THRILL ME

THE LEOPOLD & LOEB STORY

BOOK, MUSIC & LYRICS BY

STEPHEN DOLGINOFF

SHOW PERUSAL

06/16/21
 THRILL ME: THE LEOPOLD & LOEB STORY
Copyright © 2006, Stephen Dolginoff

All Rights Reserved

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billing must appear as follows:

THRILL ME
The Leopold & Loeb Story

book, music and lyrics

by Stephen Dolginoff

In addition, the following acknowledgments must appear on the title page in all programs
distributed in connection with performances of the Play:

Originally produced in New York City by Jim Kierstead.

Off-Broadway production by The York Theatre Company

(James Morgan, Producing Artistic Director).

New York cast album available on Original Cast Records.

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 THRILL ME: THE LEOPOLD & LOEB STORY
Vocal Ranges

NATHAN RICHARD

nœ #œ
& &
nœ nœ
 Thrill Me
The Leopold & Loeb Story

Scenes, Musical Numbers, Characters, Pages

Prologue.........................................................................................................................................1
Nathan, Parole Board Voices

#1 Prelude/Underscore (Underscore)
#2 Why (Nathan)

Scene 1............................................................................................................................................4
Richard, Nathan

#3 Everybody Wants Richard (Nathan)

#4 Tag: Everybody Wants Richard (Nathan)

Scene 2..........................................................................................................................................11
Richard, Nathan

#5 Nothing Like A Fire (Richard, Nathan)

Scene 3..........................................................................................................................................15
Richard, Nathan

#6 A Written Contract (“Superior” Part 1) (Richard, Nathan)

#7 A Written Contract (Part 2) (Richard)
#8 A Written Contract (Part 3) (Richard, Nathan)
#9 A Written Contract (Part 4) (Richard, Nathan)

Scene 4..........................................................................................................................................25
Richard, Nathan

#10 Thrill Me (Richard, Nathan)

Scene 5..........................................................................................................................................29
Richard, Nathan, Parole Board Voices
Scene 6..........................................................................................................................................30
Richard, Nathan

#11 The Plan (Richard, Nathan)

Scene 7..........................................................................................................................................37
Richard, Nathan

#12 Way Too Far (Nathan)

Scene 8..........................................................................................................................................40
Richard

#13 Roadster (Richard)

Scene 9..........................................................................................................................................42
Richard, Nathan

#14 Superior (Richard, Nathan)

Scene 10........................................................................................................................................47
Richard, Nathan

#15 Ransom Note (Richard, Nathan)

Scene 11........................................................................................................................................51
Radio Newscaster Voice, Richard, Nathan

#16 My Glasses/Just Lay Low (Nathan, Richard)

Scene 12........................................................................................................................................57
Parole Board Voices, Nathan

Scene 13........................................................................................................................................58
Nathan, Richard

#17 I’m Trying To Think (Richard, Nathan)

Scene 14........................................................................................................................................64
Richard, Nathan

#18 Reprise: Way Too Far (Nathan)

Scene 15........................................................................................................................................68
Richard, Nathan

#19 Keep Your Deal With Me (Richard, Nathan)

Scene 16........................................................................................................................................72
Richard, Nathan

#20 Afraid (Richard)

Scene 17........................................................................................................................................74
Richard, Nathan

#21 Life Plus Ninety-Nine Years (Nathan, Richard)

Epilogue........................................................................................................................................79
Parole Board Voices, Nathan

#22 Thrill Me (Finale) (Nathan)

#23 Bows/Exit Music (Thrill Me) (Underscore)
For Betty and Harold
 ACKNOWLEDGMENTS

Heartfelt thanks to the following individuals for their support and assistance in
the development of Thrill Me: The Leopold & Loeb Story: Jim Kierstead, Susan Dolginoff,
Betty and Harold Levitt, Melinda Berk, Camille Diamond, Bruce Yeko, Eugene Gwozdz,
Jim Morgan, Matthew Murray, Peter Filichia and Ron Gwiazda.
 AUTHOR’S NOTE

Thrill Me: The Leopold & Loeb Story is a dramatic musical about a relationship, not about a
murder. The murder is part of the plot of course, but it is not the dramatic focus. The
dynamics of the relationship and its twists, turns, manipulations, shifts of power and
ultimate surprise conclusion create the true drama and most compelling aspects of the
show.

Performed with no intermission, with almost continuous musical underscore and no

applause breaks, Thrill Me is conceived as a taut and unencumbered theatrical experience.

“Relationships can be murder” read the tag line in the advertising for the Off-Broadway
production, which helped emphasize that there is a small but definite amount of dark
humor in the script and lyrics. Don’t be afraid of audience laughter. The subject matter is
very intense, so a little release now and then won’t hurt the mood.

The characters are more complex than they appear. Nathan may seem needy at first, but
he knows exactly what he wants and exactly how to get it. And what he obviously wants
is Richard. Richard may treat Nathan badly on the surface, but he truly needs him and
finds him appealing (though he may find it hard to admit), or else he could use someone
else who worships him as his partner in crime. Remember, they are intellectual equals and
have a long history together. It is important that the actors appear youthful, but it is not
absolutely necessary to actually cast nineteen-year-olds in these very demanding roles.

To help emphasize the almost claustrophobic feeling of being trapped in a room with
Leopold and Loeb, the Parole Board and Radio Voices must be pre-recorded or performed
completely offstage. They are never to be portrayed by live actors seen by the audience.

Since Thrill Me is essentially Nathan’s story, taking place in his memory as he tells the facts
to the Parole Board, he should never completely leave the stage, except perhaps for a few
seconds before “Superior” (to represent the murder being committed). This can easily be
accomplished with a very fluid, abstract staging concept. Nathan should never have to
worry about moving or striking props (i.e., the telephone, typewriter, gas can, bag of
murder weapons, etc.) at the end of a scene/before his lines to the Parole Board — Richard
should always take care of this, with a hand-off or something similar. It is also possible to
simply hide the props around the set so they never have to be taken very far. When it
comes time for Nathan to put his prison uniform back on for the last scene (the only time
feasible for him to wear it again), it should be a quick and simple move, contingent upon
easy access to where he left it after the prologue. Nothing should interrupt the flow at any
time.

The piano music should not be approached as a mere accompaniment but as a powerfully
played, integral part of the action. The CD recording of the 2005 Off-Broadway/York
Theatre production (available from DPS) can be used as a guide to the score.
Thrill Me was performed in a black-box setting in its original festival presentation, and
could work well on a bare stage. The Off-Broadway production was slightly more
elaborate, and while still abstract, it had the utilitarian look of an abandoned warehouse. It
featured a proscenium of dusty industrial windows; a shiny black floor; a few strategically
placed battered gray wooden crates of different sizes which were used as a table, chairs
and a bench; and three tall, black-tiled columns upstage in front of a black backdrop.
Entrances and exits were often made from between these columns, which had prop
storage behind them (and were lit from behind and between to stunning effect).
The lighting design included the liberal use of a haze machine to add drama and
atmosphere to the noir-ish lighting plot (and create the feeling of a “memory” play); a very
specific back-lighting effect to illuminate “older” Nathan in front of the parole board; and
a headlight effect for the “Roadster” song. Though there were many shifts and changes of
lighting, there was never an actual blackout. Each actor had one period authentic costume
with additional pieces, and slicked-back hair to evoke the 1920s. There were minimal
props, only what was absolutely necessary, and they were all period authentic to the last
detail.

Many people have asked me if all of the plot developments in Thrill Me are based on fact. I
confess to taking a little dramatic license to help make the material “sing” and work with
only two characters. But every detail is at least inspired by actual events and facts. Did
Nathan really drop his glasses on purpose or was it an accident? Can anyone say for sure?
Those glasses were definitely what caused the whole crime to unravel. It is important to
remember that no one was there when Nathan and Richard were behind closed doors. No
one was in their minds. We only know what they chose to tell the police, reporters,
doctors, lawyers, etc., in 1924 and after. No one knows what really happened between the
two of them, and that is what Thrill Me explores and hypothesizes.

—Stephen Dolginoff
THRILL ME: THE LEOPOLD & LOEB STORY was first produced by Jim Kierstead as part
of the Fourth Annual Midtown International Theatre Festival at the Abingdon Theatre
Arts Complex in New York City, opening on July 16, 2003. It was directed by Martin
Charnin; the lighting consultant was Thom Weaver; the musical director was Gabriel
Kahane; and the production stage manager was Amy M. Epstein. The cast was as follows:

NATHAN LEOPOLD ...................................................................................... Christopher Totten

RICHARD LOEB ............................................................................................... Matthew S. Morris

The recorded voices of Sarah Crowley and Archie T. Tridmorten were featured as the
Parole Board; and Sean Kenin was the Radio Newscaster. THRILL ME: THE LEOPOLD &
LOEB STORY was produced Off-Broadway by The York Theatre Company (James
Morgan, Producing Artistic Director) in association with Jim Kierstead in New York City,
opening on May 26, 2005. It was directed by Michael Rupert; the musical director was
Eugene Gwozdz; the scenic design was by James Morgan; the costume design was by
Jennifer Paar; the lighting design was by Thom Weaver; the sound design was by Joey
Morano; the production stage manager was Scott F. DelaCruz; the casting was by Norman
Meranus; and the press representative was Helene Davis. The cast was as follows:

NATHAN LEOPOLD .................................................................................................. Matt Bauer*

RICHARD LOEB .................................................................................................... Doug Kreeger**

The recorded voices of John McMartin and Stephen Bogardus were featured as the Parole
Board; and Michael Rupert was the Radio Newscaster.

* Stephen Dolginoff took over the role of Nathan Leopold on June 27, 2005
** Shonn Wiley took over the role of Richard Loeb on August 1, 2005
 CHARACTERS

NATHAN LEOPOLD, 19
(also plays Nathan at 54)

RICHARD LOEB, 19*

VOICES

(pre-recorded)

THE PAROLE BOARD

(2 voices)

RADIO NEWSCASTER

SETTINGS
Chicago, 1924.
Joliet Prison Parole Board, 1958.

* Historically, Richard was seven months younger than Nathan.

 MUSICAL NUMBERS

“PRELUDE”
“WHY” (Nathan)
“EVERYBODY WANTS RICHARD” (Nathan)
“NOTHING LIKE A FIRE” (Richard and Nathan)
“A WRITTEN CONTRACT” (Richard and Nathan)
“THRILL ME” (Nathan and Richard)
“THE PLAN” (Richard and Nathan)
“WAY TOO FAR” (Nathan)
“ROADSTER” (Richard)
“SUPERIOR” (Nathan and Richard)
“RANSOM NOTE” (Richard and Nathan)
“MY GLASSES/JUST LAY LOW” (Nathan and Richard)
“I’M TRYING TO THINK” (Richard and Nathan)
REPRISE: “WAY TOO FAR” (Nathan)
“KEEP YOUR DEAL WITH ME” (Richard and Nathan)
“AFRAID” (Richard)
“LIFE PLUS NINETY-NINE YEARS” (Nathan and Richard)
FINALE: “THRILL ME” (Nathan)
 THRILL ME
THE LEOPOLD & LOEB STORY

PROLOGUE

(Prelude music begins. The lights slowly fade up on a black, abstract

l
set comprised of cubes, platforms, levels, etc. This set will remain

sa
unchanged throughout, with lighting used to indicate the many
locales.)

ru
#1 PRELUDE/UNDERSCORE

Pe
(A Parole Board hearing room at Joliet Prison, 1958. The dark,
shadowy figure of a fifty-four-year-old man wearing a prison uniform

N
comes into view. It is NATHAN LEOPOLD, who is portrayed for the

g
majority of the play as a young man. Thus, through meticulous
in

O
lighting, and with a careful gesture, stance, tilt of the head, deepening
of voice, etc., this young actor embodies the older version of the
s

TI
character without altering his general appearance. NATHAN
en
addresses an unseen Parole Board, represented by disembodied

C
(recorded) voices.)
c

NATHAN U
Li

D
I suppose you’d like me to sit down?
O
ay

(No response. He sits.)

PR

PAROLE BOARD VOICE ONE

dw

We can begin.

(The strike of a gavel is heard.)

oa

R
FO

For the record: March thirteenth, 1958, Joliet Prison, hearing A9306-D5. Nathan Leopold’s
Br

fifth appearance before this parole board.

(NATHAN tries to make a joke.)

T

NATHAN
O

They say the fifth time’s the charm.

N

(Silence.)

You want the facts again.

1
 PAROLE BOARD VOICE TWO
We already know the facts about the crimeyou and Richard Loeb committed, from the
transcripts, the reports …

PAROLE BOARD ONE

From the newspapers …

l
sa
PAROLE BOARD TWO
The question is, do we have the truth? Do we know everything?

ru
NATHAN

Pe
I’ve been here thirty-four years being punished for what I did as a kid. That’s the truth.

PAROLE BOARD ONE

Your punishment was a gift. Thanks to your wellpaid, publicity-hungry Clarence Darrow.

N
g
Your life was spared —

in

O
PAROLE BOARD TWO
s

TI
(Interrupting.)
en
He was hardly a kid at nineteen. He committed the crime of the century.

C
NATHAN
c

U
The papers just called it that to sell papers. Far worse crimes had been committed before.
Li

And since.
D
O
ay

PAROLE BOARD ONE

Every crime has a reason. Sometimes a logical one, sometimes not, but still a reason. It
PR

seems you committed your crime for nothing but the thrill.
dw

NATHAN
What is it you want?
oa

(Music begins.)
FO
Br

#2 WHY
T

PAROLE BOARD TWO

What you’ve never told us. We want to know why.
O

NATHAN
N

Why …

(He sings.)

