Act II

(The Company enters from all directions and forms a line across the apron of the stage)

Seasons Of Love

The Company:
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand moments so dear
Five hundred twenty-five thousand six hundred minutes
How do you measure -- measure a year?

In daylights -- In sunsets
In midnights -- In cups of coffee
In inches -- In miles
In laughter -- In strife

In -- Five hundred twenty-five thousand six hundred minutes
How do you measure a year in the life?

How about love?
How about love?
How about love?
Measure in love

Seasons of love
Seasons of love

Soloist #1:
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand journeys to plan
Five hundred twenty-five thousand six hundred minutes
How do you measure the life
Of a woman or a man?

Soloist #2:
In truths that she learned
Or in times that he cried
In bridges he burned
Or the way that she died

All:
It's time now - to sing out
Tho' the story never ends
Let's celebrate
Remember, a year in the life of friends

Remember the love
Remember the love
Remember the love
Measure in love

Soloist #1:
Measure, measure your life in love

Seasons of love ...
Seasons of love

Happy New Year

(New Year's Eve. The scene opens on the street outside the apartment. One table, lying on its end, serves as the door)

Mark (carrying mock door):
Pan to the padlocked door. New Year's Rocking Eve. The breaking-back-into-the-building party...

(Roger and Mimi try in vain to pry a padlock from the door)

Mimi:
How long till next year?

Roger:
Three and half minutes...

Mimi:
I'm giving up my vices
I'm going back -- back to school
Eviction or not
This week's been so hot
That long as I've got you
I know I'll be cool

I couldn't crack the love code, dear
'Til you made the lock on my heart explode
It's gonna be a happy new year
A happy new year

(Mark enters the scene)

Mark:
Coast is clear
You're supposed to be working
That's for midnight
Where are they?
There isn't much time

Mimi:
Maybe they're dressing
I mean what does one wear that's apropos
For a party -- that's also a crime

(Maureen enters wearing a skintight "cat burgular" suit and carrying a bag of potato chips)

Maureen:
Chips, anyone?

Mark:
You can take the girl out of Hicksville
But you can't take the Hicksville out of the girl

Maureen:
My riot got you on TV
I deserve a royalty

Mimi:
Be nice you two
Or no god awful champagne

(Maureen takes out a cellular phone and dials)

Maureen:
Don't mind if I do
No luck?

Roger:
Bolted plywood, padlocked with a chain
A total dead end

Maureen:
Just like my ex-girlfriend
(on cellular phone)
Honey...?
I know you're there ...
Please pick up the phone
Are you okay?
It's not funny
It's not fair
How can I atone?
Are you okay?
I lose control
But I can learn to behave
Give me one more chance
Let me be your slave

I'll kiss your Doc Martens
Let me kiss your Doc Martens
Your every wish I will obey

(Joanne enters)

Joanne:
That might be okay
Down girl
Heel...stay
I did a bit of research
With my friends at legal aid
Technically, you're squatters
There's hope
But just in case
(Joanne whips out..)

Mark & Joanne:
Rope!

Mark (pointing off)
We can hoist a line --

Joanne:
To the fire escape --

Mark:
And tie off at...

Mark & Joanne:
That bench!

Maureen:
I can't take them as chums!

Joanne:
Start hoisting...wench!

(All three cross upstage and attempt to throw up the length of rope over a plank. Roger and Mimi are laughing and holding each other)

Roger:
I think I should be laughing
Yet I forget
Forget how to begin
I'm feeling something inside
And yet I still can't decide
If I should hide
Or make a wide open grin
Last week I wanted just to disappear
My life was dust
But now it just may be a happy new year
A happy new year

(Collins enters with Angel. Collins, dressed in black and wearing sunglasses, carries a bottle of champagne. Angel wears a plastic dress and blonde wig: a small blowtorch is slung over his shoulder)

Collins:
Bond -- James Bond

Angel:
And Pussy Galore -- in person

Mimi:
Pussy -- you came prepared

Angel:
I was a boy scout once
And a brownie
'Til some brat got scared

Collins (to MIMI):
Aha! Moneypenny -- my martini!

Mimi:
Will bad champagne do?

Roger:
That's shaken -- not stirred

Collins:
Pussy -- the bolts

(Collins takes a swig of champagne as Angel grabs the blowtorch)

Angel:
Just say the word!

