim and mingle and play And invest in the USA! ‘an ExcrTED MAN: I'm rich! I'm rich! Look at it! Gold! Jewels!— ‘witson: Pardon me, fiend, but I'm on the air here. AN EXCITED MAN: I'm rich [tell you! Look! ‘wItson: Hang on a minute. Those aren't—? ANT EXCITED MAN: Doubloons! Pieces of eight! I bought a beach- front lor in Boca Raton, stuck my umbrella in the sand, and there it was! Who knows which lot may contain the next pirate chest! ‘witson: Who knows, indeed. But, you know, when you bought that lor, you purchased something far more valuable than pirate treasure. AN EXCITED MAN: I did? ‘witsow: Friends, let me ask you something. What is America? A location on a map? A cherished way of life? Freedom? Liber- ty? Justice forall? We hold these truths to be self-evident, all right. They are America. Buc this— (Displaying the dirt on his hands from the sides ofthe chest) This is America, too— Howts: What in God's name are the two of you doing? app1son: Selling sand to the Arabs. Hocus: You aren't selling anything to anyone. He’ lying to them! Buried treasure! Pieces of eight! And what’ all this nonsense about America? ‘witson: You've heard che expression “land of opportunicy”? Well, this ist. The land itsel2 Up in the Klondike we shoveled it 87SonpHEIM/ WEIDMAN aside to get at the wealth which it contained. Down here, it isthe wealth! God bless America, my friends. "Cause you can buy it. You can sell it, Andie can make you rich (A HousewifeIype steps up 10 the microphone:) ousewire-rvpe: My nameis Mary Monahan. The day the sales office opened in Boca Raton, I bought myself lot for seven. hundred dollars. Last week I sold it for seven thousand. THE COMPANY: Gold! sooxxesPen-rvre: My name is Winthrop Tippet. A month ago | boughe a piece of property in Boca Raton for two thou- sand dollars. Yesterday I sold it for five times that. ‘THE COMPANY: Gold! raRMen’s WirE-TyPE: My name is Ethel Mudd. Last month my Bert and I bought a lot in Boca Raton with our life's savings of eight thousand dollars. This morning we were offered ninety thousand for that lotand do you know what we ai: ‘rite company: No! Buy it now, Salli later ‘And get rich quick! Pick a spot, Buy a plot, ‘When the spor gets hot, Sell ehe lor. ‘My friends, you know what 88 Roap Suow You just gor ‘You got really rch Really quick! Bound to make a bundle! Sure thing! Bound to make a bundle, Justa mater oftime .. ous: Addie— ‘THE COMPANY: Justa matter of time . ADDISON: What can I do for you, Holly? otis: What can you do for me? Are you listening to this? Do you ADDISON (Cutting him off: Correct me if 'm wrong, Holly, but this whole thing was your idea, wasnt i? Dorit want to lose your nerve now. wots: Lose my nerve. ‘THE COMPANY: (Simultancously under the above:) Buy today, Sell tomorrow, ‘And get rich quick! Dorit delay, Beg or borrow, (Or come what may, ‘To your sorrow Youll rue che day That you didn say, “Lwane to get rich quick!” Cane you hear the knocking? Hear that sound? 89Sonpuenm/Wero Man ‘What is that that's knocking All around? ‘That’ opportunity knocking! Every property’ prime And the views are sublime ‘And the values just climb ‘And climb ‘And climb and climb and climb... woxuis (Indicating a sheet of paper that Wilton is holding): Excuse ime, if you don't mind, I'd like to have a look at that. \witson: At what? outs: Your next speech. witson: Ah, ah! That would spoil che surprise! ‘oxuis: I just need to look at what youre going to say. witson: The only thing you need to look at is that sales ther- mometer. And unless you want to says “Thank you, Mr. Mizner” then T suggest you stop wasting my time, ‘ous: And I suggest you let me— (Wikon shoves him. Hollis stumbles and goes down. For a ‘moment, everything sop.) Appison: Holly! Willie! What happened? ‘wrtson: Your playmate’ starting to cramp my style. outs: Look at his eyes. Whiskey and cocaine. ‘WILSON: Help him up. I want to knock him down again, ADDISON: Stop it, both of you! Howtts: Both of us? ADDISON: Wille, listen, we all know you're doing a terifc job, but youve been doing ic practically nonstop. Maybe ic ‘would make sense if you took a break and— (The ony are sign lights up. Walton grabs the microphone. Ashe speaks the sound of a crowd rises behind him.) 90 Roan SHow ‘WILSON: My fiends, let me describe to you road. Itis a road like no other in the world. Two hundred feet in width, it boasts no less than cwenty lanes for traffic. Ranks of royal palms, three deep, describe