I’M SORRY IF I STUMBLE …

2
 NATHAN (CONT’D)
THOUGH I’M TENSE … I’LL TRY
TO GIVE YOU WHAT YOU’RE AFTER …
TELL YOU MORE
I WENT ALONG WITH RICHARD
THAT’S THE REASON WHY

l
THEY PUT ME HERE

sa
IN NINETEEN TWENTY-FOUR
IT WAS A CHILD WHO KILLED

ru
A CHILD BACK THEN
AN OLD MAN STILL PAYS FOR THAT CRIME

Pe
AND I ASK TO BE SET FREE NOW
WON’T YOU TRY TO SEE
THAT NO ONE WOULD BE HURT

N
g
AFTER ALL THIS TIME?

in

O
AS I’VE SAID SO OFTEN BEFORE!
s

TI
BUT YOU’VE ASKED A SIMPLE QUESTION
en
AND I’VE TOLD YOU WHY

C
IT WASN’T ON A DARE OR ON A WHIM
IT’S HARD TO COMPREHEND NOW
c

THAT THE REASON WHY

U
Li

IS SIMPLY:
D
THAT I WENT ALONG WITH HIM …
O
ay

(The music continues.)

PR
dw

Richard and I were very close — from the beginning. We did everything together.
Everything. We both graduated high school at the same time. We were fifteen-and-a-half!
Then we went to the same college. But in the middle of our senior year he transferred to
oa

Michigan without telling me. It was a game he always liked to play to humiliate me. He’d
stand me up, leave me stranded places, go away on a summer vacation without saying
FO

goodbye. Things like that. But after graduation, he came back to Chicago …
Br

(The music gains momentum as NATHAN stands and removes his

prison uniform, revealing his 1920s costume underneath as the lights
T

begin to change … )
O
N

3
 SCENE 1

(Jackson Park, 1924. NATHAN adjusts his stance as the brighter

lights reveal him to be an average nineteen-year old of the early
1920s, waiting in the park. He checks his pocket watch and is annoyed
by the late hour. To keep himself busy, he uses a pair of binoculars to

l
spot a faraway bird. He carefully follows it with his eyes, focusing on

sa
it intently. From behind, darkly handsome RICHARD LOEB,
nineteen, enters, slowly approaching like a predator stalking his prey,

ru
and purposefully startles him.)

Pe
RICHARD
Quit watching the stupid birds!

(NATHAN jumps out of his skin, but then turns to see RICHARD

N
g
and relaxes. The music fades out.)

in

O
NATHAN
s

TI
Bastard!
en

C
(He hugs Richard, who remains stiff.)
c

U
I was afraid you weren’t going to show. I said three o’clock, didn’t I?
Li

D
RICHARD
O
(Unemotional.)
ay

Hello, Nathan.
PR
dw

NATHAN
I’ve missed you.
oa

RICHARD
I know.
FO
Br

NATHAN
How have you been?
T

RICHARD
O

Excellent.
N

(NATHAN puts his binoculars away.)

NATHAN
How does it feel to be a college graduate? You look …

4
 RICHARD
Smarter?

NATHAN
— Older!

l
RICHARD

sa
(Mocking.)
It’s only been six months, but I see you made it through those dark, atrocious, empty days

ru
…

Pe
NATHAN
Shut up. I wish you’d gotten into Harvard Law school like me.

RICHARD

N
g
How did you know I didn’t?

in

O
NATHAN
s

TI
John.
en

C
RICHARD
John? My pea-brained brother? John is not only a snitch but a little bastard. I’m extremely
c

happy with the University of Chicago, Nathan.

U
Li

D
NATHAN
O
ay

I’m glad you’re happy.

PR

(He puts his hand on Richard’s shoulder.)

dw

Now, how about we do a little catching up?

oa

RICHARD
No. I’ve got a date.
FO
Br

(He pushes Nathan’s hand off.)

NATHAN
T

A date?
O

RICHARD
N

With my Nietzsche study group.

NATHAN
Nietzsche? When did you become interested in philosophy?

5
 RICHARD
Since I discovered I am a textbook Superman.

NATHAN
But we haven’t seen each other since you transferred.

l
RICHARD

sa
Nathan, why do you think I transferred?

ru
NATHAN
I have no idea. I’ve had to get all my information from John and my bribery fund ran low.

Pe
RICHARD
I’m sure a genius like you figured it out for yourself.

N
g
(NATHAN reluctantly nods.)

in

O
I’ve gotta go now. Unlike you, there are other people I like to spend time with.
s

TI
en
NATHAN

C
I don’t care about those other people.
c

RICHARD
U
Li

Good for you.

D
O
ay

NATHAN
Because I know they don’t mean anything to you.
PR
dw

RICHARD
(Moving to leave.)
And neither do you. Now, goodbye.
oa

(NATHAN blocks his path.)

FO
Br

Auf wiedersehn.

(NATHAN moves to block him again.)

T
O

Move!
N

(He pushes NATHAN away.)

The others aren’t so fucking annoying!

(Music begins to creep in.)

6
 #3 EVERYBODY WANTS RICHARD

NATHAN
I didn’t think I annoyed you. I thought we had something different.

RICHARD

l
sa
(Mocking him.)
“We have something different”!?

ru
(NATHAN desperately sings.)

Pe
NATHAN
TELL ME, WHO CAN YOU HAVE CONVERSATIONS WITH?
SHARE YOUR TWISTED OBSERVATIONS WITH?

N
WHO ELSE HAS A ROUGHLY SIMILAR VIEW

g
IF NOT ME?
in

O
YOU’VE PLAYED AROUND WITH LOTS OF LOSERS
s

TI
WHO ENDED UP AS CHEATS AND USERS
en
BUT WHO’S BEEN ON THE SIDELINES

C
WAITING FOR YOU
c

IF NOT ME?
U
Li

D
OH, I’VE COME TO FIND
EVERYBODY WANTS RICHARD!
O
ay

BUT THEY DON’T KNOW

YOUR MIND
PR

THE WAY THAT I DO!

dw

I SEE STRAIGHT THROUGH

ANYONE WHO NEEDS RICHARD
THEY MAKE
oa

ME SICK
FO

THEY’RE GOOD FOR JUST A KICK!

Br

THEY WON’T STICK

THE WAY THAT I DO!
T

RICHARD
(Coldly.)
O

Have you got a light?

N

(He pulls out a cigarette case as Nathan’s intensity grows.)

NATHAN
WHEN YOU CUT OFF ALL OUR CONTACT
HOW IT HURT

7
 NATHAN (CONT’D)
BUT I KNOW YOU LIKE TO MAKE ME
FEEL LIKE DIRT
NOW YOU’RE BACK AND YOU KNOW I’M BESIDE YOU
YOUR OLDEST, CLOSEST FRIEND
WHO’S SICK OF BEING LIED TO!

l
sa
TELL ME, WHO’S THE GIRL IN WHICH SORORITY?
I GOT WORD ON GOOD AUTHORITY

ru
HOW CAN YOU ASSUME SHE’S WORTHY OF YOU?
SHE’S NOT ME!

Pe
AND I KNOW THERE WERE SEVERAL OTHERS
ACCORDING TO YOUR FRAT HOUSE BROTHERS!
I EVEN HEARD YOU PASSED AROUND ONE OR TWO

N
g
NOT WITH ME!

in

O
OH, YOUR MOVES ARE FAST!
s

TI
EVERYBODY WANTS RICHARD
en
BUT THEY DON’T KNOW YOUR PAST

C
THE WAY THAT I DO!
c

U
(RICHARD puts his cigarette in his mouth. NATHAN pulls out a
Li

lighter and, like a slave to his master, lights Richard’s cigarette and
D
watches him blow a stream of smoke.)
O
ay

AND GOD KNOWS WHY I THINK YOU’RE SO APPEALING

PR

OR WHY YOU’RE ALWAYS DOUBLE-CROSSING

dw

DOUBLE-DEALING!
BUT I REST MY CASE —
I’M THE ONE WHO NEEDS RICHARD!
oa

IT’S BEEN TOO LONG

I’VE TRIED TO BE SO STRONG
FO

THE OTHERS ARE WRONG, THEY DON’T HAVE A CLUE

Br

OR KNOW THE REAL YOU!

YES EVERYBODY WANTS RICHARD
BUT NOT
T

THE WAY THAT I DO!

O

ADMIT THAT YOU’VE MISSED ME TOO!

N

(Music continues under. [Note: There is no applause break here or

after any song until the very end of the play.])

8
 RICHARD
I’ve only missed the worship. But, I guess I could change my plans and spend the evening
with you —

NATHAN
That’s great … we could go for a ride around the new …

l
sa
RICHARD
— I could use your help.

ru
NATHAN

Pe
What?

RICHARD
That old abandoned warehouse off Dearborn … the one we used to meet in before college?

N
g
in

O
NATHAN
Yeah, so?
s

TI
en
RICHARD

C
Is it still empty?
c

NATHAN
U
Li

I think.
D
O
ay

RICHARD
Perfect. We’re gonna make like Mrs. O’Leary’s cow!
PR
dw

NATHAN
Richard, not another fire!
oa

RICHARD
Hey, if you don’t want to be with me …
FO
Br

(He starts to move away. NATHAN quickly stops him.)

NATHAN
T

All right. But I’m just gonna stand guard like I used to.
O

RICHARD
N

Eight o’clock. The warehouse. Now you’d better get busy. You’ve got to get the gasoline,
buy some extra-long matches, collect some old rags …

NATHAN
All right, I’ll meet you. Eight o’clock.

9
 (RICHARD moves to leave but turns to NATHAN and surprises him
with a hard kiss on the lips.)

RICHARD
There. Are you happy now?

l
NATHAN

sa
(Almost embarrassed.)
Yes.

ru
RICHARD

Pe
Eight o’clock. And don’t be late.

(He exits. NATHAN watches him go and then sings to himself.)

N
g
#4 TAG: EVERYBODY WANTS RICHARD
in

O
NATHAN
s

TI
IT’S BEEN TOO LONG!
en
I’VE TRIED TO BE SO STRONG

C
THE OTHERS ARE WRONG
c

THEY DON’T HAVE A CLUE

OR KNOW THE REAL YOU U
Li

D
YES, EVERYBODY WANTS RICHARD
BUT NOT THE WAY THAT I DO!
O
ay

(Lights instantly change to reflect the distinct look of the parole

PR

hearing in 1958. NATHAN speaks to the Parole Board:)

dw

I met him at the warehouse that night. Richard got so excited when he started the fire …
we used “Diamond Matches” — They always lit on the first strike …
oa

R
FO

(Lights change … )
Br

T
O
N

10
 SCENE 2

(In front of the warehouse, that night. In the darkness, the shadowy
silhouettes of Richard and Nathan come into view. A can of gasoline
is at their side. The burning warehouse glows in front of them.)

l
RICHARD

sa
It needs more gasoline.

ru
NATHAN
I’m scared.

Pe
RICHARD
More gasoline, Nathan.

N
g
(NATHAN doesn’t budge. RICHARD hands him the gas can and

in

O
orders him.)
s

TI
Now!
en

C
(NATHAN relents and throws a splash of gasoline off into the
distance. This causes immense flames to fully illuminate Nathan and
c

Richard.)
U
Li

D
NATHAN
O
(Panicked.)
ay

Okay. Now let’s get out of here.

PR
dw

RICHARD
Get out of here? You chicken-shit! We have to stay and watch.
oa

NATHAN
But … what if the warehouse …
FO
Br

RICHARD
Relax, Nathan.
T

(He pulls NATHAN down onto the ground with him. RICHARD
O

practically sunbathes in the glow of the fire as the music begins.)

N

#5 NOTHING LIKE A FIRE

RICHARD (CONT’D)
Isn’t it beautiful?

11
 NATHAN
It’s something.

(RICHARD places an arm around him, pulling him in close.)

This reminds me of high school.

l
sa
RICHARD
Yeah. The night I torched the records office.

ru
(RICHARD continues to relax in the warmth.)

Pe
Look at it smolder! It’s breathtaking! And you know what a little misdemeanor does for
me, Babe.

N
g
NATHAN

in

O
You haven’t called me “Babe” in a long time.
s

TI
RICHARD
en
(Playfully.)

C
Because I know you like it.
c

NATHAN
U
Li

That is cruel, you son of a bitch.

D
O
ay

RICHARD
You like that too. I guess the name still fits. You’re still awfully tiny.
PR
dw

NATHAN
You’d be surprised how I’ve grown.
oa

(He faces Richard squarely and makes a demand.)

FO

Touch me.
Br

RICHARD
Ask me nicer.
T
O

NATHAN
Fuck you!
N

RICHARD
Fuck you back!

12
 NATHAN
Please touch me.

(RICHARD softly caresses NATHAN as he begins to sing, keeping

one eye on the fire.)

l
RICHARD

sa
THERE’S NOTHING LIKE
A WARM, ROMANTIC FIRE

ru
TO PUT ME IN THE PROPER FRAME OF MIND
THERE’S NOTHING LIKE A ROARING, RAGING FIRE
TO HELP ME UNWIND

Pe
(He begins to massage Nathan’s shoulders.)