(Angel turns on the blowtorch)

Mimi:
Two minutes left to execute our plan

Collins:
Where's everyone else?

Roger:
Playing Spiderman

Mark:
Ironic close up: tight
On the phone machine's red light
Once the Boho boys are gone
The power mysteriously comes on

Voice Mail #3

(Lights up on Mrs. Cohen, who's standing on a chair and holding up a phone)

Mrs. Cohen:
Mark, it's the wicked witch of the west your mother
Happy new year from Scarsdale
We're all impressed that the riot footage
Made the nightly news
Even your father says Mazeltov
Honey -- call him
Love, Mom

(Mrs. Cohen, stepping off the chair, passes the phone to Alexi Darling)

Alexi Darling (on the chair):

Mark Cohen
Alexi Darling from Buzzline

Mark:
Oh, that show's so sleazy.

Alexi Darling:
Your footage on the riots: A-one
Feature segment -- network -- dealtime
I'm sending you a contract
Ker-ching ker-ching
Marky give us a call 970-4301
Or at home try 863-6754
Or -- my cell phone at 919-763-0090
Or -- you can e-mail me
At Darling Alexi Newscom dot net
Or -- you can page me at --
(Beeeep!)

Happy New Year B

Maureen:
I think we need an agent!

Mark:
We?

Joanne:
That's selling out

Mark:
But it's nice to dream

Maureen:
Yeah -- it's network TV
And it's all thanks to me

Mark:
Somehow I think I smell
The whiff of a scheme

Joanne:
Me too

Maureen:
We can plan another protest

Joanne:
We?!

Maureen:
This time you can shoot from the start... (to Mark)
You'll direct (to Joanne)
Starring me!

(Lights shift back to downstairs)

All:
5, 4, 3... Open sesame!!
(The door falls away, revealing Mark, Joanne, and Maureen)
Happy new year
Happy new year
Happy new...

Benny (entering):
I see that you've beaten me to the punch

Roger:
How did you know we'd be here?

Benny:
I had a hunch

Mark:
You're not mad?

Benny:
I'm here to end this war
It's a shame you went and destroyed the door

Mimi:
Why all the sudden the big about face

Benny:
The credit is yours
You made a good case

Roger:
What case?

Benny:
Mimi came to see me
And she had much to say

Mimi:
That's not how you put it at all yesterday

Benny:
I couldn't stop thinking about the whole mess
Mark -- you want to get this on film

Mark (picking up his camera):
I guess

Benny:
I regret the unlucky circumstances
Of the past seven days

Roger:
Circumstance? You padlocked our door

Benny:
And it's with great pleasure
On behalf of CyberArts
That I hand you this key
(Benny hands him the key)

Angel:
Golf claps
(They oblige)

Mark:
I have no juice in my battery

Benny:
Reshoot

Roger:
I see -- this is a photo opportunity

Maureen:
The benevolent god
Ushers the poor artists back to their flat
Were you planning on taking down the barbed wire
From the lot, too?

Roger:
Anything but that!

Benny:
Clearing the lot was a safety concern
We break ground this month
But you can return

Maureen:
That's why you're here with people you hate
Instead of with Muffy at Muffy's estate

Benny:
I'd honestly rather be with you tonight than in Westport --

Roger:
Spare us old sport, the soundbite

Benny:
Mimi -- since your ways are so seductive

Mimi:
You came on to me!

Benny:
Persuade him not to be so counterproductive

Roger:
Liar!

Benny:
Why not tell them what you wore to my place?

Mimi:
I was on my way to work!

Benny:
Black leather and lace!
My desk was a mess
I think I'm still sore

Mimi:
Cause I kicked him and told him I wasn't his whore!

Benny:
Does your boyfriend know
Who your last boyfriend was?

Roger:
I'm not her boyfriend
I don't care what she does

Angel:
People! Is this any way to start a new year?
Have compassion
Benny just lost his cat

Benny:
My dog -- but I appreciate that

Angel:
My cat had a fall
And I went through hell

Benny:
It's like losing a --
How did you know that she fell?

Collins:
(Hands Benny a glass of champagne)
Champagne?

Benny:
Don't mind if I do
To dogs!

All but Benny:
No, Benny -- To you!