its borders. At night it is illuminated, not by vulgar streetlights, but by the soft glow of theatrical spotlights embedded in its marble curbstones. Down its cencer runsa sparkling waterway, a replica in every detail of Venice's Grand Canal. Like its namesake, iis adorned wich ‘omate landings, opulent rialtos, and gondolas poled by gen- uine Italian gondoliers. My friends, much as it may sound. like one, this road is no dream. Ie actually exists, of soon, will, And as you gaze in awe upon its wonders, ask yourself this: What is life say ic is a journey. A road down which wwe travel, ever seeking, never satisied. An endless quest for something different, something better. Onward we go, est- lessly reinventing ourselves. Searching for something that already lies before us. Forin Americ, the journey isthe des- ‘ination! Or it has been, until now. Until conight. Because the road which I have just described to you will rake us someplace so spectacular that finally we can cease our searching, stop our wandering and be content. Where does lead? To journey’s end. Behold, my friends, Boca Raton! HOLLIS: Addie, we have to end this. ADDISON: Too late for that— Hoxtts: No! We can stop him! But I need your help— AppIsON: I think maybe you've had enough of my kind of help. ‘Now leave me alone, Ive gota building Pike o Bish (Hollis stares at him, then turns away. He looks at the radio.) Hottts's vorce (From out of she radio): Ladies and gentlemen, this is Hollis Bessemer speaking. It has come to my atten- tion that the realestate development at Boca Raton, Florida, with which T have heretofore been associated, is being promoted in a deceptive, dishonest and fraudulent ‘manner. Asa result, Ihave this day divested myself ofall my onSonpuem /We1DMAN holdings and interests in Boca Raton. I would advise any- ‘one who owns property there to sell itimmediately. I would advise anyone looking at property there to buy elsewhere. ‘wrtsows: [really wish you hadn't done that, kiddo. I really do— (An ear-spltting crash) Addison's City. nowtis: Addivons City? This wasn't about “Addizons City"! About artor architecture, bout some vision in your brother'shead! This wasn't about Addin at all ‘wrtson: No? Well, ic sure as hell is going to be about Addison now. You ruined him HOLLIS: [ruined him?! This started out asa legitimate real-estate enterprise! A legtimare opportunity for a brillianc artist create his greatest art You're the one who turned it into some kind ofa cocaine-fucled com game! wison: Cocaine-fueled con game? Well, that’ a little harsh, ‘Wouldn't you say that's a litte harsh, Addie? appison: I dorit know— outs: You dont nou? Appisow: I mean, yes, of course I know—I knew. noutis: You knew . . . You know, I think you did. From the ‘moment he showed up, [ think you saw this coming, the whole thing. He was your brother, for Christ's sake. wutsox: Correction: I am his brother, for Chriss sake. outs: Yes, you are. Which made me what? Your mark? ADDISON: Stop it no. ‘Cause in che end, that’s the only way this thing makes sense, ific was something the two of you cooked up together. appison: Holly— HOLLIS: From that first moment on the train. Find the rich kid! Fleece the sch kid! “Oh, Holly, yore the bes thing cha ever has happened to me, you are.” Did he script that for you? Did the ewo of you rehearse it? Did he makea good me—? 92 Roap Sow appison: No!No, credit where credit is due. You were the mark, all right. But you weren't our mark, Holly. You were mine. All mine, wish I could say I bribed the porter to put me in your compartment, but that was justa stroke of luck. And. what a stroke of luck it was! There you were, poor litle rich bboy—so sensitive, so misunderstood—so desperate to stick it to your big, bad capitalise daddy that you'd do anything to help he starving artists of the world, Well, you sure as hell helped this one, kiddo. I got rich, I got famous—and boy oh boy, did T get laid. (Holis saps him, hard.) HOLLIS: You have each other. You deserve each other. (Hollis exits) ‘witson: Addie, I'm sorry. I know how hard that was for you, Tonly— ADDISON: (Suddenly exploding.) Ger our of my life! Get the hell out of my life! Whatever this race we're in, Okay, you win, Is done. ‘And now that you've won, Ger our of my life! Te used to be fun To watch you scheme, ‘And even be a part of it— Av the start of i Te used to be fun to stand and beam Ar my brother, who was so fucking smart. 