N
g
THERE’S NOTHING LIKE

in

O
THE SOUND OF CRACKLING EMBERS
TO CALM ME WHEN MY PULSE BEGINS TO RACE
s

TI
THERE’S NOTHING LIKE THE GLOW OF SIZZLING EMBERS
en
TO BRIGHTEN YOUR FACE

C
(Music continues.)
c

U
Li

NATHAN
D
Shouldn’t we take this someplace else? The fire brigade could be here any minute.
O
ay

RICHARD
PR

You’re the lookout. Tell me if you see anything big and red coming.
dw

(NATHAN giggles and cuddles closer to RICHARD.)

oa

FEEL THE HEAT INTENSIFY

WATCH THE SPARKS BEGIN TO FLY
FO

WATCH THE SMOKE FILL UP THE SKY —

Br

STRAIGHT TO THE STARS!

NATHAN
T

— STRAIGHT TO THE STARS!

O

RICHARD
N

THERE’S NOTHING LIKE

THE SIGHT OF SOMETHING BURNING —

NATHAN
SOMETHING BURNING …

13
 RICHARD
— TO SOOTHE ME
WITH A HOT SEDUCTIVE LIGHT —

NATHAN
SEDUCTIVE LIGHT …

l
sa
RICHARD
THERE’S NOTHING LIKE

ru
THE SMELL OF SOMETHING BURNING —

Pe
NATHAN
SOMETHING BURNING …

RICHARD

N
g
— TO START TO IGNITE

in

O
MY DESIRE …
s

TI
BOTH
en
THERE’S NOTHING LIKE A FIRE!

C
FEEL THE HEAT INTENSIFY
WATCH THE SPARKS BEGIN TO FLY
c

WATCH THE SMOKE FILL UP THE SKY —

U
Li

CLOUDING THE NIGHT!

D
THERE’S NOTHING LIKE A FIRE!
O
ay

(As they proceed to get intimate, the glow of the fire grows bigger,
PR

brighter and hotter and finally fades. The lights quickly shift back to
dw

the distinct Parole Board room look.)

NATHAN
oa

I didn’t see him at all the next day. It was torture. Finally I couldn’t take it any longer and I
showed up at his house real late that night …
FO
Br

(Lights change …)
T
O
N

14
 SCENE 3

(Richard’s bedroom, the next night. RICHARD is resting and

reclining, engrossed in his Nietzsche book. He looks up and sees
NATHAN standing in front of him.)

l
RICHARD

sa
(Startled.)
Who the hell let you in?

ru
NATHAN

Pe
Your brother.

RICHARD
John? I’ll strangle him.

N
g
in

O
NATHAN
I thought I’d surprise you.
s

TI
en
RICHARD

C
Why?
c

NATHAN
U
Li

So I could thank you for last night.

D
O
ay

RICHARD
You’re welcome. Goodbye.
PR
dw

(RICHARD turns his attention back to the book.)

NATHAN
oa

What are you reading?

FO

RICHARD
Br

Nietzsche. But I’m finished.

(He puts the book down, and tries to give NATHAN the brush off.)
T
O

And now “superior man” must go to sleep.

N

NATHAN
Great!

RICHARD
Alone.

15
 NATHAN
I told my dad I wasn’t coming home tonight.

RICHARD
Why did you do that?

al
NATHAN
I thought I could stay over.

s
ru
RICHARD
Who invited you? I didn’t.

Pe
NATHAN
I’ll get John to invite me then.

N
ng
RICHARD

O
Fine. Stay. You’re welcome to watch me sleep.
i
ns

TI
NATHAN
Thank you.

C
ce

(He makes himself comfortable as the music begins.)

U
Li

D
#6 A WRITTEN CONTRACT (“SUPERIOR” PART 1)
O
ay

NATHAN (CONT’D)
Can we talk for a while?
PR
dw

RICHARD
No.
oa

NATHAN
FO

I’m worried.
Br

RICHARD
Now what?
T

(NATHAN sings.)
O
N

NATHAN
HOW COULD I EVER FACE MY DAD
IF HE FOUND OUT WE BURNED THAT
WAREHOUSE DOWN?

16
 RICHARD
IT WAS THE BEST EVENING
THAT WE EVER HAD!
AND NO ONE WILL EVER KNOW

NATHAN

l
CAN YOU BE SURE?

sa
(Music continues.)

ru
RICHARD

Pe
It’s right here, Nathan, in black and white. And Nietzsche doesn’t lie!

(He hands NATHAN the book and points to a passage as he sings.)

N
g
WE’RE SUPERIOR

in

O
WE ARE SUPERMEN
SAYS MY NIETZSCHE BOOK
s

TI
CHAPTERS ONE THROUGH TEN
en
AND AS SUPERMEN

C
WE COULD NOT GET CAUGHT
SO DON’T GIVE LAST NIGHT A SECOND THOUGHT
c

LET’S PLAN NEXT TIME —

U
Li

D
’CAUSE WE’RE BOTH SUPERIOR, I QUOTE:
O
ay

“THE SUPERMAN IS ABOVE ALL OF SOCIETY”

WE’LL HAVE CHICAGO BY THE THROAT
PR

IF YOU HELP ME —
dw

REMEMBER YOU’RE MY LOOKOUT, BABE!

(Music continues. NATHAN feigns thumbing through the book.)

oa

NATHAN
FO

In which chapter does Nietzsche talk about arson? I bet that’s a good one! You know if we
Br

pull any more of this stupid stuff we can kiss law school goodbye.

RICHARD
T

With me in charge? We’re a productive team. And we should do a lot more than just burn
O

down old warehouses …

N

NATHAN
I don’t want to do any of it.

(He moves to touch RICHARD.)

17
 NATHAN (CONT’D)
Can’t we just …

RICHARD
(Moving away.)
If you don’t want to be part of my fun, I’m certainly not going to be part of yours. You

l
know that by now.

sa
NATHAN

ru
I thought our relationship had matured.

Pe
RICHARD
You were wrong. And you might as well go home now, Nathan. Have a swell summer.
And a nice life.

N
g
NATHAN

in

O
I’m not trying to stop you, but you don’t need my help breaking the law.
s

TI
RICHARD
en
(Reluctantly.)

C
Yes I do … I … I screw up without you.
c

NATHAN
U
Li

What?
D
O
ay

RICHARD
I screw up without you, okay!
PR
dw

NATHAN
You never said you needed me before.
oa

(RICHARD stays silent as NATHAN contemplates.)

FO
Br

#7 A WRITTEN CONTRACT (PART 2)

NATHAN (CONT’D)
T

I can’t do this, Richard. You’ll double-cross me. I’ll do what you want, but you won’t do
what I want.
O
N

RICHARD
I’m really disappointed in you, Nathan. You were making such progress, but now …

(Music intensifies. He sings.)

YOU’RE NOT FIT TO

18
 RICHARD (CONT’D)
POUR ME BATHTUB BOOZE
YOU DON’T DESERVE ME!
YOU’RE NOT FIT TO
LICK MY WING-TIP SHOES!
YOU JUST UNNERVE ME!

l
SINCE I HAVEN’T LEARNED WHEN

sa
NO MEANS NO, BABE
I’M GONNA TEMPT YOUR BRAIN

ru
WITH QUID-PRO-QUO, BABE
A WRITTEN CONTRACT!

Pe
NATHAN
A written contract?

N
g
RICHARD

in

O
SPELLING OUT WHAT YOU WILL DO FOR ME:
PARTICIPATION
s

TI
IN MY CRIMES, NO MATTER WHAT DEGREE!
en
FOR COMPENSATION, I’LL AGREE

C
TO ANY TERMS YOU LAY OUT!
SO THAT MEANS WHEN YOU ASK
c

I’LL HAVE NO WAY OUT

U
Li

A WRITTEN CONTRACT!
D
HERE’S YOUR CHANCE
O
ay

TO MAKE THINGS LEGAL AT LAST

IN PLAIN BLACK AND WHITE
PR

WE CAN LET THE PAST REMAIN IN THE PAST

dw

AND HAVE NO MORE REASON TO FIGHT!

(RICHARD gets a portable Underwood typewriter out from a hiding

oa

place.)
FO

I’LL EVEN LET YOU

Br

TYPE THE WHOLE THING OUT —

EACH KEY PROVISION!
T

(He sets the typewriter down. It glistens in the light.)

O

WIPE AWAY THAT LOOK OF FEAR AND DOUBT

N

MAKE A DECISION!
DON’T HOLD OUT, YOU’LL GET
NO BETTER OFFER!
’CAUSE IT’S THE ONLY OPTION I CAN PROFFER!
A FORMAL CONTRACT

19
 RICHARD (CONT’D)
A WRITTEN CONTRACT
WILL HELP TO GET YOU YOURS
AND I’LL GET MINE!
BUT YOU’LL NEVER BE MY EQUAL
IF YOU DON’T PROMISE ME YOU’LL SIGN!

l
sa
(The music continues as RICHARD sits NATHAN in front of the
typewriter.)

ru
#8 A WRITTEN CONTRACT (PART 3)

Pe
NATHAN
Isn’t this the typewriter you swiped from your roommate freshman year?

N
g
RICHARD
in

O
Be careful. That’s a very valuable Underwood.
s

TI
(NATHAN types a few strokes.)
en

C
NATHAN
c

U
It’s also busted. The “c” is dropped. And the “t” is really faint.
Li

D
RICHARD
Shut up and take this down …
O
ay

NATHAN
PR

One second, I need my glasses.

dw

(NATHAN pulls a pair of reading glasses out of a pocket and puts

them on. Then he types as RICHARD dictates.)
oa

R
FO

RICHARD
Br

“I, NATHAN LEOPOLD

HEREBY SWEAR TO AID AND ABET
AT RICHARD’S REQUEST
T

NO MATTER WHAT HE WANTS

I’LL GIVE HIM MY BEST — “
O
N

NATHAN
“ — BUT ONLY AS MUCH AS I GET!”

RICHARD
Whatever.

20
 NATHAN
(Happily.)
Now it’s my turn.

(He sings as he types.)

l
“IN CONSIDERATION OF

sa
THE ABOVE
I, RICHARD LOEB,

ru
SWEAR TO SATISFY BABE —
WHEREVER IT LEADS

Pe
IMMEDIATELY FOLLOWING THE ABOVE!
I’LL GIVE HIM WHATEVER HE NEEDS!”

(Music continues.)

N
g
in

O
#9 A WRITTEN CONTRACT (PART 4)
s

TI
RICHARD
en
Fine, now finish it off with a couple of whereases and wherefores …

C
c

NATHAN
This is great practice for contract law class. U
Li

D
RICHARD
O
ay

Type.
PR

(NATHAN types a few closing words and pulls the contract out of
dw

the carriage.)

NATHAN
oa

Done.
FO
Br

RICHARD
Great. Now comes the good part.
T

(RICHARD pulls a sharp-looking pocket-knife out of his pocket.)

O

NATHAN
N

Why a knife?

RICHARD
We have to sign in blood.

21
 NATHAN
What are you, a fucking Indian? Why?

RICHARD
Because I said so. And because it’s more binding that way. Trust me, you’ll enjoy a little
pain. Hold out your finger.

l
sa
(NATHAN doesn’t.)

ru
Hold out your finger!

Pe
(RICHARD forcefully grabs Nathan’s hand then gently sings.)

ALL I HAVE TO DO IS
TAKE THE KNIFE

N
g
AND GENTLY PUNCTURE THE SKIN

in

O
(He attempts to stab, but NATHAN pulls away. RICHARD grabs
s

TI
his finger again.)
en

C
I’VE DONE THIS BEFORE!
c

(He succeeds.)
U
Li

D
NATHAN
O
Ouch! Shit!
ay

PR

RICHARD
dw

Sign your name.

(NATHAN signs in blood.)

oa

AND ONCE THE BLOOD HAS DRIED

FO

THE TERMS WILL BEGIN!

Br

(NATHAN shakes his finger, RICHARD grabs it.)

T

TRY NOT TO DRIP ON THE FLOOR!

O

NATHAN
N

Do I get to do you now?

RICHARD
No, I can take care of myself.

22
 (RICHARD plunges the blade into his own finger, causing
NATHAN to wince. He carefully signs his name. NATHAN grasps
Richard’s hand to seal the pact.)

NATHAN
NOW OUR LIVES WILL BE —

l
sa
NATHAN/RICHARD
ENTWINED COMPLETELY!

ru
OUR FRIENDSHIP’S NOW REDEFINED
RETHOUGHT AND REVISED!

Pe
NATHAN
NO TURNING BACK NOW
SINCE OUR BLOOD’S BEEN COMBINED!

N
g
in

O
(RICHARD drops Nathan’s hand and gives him the contract.)
s

TI
RICHARD
en
BUT NOT ’TIL IT’S BEEN NOTARIZED!

C
(NATHAN folds it and puts it in his pocket. While keeping a close
c

eye on each other, they sing.)

U
Li

D
NATHAN/RICHARD
O
AND NO ONE HAS TO KNOW
ay

OUR BUSINESS DEAL

PR

WE’LL KEEP IT HIDDEN!

dw

ALL ATTEMPTS TO BREAK OUR PRIVATE SEAL

WILL BE FORBIDDEN
IT’S THE SAME OLD GAME
oa

WITH ONE NEW FEATURE

AND NEXT SEMESTER
FO

YOU CAN SHOW YOUR TEACHER

Br

A SIMPLE CONTRACT
A WRITTEN CONTRACT
THE CLAUSES NOT MISLEADING
T

THE PRINT NOT FINE!

O

AND I HOPE THE CONTRACT IS THE ANSWER

TO FINALLY KEEPING YOU IN LINE!
N

(NATHAN removes his glasses and RICHARD snaps his knife shut
as the lights change to reflect the Parole Board.)