Angel:
Let's make a resolution

Mimi:
I'll drink to that

Collins:
Let's always stay friends

Joanne:
Tho' we may have our disputes

Maureen:
This family tree's got deep roots

Mark:
Friendship is thicker than blood

Roger:
That depends

Mimi:
Depends on trust

Roger:
Depends on true devotion

Joanne:
Depends on love

Mark (to Roger):
Depends on not denying emotion

Roger:
Perhaps

All:
It's gonna be a happy new year

Roger:
I guess

All:
It's gonna be a happy new year

Roger:
You're right

(Angel brings Roger and Mimi together. Angel and the others move away)

Angel:
It's gonna be a happy new year

Roger & Mimi:
I'm sorry

Roger:
Coming?

Mimi:
In a minute -- I'm fine -- go

(Roger kisses Mimi and exits. The Man appears)

The Man:
Well, well, well. What have we here?
(He walks over to Mimi and holds out a small plastic bag of white powder)
It's gonna be a happy new year
There, there...there

(Fade out)

Take Me or Leave Me (any location and Joanne's loft)

Mark:
Valentine's Day...Pan across the empty lot. Roger's down at Mimi's, where he's been for almost two months now -- although he keeps talking about selling his guitar and heading out of town...Still jealous of Benny... God knows where Collins and Angel are...Could be that new Shanty Town near the river or a suite at the Plaza...Maureen and Joanne are rehearsing...

Joanne:
I said once more from the top!

Maureen:
I said no!

Mark:
That is, if they're speaking this week. Me? I'm here. Nowhere.

(Lights up on the scene)

Joanne:
The line is 'Cyber Arts and its corporate sponsor, Grey Communications, would like to mitigate the Christmas Eve riots.' What is so difficult...?

Maureen:
It just doesn't roll off my tongue. I like my version.!

Joanne:
You -- dressed as a ground hog. To protest the ground breaking!

Maureen:
It's a metaphor!

Joanne:
Well, it's less than brilliant!

Maureen:
That's it, Ms. Ivy League!

Joanne:
What?!

Maureen:
Ever since New Year's, I haven't said boo. I let you direct, I didn't pierce my nipples because it grossed you out! I didn't sta and dance at the Clit Club that night, 'cause you wanted to go home...

Joanne:
You were flirting with the woman in rubber!

Maureen:
That's what this is about!? There will always be women in rubber, flirting with me... Gimme a break.

Every single day
I walk down the street
I hear people say,
"Baby's so sweet"
Ever since puberty
Everybody stares at me
Boys - girls
I can't help it baby
So be kind
Don't lose your mind
Just remember that I'm your baby

Take me for what I am
Who I was meant to be
And if you give a damn
Take me baby or leave me
Take me baby or leave me

A tiger in a cage
Can never see the sun
This diva needs her stage
Baby - let's have fun!
You are the one I choose
Folks'd kill to fill your shoes
You love the limelight too, baby
So be mine
Or don't waste my time
Cryin' -- "Honeybear -- are you still my baby?"

Take me for what I am
Who I was meant to be
And if you give a damn
Take me baby or leave me

No way -- can I be what I'm not
But hey -- don't you want your girl hot!
Don't fight -- don't lose your head
Cause every night -- who's in your bed?
Who's in your bed, baby?
(Pouts in Joanne's direction)
Kiss, Pookie.

Joanne:
It won't work.
I look before I leap
I love margins and discipline
I make lists in my sleep
Baby what's my sin?
Never quit -- I follow through
I hate mess -- but I love you
What to do
With my impromptu baby?
So be wise
This girl satisfies
You've got a prize
But don't compromise
You're one lucky baby
Take me for what I am

Maureen:
A control freak

Joanne:
Who I was meant to be

Maureen:
A snob -- yet over-attentive

Joanne:
And if you give a damn

Maureen:
A lovable, droll geek

Joanne:
Take me baby or leave me

Maureen:
And anal retentive!

Both:
That's it!

Joanne:
The straw that breaks my back!

Both:
I quit

Joanne:
Unless you take it back

Both:
Women

Maureen:
What is it about them?

Both:
Can't live --
With them --
Or without them!
Take me for what I am
Who I was meant to be
And if you give a damn
Take me baby or leave me
Take me baby
Or leave me
Guess I'm leavin'
I'm gone!

