Follow your winding road as it turns with the riverbend. Follow your winding road, follow it all the way to the end see how the river twists and turns on its long, long way back to the sea so on your winding road, you may not know the way, but you'll get back where you ought to be. Follow your winding road over the top of the mountain so steep follow your winding road down through the valley, so dark and so deep there'll come a day not long from now when you will lay down your wearisome load just as the river flows to the sea, you will come to the end of your winding road.

Here's the setup: John Conti, aging rock star with one big hit to his name from twenty years ago, is in New Orleans for a two-week acoustic gig at a club in the French Quarter. He has found a bed and breakfast in the garden district, with a strange spooky landlady, Mrs. Gage, and balcony doors that don't open from his 2nd floor room. Before going to soundcheck at the club he drops his suitcase off at the room, pulls out a flask, drinks from it. Music begins, and he sings: Mister One-Hit Wonder hit a homer first time at bat Mister One-Hit Wonder coasted for a long time on that We're in the bottom of the ninth. there's two men out and two men on, and Mister One-Hit Wonder wonders if his hitting days are gone. (He grabs his guitar, comes down the stairs.) Mister one-hit wonder had a marriage for a little while Mister one-hit wonder's eye was wandering even while he walked down the aisle. And since that day he's seen a lot of lovely women in and out of his revolving door But mister one-hit wonder gives them one hit, and leaves 'em when they ask for more. (As he sings, the Gage House disappears behind him.) A whole lot of spins on the radio, A whole lot of spins 'round the sun He thought he had picked the right way to go, thought he did all that had to be done 'cause he's a hit single, not a family man. No time for a family, they would not understand. He's riding the long, long tail of his fame and the darkening skies that once lit up his name are now showing the shadows in corners that he'd rather not look into at all. (Another sip from his flask as he crosses to... Delgado’s. A club in the French Quarter. Late Afternoon.) Mister One-Hit Wonder takes a hit of courage from his little flask. Mister One-Hit Wonder doesn't much like the face there behind the mask, 'cause when he looks he sees an aging Peter Pan who never ever had a Tinker Bell. And Mister One-Hit Wonder wonders if he's on the road to hell. (He heads to the small stage with one microphone on a stand - begins to unpack his guitar.) But for now he's passing through here, and he's got a job to do here, and he's got that one hit song to sell. (and he begins his sound check.)

The third song (as it stands right now) in BEAUTIFUL POISON is called "Rumor Has It." It takes place after Conti's brief, halfhearted sound check at Delgado's club in New Orleans. He has a dispiriting conversation with Delgado, the proprietor, ("You wouldn’t be playing this toilet if the arenas were still calling. And it’s my toilet, so I can call it that") and then picks up a good-looking, sexy redhead he's been eyeing at the end of the bar. They walk out into the gathering night of the French Quarter, and her conversation turns to things spooky and scary - and as their mating dance plays out toward its seemingly-inevitable conclusion of a hot 'n' raunchy night back at his room, she sings to him: rumor has it you're a man who's at a crossroads rumor has it I'm the gal at the crossroads saloon (as he sips from his flask) and I bet you can find your way down to the bottom of that little bottle but you might get all turned around on these curvy, curvy city streets pretty soon. 'cause there's danger everywhere you look (Three lascivious-looking passersby sing "Watch out, boy") there are tourist traps that terrorize with tales of the undead, yeah, there's danger everywhere you look ("Watch out, boy...") so you best let little ol' me escort you back to your bed. (making their way back to his room - street set backs away, Mrs. Gage's place slides in...) rumor has it you know how to treat a lady rumor has it you know how to treat a lady right and the rumor is long as your lady's not looking to tie you down ('less you like it like that) then you will be sure to protect her from things that go bump in the night... (by this point they are in his bedroom, getting hot and heavy) 'cause there's danger everywhere you look vampires and voodoo, they send a shiver down your spine, yeah, there's danger everywhere you look so keep your eyes on me, tonight you're mine. (and at that moment, an otherworldly woman's voice comes from the downstairs garden next door, behind the shutters. Conti stops in his tracks, and the Redhead's seduction is derailed.)

Spring turns to summer and fall. Seasons go by on this side of the wall. Fall turns to winter and spring, and I ache to touch even one living thing. And I will remain as the seasons go by. New buds will blossom and bloom and then slowly die. Over and over the seasons change and I will remain. And yet I dream, what I would do if I were free: the things I'd see, and never mind the danger, never mind the pain. I fly, and in my dream I'm light as air, and I don't care what grief may come to be, what matters is I'm free. And for a moment these walls disappear then I wake and I see I'm still here. And I will remain as the seasons go by, new buds will blossom and bloom and then slowly die. Over and over the seasons change and I will remain.

ERIC (a cappella) YOU’RE THE ONLY GIRL IN THE WORLD FOR ME... (Fearing what he assumes to be the unwelcome intrusion of a fan, Conti sinks lower in his chair.) ERIC Conti? CONTI Eric? What the hell--?! (and Eric, seizing the moment and the zydeco sounds of the nearby busking musicians, launches into a number mocking his old friend:) ERIC Well, the word on the street is my buddy from college has made his way to the city that I call home and the word on the street, to the best of my knowledge, is someone else musta booked the superdome. 'cause look at the flyer (holds it up) - he's playing some bar! Whatcha gonna do, pass 'round the tip jar? How the mighty have fallen, and they've fallen so far, but I'm hopin' that you'll land on your feet. It's been a long time since I've seen my old buddy, so I'm giving you a hard time, and that's the word on the street. (probably an embrace, the straight guy awkward back-slapping thing as they hug with one arm) (So they awkwardly catch up - Eric is unwilling to have a 9 AM drink with Conti - he's a grownup now, unlike some people. Oh yeah? Growing up is overrated - it's on my bucket list. So what are you doing now? I'm a doctor. They let you be a doctor?) (Eric shows him a business card. Conti starts singing back to him) CONTI Word on the street: my old buddy's a physician M.D., Ph.D., B.F.D., he's all grown up, but I'll make it my mission to make my old buddy have a little drink with me. 'cause look at yourself! You're wearing slacks and a tie! what happened to that fun-loving, partying guy, who would never let the good times roll on by, put the pager down and grab yourself a seat! It's been a long time since I've seen my old buddy, let's raise a glass to old times, that's the word on the street. (Dialog about: All right. Anyone tell you you're a bad influence? Yeah, everybody. Cheers. Clink. So how's it going for you? Well, I'm staying in this B&B next door to these Rappaccini people - you know anything about them?) (The Rappaccinis?) (a hush falls over the passersby and the band...) ERIC: Word on the street, man, you gotta steer clear there lotta bad ju-ju in that old man's place Word on the street: you better not go near there, (Conti smiles) so wipe that knowing grin off your smug little face. Messing with stuff you don't wanna know, trying to go places you don't wanna go, Why do I get the feeling that you're gonna igno' alla this and jump in with both feet? You haven't changed a bit in twenty years, you old rascal, staying at the bars until they're calling out the last call, I'm always Beaver Cleaver and you're always Eddie Haskell don't go looking for trouble, boy. That's the word on the street.