23
 NATHAN
We kept things simple at first. Just silly crimes really … nothing that would hurt anyone.
For a while he kept his end of the bargain and it was great. But after a few weeks I noticed
a change …

(Lights change … )

l
sa
ru
Pe

N
g
in

O
s

TI
en

C
c

U
Li

D
O
ay

PR
dw
oa

R
FO
Br

T
O
N

24
 SCENE 4

(Nathan’s bedroom, a few weeks later. NATHAN and RICHARD

breathlessly race into the room. NATHAN carries a bag full of stolen
loot.)

l
RICHARD

sa
Not bad, Babe! You were quicker with the signal this time!

ru
NATHAN
(Catching his breath.)

Pe
Thank God. Another five seconds and we would have been caught red-handed!

RICHARD
But we weren’t.

N
g
in

O
NATHAN
We’ve never had that close a call. I knew we shouldn’t risk breaking into someone’s house
s

TI
while they were asleep. Stores are so much easier.
en

C
RICHARD
It was thrilling for me.
c

U
Li

NATHAN
D
How can you be so damned calm?
O
ay

RICHARD
PR

Because worrying is your department. Give me the bag, let’s look at all this junk.
dw

#10 THRILL ME
oa

(NATHAN hands him the bag. RICHARD opens it. NATHAN

FO

loosens his tie and starts to get comfortable. Music begins.

Br

RICHARD pulls a few things out of the bag, such as a silver tray,
candlesticks, etc. NATHAN tries to get his attention by running his
fingers through Richard’s hair. RICHARD brushes him away.)
T

Quit it.
O

NATHAN
N

(Irritated.)
It’s my turn.

(RICHARD rummages through the bag, with growing

disappointment, as NATHAN becomes increasingly more annoyed.)

25
 RICHARD
This is all shit. I’m throwing everything away. If you want something, claim it now.

NATHAN
I want you. Hold me.

l
(RICHARD, having paid no attention, snaps his fingers, getting an

sa
idea.)

ru
RICHARD
How about we rob my father’s office tomorrow night? That would really be a thrill …

Pe
there’s this back door that no one knows about, with a really crummy lock. Easy to pick.
And he’s got a bunch of gold coins and a big stamp collection in his safe … I think the
combination is John’s birthday …

N
g
(No longer able to contain his feelings, NATHAN sings.)

in

O
s

TI
NATHAN
en
(Angry.)

C
DON’T BORE ME WITH DETAILS
THEY’LL NEVER IMPRESS ME
c

START PAYING ATTENTION

U
Li

DON’T TRY TO FINESSE ME!

D
THRILL ME … THRILL ME!
O
ay

RICHARD
PR

Thrill yourself.
dw

NATHAN
DON’T FORGET WHAT YOU PROMISED
oa

ON PAPER —
WHAT YOU’D DO WHEN WE FINISHED A CAPER!
FO

EVERY TIME I DEMAND WHAT’S REQUIRED

Br

YOU COMPLAIN THAT YOU’RE SIMPLY TOO TIRED

THRILL ME!
T

(RICHARD starts to carefully close up the bag. NATHAN pushes it

O

away.)
N

DON’T TOY WITH DISTRACTIONS.

WHY FUEL MY FRUSTRATION?
YOU’RE TRYING TO CHEAT ME!
WHAT’S YOUR EXPLANATION?
THRILL ME … THRILL ME!

26
 RICHARD
I don’t feel like it. I feel kinda down lately. It’s not exciting anymore. Break the window,
pick the lock, steal things we don’t need. It’s all too easy… there’s no “thrill” left.

NATHAN
IF THIS KEEPS GOING ON

l
I’LL GO CRAZY!

sa
I’M AROUSED, YOU’RE CONVENIENTLY LAZY!
SO MY RAGE AND IMPATIENCE KEEP GROWING

ru
BUT THEY GET MY ADRENALINE GOING!
THRILL ME!

Pe
DON’T THINK UP EXCUSES
THEY’LL NEVER PERSUADE ME
LET’S TURN ALL THE LIGHTS OFF

N
g
DON’T TRY TO EVADE ME!

in

O
THRILL ME!
s

TI
(NATHAN tries to pull Richard’s suspenders down.)
en

C
RICHARD
Stop that!
c

U
Li

(He sings.)
D
O
UNTIL I FEEL ENERGIZED
ay

I WILL NOT BE IN THE MOOD!

PR
dw

NATHAN
I’VE HELD BACK
AND I’VE COMPROMISED
oa

SO, UNLESS YOU WANT TO GET SUED …

FO

WHY SPOIL MY EVENING?

Br

AND WHY MUST YOU DENY ME?

I’LL STOP MY COMPLAINING
ONCE YOU SATISFY ME!
T

WON’T YOU THRILL ME?

O

(Music continues to pulse.)

N

RICHARD
I said no.

27
 NATHAN
Will you ever be square with me?

RICHARD
Sure. Just not now.

l
NATHAN

sa
I’m sick of hearing that! The only reason I’ve been helping you do these stupid things is
because we have a contract …

ru
(NATHAN grabs the contract from its hiding place and waves it in

Pe
Richard’s face.)

… signed in blood! You want me to tear it up?

N
g
RICHARD

in

O
No. Okay, okay. You win. Let’s make it fast though. I’ve gotta get up early.
s

TI
(He starts to take of his tie and pull down his suspenders.)
en

C
NATHAN
Don’t be unfocused, Richard —
c

U
Li

(NATHAN continues to sing while unbuttoning his own vest.

D
RICHARD throws off his shirt.)
O
ay

BUT DON’T TREAT ME WITH KID GLOVES

PR

I’LL ALWAYS OBEY YOU!

dw

ONE PERFECT ACCOMPLICE,

WHO’D NEVER BETRAY YOU
IF YOU THRILL ME!
oa

THRILL ME!
FO

(He reaches for RICHARD as the lights shift … )

Br

T
O
N

28
 SCENE 5

(Parole Board hearing room at Joliet Prison, 1958. NATHAN once

again faces the unseen Parole Board.)

PAROLE ONE

l
Mr. Leopold, you went along with him every time. What did you think would happen if

sa
you didn’t?

ru
NATHAN
He’d never see me again. I never really believed that we’d go as far as he wanted. His

Pe
friendship was necessary to me. I had no choice.

PAROLE TWO
(Skeptically.)

N
g
Friendship?

in

O
NATHAN
s

TI
(Quietly.)
en
We were very close. The point is I would do whatever he asked.

C
PAROLE ONE
c

U
You were not in control of your own actions? That’s hard to believe, Mr. Leopold.
Li

D
NATHAN
O
ay

I don’t know how my conscience worked then.

PR

PAROLE TWO
dw

How exactly did Loeb convince you to commit the crime?

NATHAN
oa

It was a little later that same night … about five minutes later …
FO

(The lights shift as NATHAN takes his place with RICHARD … )

Br

T
O
N

29
 SCENE 6

(Nathan’s bedroom, a few minutes later. NATHAN, smiling and

pleased with himself, begins to re-tie his tie and button his vest back
up. RICHARD slips his shirt back on and lights a cigarette.)

l
RICHARD

sa
You know what would thrill me, Nathan?

ru
NATHAN
What?

Pe
RICHARD
A more important crime. A superior crime. Burglary and setting fires are too trivial for
supermen like us.

N
g
in

O
NATHAN
What do you think would be more appropriate?
s

TI
en
RICHARD

C
Something we could be proud of.
c

NATHAN
U
Li

Armed robbery?
D
O
(NATHAN giggles.)
ay

PR

RICHARD
dw

Murder.

(Shocked, NATHAN searches for a response.)

oa

NATHAN
FO

You’ve been reading too much Nietzsche. And way too many detective magazines.
Br

RICHARD
I’m serious.
T
O

NATHAN
Murder is a big leap, even for you.
N

RICHARD
No, no, no. It’s a logical progression.

30
 NATHAN
Forget it.

RICHARD
Scared?

l
(NATHAN doesn’t respond.)

sa
As of tonight we’re even. Now you have to help me or you’ll break the contract.

ru
NATHAN

Pe
This is crazy. What would possess you to want to kill somebody?

RICHARD
The challenge, fool. Think of how incredibly significant it would be.

N
g
in

O
NATHAN
Now you’re scaring me.
s

TI
en
RICHARD

C
But that’s what you like, isn’t it?
c

NATHAN
U
Li

Not if it involves the death penalty.

D
O
ay

RICHARD
(Cavalierly.)
PR

Forget the death penalty. We’re not amateur idiots. We’re smart. We’re going to be
dw

lawyers!

NATHAN
oa

But it’s wrong.

FO

RICHARD
Br

Says who?

NATHAN
T

Says anyone. Society.

O

RICHARD
N

(Passionate.)
We are above society. Murder is the only crime worthy of our talents, Nathan. Don’t you
want to do something important with your life?

31
 NATHAN
(Exasperated.)
I don’t believe you’re serious. It’s the stupidest … craziest … who would you want to …
kill?

RICHARD

l
You know.

sa
NATHAN

ru
No. I have no idea.

Pe
RICHARD
Who irks me the most?

NATHAN

N
g
Me?

in

O
RICHARD
s

TI
Besides you.
en

C
(Music creeps in.)
c

#11 THE PLAN U

Li

D
NATHAN
O
ay

Who the hell are you talking about?

PR

(Richard sings.)
dw

RICHARD
IF WE KILLED MY BROTHER JOHN
oa

THEN HE’D NEVER TOUCH MY THINGS!

FO

IF WE KILLED MY BROTHER JOHN

Br

THEN HE’D NEVER RAT ME OUT

IF WE KILLED MY BROTHER JOHN
MY INHERITANCE WOULD GROW —
T

(NATHAN tries to treat it all as a joke.)

O
N

NATHAN
YOU’RE A LUNATIC! COME ON!
CAN’T WE LET THE SUBJECT GO?

(RICHARD pays no attention to NATHAN, who grows more and

more uncomfortable.)

32
 RICHARD
WE COULD CHLOROFORM A RAG
AND MAKE HIM BREATHE THE VAPORS
THEN USE IT AS A GAG
TO CHOKE HIM
AND ONCE HIS FACE IS GREEN

l
WE’LL THROW HIM IN A BAG

sa
FLEE THE MURDER SCENE
THEN READ ABOUT IT IN THE PAPERS

ru
IF WE KILLED MY BROTHER JOHN

Pe
THEN MY FATHER WOULD DROP DEAD!
IF WE KILLED MY BROTHER JOHN
THEN I’D GET THE BIGGER ROOM
IF WE KILLED MY BROTHER JOHN

N
g
LIKE I’VE ALWAYS YEARNED TO DO —

in

O
NATHAN
s

TI
IF YOU KILLED YOUR BROTHER JOHN
en
EVERY LEAD WOULD POINT TO YOU!

C
RICHARD
c

WE COULD BORROW SOME OLD GUN

U
Li

AND SHOOT HIM IN HIS SLUMBER

D
PERHAPS IT WOULD BE FUN
O
ay

TO TORTURE HIM!
WE’LL MAKE IT LOOK LIKE RAPE!
PR

AND ONCE THE DEED IS DONE

dw

WE’LL MISDIRECT THE COPS

AND WATCH HIS NAME
BECOME A NUMBER!
oa

IF WE KILLED MY BROTHER JOHN —

FO
Br

NATHAN
YOU COULD NEVER PRACTICE LAW
T

RICHARD
O

IF WE KILLED MY BROTHER JOHN —

N

NATHAN
YOU COULD NEVER FACE YOUR MOTHER!

RICHARD AND NATHAN

IF WE KILLED MY/YOUR BROTHER JOHN —

33
 NATHAN
COULD YOU LIVE WITH WHAT YOU DID?

(A pause. RICHARD thinks for a moment.)

RICHARD

l
OKAY, NOT MY BROTHER JOHN.

sa
LET’S GO KILL SOME RANDOM KID!

ru
(Music continues.)

Pe
NATHAN
(Sarcastic.)
Oh, that’s much better. Much better.

N
g
RICHARD

in

O
It’s perfect. All we have to do is go down to our old elementary school, after the last bell …
s

TI
NATHAN
en
Wouldn’t kidnapping be enough?

C
RICHARD
c

Brilliant! This man is a fucking genius! We’ll do both!

U
Li

D
NATHAN
O
ay

Both?!
PR

RICHARD
dw

We’ll kill him, but first find out his name and address then gouge his folks for a ransom. I
could write a note. They’ll think he’s still alive.
oa

NATHAN
What happens if they find the body?
FO
Br

RICHARD
(Oblivious.)
This is perfect. I bet we could get five or ten thousand.
T
O

NATHAN
We don’t need money.
N

RICHARD
You don’t. But my father’s been awfully stingy lately. Come on, Babe …

(He caresses NATHAN gently.)

34
 RICHARD (CONT’D)
You know how excited it’ll make me. Let’s see … a ten or eleven-year old …

(He sings into Nathan’s ear, stroking his hair, holding his hand …
drawing him in.)

l
I’LL LURE HIM TO MY CAR

sa
THEN STRIKE WITH SOMETHING SIZABLE
WE’LL DRIVE OUT EXTRA FAR

ru
TO DUMP HIM
POUR ACID ON HIS FACE

Pe
AND EVERY BIRTHMARK, MOLE OR SCAR
THEN STRIP OFF ALL HIS CLOTHING
SO HE’LL BE UNRECOGNIZABLE!

N
g
NATHAN AND RICHARD

in

O
JUST A BOY WHO’S IN THE PARK —
s

TI
RICHARD
en
WON’T BE SMART ENOUGH TO RUN

C
NATHAN AND RICHARD
c

JUST A KID WHO’S IN THE DARK —

U
Li

D
RICHARD
O
WON’T BE STRONG ENOUGH TO FIGHT!
ay

PR

NATHAN AND RICHARD

dw

BAIT THE FISH TO FEED THE SHARK —

RICHARD
oa

THIRTY SECONDS AND HE’S GONE

FO

NATHAN
Br

WHAT A WAY TO MAKE YOUR MARK!