(They both sit)

Seasons Of Love B

The Company:
In diapers -- report cards
In spoke wheels -- in speeding tickets
In contracts -- dollars
In funerals -- in births
In -- five hundred twenty-five thousand six hundred minutes
How do you figure
A last year on earth?

Figure in love
Figure in love
Figure in love
Measure in love
Seasons of love
Seasons of love

Without You (Mimi's apartment)

(Three beds appear downstage. One, a hospital bed, is occupied by Angel. Roger sits on another, Joanne on the third. Mimi approaches Roger, and then appears to be in a hurry)

Roger:
Where were you?

Mimi:
I'm sorry I'm late...

Roger (interrupting):
I know. You lost your keys. No, you went for a walk; you had to help your mother. (As he picks up the guitar) And how's Benny? I'm gonna work upstairs tonight.

Mimi:
Wait...
I should tell you
I should ...
Never mind...

Roger:
Happy Spring

(Roger exits. Mimi pulls out just-purchased drugs and angrily flings it across the room. As she sings the following, a stylized "musical beds" is choreographed around her; Collins carries Angel from the hospital bed and Roger takes his place. By the end of the song, Maureen and Joanne are reunited, as are Roger and Mimi. Collins and Angel have lain down together, where Angel dies)

Mimi:
Without you
The ground thaws
The rain falls
The grass grows

Without you
The seeds root
The flowers bloom
The children play

The stars gleam
The poets dream
The eagles fly
Without you

The earth turns
The sun burns
But I die
Without you

Without you
The breeze warms
The girl smiles
The cloud moves

Without you
The tides change
The boys run
The oceans crash

The crowds roar
The days soar
The babies cry
Without you

The moon glows
The river flows
But I die
Without you

Roger:
The world revives

Mimi:
Colors renew

Both:
But I know blue
Only blue
Lonely blue
Within me, blue
Without you

Mimi:
Without you
The hand gropes
The ear hears
The pulse beats

Roger:
Without you
The eyes gaze
The legs walk
The lungs breathe

Both:
The mind churns
The heart yearns
The tears dry
Without you

Life goes on
But I'm gone
Cause I die

Roger:
Without you

Mimi:
Without you

Roger:
Without you

Both:
Without you

Voice Mail #4 (the loft. the phone rings..)

Roger & Mark's Answering Machine
"Speak" ... ("Beeeep!")

Alexi Darling:
Mark Cohen
Alexi Darling
Labor Day weekend
In East Hampton
On the beach
Just saw Alec Baldwin
Told him you say hi
Just kidding
We still need directors
You still need money
You know you need money
Pick up the phone
Don't be afraid of ker-ching ker-ching
Marky -- sell us your soul
Just kidding
We're waiting...

Contact (various fantasy bed locales)

(The Company forms two main groups. As the music begins, a group of dancers start a sensual life and death dance, while a group of actors gather around a table centerstage to speak words which punctuate the dancing. Eventually, the actors converge on the table and cover themselves with a white sheet, while moving to the music)

Group A (Roger, Mark, Joanne, Benny):
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat
Please don't stop please
Please don't stop stop
Stop stop stop don't
Please please please please
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat
Sticky-licky-trickle-tickle
Steamy-creamy-stroking-soaking

Group B (Mimi, Collins, Maureen, Angel):
Hot-hot-hot-sweat-sweet
Wet-wet-wet-red-heat

Collins:
Touch!

Maureen:
Taste!

Mimi:
Deep!

Collins:
Dark!

Maureen:
Kiss!

Collins:
Beg!

Mimi:
Slap!

Mimi, Maureen & Collins:
Fear!

Collins:
Thick!

Collins, Mimi & Maureen:
Red, red
Red, red
Red, red -- please

Maureen:
Harder

Angel:
Faster

Maureen:
Wetter

Mimi:
Bastard!

Collins:
You whore!

Maureen:
You cannibal!

Mimi & Angel:
More!

Maureen:
You animal!