MRS. GAGE (sings: LET IT BE) LEAVE THE SKELETONS ON THEIR HANGERS IN THE CLOSET, LET ‘EM STAY IF THERE’S A NEEDLE IN THE HAYSTACK LEAVE IT THERE AMONG THE HAY IF THERE’S SLEEPING DOGS A-NAPPIN’ YOU JUST LEAVE ‘EM WHERE THEY LAY LET IT BE LET IT BE LET IT BE FOR THINGS THAT GO BUMP IN THE NIGHT YOU BEST JUST CLOSE YOUR EYES TIL’ DAWN MAKE SURE PANDORA’S BOX’S LID IS TRULY, TIGHTLY ON LIKE PAUL MCCARTNEY TOLD US WITH A LITTLE HELP FROM JOHN LET IT BE LET IT BE LET IT BE CONTI I saw a bouquet of flowers die in her hands. What would you call that? MRS. GAGE I’d call that odd. But flowers die. Look at my geraniums. CONTI Fresh cut flowers. I’m not making this up. MRS. GAGE (sings) I’M NOT MAKING THIS UP EITHER, JOHN CURIOSITY KILLED THE CAT AND IT JUST MIGHT KILL YOU TOO MY FRIEND I WOULD BET MY LIFE ON THAT IT DOESN’T MATTER HOW RIGHT IT FEELS TO YOU I’M TELLING YOU IT’S JUST PLAIN WRONG SOME PEOPLE SWEEP THINGS UNDER THE RUG BECAUSE THAT’S WHERE THEY BELONG CONTI You have to know there’s something not right happening over there. She looks at the moon like it’s the sun. MRS. GAGE Leave it alone. CONTI C’mon! MRS. GAGE You’re a stranger here, John. Act like one. (sings) WHEN YOU GO OUT TO THE ZOO THEY KEEP THE SNAKES BEHIND THE GLASS THERE ARE REASONS WHY THEY MAKE THOSE SIGNS THAT SAY KEEP OFF THE GRASS SO CONTI QUIT YOUR DIGGING DON’T YOU MAKE ME KICK YOUR ASS YOU’LL BE SORRY IF YOU DO, I GUARANTEE LET IT BE LET IT BE LET IT BE

YOU’RE THE ONLY GIRL IN THE WORLD...FOR ME YOU’RE THE ONLY GIRL IN THE WORLD...FOR ME ALL MY DAYS AND ALL MY NIGHTS I THOUGHT I'D ALWAYS BE ALONE OH YOU COULD ALWAYS FIND ME STANDING ON THE SIDELINES AND APART YEAH I LED A LONELY LIFE AND LONELINESS WAS ALL I'D EVER KNOWN OH I BEEN SURE THAT THERE IS NOBODY WHO'S GETTIN' NEAR MY HEART I KNEW IT WOULDN'T HAPPEN BUT I PRAYED THAT I WAS WRONG I WAS HOPING FOR A MIRACLE, MIRACLE AND THEN YOU CAME ALONG... AND NOW, I I'M DREAMING OF YOU EVERY NIGHT AND I SEE YOUR FACE WHEN I TURN OUT THE LIGHT YEAH IT'S YOU YOU'RE THE ONLY ONE I SEE IT'S YOU YOU’RE THE ONLY GIRL IN THE WORLD...FOR ME YOU'RE THE ONE WHO CAN RELEASE ME FROM A SOLITARY FATE YOU'RE THE ONE WHO TRULY SEES ME COME ON NOW, DON'T MAKE ME WAIT BECAUSE, I OH I'M DREAMING OF YOU EVERY NIGHT AND I SEE YOUR FACE WHEN I TURN OUT THE LIGHT YEAH IT'S YOU YOU'RE THE ONLY ONE I SEE IT'S YOU YOU’RE THE ONLY GIRL IN THE WORLD...FOR ME