(RICHARD gets right into Nathan’s face.)

T
O

RICHARD
BETTER THAN MY BROTHER JOHN!
N

(Lights change. NATHAN addresses the Parole Board.)

NATHAN
Richard needed three days to get ready.

35
 Br
oa
N dw
O
T ay
(Lights shift … )

FO Li
R c en

36
PR s in
O g
D Pe
U ru
C sa
TI
O l
N
 SCENE 7

(Richard’s garage, a few weeks later/the Parole Board room, 1958.

Music changes as RICHARD kneels on the ground with the murder
weapons in front of him. He talks as if to Nathan. However,
NATHAN is still presented in front of the Parole Board on the

l
opposite side of the stage. The lights continually shift back and forth

sa
between the two spaces and the two different time periods.)

ru
#12 WAY TOO FAR

Pe
RICHARD
Rope, crowbar, acid. That’s everything.

N
(RICHARD inspects the weapons as NATHAN sings to the Parole

g
Board.)
in

O
I hope this rope is strong enough. It’s not the kind I told you to get.
s

TI
en
(Lights shift.)

C
c

IT HAD GONE WAY TOO FAR

NATHAN
U
Li

D
YET THERE I WAS ASSISTING
IT HAD GONE WAY TOO FAR
O
ay

I WAS ACTING LIKE HIS PRISONER

MUCH TOO LATE TO START RESISTING
PR
dw

(Lights shift.)

RICHARD
oa

The crowbar, however, is per-fect-o.

FO
Br

(Lights shift.)

NATHAN
T

HOW DID IT COME TO THIS?

WAS SOMETHING WRONG INSIDE ME?
O

HOW DID IT COME TO THIS?

N

IT WAS IMPOSSIBLE TO RUN AWAY

OR LET MY CONSCIENCE GUIDE ME

(Lights shift.)

37
 RICHARD
This is a damned small bottle of acid. I guess we’ll have to find a damned small boy.

(Lights shift. RICHARD packs the weapons into a leather case as

NATHAN continues to sing to the Parole Board.)

l
NATHAN

sa
HE THOUGHT IT WAS FUN
HIS DARK SIDE

ru
WAS DIFFICULT TO SWALLOW
NOT DIFFICULT TO FOLLOW

Pe
I TRIED TO STAY CALM
I TRIED TO STAY SANE
THE HEART IS A MUSCLE
THAT I CAN’T EXPLAIN!

N
g
in

O
WHAT MADE ME FEEL THIS WAY?
AND MADE HIM SO EXCITING?
s

TI
WHAT MADE ME FEEL THIS WAY?
en
SHOULD HAVE SOMEHOW TRIED TO MAKE IT STOP

C
BUT HAD NO USE IN FIGHTING
c

(Music continues. Lights shift.)

U
Li

D
RICHARD
O
ay

I’m putting you in charge of writing down his address for the ransom note. So, when I’ve
got the rope around his neck, you say, “If you wanna live, give me your address.” Then
PR

once you have it, I’ll crack his skull.

dw

(RICHARD grabs the leather case.)

oa

I’ll meet you at the car.

FO

(RICHARD exits. Lights shift.)

Br

NATHAN
IT SOON WOULD BE DONE
T

AND THEN HE’D BE TIED TO ME FOREVER

O

I’M SMART; BUT HE WAS CLEVER

TOO LATE TO SAY NO …
N

I WALKED TO HIS CAR …

FORCED MYSELF TO BE MUCH STRONGER
IF FOR JUST A LITTLE LONGER!
THEN I LET IT GO TOO FAR

38
 Br
oa
N dw
O
T ay
(Lights shift … )

FO Li
R c en

39
PR s in
O g
D Pe
U ru
C sa
TI
O l
N
 SCENE 8

(Near the schoolyard, a few hours later. RICHARD enters,

illuminated only by the glowing headlights of his car, which cast his
looming shadow across the yard. Through billows of exhaust,
NATHAN can barely be seen watching, horrified, but remaining a

l
loyal lookout. Finally, RICHARD spots a target. His eyes follow an

sa
(unseen) young boy on the other side of the yard. RICHARD first
gets his attention with a wave and then sings to him.)

ru
#13 ROADSTER

Pe
RICHARD
WOULD YOU LIKE TO SEE MY ROADSTER?

N
WOULD YOU LIKE TO LOOK INSIDE?

g
IT’S A SHINY, PACKARD ROADSTER
in

O
WOULD YOU LIKE TO TAKE A RIDE?
A SPIN AROUND THE BLOCK?
s

TI
I’D BE GLAD TO DROP YOU OFF!
en

C
(RICHARD holds out his cigarette case in an attempt to lure the boy,
but to no avail. He continues.)
c

U
Li

D
WE COULD CRUISE AROUND THE SCHOOL YARD
BE THE ENVY OF YOUR PALS
O
ay

IF YOU’RE RIDING WITH ME SHOTGUN

YOU’LL IMPRESS THE PRETTY GALS
PR
dw

SEE IT SITTING IN THE ALLEY?

COULDN’T FIND A PARKING SPACE
WE COULD OPEN UP THE WINDOWS
oa

WIND WILL WHIP ACROSS YOUR FACE!

FO

GO CLIMB INSIDE THE CAR

Br

I’D BE GLAD TO DROP YOU OFF

(As if stopping the boy from walking away, RICHARD quickly tries a
T

different tactic.)
O

I KNOW — NEVER TALK TO STRANGERS!

THAT’S WHAT MOTHERS ALWAYS WARN
N

BUT I THINK WE COULD BE BUDDIES

SURE, I’LL LET YOU HONK THE HORN
I THINK YOU NEED A LIFT
I’D BE GLAD TO DROP YOU OFF

40
 RICHARD (CONT’D)
FEEL THE POWER OF MY ENGINE
WHEN IT SPEEDS TO FORTY-FIVE —

(He reaches into his pocket and pulls out the ignition-lock key,
holding it up almost hypnotically.)

l
sa
HERE’S THE KEY TO THE IGNITION
TAKE THE WHEEL, I’LL LET YOU DRIVE!

ru
OR HOP INSIDE THE BACK
I’LL BE GLAD TO DROP YOU OFF

Pe
(“The boy” has clearly taken the bait.)

JUST TELL ME WHERE YOU LIVE

N
g
I’LL BE GLAD TO DROP YOU OFF

in

O
What’s your name?
s

TI
en
(RICHARD crooks his head to listen.)

C
Bobby’s a nice name …
c

U
Li

(He beckons “the boy” to follow as he walks off.)

D
O
ay

YOU’LL BE SAFE INSIDE MY ROADSTER!

PR

(After a moment, NATHAN follows. Blackout [or light shift].)

dw
oa

R
FO
Br

T
O
N

41
 SCENE 9

(The woods near Wolf Lake, later that night (after the murder). As the
music pulses, RICHARD and NATHAN rush in. RICHARD carries
a blood-stained rag along with the used murder weapons. He is
breathless but truly exhilarated. NATHAN holds a bloody rag and the

l
empty leather case. He looks off in horror toward the site of the

sa
murder and frantically sings.)

ru
#14 SUPERIOR

Pe
NATHAN
ALL OF CHICAGO WOULD GO MAD
IF THEY DISCOVERED WHAT WE DID TONIGHT

N
g
(RICHARD draws his attention.)
in

O
RICHARD
s

TI
BUT WE’RE BOTH SUPERIOR, BE GLAD!
en
HOW COULD THEY EVER CATCH TWO GENIUSES?

C
c

TWENTY FEET FROM HERE

IN A CULVERT PIPE U
Li

D
LIES A TWELVE-YEAR OLD
WHOSE TIME WAS RIPE!
O
ay

JUST A USELESS KID …

PR

(He waves the empty acid bottle.)

dw

WITH NO FACE, AND THUS

THEY COULD NEVER TIE A THING TO US!
oa

R
FO

(He hands the bottle to a frozen NATHAN.)

Br

NO EVIDENCE!
AND THAT’S WHY —
T

BOTH
O

WE’RE BOTH SUPERIOR TO ALL

N

WE’VE GOT MORE INTELLIGENCE THAN ANYONE!

RICHARD
WE ROLL CHICAGO LIKE A BALL —

(He snaps the murder rope loudly, making NATHAN jump.)

42
 RICHARD (CONT’D)
AND WE’RE FAR MORE EFFICIENT
THAN THE MOB IS, BABE!

NATHAN
I’M OVERCOME …

l
I’M FEELING NUMB!

sa
(RICHARD hands NATHAN the crow-bar.)

ru
RICHARD

Pe
WIPE THE CROWBAR CLEAN!

(He throws him the rope … )

N
g
DON’T FORGET THE ROPE!

in

O
( … and the bloody rag.)
s

TI
en
WASH THE BLOODSTAINS OFF

C
WITH KITCHEN SOAP!
c

U
(NATHAN quickly places all the weapons into the bag.)
Li

D
THEN DESTROY IT ALL
O
ay

AND DON’T LEAVE A TRACE!

PR

NATHAN
dw

I’M AFRAID THEY’LL SEE IT

ON MY FACE!
oa

RICHARD
YOU’RE PARANOID!
FO

JUST TELL YOURSELF:

Br

BOTH
WE’RE BOTH SUPERIOR TO ALL!
T

WE SIMPLY FUNCTION ON A HIGHER PLANE!

O

RICHARD
N

WE’LL LET CHICAGO TAKE THE FALL!

THERE’S NO SHORTAGE OF PERVERTS
THEY CAN BLAME IT ON!

43
 NATHAN
BUT I TOLD MYSELF
THAT THIS WAS ALL A GAME
I’M STILL IN SHOCK
WHY DON’T YOU FEEL THE SAME?

l
RICHARD

sa
HOW MANY TIMES MUST I ADDRESS YOUR DOUBTS?
WE’VE VANDALIZED

ru
BURGLARIZED
AND NEVER LEFT A CLUE

Pe
THIS WAS NO RISK —
AND FUN TO DO!

(He moves toward NATHAN.)

N
g
in

O
SO, LET ME EASE YOUR MIND
TRY TO UNDERSTAND
s

TI
AND ENJOY THE FACT
en
IT WENT AS PLANNED

C
(NATHAN tries to back away.)
c

U
Li

NATHAN
D
YOU’RE SCARING ME!
O
ay

(RICHARD grabs him.)

PR
dw

RICHARD
THEN DON’T FORGET —
oa

BOTH
WE’RE BOTH SUPERIOR TO ALL!
FO

WE’VE GOT A BOND

Br

WE’LL TAKE IT TO THE GRAVE!

RICHARD
T

WE’VE BACKED CHICAGO TO THE WALL!

O

NATHAN
N

AND YOU’RE SURE THAT WE WEREN’T SEEN?

RICHARD
YES!

44
 NATHAN
THERE’S NO CHANCE WE’LL BE ACCUSED —

RICHARD
NO!

l
NATHAN

sa
YOU GUARANTEE OUR HANDS ARE CLEAN?

ru
RICHARD
YES!

Pe
NATHAN
TELL ME WHAT’S NEXT, I’M ALL CONFUSED!

N
g
RICHARD

in

O
WE’LL WRITE THE RANSOM NOTE, ALL RIGHT?
s

TI
NATHAN
en
ALL RIGHT!

C
RICHARD
c

WHEN WE’RE AT HOME AND OUT OF SIGHT!

U
Li

D
NATHAN
O
ay

ALL RIGHT!
PR

RICHARD
dw

MAKE SURE YOU DUCK IF YOU SEE LIGHT —

NATHAN
oa

ALL RIGHT!
FO

RICHARD
Br

NOW LET’S CAP OFF ONE SUPERIOR …

(He beckons NATHAN towards him.)

T
O

RICHARD
NIGHT! —
N

(He pulls NATHAN in for a tight embrace.)

NATHAN
THIS HAS GONE WAY TOO FAR!

45
 (Lights change. NATHAN solemnly addresses the Parole Board.)

NATHAN
I had never seen him so … happy. We went back to his house … I was shaking the whole
way … he got out the Underwood …

l
(Lights shift … )

sa
ru
Pe

N
g
in

O
s

TI
en

C
c

U
Li

D
O
ay

PR
dw
oa

R
FO
Br

T
O
N

46
 SCENE 10

(Richard’s bedroom, later that night. RICHARD sits at his

typewriter, typing the last few strokes of the ransom note as
NATHAN nervously paces. Music pulses.)

l
#15 RANSOM NOTE

sa
RICHARD

ru
How do you spell “valise”?

Pe
NATHAN
V-A-L-I-S-E.

N
(RICHARD types the last word and, with a flourish, pulls the paper

g
off the carriage.)
in

O
RICHARD
s

TI
Not bad. Read it with me, Babe.
en

C
(NATHAN fishes in his pocket.)
c

NATHAN U
Li

D
That’s strange.
O
ay

RICHARD
What?
PR
dw

NATHAN
My glasses?
oa

RICHARD
FO

Your glasses what?

Br

NATHAN
I can’t imagine where I …
T

RICHARD
O

Come on, just squint!

N

(NATHAN goes to him. RICHARD puts his arm around NATHAN,

and puts the document close to his face.)