Maureen, Collins & Mimi:
Fluid no fluid no contact yes
No contact

All:
Fire fire burn--burn yes!
No latex rubber rubber
Fire latex rubber latex bummer
Lover bummer

(The music explodes into a fevered rhythmic heat as Angel is revealed in a lone spotlight, dancing wildly)

Angel
Take me
Take me
Today for you
Tomorrow for me
Today me
Tomorrow you
Tomorrow you
Love
you
Love you
I love
You I love
You!
Take me
Take me
I love you

(The music dies as Angel vanishes)

Roger's Voice:
Um

Joanne's Voice:
Wait

Mimi's Voice:
Slipped

Collin's Voice:
Shit

Joanne's Voice:
Ow!

Roger's Voice:
Where'd it go?

Mimi's Voice:
Safe

Collin's Voice:
Damn

Maureen's Voice:
I think I missed
Don't get pissed

All:
It was bad for me -- was it bad for you?

Joanne:
It's over

Maureen:
It's over

Roger:
It's over

Mimi:
It's over

Collins:
It's over

I'll Cover You Reprise (Angel's memorial):

Mimi:
Angel was one of my closest friends. It's right that it's Halloween, because it was her favorite holiday. I knew we'd hit it off from the moment we met. That skin head was bothering her, and she said she was more of a man than he'd ever be, and more of a woman than he'd ever get...

Mark:
...and then there was that time that he walked up to this group of tourists... and, they were petrified, because, a) they were obviously lost, and b) they had probably never spoken to a drag queen before in their lives...and he...she just offered to escort them out of Alphabet City, and then she let them take a picture with her, and then she said she'd help 'em find the Circle Line...

Maureen:
...so much more original then any of us...you'd find an old table cloth on the street and make a dress...and next year, sure enough -- they'd be mass producing them at the Gap. You always said how lucky you were that we were all friends.

But it was us, baby, who were the lucky ones.

Collins:
Live in my house
I'll be your shelter
Just pay me back
With one thousand kisses
Be my lover
And I'll cover you
Open your door -- I'll be your tenant
Don't got much baggage to lay at your feet
But sweet kisses I've got to spare
I'll be there -- I'll cover you
I think they meant it
When they said you can't buy love
Now I know you can rent it
A new lease you were, my love, on life
All my life
I've longed to discover
Something as true
As this is

The Company:
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand moments so dear
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand six hundred -- measure a year
Oh lover I'll cover you
Oh lover I'll cover you

Collins & Company:
Oh lover
I'll cover you
Oh lover

Collins:
I'll cover you

The Company:
Five hundred twenty-five thousand six hundred minutes
Five hundred twenty-five thousand seasons of love

Collins:
I'll cover you

Halloween (outside the church)

Mark:
(on the pay phone)
Hi. It's Mark Cohen. Is Alexi there?...No, don't bother her. Just tell her I'm running a little late for our appointment...Yes, I'm still coming... Yes, I signed the contract... Thanks...

How did we get here?
How the hell...
Pan left -- close on the steeple of the church
How did I get here?
How the hell...
Christmas
Christmas Eve -- last year
How could a night so frozen be so scalding hot?
How can a morning this mild be so raw?
Why are entire years strewn
On the cutting room floor of memory
When single frames from one magic night
Forever flicker in close-up
On the 3D Imax of my mind
That's poetic
That's pathetic
Why did Mimi knock on Roger's door
And Collins choose that phone booth
Back where Angel set up his drums
Why did Maureen's equipment break down
Why am I the witness
And when I capture it on film
Will it mean that it's the end
And I'm alone

Goodbye Love

(The principals emerge from the church)

Mimi (to Roger):
It's true you sold your guitar and bought a car?

Roger:
It's true -- I'm leaving now for Santa Fe
It's true you're with this yuppie scum?

Benny:
You said you'd never speak to him again

Mimi:
Not now

Maureen:
Who said that you have any say
In who she says things to at all?

Roger:
Yeah!

Joanne:
Who said that you should
Stick your nose in other people's ...

Maureen:
Who said I was talking to you?

Joanne:
We used to have this fight each night

Mark:
Calm down

Joanne:
She'd never admit I existed

Mark:
Everyone please!

Mimi:
He was the same way -- he was always
"Run away -- hit the road
Don't commit" -- you're full of shit!

Joanne:
She's in denial

Mimi:
He's in denial

Joanne:
Didn't give an inch
When I gave a mile

Mark:
Come on

Mimi:
I gave a mile

Roger:
Gave a mile to who?