Here's the lyrics to the most recent version (Book portions by Duane Poole, lyrics by me and Valerie Vigoda): BEATRICE Why do you suppose so many of his women die for love? Ophelia -- she went mad for the love of Hamlet and was drowned. Desdemona, Juliet. Cleopatra wanted it more than her entire kingdom. Is it really worth dying for? CONTI I’m maybe not the best person to ask. (beat) Why did you leave your garden tonight? BEATRICE (sings: FOR THE FIRST TIME IN A LONG TIME) I WALK IN SIMPLE CIRCLES ROUND AND ROUND I PACE THE GROUND THE PATH I’VE TREAD BEFORE A THOUSAND TIMES OR MORE BUT SOFT WHAT LIGHT THROUGH YONDER WINDOW BREAKS? MY HEART AWAKES AND STRANGER, THERE YOU ARE PLAYING YOUR GUITAR I’VE BEEN HIDING IN LEAVES AND BRANCHES I’VE BEEN PEERING FROM DEEP IN THE SHADOWS I’VE BEEN LOCKED AWAY SO LONG I DON’T KNOW HOW TO BEGIN BUT WHEN UPSIDE-DOWN ROMEO CALLED DOWN TO ME FROM HIS BALCONY FOR THE FIRST TIME IN A LONG TIME I OPENED THE DOOR TO THE OUTSIDE AND LET SOME IN (speaks) My turn to ask. Why did you follow me from the club? CONTI Does it have to include references to Shakespeare? BEATRICE (a smile) It would be nice if it did. CONTI Okay. Um... (sings) “IF MUSIC BE THE FOOD OF LOVE PLAY ON” AND ONCE UPON A TIME I KNEW THE REST MY MEMORY’S NOT THE BEST YOU SEE I’VE BEEN SO LAZY FOR SO LONG I SING MY SONG THE SAME OLD JADED SHOW COLLECT THE CHECK AND GO I’VE BEEN RESTING ON MY LAURELS I’VE BEEN FADING FROM THE LIMELIGHT EVERY DWINDLING DAY AND NIGHT IS JUST THE SAME AS BEFORE BUT WHEN GARDEN-BOUND JULIET CAUGHT MY EAR WITH HER SIREN SONG FOR THE FIRST TIME IN A LONG TIME I’M GETTING TO KNOW SOMEONE NEW AND I’D LIKE TO KNOW MORE (speaks) So what’s your favorite Shakespeare? BEATRICE SHE’S BEAUTIFUL, AND THEREFORE TO BE WOOED SHE IS WOMAN, AND THEREFORE TO BE WON (speaks) Henry VI. LOVE IS A SMOKE RAISED WITH THE FUME OF SIGHS (sings) Romeo. MY MISTRESS’ EYES ARE NOTHING LIKE THE SUN CONTI Wait, I know that one. That’s a sonnet, right? BEATRICE Sonnet one hundred thirty. I think it’s my favorite because it’s so clear he loves her even with all her flaws. CONTI LOVE LOOKS NOT WITH THE EYES, BUT WITH THE MIND, AND THEREFORE IS WING’D CUPID PAINTED BLIND BEATRICE A Midsummer Night’s Dream! CONTI I played Demetrius in high school. (sings) OH TIME, THOU MUST UNTANGLE THIS, NOT I BEATRICE And that’s from Twelfth Night! CONTI THE COURSE OF TRUE LOVE NEVER DID RUN SMOOTH BEATRICE WHO EVER LOVED THAT LOVED NOT AT FIRST SIGHT? (Beatrice pauses. Has she said too much? She weakens, can’t go on.) BEATRICE (CONT’D) I’m not feeling... I’m sorry. I need to leave. CONTI Are you sick? Beatrice? When can I see you again? C’mon, I’m not letting you go till you tell me. BEATRICE I don’t know. Soon. Somehow. (She rushes away.) CONTI FOR THE FIRST TIME IN A LONG TIME THERE’S THE STIRRINGS OF A NEW SONG I COULD SING FOR THE FIRST TIME IN A LONG TIME I’M TRULY EXCITED TO SEE WHAT TOMORROW WILL BRING He moves off as LIGHTS RISE SLOWLY on... SCENE Rappaccini’s Garden. Morning. Rappaccini works with great care, mask and rubber gloves in place, collecting clippings into a basket. To one side, a freshly-showered Conti steps out onto his balcony, working out a new song on his guitar. CONTI (CONT’D) (sings: NOWHERE LEFT TO GO, Part I) I MET A PRETTY GIRL IN OLD NEW ORLEANS SHE’S SO FINE, SO FASCINATING I JUST DON’T KNOW WHAT TO DO DA DA DA DA SOMETHING RHYMES WITH "ORLEANS" IT’S BEEN FOREVER SINCE I’VE EVEN WRITTEN SOMETHING NEW

Lyrics below, including book excerpts by Duane Poole. ***** An angry Rappaccini turns to the frightened Beatrice. DR. RAPPACCINI Who was that man? Do you know him? BEATRICE I don’t. DR. RAPPACCINI Have you spoken? Of course, you’ve spoken. Why else would he have come? BEATRICE I’ve done nothing wrong. DR. RAPPACCINI You must let it go no further. Avoid this man. Don’t see him, don’t speak to him. BEATRICE We only talk. He has a kind voice. What harm could there be? DR. RAPPACCINI (sings: YOU ARE THE WORLD TO ME) WHAT HARM, YOU ASK YOU ARE SO TRUSTING THERE IS DANGER EVERYWHERE YOU LIE TO ME IT IS DISGUSTING MY LOVE WITH YOUR RAVEN HAIR (speaks) You remember the boy from town. BEATRICE -- who heard rumors and wanted to see for himself. He was nothing to me. DR. RAPPACCINI Yet we know how that ended. And the medical student? And the artist? BEATRICE They were curious, hateful. They were moments. This man -- DR. RAPPACCINI No! No man! No other man! (sings) WHO ELSE COULD UNDERSTAND YOU AS I DO? WHO ELSE COULD EVER GET SO CLOSE TO YOU? I HAVE BUILT THIS WORLD AROUND YOU AS PERFECT AS CAN BE I AM YOUR SUN, YOUR MOON, YOUR STARS AND YOU ARE THE WORLD TO ME (speaks) Beatrice, there is no one, there is nothing outside this property for you. BEATRICE There is life! DR. RAPPACCINI There is only death. (sings) YOU ARE MY GALAXY, MY UNIVERSE MY FIRMAMENT, MY SKY MY VAULT OF HEAVEN, MY CELESTIAL SPHERE THERE IS NO ONE ELSE WHO MATTERS THERE IS ONLY YOU AND I AND THERE IS NOTHING FOR YOU ANYWHERE BUT HERE Rappaccini takes a rubber glove from his pocket, snaps it over one hand, and pulls Beatrice to him as he lifts the needle. DR. RAPPACCINI (CONT’D) I HAVE BUILT THIS WORLD AROUND YOU AS PERFECT AS CAN BE I AM YOUR SUN, YOUR MOON, YOUR STARS AND YOU ARE THE WORLD TO ME Rappaccini plunges the needle into her arm, injecting the poison.