(They sing slowly in unison:)

47
 RICHARD AND NATHAN
IF YOU WANT TO SEE YOUR SON
THEN YOU’LL FOLLOW EVERY RULE
HE IS SAFELY HERE UNHARMED
AND, SO FAR, WE’VE NOT BEEN CRUEL
GET TEN THOUSAND IN SMALL BILLS

l
AND MAKE SURE THERE’S NO POLICE

sa
THEN DRIVE STRAIGHT TO JACKSON PARK
AND WAIT THERE FOR HIS RELEASE!

ru
RICHARD

Pe
IF YOU WANT TO SEE YOUR SON …

NATHAN
IF YOU WANT TO SEE YOUR SON …

N
g
in

O
RICHARD
MAKE THE NIGHTMARE QUICKLY CEASE —
s

TI
en
NATHAN

C
MAKE THE NIGHTMARE QUICKLY CEASE!
c

RICHARD
U
Li

LEAVE THE CASH IN JACKSON PARK

D
O
ay

NATHAN
LEAVE THE CASH IN JACKSON PARK —
PR
dw

RICHARD
IN A BRAND-NEW BLACK VALISE!
oa

NATHAN
IN A BRAND-NEW BLACK VALISE!
FO
Br

(Music continues.)

RICHARD
T

Perfect so far.
O

NATHAN
N

Perfect so far.

(RICHARD rolls the paper back into the typewriter.)

48
 RICHARD
I wonder what my father would do if I was kidnapped.

NATHAN
He’d pay.

l
RICHARD

sa
Maybe he’d pay.

ru
NATHAN
Of course he’d pay. He’s loaded.

Pe
RICHARD
Maybe.

N
g
NATHAN

in

O
I know my dad would pay to get me back.
s

TI
RICHARD
en
Of course. You’re his precious little Nathan. My father and I don’t have that kind of

C
relationship. He’d only be worried about bad publicity for him.
c

NATHAN
U
Li

(Compassionately.)
D
He wouldn’t let you die.
O
ay

RICHARD
PR

Well, let’s hope I never have to find out.

dw

(He continues to type the final lines as they sing.)

oa

BOTH
IF YOU WANT TO SEE YOUR SON …
FO

BE ALONE WHEN YOU ARRIVE

Br

RICHARD
DO EXACTLY AS WE SAY —
T
O

BOTH
THEN YOU’LL GET HIM BACK ALIVE …
N

YES, YOU’LL GET HIM BACK ALIVE …

(RICHARD removes the note from the typewriter and hands it to

NATHAN to deliver.)

49
 BOTH (CONT’D)
YES, YOU’LL GET HIM BACK ALIVE …

(NATHAN takes the note from him as the lights shift … )

l
sa
ru
Pe

N
g
in

O
s

TI
en

C
c

U
Li

D
O
ay

PR
dw
oa

R
FO
Br

T
O
N

50
 SCENE 11

(Nathan’s and Richard’s houses, the days following the murder. The
sound of static then a radio broadcast is heard in the darkness.)

RADIO NEWSCASTER

l
… reached a record 102 degrees in Cicero.

sa
#16 MY GLASSES/JUST LAY LOW

ru
RADIO NEWSCASTER (CONT’D)

Pe
In local news, last night the disfigured body of what is believed to be a young boy, was
discovered half-dangling from a culvert pipe at Wolf Lake. Police warn the public to stay
out of the woods near that area after dark. In sports, Chicago’s Cubbies once again were

N
beaten by the New York …

g
in

O
(The radio fades out as the lights come up on NATHAN, isolated in a
pool of light, with a candlestick-style telephone. Music pulses.)
s

TI
en
NATHAN

C
(On phone.)
Hello John? May I please speak to your brother? Tell him it’s important. Very important.
c

U
Li

D
(RICHARD is discovered in another pool of light, also with a
candlestick-style telephone.)
O
ay

RICHARD
PR

Hello, Nathan.
dw

NATHAN
Richard, have you seen the Tribune?
oa

R
FO

RICHARD
Br

Yes.

(NATHAN sings.)
T

NATHAN
O

HOW COULD THEY HAVE FOUND THE BOY? I’M SHAKING!

I THOUGHT YOU SAID WE HAD THE PERFECT SPOT!
N

COULD I HAVE DROPPED MY GLASSES THERE?

WHY CAN’T I FIND THEM ANYWHERE?
THEY WERE INSIDE MY POCKET, NOW THEY’RE NOT!

51
 RICHARD
So they found the body. That’s all they have. They can’t even be sure who it is! His face is
gone.

(He sings.)

l
WE’LL LAY LOW A FEW DAYS LONGER

sa
AND YOU’LL SEE, THEY HAVE NO CASE
THIS WILL ALL DIE DOWN EVENTUALLY

ru
THERE’S NOTHING THEY CAN TRACE!

Pe
NATHAN
IF WE WAIT A FEW DAYS LONGER
I DON’T KNOW IF I CAN COPE!
IF WE TURN OURSELVES IN NOW …

N
g
in

O
RICHARD
THEY’LL STICK OUR NECKS INSIDE A ROPE!
s

TI
DON’T EVEN SUGGEST THAT
en
THEY HAVE NO LEADS

C
SO WE’RE STILL FINE!
c

NATHAN
U
Li

BUT, MY GLASSES …
D
O
ay

RICHARD
FORGET YOUR GODDAMNED GLASSES
PR

AND GET OFF THE GODDAMNED LINE!

dw

(They both hang up. The lights change to reflect the passage of time.
Music continues. Another radio broadcast is heard.)
oa

RADIO NEWSCASTER
FO

… following up on yesterday’s gruesome discovery, the mutilated boy has been identified
Br

as Bobby Franks, son of the wealthy Chicago family …

(NATHAN, on the phone, speaks to RICHARD again.)

T
O

NATHAN
They know its Bobby Franks!!! They identified a birthmark on his back. Why didn’t you
N

turn him over?

RICHARD
I forgot, okay?!

52
 (He sings.)

RICHARD
I CAN’T BELIEVE WE LOST TEN THOUSAND DOLLARS
THE RANSOM SCHEME’S A BUST, THE PLANS ARE DEAD!
DON’T SHOW UP AT THE DROP TONIGHT —

l
I’M SURE THAT THEY’LL STAKE OUT THE SITE!

sa
NATHAN

ru
I KNEW IT WOULDN’T WORK
THE WAY YOU SAID!

Pe
AND I’M CONVINCED I MUST HAVE DROPPED
MY GLASSES
I KNOW I HAD THEM ON INSIDE YOUR CAR …

N
g
RICHARD

in

O
I PLANNED THIS ALL OUT PERFECTLY
I NEED YOU TO STAY CALM FOR ME —
s

TI
en
NATHAN

C
— I WISH I COULD REMEMBER
WHERE THEY ARE!
c

U
Li

RICHARD
D
JUST LAY LOW A FEW DAYS LONGER
O
ay

AND YOU’LL SEE THEY’LL HAVE NO CLUES

THERE IS NO NEED TO BE NERVOUS
PR

THERE’S NO WAY WE’RE GONNA LOSE

dw

JUST LISTEN TO ME, BABE!

YOU’RE NOT ALONE!
oa

NATHAN
BUT MY GLASSES …
FO
Br

RICHARD
OH, SCREW YOUR GODDAMNED GLASSES!
AND GET OFF THE GODDAMNED PHONE!
T
O

(They both hang up. The lights change to reflect the passage of time
again. Music continues. Another broadcast.)
N

RADIO NEWSCASTER
… And the Chicago police believe that the pair of eyeglasses found near the scene may
provide answers in the shocking murder of Bobby Franks. In other news …

53
 (NATHAN is discovered in a true panic.)

NATHAN
THE HERALD SAYS THEY FOUND A PAIR OF GLASSES
I THINK THAT IT’S A VERY SCARY SIGN!
THEY GAVE IT SEVEN PARAGRAPHS

l
AND PRINTED LOTS OF PHOTOGRAPHS

sa
THE GLASSES LOOK AN AWFUL LOT LIKE MINE!

ru
(The music stops dead. RICHARD practically drops the phone. Then
he calmly and slowly sings to NATHAN.)

Pe
RICHARD
BUT THEY’RE JUST A PAIR OF GLASSES
NOT THE MURDER WEAPON!

N
g
in

O
NATHAN
TRUE
s

TI
BUT IT MEANS THEY FOUND A LINK TO US …
en

C
RICHARD
NOT TO “US,” BABE, BUT TO YOU!
c

U
Li

NATHAN
D
(Horrified.)
O
ay

Richard!
PR

(Music continues in full tempo.)

dw

RICHARD
JUST LAY LOW A FEW DAYS LONGER
oa

AND THE NEWS WILL FADE AWAY

WE JUST HAVE TO PLAY IT SAFE
FO

NO MATTER WHAT THE PAPERS SAY!

Br

NATHAN RICHARD
I’M CONVINCED I MUST HAVE JUST LAY LOW A FEW DAYS
T

DROPPED MY GLASSES LONGER AND THEIR CASE WILL

O

THERE MUST BE THOUSANDS LOSE ITS STEAM

OUT THERE JUST LIKE MINE THERE’S NO CHOICE YOU
N

BUT I HAD THEM ON MUST BE STRONGER

INSIDE YOUR CAR AND HAVE TO TAKE ONE FOR THE
TEAM!
NOW I DON’T KNOW JUST LAY LOW
WHERE THEY ARE! JUST LAY LOW, JUST LAY LOW

54
 NATHAN (CONT’D) RICHARD (CONT’D)
IT SENDS AN ICY CHILL JUST LAY LOW, JUST LAY LOW
RIGHT DOWN MY SPINE! JUST LAY LOW, JUST LAY LOW!

(RICHARD listens as NATHAN tries not to go to pieces.)

l
NATHAN

sa
THERE MAY HAVE BEEN A WITNESS NEAR THE LAKE …

ru
RICHARD
No …

Pe
NATHAN
WE MIGHT HAVE LEFT A FOOTPRINT IN THE MUD …

N
g
RICHARD

in

O
We didn’t …
s

TI
NATHAN
en
SUPPOSE WE WEREN’T TOO CAREFUL WITH THE BLOOD …

C
RICHARD
c

We were careful …
U
Li

D
NATHAN
O
ay

OR MAYBE MADE SOME OTHER HUGE MISTAKE!

PR

(They put the phones down and sing their internal thoughts.)
dw

NATHAN RICHARD
IT’S ALL STARTING TO JUST LAY LOW A FEW DAYS
oa

UNRAVEL LONGER
AND THEIR CASE WILL TURN TO
FO

CRAP
Br

THE NEXT SOUND WE HEAR THERE’S NO CHOICE. YOU MUST

BE
WILL BE THE STRONGER DON’T YOU FALL INSIDE
T

GAVEL! THEIR TRAP!

O

(They bring the phones back to their ears and sing to each other.)
N

NATHAN AND RICHARD

CAN’T YOU UNDERSTAND THIS SITUATION?

55
 NATHAN
I THINK I UNDERSTAND AND CLEARLY SEE!
THEY FOUND MY GLASSES
AND IT WON’T TAKE LONG
BEFORE THEY FIND ME!

l
RICHARD

sa
JUST LAY LOW!

ru
NATHAN
WE NEED A PLAN “B.”

Pe
RICHARD
JUST LAY LOW!

N
g
NATHAN

in

O
JUST LAY LOW?
s

TI
BOTH
en
JUST LAY LOW!

C
(They both hang up forcefully. Lights change to illuminate the Parole
c

Board room as NATHAN takes his place.)

U
Li

D
O
ay

PR
dw
oa

R
FO
Br

T
O
N

56
 SCENE 12

(The Parole Board hearing room, 1958. NATHAN stands in front of

the Parole Board. Music punctuates the scene.)

PAROLE BOARD ONE

l
All of the books that have been written about you go into considerable detail about the

sa
crime. But there’s not a lot about your police interrogations. Not even in your book.

ru
NATHAN
It didn’t seem important.

Pe
PAROLE BOARD TWO
Not important? I suppose it’s true that the Chicago police in 1924 were not what you
would call the world’s most thorough law-enforcement agency.

N
g
in

O
PAROLE BOARD ONE
Of course, they hadn’t had much experience talking over sordid details like those —
s

TI
en
PAROLE BOARD TWO

C
— With homicidal degenerates …
c

NATHAN
U
Li

(Interrupting.)
D
That’s not how I would characterize it.
O
ay

PAROLE BOARD ONE

PR

Tell us about the police investigation … how you were caught …

dw

NATHAN
After they found the glasses, the police wanted to see me. It was shocking how fast they
oa

found me …
FO

(Lights change … )
Br

T
O
N

57
 SCENE 13

(Nathan’s bedroom, a few days later. NATHAN nervously waits.

Finally RICHARD calmly enters the room.)

RICHARD

l
I got here as soon as I could. Tell me exactly what the cops said.

sa
NATHAN

ru
(Frantic.)
It was all about the frame hinges being rare. How only three people in the state have them.

Pe
My show-off dad wanted me to have the latest thing. The cops traced them through my
optometrist.

RICHARD

N
g
See what having “the best” gets you? And you said what?

in

O
NATHAN
s

TI
I said “oh.” Then they asked if I had lost them. And I said yes.
en

C
RICHARD
You said yes?
c

U
Li

NATHAN
D
I had to.
O
ay

RICHARD
PR

And …
dw

NATHAN
And they’re gonna pick me up tomorrow morning to identify them. If it wasn’t for my
oa

dad’s reputation they wouldn’t be so accommodating. They must’ve wanted me to have

time to get a lawyer.
FO
Br

RICHARD
(Coolly.)
You’ve got a lawyer — you’ve got me. I’ll tell you what to say.
T
O

NATHAN
What can I say? They’ve got my glasses …
N

RICHARD
The fact that they were there doesn’t prove they have anything to do with the kid. You’ll
explain you were with your bird-watching class last Sunday and you must have dropped
them then. It’s a perfectly reasonable explanation.