83Sonpiem/WetpMan | thought we could go from scheme to dream, Bur then T thought we were a team, ‘Amen, No more, I've looked at the score: You owe mea life Alife of my own. wanted to glide like you— Before I do, Please— Leave me alone. Get out of my life, So I can live it Just Go away. witson: What iff did? Id still be here. You don't want me to go. Come on, You don’ want me t0 go. You may think, yes, you do, Right now— ‘That’ now, Butic just isnt so. appison: Go away, Willie, Please. You see only what's wrong, Not me, see two of a kind. 1 see two who are way ahead, 94 Roap Snow Who've always read Each other's mind. ‘And this isnt the end of the trip. No, it’ just che reverse. Face it, Brother, we're joined at che hip. ‘And that is our curse, ‘And that is the miracle! You don't want me t0 go. Aappisow: Willie— witsow: ‘Admit you don't want me co go. App1son: Willie, yes I do, damn it. WILSON: ‘Though I'm not worth alot, 'm what you've gor, ‘Which you! never outgrow. ‘We were stuck from “hello,” Icwas bound co explode. Dosit you see we're the same, That whatever the game, This was always our road? ADDISON: Stop it, Willie, enough. ‘Come on, Addie, you love me! ‘Come on, say i out loud! Come on, Addie, 95Sonim /We1D Man You love me, you love me, You've always been—! ADDISON: All right, yes ove you, I always have loved you! Does that make us even? Does that make you happy? ‘And I want you to go. (Beat) And, no, don't want you to go. (Addison returns tothe bed in which we frst discovered him. Wilson exits) ‘A WOMAN: Mr, Mizner. There's a gentleman to see you. (Addison leans forward, then falls backon the pillows, as he did at the stare. The door ofa packing crate falls open, she same one that fell open before, revealing Walon.) appison: Hello, Willi ‘witsow: They told me you were dead. appsow: Iam. ‘w11son: Then that must mean AppIson: Face dovn in a double Bourbon in a booth at the Brown Derby. ‘witson: Dama! And when I think of all the famous last words Td rehearsed — ADDISON: Shows over, Willi. Im the only audience youve got lef. ‘wnisow: You know what? It's relief, AppisoN: Hard times, huh? ‘witsoN: Hollywood! You know, actualy wrote couple of piceures. 96 Roap SHow AppisoN: Did you really? ‘witson: Well, I was in the room when a couple of pictures got (The vamp of Waste” begins.) By the way, what you die off app1sow: I gor lonely. ‘witson: Yeah, ‘ADp1sON: And, in the end, I guess I was ashamed. swiison: Ashamed? ADDISON: I had a talent, Willie. I chrew ic away. wrtson (Climbing into bed with him): Nah... Well yeah. Sail, you gor sich Sail, you gor laid. Not such a waste Only one hitch: Me, 'm afraid. Sail, you were embraced, apptson: I¢wasnt enough, Willie, Ir was also too much. wnisow: So you fell short Of your dream— Come on, sport, We're sill a team, ‘We're made the same way— ADDISON: So you say— (Papa appears.) ”Sonpuena/WerpMan ara: Boys, boys— Appison: Oh, shit. ara: A doting father's dying words, boys “There's a road straight ahead, Theresa century beginning. Theresa land of opportunity and more I expected youd make history, boys. Instead, you made 3 watson (As Papa fades atuay: A mess What does he mean, “a mess"? ‘ADDISON: You know what he means. witson: Yeah, Well, One man’s mess is another man’... some- thing or other ADDISON: God, you had charm, God, you had guts. God, what a waste \WIson: Hey! We buile a city! Apprson: Actually, we didnt. God, we did harm, What, were we nuts? And, where was our taste? ‘WILSON: So we went overboard a little bit. Where’ the harm in that? appison: Wheres the harm —? So if we fell, And fell fast, ‘Why should we dvvell 98 Roap SHow On the pase? Looking ahead— ADDISON: Willie, we'te dead. ‘witson: I know it’sa long shot, but you don't suppose this could bbe Heaven, do you? appison: God keeps better books than that, Wille ‘WILSON: Then where do you think guys like us go after they die? apprsow: I dont think they go anywhere. I think they just keep going (A chord plays, like the one that accompanied the appearance of Addison first house in Palm Beach.) THE COMPANY: Look at it Look at it! Look at it! (Addison and Wilton stare out over the heads of the audience.) ‘witson: Addie, look at it! You know what that is? Ie’ the road co opporcunity! ADDISON: It's the road to eternity watson: The greatest opportunity of all. Sooner or later were bound to get it right. Blackout.) ‘THE ENDStepHEN SONDHEIM wrote the music and lyrics for Road Show (1999-2009), Passion (1994), Assasins (1991), Into the Woods (1987), Sunday im the Park with George (1984), Merily We Roll Along (1981), Sweeney Todd (1979), Pacific Overture (1976), The ‘Frogs (1974), A Little Night Music (1973), Follies (197 5 revised in London, 1987; and in New York, 2001), Company (1970), Anyone (Can Whistle (1964) and A Funny Thing Happened on the Way 0 the Forum (1962), as well as lyrics for West Side Story (1957)x Gypsy (1959), Do I Hear a Waltz? (1965) and additional lysics for Candide (1973). Side by Side by Sondheim (1976), Marry Me a Litdle (1981), Youre Gonna Love Tomorrow (1983) and Pasting It Together (1992, 2000) are anthologies of his work. For film, he composed the scores of Stavisky (1974) and Reds (1981) and songs for Dick Tracy (Academy Award, 1990). He also wrote songs for the television production Evening Primrose (1966), co-authored the film The Last of Sheila (1973) and the play Getting Away with Murder (1996), and provided incidental music for the plays The Girls of Summer (1956), Invitation to a ‘March (1961) and Twigs (1971). He won Tony awards for Best Score for a Musical for Pasion, Into the Woods, Sweeney Todd, A Little Night Masi, Follesand Company. all ofthese shows won the "New York Drama Critics Circle Award as did Pacific Overturesand Sunday in she Park with George, the latter also receiving the Puliczer Prize for Drama (1985). Mr. Sondheim was born in 1930 and raised in New York City: He graduated from Williams College, winning the Hutchin- son Prize for Music Composition, after which he studied theory and composition with Milton Babbitt, He is on the Council oftheDramatists Guild, the national association of playwrights, com- posers and lyricists, having served as its president from 1973 to 1981, and in 1983 was elected to the American Academy of Arts and Letters. In 1990 he was appointed the frst Visiting Professor ‘of Contemporary Theatre at Oxford University, and in 1993 was recipient of the Kennedy Center Honors. Joun Weroman has written the books fora wide variety of musi- ‘als including Pacific Overtures (Tony nomination, Best Book), Asasins (Tony Award, Best Musical Revival) and Road Show (Lacille Lortel nomination, Best Musical), all with scores by ‘Stephen Sondheim; Contact (Tony nomination, Best Book; Tony Award, Best Musical) created with disector/choreogeapher Susan Stroman; Happines, score by Scott Frankel and Michael Kori, directed and choreographed by Susan Stroman; Take Flight and Big (Tony nomination, Best Book), scores by Richard Maltby, J. and David Shire: and the new book, co-authored with Timothy Crouse, for the Lincoln Center Theater revival of Cole Porter's Anything Goes (Tony Avard, Best Musical Revival; Olivier Award, Best Musical Production). Since his children were pre-schoolers, Weidman has written for Sesame Stree, receiving more than a dozen Emmy awards for Outstanding Writing for a Children’ Program. He is a graduate of Harvard College and Yale Law School, and from 1999 to 2009 he served as President of the Dramatists Guild of America.“the score 1s full of delights, intelligence and tension. ‘ght, funny Dookst —YHW TORE DArnY Yava “Polished with ly oki —vIEbA0s voros nin ages." “One of the most compelling chamber musicals I've =LOS ANGELES TIMES "Road Showisas deft an indictment of capitalism run amok as any recent political missive...a briskly entertaining, haunting, cautionary tale." -USA TODAY “Road Showcould be considered part of an American history primer by Sondheim and Weidman. The two first collaborated in 1976 on Pacific Overtures,a musical about the opening of Japan | tothe West by Commodore Matthew Perry ...In the early 1990s, they wrote Assassins, a look at successful and would-be presidential assassins. Now Road Show impressively completes the trilogy. Together with the other two musicals, they providea sterling look at what has shaped the way America is today."— AP. AVARDED THE 2009 OBIE AWARD FOR MUSIC AND LYRICS FOR ITS OFP-BROADWAY DEBUT AT THE PUBLIC THEATER. STEPHEN SONDHEIM is the lyricist for west Side Story and Gypsy and the composer/lyricist of such masterpieces as Company, Follies, A Little Night Music, Sweeney Todd and Sunday in the Park with George, among others. JOHN WEIDMAN has written the books for a wide variety of musicals, including Stephen Sondheim's Pacific Overtures and Assassins, and the Tony Award-winning Contact, which he created with Susan Stroman. ‘THEATRE COMMUNICATIONS GROUP SS illifiil olrensss's63e"