Lyrics by Brendan Milburn and Valerie Vigoda. Eric: So the way the story goes is subject to interpretation There’s a lot of different versions and a lot of variation But rappaccini came from Venice (Local passer-by) I heard it was Padua (Another local) I heard it was Trieste Eric: whatever, he came from somewhere in Italy, set up shop and did his best To make things perfect all summer long before his very pregnant wife arrived in the fall And he bought that house behind the garden wall. (We see the house fresh and new with a bright coat of paint and an empty garden) (Spoken) now keep in mind, this is like gaslight, horse-drawn carriages and stuff. Conti: horse drawn carriages? How long ago was this? Eric: i don’t know. A long time ago. This is how I heard the story. Anyways, (sings) So Rappaccini meets his wife as she disembarks from the boat here in the big easy. But she got sick on the trip on the sailing ship and now she’s feverish and queasy Redhead: I heard she died in childbirth! Delgado: I heard she lived a few years more. Eric: I heard she gave birth on the staircase right after getting in through the front door And a brand new baby girl was born and her wailing cries did echo down the hall Of that strange old house behind the garden wall Conti: so the mother, did she die in childbirth or not? Eric: I don’t know. I don’t think so but some people do. (sings) But most everyone agrees that she succumbed to some disease Some new world nastiness and her frail constitution couldn’t fight it And Rappaccini watched her fade in the sickbed where she stayed Until she passed away and Rappaccini could not abide it and they buried her above the ground here, 'cause that's how we do it around here But they did it at midnight with only the daughter and dad. No family or priest to say a blessing, just the little girl crying, I’m guessing While she’s holding hand of her father who’s gone slightly mad Back at home he’s acting peculiar, people see him in fits of rage He locks the girl behind the gates, her house is like a cage he’s certain he coulda saved his wife if he worked harder to protect her And he damn sure won’t let those new world nasties get to his daughter and infect her He orders a panoply of poison plants, maxes out his credit card And he sows the seeds of poison there, and fills up his entire yard. And the garden grows... (And Eric and the cast sing in chorus as the garden does in fact grow before our eyes: from nothing into a teeming, alive, flowering and otherworldly place. ) So nobody goes in the garden unless they're coming back out in a hearse, now, Rappaccini got poisonous plants with razor-sharp blossoms, venus flytraps and worse now. And he wears his big ol' long black gloves and collects his clippings one by one, and he grinds them down, adds a little distilled water, fills a syringe and then he's done and calls his daughter close, be brave my dear, roll up your sleeve, a little sterile wipe of alcohol, and you can hear the little girl's screams from far outside the garden wall. CONTI You’re saying he injected...the poison? His own daughter? ERIC For her own good, he figured, yeah. Larger and larger doses till her system becomes tough enough to fight off anything. Immunity off the charts. CONTI You gotta be kidding me. ERIC But wait. This is where the story gets a little strange. CONTI This is where it gets strange? (The Servants, drawn by her screams, surround Beatrice as she reels with the effects of the injection.) ERIC All those toxins running through her system turned her into a walking poison herself. A beautiful poison, they say. But deadly. Can’t touch or be touched. (Beatrice reaches out to those around her, all of whom back off fearfully, disappearing, leaving her alone in a POOL OF LIGHT.) ERIC (sings) AND NOW SHE’LL NEVER TOUCH ANOTHER LIVING THING AT ALL IN THE HOUSE BEHIND THE GARDEN WALL ENSEMBLE IN THE HOUSE BEHIND THE GARDEN WALL IN THE HOUSE BEHIND THE GARDEN WALL IN THE HOUSE... ERIC AND ENSEMBLE ...BEHIND THE GARDEN WALL!

BEATRICE Legend says Medea tried to take the life of Theseus with its nectar. It paralyzes the nerves and stops the heart. CONTI (another blossom) Sweet. And this? BEATRICE The Mandrake -- GARDEN VOICES Mandrake. BEATRICE It’s what Juliet took to appear dead. But isn’t it beautiful? And here, the Belladonna. GARDEN VOICES Belladonna. BEATRICE (sings: BEAUTIFUL POISON) IN ROME A THOUSAND YEARS AGO THE FASHION OF THE DAY WAS TO MAKE THE EYES LOOK LARGER AND THE DROPS FROM THIS PLANT WERE THE VERY BEST WAY SO EVERY LOVELY LADY FAIR HAD HUGE EYES THAT GLISTENED AND SHINED ALL WITH THANKS TO BELLADONNA SHE COULD DRIVE A MAN OUT OF HIS MIND AND THEN SHE WOULD SLOWLY GO BLIND CONTI Blind. You’re serious. BEATRICE THE TRUTH CAME CLEAR AS YEARS WENT BY EACH GIRLFRIEND OR MISTRESS OR WIFE COULD NO LONGER SEE IN THE MIRROR THE AMOROUS EYES THAT WOULD COST HER HER LIFE IMAGINE ALL THE TEARS THEY SHED IMAGINE THEIR SHOCK AND SURPRISE WHEN THEY FOUND THEIR DOOM WAS DUE TO THE BLOOM THAT GAVE THEM THEIR BEAUTIFUL EYES OH BEAUTIFUL POISON OH BEAUTIFUL POISON HEART OF JESUS, ANGEL’S WING THE STAR OF BETHLEHEM OLEANDER, WHISTLING THORN I KNOW EVERY LEAF, EVERY ROOT, EVERY STEM SO MANY WAYS TO END A LIFE TO SET YOUR SPIRIT FREE A TASTE OF WATER HEMLOCK LEAF OR A BITE OF THE FRUIT OF THE SUICIDE TREE YELLOW JASMINE, BLEEDING HEART BLACK NIGHTSHADE, CHRISTMAS ROSE ANGEL’S TRUMPET, LEOPARD’S BANE AND THIS IS HOW MY GARDEN GROWS Conti is incredibly drawn to her, but each time he moves close, she moves away. CONTI Beatrice, I want to know about you. This is important to me. I want to hear your story. BEATRICE And I’m trying to tell you. (sings) WITHIN THESE WALLS, RIGHT HERE, RIGHT NOW THERE’S DANGER EVERYWHERE AND IT’S BEST TO KEEP YOUR DISTANCE BUT HARD TO RESIST WHEN YOU BREATHE THE SWEET AIR WITH EVERY LOVELY BLOSSOM FAIR YOU HAVE TO BE CAREFUL, YOU KNOW CAN YOU LOOK PAST THE THORNS AND THE NETTLES JUST HOW FAR ARE YOU WILLING TO GO? DO YOU DARE TO DIG DEEP DOWN BELOW? IF YOU GO BENEATH THE SURFACE AND EMBRACE ALL THAT’S STRANGE AND BIZARRE ALL THESE FRAGILE FATAL FLOWERS WE DON’T DESERVE BLAME, WE CAN’T HELP WHAT WE ARE IMAGINE HOW THE FLOWERS FEEL WE YEARN TO REACH UP TOWARD THE SKY WITHOUT WARMTH FROM ABOVE AND DEVOTION AND LOVE OUR BEAUTY WILL WITHER AND DIE OH BEAUTIFUL POISON OH BEAUTIFUL POISON OH BEAUTIFUL POISON The Garden Voices join as the CHORUS BUILDS. Bigger. More urgent. Seductive. Conti reaches out to Beatrice. She reacts, grabbing his hand by the wrist to push it away. BEATRICE (CONT’D) No! At her touch, Conti CRIES OUT in anguish and sinks to his knees. He looks up at Beatrice, wondering what the hell just happened. BEATRICE (CONT’D) You can never, never touch me! She runs offstage, leaving Conti alone and stunned, slowly raising his arm to reveal angry red blisters already forming where Beatrice touched him. Blackout. END ACT ONE