Mark & Benny:
Come on guys, chill!

Mimi & Joanne:
I'd be happy to die for a taste of what Angel had
Someone to live for -- unafraid to say I love you

Roger:
All your words are nice Mimi
But love's not a three way street
You'll never share real love
Until you love yourself -- I should know

Collins:
You all said you'd be cool today
So please -- for my sake...
I can't believe he's gone
(to Roger) I can't believe you're going
I can't believe this family must die
Angel helped us believe in love
I can't believe you disagree

All:
I can't believe this is goodbye

(Maureen and Joanne look at each other)

Maureen:
Pookie...

Joanne:
Honeybear...

(They embrace)

Joanne:
I missed you...

Maureen:
I missed your smell...

Joanne:
I missed your mouth...Your...

(They kiss, but Maureen pulls away)

Maureen:
Ow!

Joanne:
What?

Maureen:
Nothing, Pookie.

Joanne:
No, baby, you said ow...What?

Maureen:
Well, you bit my tongue...

Joanne:
No, I didn't.

Maureen:
You did -- I'm bleeding.

Joanne:
No, it isn't...

Maureen:
I think I should know

Joanne:
Let me see--

Maureen:
She doesn't believe me!

Joanne:
I was only trying to...

(They laugh, hug, and wave goodbye, exiting stage right. The Pastor from the church emerges on the walkway above)

Pastor:
Thomas B. Collins...

Collins:
Coming.

(The Pastor exits above and Collins exits into the church. Benny stands off to the side as Mimi approaches Roger, who turns away. She hesitates before leaving with Benny.  Roger and Mark are left alone)

Mark:
I hear there are great restaurants out west

Roger:
Some of the best. How could she?

Mark:
How could you let her go?

Roger:
You just don't know ... How could we lose Angel?

Mark:
Maybe you'll see why when you stop escaping your pain
At least now if you try -- Angel's death won't be in vain

Roger:
His death is in vain

(Mimi reappears up left, in the shadows. She overhears Roger and Mark's conversation)

Mark:
Are you insane?
There so much to care about
There's me -- there's Mimi

Roger:
Mimi's got her baggage, too

Mark:
So do you

Roger:
Who are you to tell me what I know, what to do

Mark:
A friend

Roger:
But who, Mark, are you?
"Mark has got his work"
They say "Mark lives for his work"
And "Mark's in love with his work"
Mark hides in his work

Mark:
But from what?

Roger:
From facing your failure, facing your loneliness
Facing the fact you live a lie
Yes, you live a lie -- tell you why
You're always preaching not to be numb
When that's how you thrive
You pretend to create and observe
When you really detach from feeling alive

Mark:
Perhaps it's because I'm the one of us to survive

Roger:
Poor baby!

Mark:
Mimi still loves Roger
Is Roger really jealous
Or afraid that Mimi's weak

Roger:
Mimi did look pale

Mark:
Mimi's gotten thin
Mimi's running out of time
Roger's running out the door

Roger:
No more! Oh no!
I've gotta go

Mark:
Hey, for somebody who's always been let down
Who's heading out of town?

Roger:
For someone who longs for a community of his own,
Who's with his camera, alone?
(Roger takes a step to go, then stops, turns)
I'll call
I hate the fall
(Roger turns to go and sees Mimi)
You heard?

Mimi:
Every word
You don't want baggage without lifetime guarantees
You don't want to watch me die
I just came to say
Goodbye, love
Goodbye, love
Came to say goodbye, love, goodbye

(Roger exits. Benny returns. Mimi steps away)

Mimi:
Please don't touch me
Understand
I'm scared
I need to go away

Mark:
I know a place -- a clinic

Benny:
A rehab?

Mimi:
Maybe -- could you?

Benny:
I'll pay

Mimi:
Goodbye love
Goodbye love
Came to say goodbye, love, goodbye
Just came to say
Goodbye love
Goodbye love
Goodbye love
Hello disease

(Mimi runs away. After a moment, Collins quicjkly enters, with the Pastor trailing behind him)

Pastor:
Off the premises now, we give no handouts here!

Mark:
What happened to Rest In Peace?!

Pastor:
Off the premises, queer!

Collins:
That's no way to send a boy to meet his maker!
They had to know we couldn't pay the undertaker.