58
 NATHAN
What if they want to know where I was Wednesday night? My dad knows I wasn’t home.

RICHARD
Nobody can be expected to rattle off exactly what they were doing on an ordinary
weeknight. So don’t offer the cops too much or it’ll sound fake. Just pretend to keep trying

l
to think. Remember, cops are dumber than dirt! And whatever you do, don’t you mention

sa
me.

ru
NATHAN
I’m scared shitless, Richard.

Pe
(Music begins as RICHARD sits NATHAN down.)

RICHARD

N
g
You’re gonna be fine.

in

O
#17 I’M TRYING TO THINK
s

TI
en
RICHARD (CONT’D)

C
I’ll tell you precisely what to say when they stare you down with their big pasty faces …
c

(RICHARD sings while coaching NATHAN.) U

Li

D
RICHARD
O
ay

YES I REMEMBER THE NIGHT —

PR

NATHAN
dw

— THE NIGHT

RICHARD
oa

LAST WEDNESDAY I WENT FOR A DRIVE

FO
Br

NATHAN
— FOR A DRIVE!
T

RICHARD
I STOPPED FOR A CHEAP LITTLE BITE —
O
N

NATHAN
— FOR A BITE

RICHARD
AND PICKED UP SOME GIRL IN SOME DIVE

59
 NATHAN
— AND PICKED UP SOME GIRL IN SOME DIVE!?

RICHARD
YOU’RE TRYING TO THINK!

l
NATHAN

sa
I’M TRYING TO THINK!

ru
RICHARD
THEY’LL WANT THE DETAILS

Pe
NATHAN
YOU WANT THE DETAILS?

N
g
RICHARD

in

O
SHE WORE SOMETHING PINK —
s

TI
NATHAN
en
SHE WORE SOMETHING PINK

C
AND HAD PAINTED NAILS!
c

RICHARD
U
Li

That’s good!
D
O
ay

YOU’RE TRYING TO THINK …

PR

NATHAN
dw

TRYING TO THINK!

RICHARD
oa

TRYING TO THINK!
FO

BOTH
Br

TRYING TO THINK!

NATHAN
T

They’ll wanna know about the girl.

O

RICHARD
N

Okay … okay … let me think …

(He sings.)

NO, I DON’T REMEMBER HER FACE —

60
 NATHAN
— I DON’T REMEMBER HER FACE!

RICHARD
AND SHE NEVER TOLD ME HER NAME!

l
NATHAN

sa
— SHE NEVER TOLD ME HER NAME

ru
RICHARD
I WISH I COULD HELP WITH THIS CASE —

Pe
NATHAN
— I WISH I COULD HELP WITH THIS CASE!

N
g
BOTH

in

O
BUT ALL OF THOSE GIRLS ARE THE SAME!
s

TI
NATHAN
en
I’M TRYING TO THINK!

C
RICHARD
c

KEEP TRYING TO THINK!

U
Li

AND DON’T ACT LIKE YOU’RE HOLDING SOMETHING BACK

D
YOU DON’T HAVE ANYTHING TO HIDE
O
ay

YOU’RE NOT GONNA CRACK!

PR

Now, the most important part, the cop’ll probably say —

dw

WERE YOU ALONE WITH THE GIRL? —

oa

NATHAN
— WE WERE ALONE, SHE AND I
FO
Br

RICHARD
YOU’RE NOT ONE TO LIE OR PRETEND? —
T

NATHAN
O

— I’M NOT ONE TO LIE OR PRETEND!

N

RICHARD.
SO IS SHE YOUR SOLE ALIBI? —

NATHAN
— I GUESS SHE’S MY SOLE ALIBI!

61
 BOTH
THE WRONG TYPE ON WHICH TO DEPEND!
BUT A GIRL THERE’S NO NEED TO DEFEND!

RICHARD
KEEP TRYING TO THINK!

l
sa
(NATHAN starts to lose his concentration. RICHARD tries to
remain patient.)

ru
NATHAN

Pe
I REMEMBER … THE NIGHT?

RICHARD
KEEP TRYING TO THINK!

N
g
in

O
NATHAN
DON’T REMEMBER … HER NAME?
s

TI
en
RICHARD

C
KEEP TRYING TO THINK!
c

NATHAN
U
Li

NO, WE WERE … ALONE?

D
O
ay

BOTH
KEEP TRYING TO THINK!
PR
dw

NATHAN
KEEP TRYING TO THINK …
oa

(Music continues.)
FO

Are you sure that I can do this?

Br

RICHARD
Yes. Remember Nietzsche. You’re superior to them all.
T
O

(RICHARD starts to leave. NATHAN attempts to stop him.)

N

NATHAN
I wish you could be there with me.

(RICHARD tries to be as tender to him as possible.)

62
 RICHARD
I can’t be connected to it. You’ll be okay, Babe. You’ll convince them. And meet me at
Jackson Park when you’re through.

(RICHARD exits. NATHAN nervously sings as a lighting transition

suggests he is being questioned by the police under a harsh

l
interrogation light.)

sa
NATHAN

ru
I REMEMBER THE NIGHT!
DON’T REMEMBER HER NAME!

Pe
NO, WE WERE ALONE!
I’M TRYING TO THINK …
I’M TRYING TO THINK!

N
g
(Lights change. NATHAN speaks to the Parole Board.)

in

O
The next morning at the police station was the most … I’d never gone through anything
s

TI
like it before … But I got through it and needed to be with Richard more than ever …
en

C
(Lights shift … )
c

U
Li

D
O
ay

PR
dw
oa

R
FO
Br

T
O
N

63
 SCENE 14

(Jackson Park, the next afternoon. NATHAN, who is now much more
relaxed, waits in the park. RICHARD arrives, barely hiding his
nervousness. He approaches NATHAN.)

l
RICHARD

sa
How did it go?

ru
NATHAN
I had to come up with a version of the whole thing to tell my dad first. He wanted to know
everything.

Pe
RICHARD
Did anyone follow you here?

N
g
in

O
NATHAN
I don’t think so.
s

TI
en
RICHARD

C
Tell me about the police.
c

NATHAN
U
Li

I did exactly what you said. You were right. They believed me.
D
O
RICHARD
ay

Or they just wanted you to think they did.

PR
dw

NATHAN
That’s crazy. They let me go.
oa

RICHARD
You didn’t mention my name at all, did you?
FO
Br

NATHAN
It never came up. I told them I dropped the glasses when I was birdwatching.
T

(RICHARD anxiously looks around behind him.)

O

RICHARD
N

And you’re sure they aren’t trailing you?

NATHAN
Yes! Aren’t you proud of me?

64
 RICHARD
Yeah, sure I’m proud of you.

(NATHAN moves to touch him, RICHARD snaps. Enraged:)

Jesus! You and those stupid glasses! You ruined the whole thing, Nathan. You are not

l
superior!

sa
NATHAN

ru
(Shocked.)
What do you mean? Yesterday, I thought everything was fine. Yesterday you were helping

Pe
me …

RICHARD
I had to protect myself. But, the police aren’t gonna let up on you. I can’t get into trouble,

N
g
Nathan.

in

O
NATHAN
s

TI
The papers say they’re checking several leads.
en

C
(RICHARD, getting more and more angry and scared, grabs
NATHAN by the collar and shakes him.)
c

U
Li

RICHARD
D
Goddamn it, that’s just cop bullshit. They have nothing except for your “fancy-rich-kid’s-
O
gotta-have-special-glasses” — five feet from the body! Your story’ll only keep them off for
ay

a few days at most.

PR
dw

(He lets him go.)

NATHAN
oa

(Frightened.)
If they suspected me I would be in jail this second.
FO
Br

RICHARD
Did they give you your glasses back?
T

NATHAN
O

No … they said they needed them.

N

RICHARD
Then they still think they’re evidence! You are so stupid! And not only because of the
glasses, you must not have shoved the kid far enough up the pipe or he never would have
been found!

65
 NATHAN
(Exasperated.)
I did exactly what you told me to do!

RICHARD
You couldn’t have!

l
sa
(NATHAN desperately tries to calm him.)

ru
NATHAN
There’s nothing to worry about. Now let’s go back to my house.

Pe
RICHARD
I’m not going to be within a million miles of you ever again.

N
g
NATHAN

in

O
What are you talking about? What about our contract?
s

TI
RICHARD
en
(Furious.)

C
I couldn’t have foreseen anything like this, Nathan. And I’m not going to have my law
career ruined because of you. The cops are gonna start watching every move you make.
c

U
Li

NATHAN
D
No they won’t!
O
ay

RICHARD
PR

(Finally screaming.)
dw

I can’t take that chance. I didn’t drop my glasses.

(Richard pushes him violently to the ground and turns to leave.

oa

Nathan yells to stop him.)

FO

NATHAN
Br

Richard!

(RICHARD turns back to him.)

T
O

I’ll go to the police!

N

RICHARD
(Mocking him.)
Right. You’ll “go to the police.”

(He starts to leave.)

66
 RICHARD (CONT’D)
I’m leaving and I’m never coming back.

NATHAN
How could you do this to me?

l
(RICHARD clenches his fist and moves in for a final threat, causing

sa
NATHAN to recoil in fear.)

ru
RICHARD
Fucking idiot.

Pe
(RICHARD exits. Music begins. NATHAN gets up, brushes
himself off, and sings.)

N
g
#18 REPRISE: WAY TOO FAR
in

O
NATHAN
s

TI
HOW DID IT COME TO THIS?
en
IS SOMETHING WRONG INSIDE ME?

C
HOW DID IT COME TO THIS?
c

IT’S IMPOSSIBLE TO RUN AWAY

OR LET MY CONSCIENCE GUIDE ME U
Li

D
(Lights change. NATHAN faces the Parole Board.)
O
ay

I was serious. I went straight to the cops. I knew Richard would think I was a lowlife, a
PR

snitch … a rat. But I didn’t care. The next time I saw him was at the police station. I sat
dw

there watching as they led him into the holding room with me …

(Lights shift … )
oa

R
FO
Br

T
O
N

67
HERE!
 Br
oa
N dw
O
T ay
FO Li
R c en
PR s in
O g
D Pe
U ru
C sa
TI
O l
N
 THRILL ME
THE LEOPOLD & LOEB STORY

l
sa
ru
Pe
BOOK, MUSIC & LYRICS BY

N
g
STEPHEN DOLGINOFF
in

O
s

TI
en

C
c

U
Li

D
O
ay

PR
dw
oa

SCORE SAMPLE
FO
Br

T
O
N

06/16/21
 Br
oa
N dw
O
T ay
FO Li
R c en
PR s in
O g
D Pe
U ru
C sa
TI
O l
N
 3

2 Why
Music and Lyrics by Stephen Dolginoff
UNDERSCORE Cue: NATHAN: What is it you want?

h»¶¢
b b
Ballad (Flow in 2) Nathan

& b b C .. ∑ Ó Œ‰ j .. Ó Ó Œ
1

œ œ œœ œœ œ œ
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PAROLE: What you've never told us,

l
I'm sor - ry if I stum - ble... though I'm
œœœ ˙˙˙
we want to know why.

b b

sa
& b b C .. Œ .. Œ
NATHAN: Why....

Œ ‰ j ‰
œœœ J
p œœ˙ œœ˙ œœ ˙ œœœ œœœ ˙˙˙

ru
? b b C .. ‰ œj ˙ . ‰ œj ˙ . .. ‰ œj ˙ . ‰ j˙. ‰ j˙ .
(Vamp/ad-lib) Fm in Fm in Cm in

b b

Pe
w
(8vb sustain notes)
w w wœ wœ
b
& b bb œ

N
Œ Œ œ ˙. œœ œ œ œ Œ œ œ

g
6

œ œ œ œ
in

O
tense. I'll try to give you what you're af - ter, tell you
s

TI
b
& b bb Œ Œ Œ Œ
en

œ ˙ œœ ˙˙
œœ˙ œœ ˙ œ œœ ˙˙

C
b b œœ ˙
c

j
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j
wœ ˙
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j
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œ
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b w
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w
b
& b bb ˙ Œ ‰ j ˙
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ay

œ œ ˙
PR
dw

more. I went a - long with Rich - ard. That's the rea - son

b j
& b bb Œ œœ œœ œœ œœ œœ œœ œœ ..
j
œœœ ˙˙˙ n œœœ ... œœœ ˙˙˙ Œ œ œœ
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? b b b ‰ œj ˙ . ‰ œj ˙ . ‰ œj ˙ . ‰ œj ˙ .
Cm 9
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Cm in Fm in Cm in
Fm in Fm in

b w
Br

w w w
b œ . œj œ
& b bb ˙ œ
T

œ. J œ œ œ œ œ ‰
14

œ ˙ œ œ œ
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why they put me here in nine - teen twen - ty four. It was a

b b b œ . œj
N

& b œœ œœ Œ Œ Œ
n œœ .. œœ œ œ n œœ
œ œœ ˙˙ œ ˙˙˙ œ œœœ ˙˙˙
b b
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B Fm in B Fm in

b œ œ .
œ œ w . w
w © 2005 - Stephen Dolginoff
œ œ œ
 4

b b œ œ œ œ œ nœ œ œ œ œ œ œ nœ œ œ œ
&b b œ œ
18

œ
chi - ld who killed a chi - ld back then. An old man still pays for that

b b
&b b Œ nœ œ .. j nœ
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b b j
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b œ .

l
œ œ ˙ œ œ œ œ ˙

sa
w œ.