DELGADO "IT'S GOD'S OWN TRUTH,” MY MAMA SAID "BE CAREFUL WHAT YOU DO 'CAUSE IF YOU GO AND LOOK FOR TROUBLE IT'LL COME BACK ON YOU DOUBLE IT'LL RAIN MISFORTUNE ALL OVER YOU” OH, YOU THINK THAT WHAT DON'T KILL YA MAKE YA STRONGER THAN YOU WAS BUT MAYBE IT’LL KILL YA DEAD YA BETTER DUCK YOUR PRETTY HEAD YA BETTER DO LIKE THE ARMADILLO DOES NOTHIN' SHAKES THE ARMADILLO HE GOT ARMOR-PLATED SKIN THAT'S HOW YA KEEP THE BAD STUFF OUT THAT'S HOW YA KEEP THE GOOD STUFF IN YA GOTTA HUNKER DOWN AND MIND YOUR BIZNESS THE STORMS WILL PASS YOU BY LET OTHER PEOPLE STICK THEY NECKS OUT YOU STAY WARM AND DRY LET THE WINDS BLOW HERE TO AMARILLO YOU BE AN ARMADILLO YOU BE AN ARMADILLO CONTI Aw, Delgado, you like me. you really like me. ERIC The man speaks the truth. You know that’s always been my motto. (sings) BEIN' SAFE IS BEIN' HAPPY EVEN IF YOU'RE SLIGHTLY BORED 'CAUSE HOW YOU BE CONTENTED IF YOU ‘BOUT TO FALL RIGHT OFF A CLIFF? YA KNOW THAT SAFETY IS ITS OWN REWARD. 2ND HALF SECOND VERSE STUFF YOU DO LIKE YOUR DOCTOR TOLD YA, AND YOU'LL SOON BE GOOD AS NEW YOU GOT TO QUIT YOUR ACTING CRAZY TAKE IT EASY, TAKE IT LAZY AND YOU DO WHAT THE ARMADILLO DO. 'CAUSE DELGADO AND ERIC NOTHIN' SHAKES THE ARMADILLO HE GOT ARMOR-PLATED SKIN THAT'S HOW YA KEEP THE BAD STUFF OUT THAT'S HOW YA KEEP THE GOOD STUFF IN ERIC YOU KNOW YOU DON'T LET NOTHIN' TIP YOU OVER WHEN THE WINDS ARE BRISK DELGADO AIN'T NO CAUSE TO WORRY AIN'T NO NEED TO TAKE A RISK DELGADO AND ERIC DON'T GO CRYIN', WEEPIN' LIKE A WILLOW BE AN ARMADILLO CONTI Guys, I appreciate that you’re looking out for my best interests, but I think you’re overreacting. DELGADO MY ADVICE TO YOU IS SIMPLE BOY, I’M TRYIN’ TO MAKE YOU SEE THAT YOU AIN’T MAKIN’ SENSE, GOT YOUR HEAD FULLA ROCKS AND YOU SHOULD BE AT HOME ON YOUR COUCH IN YOUR SOCKS ERIC IF YOU AIN’T CAREFUL, YOU’RE GOIN’ HOME IN A BOX DELGADO I GIVE YOU THIS ADVICE FOR FREE ERIC YOU WANT TO SAY ALIVE? YOU BEST TAKE THIS FROM ME DELGADO AND ERIC NOTHIN' SHAKES THE ARMADILLO HE GOT ARMOR-PLATED SKIN THAT'S HOW YA KEEP THE BAD STUFF OUT THAT'S HOW YA KEEP THE GOOD STUFF IN HUNKER DOWN AND MIND YOUR BIZNESS THE STORMS WILL PASS YOU BY LET OTHER PEOPLE STICK THEY NECKS OUT YOU STAY WARM AND DRY YOU'LL FEEL BETTER WITH YOUR HEAD BENEATH YOUR PILLOW... YOU BE AN ARMADILLO. YOU BE AN ARMADILLO. YOU BE AN ARMADILLO. YOU BE AN ARMADILLO. HEAD DOWN!

BEATRICE: You are all that I can think of. You are all that I can see. When I close my eyes, you're close by in the darkness there with me. You are all that I can think of, like no-one ever was before. I'm awake, yet I am dreaming tender dreams, and I want more. And I think you feel the same way as I do, that you're craving me as much as I crave you, and I think you long to hold me in your arms so very much to get as close as we can get, and yet not touch. And he interrupts: CONTI: Beatrice, what are you doing here? How did you get into my room? (And she's off and singing again) The night is dark and lonely, and the house is fast asleep, no-one here to punish me for the company I keep for the night is dark and lonely, and I long to hear your voice, for I cannot stay away from you, I have no other choice, I have to know what you would say to me will you say the words you'd say if we were free if we could just be lovers for an hour, for a day, tell me just what you'd be aching most to say. (And Conti answers, spoken: I would say I have never desired anyone more than you. But, Beatrice, we can't...) BEATRICE and I would say you touch me, you touch me deep where no-one else has gone yes, you touch me, you make this sweet anticipation linger on and it's agony to stay away and I long to kiss your lips and it's dangerous to come so near but make your hands my hands, my sweet, and I'll touch you as you have touched me here (her heart) (She sings it again, and he responds, now fully a part of it) CONTI: the forbidden fruit is sweeter the forbidden grass is greener the forbidden love is loveliest of all and how I long to hold you and how I long to kiss you and I'm falling for you like a waterfall. and it's agony to stay away and I long to kiss your lips and it's dangerous to come so near but make your hands my hands, my sweet, and I'll touch you as you have touched me here (his heart)

WELL I TOLD YOU WHAT TO DO AND DID YOU LISTEN TO ME? NO YOU'VE BEEN DIGGING WHERE YOU SHOULDN'T NOW YOU'RE REAPING WHAT YOU SOW YOU SHOULD QUIT THE SLEUTHING SHERLOCK CUT THE SHIT AND LET IT GO FOR GOD'S SAKE JOHN JUST LEAVE IT LET IT BE LET IT BE LET IT BE LET IT BE

CONTI Lock it up tight, Doc. Do the police know you’re keeping her prisoner in there? DR. RAPPACCINI Beatrice is no business of yours. CONTI At least you admit she exists now. DR. RAPPACCINI Why can’t you leave us in peace? CONTI Because I care about her. DR. RAPPACCINI You don’t even know her. CONTI It’s possible I know her better than you do. DR. RAPPACCINI (sings: YOU ARE THE WORLD TO ME, Reprise) THERE'S SO MUCH I CANNOT TELL YOU, SO MUCH YOU CANNOT SEE (speaks) Leave us alone, Mr. Conti! For your own good. She is the only thing in life that matters to me. I will do anything in my power to keep her safe. CONTI You call that safe? Locking her away from the world? DR. RAPPACCINI I AM HER SUN, HER MOON, HER STARS AND SHE IS THE WORLD TO ME Rappaccini pushes past an angry Conti and exits.