Benny:
(To Collins) Don't you worry 'bout him.
(To Pastor) Hey, I'll take care of it!

(The Pastor acknowledges Benny and exits)

Mark:
Must be nice to have money.

All Three:
No shit!

Collins:
I think it's only fair to tell you, you just paid for the funeral of the person who killed your dog.

Benny:
I know... I always hated that dog...
Let's pay him off, and then get drunk.

Mark:
I can't... I have a meeting.

Benny & Collins:
Punk!  Let's go.

(Collins and Benny exit)

Mark (imagining):
Hi. Mark Cohen here, reporting for Buzzline. Back to you, Alexi! Coming up next, vampire welfare queens who are compulsive bowlers... Oh my God, what am I doing?

What You Own

Don't breathe too deep
Don't think all day
Dive into work
Drive the other way
That drip of hurt
That pint of shame
Goes away
Just play the game
You're living in America
At the end of the millennium
You're living in America
Leave your conscience at the tone
And when you're living in America
At the end of the millennium
You're what you own

(Lights up on Roger, returning with his suitcase)

Roger:
The filmmaker cannot see

Mark:
And the songwriter cannot hear

Roger:
Yet I see Mimi everywhere

Mark:
Angel's voice is in my ear

Roger:
Just tighten those shoulders

Mark:
Just clench your jaw till you frown

Roger:
Just don't let go

Both:
Or you may drown

You're living in America
At the end of the millennium
You're living in America
Where it's like the Twilight Zone
And when you're living in America
At the end of the millennium
You're what you own
So I own not a notion
I escape and ape content
I don't own emotion -- I rent

Mark:
What was it about that night

Roger:
What was it about that night

Both:
Connection -- in an isolating age

Mark:
For once the shadows gave way to light

Roger:
For once the shadows gave way to light

Both:
For once I didn't disengage

(Mark goes to the pay phone and dials)

Mark:
Angel -- I hear you -- I hear it
I see it -- I see it
My film!

Roger:
Mimi I see you -- I see it
I hear it -- I hear it
My song!

Both:
Dying in America
At the end of the millennium
We're dying in America
To come into our own
And when you're dying in America
At the end of the millennium
You're not alone
I'm not alone
I'm not alone

(Blackout)

Voice Mail #5 (various locations)

(In blackout, once again the phone rings)

Roger & Mark's Answering Machine:
"Speak..." (Beep)

Roger's Mother:
Roger, this is your mother
Roger, honey, I don't get these postcards
"Moving to Santa Fe"
"Back in New York
Starting a rock band"
Roger, where are you? -- Please call

(The following is sung simultaneously)

Mimi's Mother:
Mimi, chica, donde estas?
Tu mama esta llamando
Donde estas Mimi -- Call

Mr. Jefferson:
Kitten -- wherever are you -- Call

Mrs. Cohen:
Mark -- are you there -- are you there
I don't know if he's there
We're all here wishing you were here too
Where are you Mark are you there are you where are you
Mark -- are you there -- are you there
I don't know if -- Please call your mother

Finale (the lot and the loft)

All Seven Homeless People:
Christmas bells are ringing
Christmas bells are ringing
Christmas bells are ringing
How time flies
When compassion dies
No stockings
No candy canes
No gingerbread
No safety net
No loose change
No change no

One Homeless Man:
"Santy Claus is coming"

All:
Cause Santy Claus ain't coming
No room at the Holiday Inn -- again
Well, maybe next year --
Or -- when

(Lights shift back to the loft. A small projector rests on a milk crate, which is on a dolly)

Mark:
December 24th, ten p.m. Eastern standard time
I can't believe a year went by so fast
Time to see what we have time to see
Turn the projector on
(A rough title credit, "Today 4 U: Proof Positive," appears, followed by a shot from last Christmas of Roger tuning his guitar)
First shot Roger
With the fender guitar he just got out of hock
When he sold the car
That took him away and back

Roger:
I found my song

Mark:
He found his song
If he could just find Mimi

Roger:
I tried -- you know I tried

(Mark's image appears on-screen)

Mark:
Fade in on Mark
Who's still in the dark

Roger:
But he's got great footage

Mark:
Which he's cut together

Roger:
To screen tonight

(Benny's image appears on screen)

Mark:
In honor of Benny's wife

Roger:
Muffy

Mark:
Alison

Pulling Benny out of the East Village location

(The projector blows a fuse. Blackout)

Roger:
Then again, maybe we won't screen it tonight.