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b b Œ œ œ œ œ
&b b ˙ Œ Œ
21

œ œ œ œ œ œ œ œ ˙

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crime. And I ask to be set free now. Won't you try to

b
& b bb ‰ œ œœ ˙˙ Œ Œ j œ

N
œ œœ ˙˙ œœœ ...
œ œ œ œœ
g
œ P œ œ
b in

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? bb b ‰ œj ˙ . ‰ œj œ . j
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b ˙.
s

TI
œ w w
en

C
b œ . œj œ ˙
& b bb ˙ œ œ œ œ œ œ œ Œ œ œ
25
c

U ˙
Li

D
see that no one would be hurt af - ter all this time? As I've

b
O

& b bb
ay

œœœ œ œœœ ˙˙˙ œœ œ œœ œœ œœœ n œ œ œ œœ œœ œ

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PR

œ œ
dw

b b b j
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œ ˙ ˙ .
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b ˙. œ œ ˙ w œ œ
˙˙ . œ
oa

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FO

b U U A TEMPO
Br

b
&b b œ œ œ œœ œ w Ó Œ
29

œ œ œ œ œ œ œ
T

U
said so of - ten be - fore! But you've asked a sim - ple

b
& b bb œ œœœ œ œœœœ ˙˙˙˙ Œ
O

œ n œœ œ œ œœœ ˙˙˙ n
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N

b F f
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cresc.

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b œ. œ œ . œ œ . w
œ œ. œ œ œ œ œ. œ
u̇
 5

b b ˙ ˙. ‰ œj œ œ
&b b œ
33

˙ œ œ ˙ ˙ œ
ques - tion and I've told you why. It was - n't on a

b b
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j
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l
b b œ œœœœ
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sa
w œ w œ
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b b
&b b ˙ ‰œ œ œ ‰ j Œ
37

˙. œ œ œ œ œ œ œ œ œ œ œ

Pe
dare or on a whim. It's hard to comp - re - hend now that the

b
& b bb Œ ‰

N
g
œœœ œœœ œœœ œ œ œœœ œœœ œ œ œ
in œ œ œ œœœ œœœ œœœ œœ œ œ œœ œœ œœ
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O
b j
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s

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b ˙ œ ˙.
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en

bbbb
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c

&
41

˙ ˙ ˙. œœ œ U œ
Rubato
œ œ œ œ
Li

D
O
rea - son why is simp - ly that I went a - long with
ay

b
& b bb Œ œœ œœ œœ ˙
n ˙˙˙ ˙˙
PR

œ œ œ œœ œ œœ œ œ
œœ œ œœœ œœœ œœœ ˙
dw

b b b
? b b ‰ œj ˙ . ‰ œj œ . j ‰ j j
w œ œ.
Fm in E Fm in B E

b b w œ œ œ ˙
w œ ˙
oa

˙ ˙
FO
Br

bbbb ∑ ∑ ∑ ∑
45 A Tempo ( UNDERSCORE MONOLOGUE )

& w
T

ggg ˙˙˙
him. NATHAN: Richard and I were very close from the beginning.

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& b bb ‰ œ œ
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‰ gg œ g
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b ˙. ˙. w w
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 8

3 Everybody Wants Richard

Music and Lyrics by Stephen Dolginoff

Underscore Cue: RICHARD: The others aren't so fucking annoying!

Driving and Bright q»¡§∞

#
& 44 ..
Nathan

∑ ∑ .. Ó œ œ œ
1

œ œ œ

l
sa
Song Cue: RICHARD: We have something different? Tell me, who can you have

ru
& 44 .. ∑ ∑ .. ∑ ∑
B E m in

p P

Pe
(Vamp)

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4 œ
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J J J J

g
in

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s

TI
œ œ œ œ œ œ œ œ
5

& œ œ œ œ œ œ œ
en

C
con - ver - sa - tions with? Share your twist - ed ob - ser - va - tions with? Who else has a

#
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& ∑
D
∑ U ∑
E m in
∑
Li

D
? # œœ œ œ œ œ œ œœ œ œœ œ œ œœ œ œ œœ œ œœ œ œ œœ œ œ œœ œœ œ œ œœ œ œ œœ œ
O
ay

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PR

J J J J
dw

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‰ jœ Œ ‰ œj œ œ œ œ œ
9

& œ œ
oa

˙ #œ ˙
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Br

rough - ly sim - i - lar view, if not me? You've played a - round with

#
∑ ∑ ∑ ∑
A B E m in

&
>
T

#œ œ œ #œ œ
? # œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œœ œ œ œœ œ œ œœ œ
poco accel.
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J œ. œ œ œ œ. œ œ œ J
N

J J

© 2005 - Stephen Dolginoff

 9

# œ œ œ œ œ j j
œ œ œ œ œj œ œ œ œ
13

& J œ œ œ œ œ œ œ œ
lots of los - ers who end - ed up as cheats and us - ers, but who's been on the

#
∑ ∑ ∑ ∑
D E m in

&

? # œœ œ œ œ œ œ œœ œ œœ œ œ œœ œ œ œœ œ œœ œ œ œœ œ œ œœ œœ œ œ œœ œ œ œœ œ

l
sa
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J J J J

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17

& œ œ œ œ

Pe
˙ #œ ˙
side - lines wait - ing for you, if not me? Oh, I've come to

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g
∑ ∑ ∑ Œ œ ‰
A B E m in D

& œœ j
in

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s

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en

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21

& œ œ œ œ œ œ œ
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find ev - 'ry - bod - y wants Rich - ard. But they don't

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E m in A E m in D

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oa

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Br

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bœ œ œ œ œ œ Œ ˙ Œ
25

& œ œ
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˙
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know your mind the way that I do. I see straight

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&
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œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ
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 10

# ˙ Ó Œ œ Œ œ Œ Œ œ
29

& œ œ œ œ œ œ œ
through an - y - one who needs Rich - ard. They make me

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œ œœ # œœ œœ œ ‰ œœj ‰ œœj œ œ œ œœ œ ‰ œ j
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E m in A E m in E m in D

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# œ Œ ‰ œj œ œ œ œ œ œ. œ œ #œ œ œ œ œ œ
33

& J œ

Pe
sick. They're good for just a kick, they won't stick the way that I

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rit..

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Ó Ó Œ œ œ œ œ œ œ œ œ œ Œ œ œ œ Œ Ó
37 RICHARD: Have you got a light? A TEMPO
&
D
˙
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ay

do. When you cut off all our con - tact, how it hurt!

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∑ ∑ ∑
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42

& œ œ œ œ œ œ œ œ œ
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But I know you like to make me feel like dirt.

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∑ ∑ ∑ ∑
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B E m in A

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J J œ. œ œ œ
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 17

5 Nothing Like A Fire

Music and Lyrics by Stephen Dolginoff
UNDERSCORE CUE: RICHARD: Relax Nathan.

Romantic Ballad (Flow in 2) h»§™

1
# C ∑ ∑ .. ∑ ∑ .. .. ∑ Ó
Richard
Œ œ
&

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NATHAN: It's something...ETC... (UNDERSCORE DIALOGUE/AD LIB)

sa
(Cue for song intro bar 5:

gggwww ggg www ‰ œ œœ

RICHARD:....Fuck you back! There's

#
NATHAN: Please touch me.)

.. gg w ‰ j .. ..gg w ‰
(occasional)

& C Œ ‰ j Œ Œ j Œ œ ˙˙
œœ œœ œœ œ ˙ vg œœ œœ œœ œ ˙ vg œœ œœ œœ œ

ru
œ œ œ
j j j j j
? # C ‰œœ œ œ œ œ œ ˙ .. ‰ œjœ œ œ œ œ œ . œ .. .. ‰ œ œ œ œœ œœ ˙
(Vamp)

Pe
w ˙. œ w ˙. œ w ˙. œ
#

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j

g
j Ó Œœ œ œ œ œ œ œ
7

& œ œ œ œ œ œ. œ œ œ œ. œ ˙ œ œ œ œ
in

O
s
no-thinglike a warm, ro-man-tic fi - re. To put me in the prop-er frame of

TI
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en

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j j œ j j˙ œ
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13

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mind. There's no - thing like a roar - ing, rag - ing

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& # œœ œœ œ # œœ .. œj ˙ œœ œœ œ œœœ œœœ œ œ œ
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Br

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17

Œ œ œ œœ Ó Œ œ
A little brighter (but not faster)
T

& ˙ ˙ œ w œ œ œ œ œ
O

fi - re to help me un - wind. There's no - thing like the

#
N

& j Ó Œœ ˙ œœœ œœ œœ
œ . œ œœ .. # œ œ
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A D G

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w ˙ Jœ œ ˙
˙ œ. J œ œ. œ
© 2005 - Stephen Dolginoff
 18
22
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& œ. œ œ œ. œ ˙ œ œ. œ œ
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sound of crack - ling em - bers to calm me when my

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26
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pulse be - gins to race. There's no - thing like the

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glow of sizz - 'ling em - bers to bright - en your face.
O

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& œ œ œ œ œ œ œ œ œœ œ œ œ œ œ # œ # ˙˙˙ Œ œœ œœ œ œœ œ
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NATHAN: ...the fire brigade RICHARD: You're the lookout, tell me

# j j
could be here any minute. if you see anything big and red coming!

∑ .. ∑ ∑ .. œ
34

& œ œ œ œ œ
T

(Fill Last time only:)

O

(UNDERSCORE DIALOGUE)

œœœœ
Feel the heat in - ten -

# .. œœ œ œœ œœ (‰ œ œœ ).. œœœ œ œœ œ œœœ

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& œ œ ˙ œ œ œ œ œ œ œ œ ˙
si - fy, watch the sparks be - gin to fly. Watch the smoke fill

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& œ œ œ œ œ œ ggg œœœ œ œ œœœ œ œ œ gœ œ œ
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Richard
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42

& œ
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up the sky. Straight to the stars! There's
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in

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Straight to the stars!
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no - thing like the sight of some - thing burn - ing to

& Ó Ó ∑ Ó Œ œ
46
Br

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Some - thing burn - ing
T

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 37

10 Thrill Me
Music and Lyrics by Stephen Dolginoff

UNDERSCORE CUE: RICHARD: Let's look at all this junk.

©»
b b 4
Slow and Free (Rubato)

& b b 4 .. ..
90

∑ ∑
1

l
sa
U
CUE TO GO TO BAR 3:

U
UNDERSCORE (Very slow and free, 8va, etc)
RICHARD: A Bunch of Gold

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Coins....

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(vamp)

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nœ ˙ œ. ..
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nœ œ bœ
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b
Up Tempo (and forceful)

& b bb
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165

∑ ∑ ∑ ∑
3

C
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RICHARD: ... And a big stamp collection ... I think the combination is ....
U John's Birthday.
Li

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D
p œ œ œ œ
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ay

j j
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Nathan
FO

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7

& œ. J J œ. œ œœ œ œ
Br

˙
Don't bore me with de - tails. They'll ne - ver im - press me.

b
& b b b œœ œ œœ œ œœ œœ œ œœ
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F m in E D Csus 4

b œ. J œ œ. J œ . œ œ
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© 2005 - Stephen Dolginoff
 38

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& b b œ. œ œ œ œj œ . œ œ Œ j œ Œ
11

J J J œ. œ œœ œ ˙
Start pay - ing at - ten - tion, don't try to fin - esse me.

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Thrill me. Thrill me.
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19
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RICHARD: Thrill yourself. Don't for - get what you prom - ised on pa -

b
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per. What you'd do when we fin - ished a cap - er. Ev - 'ry

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b œ œ œ œ œ. œ œ œ
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 39

b b
3 3

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24

œ œ œ œ œ œ œ œ œ œ œ
time I de - mand what's re - qui - red, you com - plain that you're simp - ly too

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b b

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27

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ti - red. Thrill me! Don't toy with dis - trac - tions. Why fuel my frus -

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a - tion? Thrill me!

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 113

21 Life Plus 99 Years

Music and Lyrics by Stephen Dolginoff
CUE FOR UNDERSCORE: NATHAN: I'm a Superior Human Being. RICHARD:What?

NATHAN: I'm superior to you. After all, I stayed one step ahead of you.

©» 125
RICHARD:What do you mean "ahead"? You followed me … all the way here.
Slow NATHAN:Is that what you think? It's funny how the whole world keeps saying the murder had no reason.

3
& b 4 .. ∑ ∑ ∑ ∑ ..
1 Because it did have a reason. For me to have you all to myself. Even in prison. You know that's what I've always wanted.

l
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RICHARD:But, you dropped your glasses … otherwise we never would have …
NATHAN: Don't you get it? I dropped them on purpose.

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RICHARD: You wanted to get caught?!

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CUE FOR SONG: NATHAN Yes.

©»180
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You thought that you used me.
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fused me. So I did what was - n't ex - pect - ed you

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˙ ˙ ˙ ˙ ˙ ˙.
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© 2005 - Stephen Dolginoff
 114

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nev - er sus - pect - ed and now, we'll be to - ge - ther for

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life plus nine - ty nine years! I'll keep you fo - cused.

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 115

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nine - ty nine years! Life plus nine - ty nine years!

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RICHARD: But…I talked you out of your deal.

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NATHAN: Exactly like I knew you would.

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52 Richard
RICHARD:What if we got the death penalty?

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NATHAN: As long as we were together.

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RICHARD:This is crazy.
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NATHAN: Am I scaring you?

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RICHARD: You son of a bitch …

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 116

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though I ad - mit I be - lieve you I swear that I'll leave you a - gain.
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No, we'll be to - geth - er for life plus nine - ty - nine
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life plus nine - ty - nine years.

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