BEATRICE He’s never going to let me go and nothing will change that. Could you spend your life this way, John? Never touching? Never being touched? CONTI No one could. It’s not how we’re made. BEATRICE Not all of us. It’s been an eternity here. And I see only an eternity beyond. This is my world. CONTI The world’s a much bigger place. He produces a set of car keys, holds them out for her to see. CONTI (CONT'D) Let me show it to you. CONTI (sings: COME AWAY WITH ME) COME AWAY WITH ME COME AWAY WITH ME THERE IS NOTHING HERE NOTHING I CAN SEE THAT IS HOLDING YOU DOWN Beatrice shakes her head no, but it’s clear she’s charmed by this. BEATRICE Please don’t give me hope. It’s the one thing I couldn’t bear. CONTI COME AWAY WITH ME JUST TAKE THE DAY WITH ME YOU BEEN FAR TOO LONG TRAPPED INSIDE THESE WALLS SO LET ME SHOW YOU ‘ROUND COME AWAY WITH ME... BEATRICE (tempted) For an hour, perhaps? CONTI An hour. For starters. And then... BEATRICE And then we’ll see. At that, Conti steps to the vines covering the secret access. Beatrice looks back, debating her options one last time, but only briefly. She steps through with Conti. DR. RAPPACCINI (calling) Beatrice! Beatrice? Mrs. Gage appears on the balcony of Conti’s room. She calls to Rappaccini. MRS. GAGE They’ve taken my car. SCENE New Orleans. The Mississippi Riverwalk. Day. On a small platform there is an ensemble of MUSICIANS playing the music we’ve been hearing. Piano, drum, bass, a horn section. Conti and Beatrice stand at the edge of the river. Around them are TOURISTS, JOGGERS, and LOCALS enjoying the day in light summer clothing. BEATRICE That’s the Mississippi?! CONTI It runs down to the Gulf of Mexico. Beyond that, there’s the Caribbean, the Atlantic. BEATRICE And the smell in the air -- it’s like salt. And coconuts. CONTI Right, well, you should probably know some of that is sunblock. (off her look) UV rays. Sunburns. BEATRICE I didn’t know the sun could be this strong. CONTI Okay, I know you’ve seen the sun. BEATRICE Pieces of it, filtered through the trees. Nothing like this in...so long. A COUPLE passes, hand in hand. Beatrice turns to watch, envious. BEATRICE (CONT’D) All these things I’ve missed. Or forgotten. And I’m finally out here among them. With you. CONTI Then it can’t end here. Let’s grab some beignets, get back in that car, and take off down the road. Conti steps up on the platform with the musicians, going along with their groove. CONTI (sings) ‘CAUSE I’M THE PERFECT TOUR GUIDE DARLIN’ I’VE BEEN ON THE ROAD SO LONG SO I’M IN THE KNOW ABOUT WHERE TO GO I CAN SING EVERY SINGLE DRIVING SONG He borrows a map from a TOURIST COUPLE who watch his antics, amused and charmed. CONTI JUST DOWN THE PIKE THERE’S BATON ROUGE AND PAST THAT, LAFAYETTE THEY GOT CREOLE FOOD AND A HAPPY MOOD BUT THERE’S 49 STATES YOU NEVER MET He hands the map back to the tourists, borrows a guidebook from a FOREIGN TOURIST, who is surprised, then delighted as well. CONTI WE’LL HAVE BBQ IN AUSTIN ‘CAUSE THAT’S THE TEXAS WAY AND WE’LL PASS RIGHT THROUGH EL PASO TOO ‘CAUSE I KNOW THE WAY TO SANTA FE WE CAN CALL IT LOVE IN COLORADO GET SHY WHEN WE HIT CHEYENNE RAISE HELL ENOUGH IN HELENA F’R US TO HAVE TO HIT THE ROAD AGAIN BEATRICE John, what are you doing? Conti sinks to his knees. More tourists and locals start paying attention to the developing story and the band follows Conti’s cues. CONTI COME AWAY WITH ME COME AWAY WITH ME THERE IS NOTHING HERE NOTHING I CAN SEE THAT IS HOLDING YOU DOWN COME AWAY WITH ME TWO FEMALE LOCALS GIRL, YOU SEE HIM DOWN ON HIS KNEES? CONTI COME AWAY WITH ME TWO FEMALE LOCALS GIRL, THE POOR BOY AIMS TO PLEASE Conti plays to the gathering crowd for comic effect, but meaning it all the same. CONTI IF YOU LOVE ME, GIRL LIKE YOU SAY YOU DO THEN WHY DON’T WE SKIP TOWN? COME AWAY WITH ME! And with that, the Riverwalk becomes a huge production number, tourists and locals dancing and singing, brass band marching, drummers drumming, all devoted to convincing Beatrice to do as the song says. CONTI WE’RE GONNA SEE ALL OF SEATTLE CROWD SHO ‘NUFF! CONTI THEN PORTLAND AND EUGENE CROWD EUGENE! CONTI WE CAN DRIVE AND WE DRIVE OUT ON HIGHWAY FIVE CONTI AND TWO LOCALS THERE’S LOTSA REDWOOD, LOTSA GREEN CONTI LEAVE OUR HEARTS IN SAN FRANCISCO BRING ‘EM ALONG DOWN HIGHWAY ONE I DON'T LIKE TO BOAST BUT THE WESTERN COAST IT’S THE PRETTIEST UNDER THE SUN CROWD SURE IS! CONTI AND WE'LL HAVE THE TOP DOWN AS WE GO SO YOUR FACE CAN CATCH THE LIGHT CAJUN FLOWER VENDOR 'cause you're pale, girl. CONTI AND WE'LL WEND OUR WAY TO THE END OF THE DAY AND WE’LL BE HITTING L.A. IN THE COOL OF THE NIGHT The MUSIC builds to a crescendo, the crowd adding their wordless VOICES to Conti’s plea. CONTI AND THEN MY LOVELY ANGEL WE CAN SPREAD OUR AIRPLANE WINGS AND GET GONE-AND-WENT TO THE CONTINENT TO DO ALL THEM EUROPEAN THINGS Beatrice wants to give in, to be swept up in the music, but something makes her put her arms up to stop the music. BEATRICE John, I can’t. I can’t go with you. I can’t leave. CROWD Awwww! CONTI (continues, hushed) COME AWAY WITH ME COME AWAY WITH ME YOU’RE THE LOVE I THOUGHT I WOULD NEVER FIND SO BEFORE I’M OLD AND GRAY COME AWAY WITH ME FLY TO MARSEILLES WITH ME! Beatrice shakes her head no, but it’s clear she’s charmed by this. Conti makes his final pitch. CONTI (CONT’D) YOU’RE THE ONLY GIRL IN THIS WHOLE WIDE WORLD TO WHOM I’VE EVER WANTED TO SAY: COME AWAY WITH ME The SONG ENDS quietly, filled with promise. The CROWD CHEERS. Conti and Beatrice look at one another with love and expectation. A long moment. Then: TOURIST Awww, c’mon. Now you gotta kiss. (to the others) Right? Am I right? He grabs Conti’s and Beatrice’s hands to pull them the last few inches together. TOURIST (reacting in pain) What the--?! ***** And all hell breaks loose.