Mark:
I wonder how Alison found out about Mimi?

Roger:
Maybe a little bird told her.

(Collins enters in the dark, with several twenty-dollar bills in each hand)

Collins:
Or an angel.
(Lights fade up)
I had a little hunch that you could use a little flow

Roger:
Tutoring again?

Collins:
Negative

Mark:
Back at N.Y.U.?

Collins:
No, no, no
I rewired the ATM at the food emporium
To provide an honorarium to anyone with the code

Roger & Mark:
The code --
Well...?

Collins:
A-N-G-E-L
Yet Robin Hooding isn't the solution
The powers that be must be undermined where they dwell
In a small, exclusive gourmet institution
Where we overcharge the wealthy clientele

All Three:
Let's open up a restaurant in Santa Fe
With a private corner banquette in the back

Collins:
We'll make it yet, we'll somehow get to Santa Fe

Roger:
But you'd miss New York before you could unpack

All:
Ohh--

(Maureen and Joanne enter, carrying Mimi)

Maureen:
Mark! Roger! Anyone -- help!

Mark:
Maureen?

Maureen:
It's Mimi -- I can't get her up the stairs

Roger:
No!

(They enter the loft)

Mauren:
She was huddled in the park in the dark
And she was freezing
And begged to come here

Roger:
Over here
Oh, God --

(They lay her down carefully on the table)

Mimi:
Got a light -- I know you -- you're shivering...

Joanne:
She's been living on the street

Roger:
We need some heat

Mimi:
I'm shivering

Mark:
We can buy some wood and something to eat

Collins:
I'm afraid she needs more than heat

Mimi:
I heard that

Maureen:
Collins will call for a doctor, honey

Mimi:
Don't waste your money on Mimi, me, me

Collins:
Hello -- 911?
I'm on hold!

Mimi:
Cold...cold... would you light my candle?

Roger:
Yes -- we'll -- oh God -- find a candle

Mimi:
I should tell you
I should tell you

Roger:
I should tell you
I should tell you

Mimi:
I should tell you
Benny wasn't any --

Roger:
Shhh -- I know
I should tell you why I left
It wasn't cause I didn't --

Mimi:
I know
I should tell you

Roger:
I should tell you

Mimi (whispering):
I should tell you
I love you --
(Mimi fades)

Roger:
Who do you think you are?
Leaving me alone with my guitar
Hold on there's something you should hear
It isn't much but it took all year

(Mimi stirs and Roger begins playing acoustic guitar at her bedside)

Your Eyes

Roger:
Your eyes
As we said our goodbyes
Can't get them out of my mind
And I find I can't hide
From your eyes
The ones that took me by surprise
The night you came into my life
Where there's moonlight I see your eyes
(Band takes over)
How'd I let you slip away
When I'm longing so to hold you
Now I'd die for one more day
'Cause there's something I should have told you
Yes there's something I should have told you
When I looked into your eyes
Why does distance make us wise?
You were the song all along
And before this song dies
I should tell you I should tell you
I have always loved you
You can see it in my eyes

(We hear Musetta's Theme, played correctly and passionately.  Mimi's head falls to the side and her arm drops limply off the edge of the table)

Mimi!

Finale B

(Suddenly, Mimi's hand twitches. She is alive)

Mimi:
I jumped over the moon!!

Roger:
What?

Mimi:
A leap of mooooooooooooooo--

Joanne:
She's back!

Mimi:
I was in a tunnel.  Heading for this warm, white light...

Maureen:
Oh my god!

Mimi:
And I swear, Angel was there -- and she looked g00d! And she said, "Turn around, girlfriend, and listen to that boy's song..."

Collins:
She's drenched

Maureen:
Her fever's breaking

Mark:
There is no future -- there is no past

Roger:
Thank God this moment's not the last!

Mimi & Roger:
There's only us
There's only this
Forget regret or life is yours to miss

All:
No other road no other way
No day but today

(As the finale grows, the entire Company makes its way on stage)

(Mark's film resumes, along with two more films projecting on the back wall, "Scenes from RENT...")

All:
No day but today

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