I wanted so little such simple things the chance to go where I want, when I want to spread my little wings I wanted so little I wanted so much to sit in the sunlight on some little street to hold someone's hand to feel someone's touch and with you I've come closer than I ever thought I could closer to all of the everyday wonders that I never understood and the little I've tasted has filled me with joy and is filling me with despair to crave something so is a little like madness and I'm going mad with this craving, I swear. For I cannot live in your world any longer. I'm deadly, and dying on the vine. And little by little, I'm more and more certain that you cannot live in mine. Our time has been so little but my love for you goes on I treasure these days with you and I will treasure them more when you're gone and that is little comfort but this much I know I wanted so little I was selfish to want it and it kills me a little to say it, but: let me go. Let me go. Let me go.

CONTI I need your help. MAMA DELIGHT Of course you do. But I say go ‘way! Go ‘way! No help here. Some things too strong even for Mama. An’ Rappaccini one of those. CONTI I’ll pay. Whatever you ask. MAMA DELIGHT (a quick beat) Maybe there is something. Give me a moment. What to do, what to do. (sings: SACRIFICE) YOU GOT POISON IN YOUR HEART POISON IN YOUR VEINS POISON IN YOUR BLOOD, POISON IN YOUR BRAINS YOU GOT POISON IN YOUR LIFE POISON ON YOUR BREATH HUSTLING YOU THROUGH THE VALLEY OF THE SHADOW OF DEATH POISON IN THE GARDEN FROM THE OLD WORLD, PLANTED IN THE NEW WORLD SOIL POISON IN THE GARDEN TAKIN' HOLD -- GIRL IS GONNA SHUFFLE YOU OFF OF THIS MORTAL COIL CONTI So what can I do? (Her fingers like claws, she grabs Conti’s wrist tightly, pulls him close.) MAMA DELIGHT + APPRENTICES THERE AIN'T NOTHING YOU CAN DO WITHOUT A SACRIFICE YOU GOTTA GIVE IT UP WHATEVER YOU GOT THERE AIN'T NOTHING YOU CAN DO WITHOUT A SACRIFICE GOT TO SPILL YOUR SELFISH BLOOD ON THE LOUISIANA MUD AND THEN MAYBE, JUST MAYBE, YOU'LL HAVE A SHOT CONTI A sacrifice. Fine. Name it. MAMA DELIGHT Don’ be so quick to say yes. CONTI What kind of sacrifice? MAMA DELIGHT One that will heal you. Heal you every which-way. But we talkin’ ‘bout somethin’ real, somethin’ deep. (Mama Delight nods to an Apprentice, who begins collecting a few questionable items, including a thick and murky liquid, into a wooden bowl.) MAMA DELIGHT The girl is herself a poison. An’ for that you need an antidote to every deadly thing known to Man or Woman. Don’ come easy. CONTI Whatever it takes. MAMA DELIGHT It takes some rare ingredients, for sure. Lucky Mama be a collector. An’ then -- something special you an’ nobody else got. CONTI Something only I have? (An Apprentice hands Mama Delight a large, nasty knife and she and her Apprentices begin to circle him.) MAMA DELIGHT, APPRENTICES YOU GOT POISON IN YOUR HEART POISON IN YOUR VEINS POISON IN YOUR BLOOD, POISON IN YOUR BRAINS YOU GOT POISON IN YOUR LIFE POISON ON YOUR BREATH HUSTLING YOU THROUGH THE VALLEY OF THE SHADOW OF DEATH (Conti offers his hand. She slices the knife across his hand, his blood streaming into the bowl. Conti SCREAMS bloody murder. An Apprentice wipes his hand -- and magically, he is healed.) CONTI Is that it? Is that the sacrifice? (Unfazed, Mama Delight filters the brew into a small glass vial, which glows a bright, yellow-green light.) MAMA DELIGHT, VOODOO APPRENTICES THERE AIN'T NOTHING YOU CAN DO WITHOUT A SACRIFICE IT'S MORE THAN YOUR SKIN YOU GOTTA SAVE THERE AIN'T NOTHING YOU CAN DO WITHOUT A SACRIFICE GOT TO SPILL YOUR SELFISH BLOOD ON THE LOUISIANA MUD AND THEN MAYBE, JUST MAYBE YOU WON'T DIG YOUR OWN GRAVE (She places the vial in Conti’s hand.) CONTI What...what do I do with this? MAMA DELIGHT Good question. What do you do? What do you do?

Beatrice the air, the air is sweet and like perfume there's so much room to breathe this beauty in where do I begin? with you, with you, most beautiful of all the one I fall in love with more each day, and now come what may, I've never wanted anything so much as your breath as your kiss as your touch... (She steps closer to him. Still tentative, Conti reaches out to touch her. She pulls away out of habit, but then allows it.) CONTI It’s okay. Really. No pain. There’s nothing. BEATRICE No. There’s something. (and the music launches into the chorus of YOU TOUCH ME. When they can take a moment to break from the kiss, they sing to each other) BEATRICE (and Conti) You touch me (you touch me) you touch me here (you touch me here) where no-one else has gone (where no one's ever been) you touch me (you touch me) you make this sweet (you have this sweetness) intoxication linger on (that I haven't tasted since I don't know when) it's been agony to stay away (I couldn't stay away) but to finally kiss your lips, (to finally kiss,) BEATRICE & CONTI oh it's ecstasy to come so near, will you hold me in your arms, my sweet, and kiss me once again, my dear. (And now we see Rappaccini watching from the shadows, not having gone back to the house at all. He’s angered, concerned, frightened.) (And they stand, looking at each other, his hands holding her face. And then...She slips, weakens.) What's happening? John! (Rappaccini steps from the shadows.) RAPPACCINI Leave her to me! CONTI (spoken) You have no say in this. RAPPACCINI I have every say. She is my wife! CONTI (spoken) Your what? RAPPACCINI My wife. (Beatrice collapses. Conti lowers her to the ground. Rappaccini takes her in his arms.) The dearest thing to me. CONTI (spoken) How...how is that possible? RAPPACCINI The poisons not only kept her alive, they kept her young. By destroying them... She knew what it would do. (Conti now realizes what he’s done. It shatters him.) (Around them, the garden begins to move. Bending toward Beatrice. Stretching toward her. The tendrils of the plants begin to wrap around her, to cover her.) (Rappaccini releases her and backs away. Conti knees before her.) BEATRICE (to Conti) you're the one who could release me from my solitary fate, my life of never knowing what the much ado's about. For an instant of this feeling is a million times more great than a long and lonely lifetime lived without like Desdemona, like Cleopatra, oh this brave new world, at long last I see, for the first time in a long time, for the first time in a lifetime, I found it. I feel it. I take it with me. (And she dies. Conti’s heart breaks. He looks at Rappaccini, who has turned away, unwilling to show his tears. The plants cover her from view. Rappaccini sees the gun he dropped. He bends to pick it up, feeling the cold steel in his hands, fighting his anger, keeping his back to Conti for the moment.) RAPPACCINI Whatever she told you, whatever you heard, she was not my child, Mr. Conti. Our child died long ago. (Rappaccini turns back to Conti, the gun firmly in his grip.) DR. RAPPACCINI (CONT’D) And without my wife, I have nothing at all. (He threatens Conti, then suddenly turns the gun back on himself, pressing it to his heart.) CONTI Rappaccini, no! (Rappaccini FIRES, killing himself. Trying to grasp all that’s happened, Conti looks back to where Beatrice was. The plants pull back now to reveal her body is gone, absorbed into the garden. The blossoms unfold under the moon. A final tribute.)

Follow your winding road as it turns with the riverbend. Follow your winding road, follow it all the way to the end see how the river twists and turns on its long, long way back to the sea so on your winding road, you may not know the way, but you'll get back where you ought to be. Follow your winding road over the top of the mountain so steep follow your winding road down through the valley, so dark and so deep there'll come a day not long from now when you will lay down your wearisome load just as the river flows to the sea, you will come to the end of your winding road.

I got nowhere left to go since you been gone, now. I got no-one in my corner, I got nothing left to lose. I got nothing but the ground I'm standing on, now, and this beat-up old guitar, and these worn-out walking shoes. Yeah I got nowhere left to go, and if there's one thing that I know, since I drained out all the whiskey from the bottom of my cup, it's I got nowhere left to go nowhere left to go nowhere left to go but up. cause I know what people must be thinking of me yeah, they all say my sell-by date is past, and this'll be my last hurrah but see, no-one's ever loved me like you loved me yeah, you looked inside my soul and didn't run from what you saw yeah, you saw right through my game, and yet you loved me just the same, and now you've gone and left me like some graying Romeo, and I got nowhere left to go nowhere left to go nowhere left to go but up the mountain again pushing that rock back up to the top up the creek and I ain't got a paddle the current is rough, but I ain't gonna stop well the man that I was would keep sinking he'd start drinking and soon he would drown but the man that I am since you loved me well girl, all I can say, I'm not sure of the way but I know come what may I ain't going back down.

When I had your love I took it for granted When I had your love I gave it away When I had your love I never imagined that I could lose it one day. So you pulled away from me just a little Then you pulled away from me a little more By the time I looked around you were long, long gone out the door. I want it back That feeling we had girl I want it back that summertime comfort and joy that feeling that you are the only girl in the world and I'm the only boy I want it back that sense of adventure I want it back when we knew we were on the right track and you never know what you got 'til it's gone, and I lost that love I was counting on, and this thing we had we oh so fine, and now it's no longer mine, I want it back. and here inside my mind, I can be all honest with myself I can admit the truth to me and not to anybody else that fifteen years of singing this namby pamby little ditty has got me drowning in self-hatred, and self-loathing, and self-pity 'cause I hit it big with this song, yeah I went to number one and when its run going up and down the billboard charts was done I played the stadiums, and I was opening for the stones, and now I'm not what they listen to on their little mobile phones and the audience is dwindling, yeah, the audience is bailing, and I try and I try to write a follow-up hit and I just keep on failing and this frickin' song is a millstone 'round my neck, it chokes my throat, it doesn't mean what it used to mean, like the way it meant back when I wrote it 'cause when we get to the chorus, yeah this is the funny thing when we get into the chorus and they all haul off and sing (everybody unfreezes) BAND AND CROWD: I WANT IT BACK (they refreeze) the song was all regret for lost love, how I spoiled it, but now it feels like the song is about my career gone down the toilet and every time I sing it I get more depressed about it, but I wouldn't have a paycheck if I tried to play a gig without it, when I try to write a new song I'm all stymied, and I'm haunted, 'cause when I get up on the stage if I don't give them what they wanted, they will throw tomatoes at me, will make it very clear they want the song they came for, yeah, they only wanna hear CONTI AND CROWD: I want it back That feeling we had girl I want it back that summertime comfort and joy that feeling that you are the only girl in the world and I'm the only boy I want it back that sense of adventure I want it back when we knew we were on the right track and you never know what you got 'til it's gone, and I lost that love I was counting on, and this thing we had we oh so fine, and now it's no longer mine, I want it back.

(verse) all my days and all my nights I thought I'd always be alone oh you could always find me standing on the sidelines and apart I led a lonely life and loneliness was all I'd ever known oh I been sure that there is nobody who's gettin' near my heart (prechorus) oh, I knew it wouldn't happen but I prayed that I was wrong I was hoping for a miracle, miracle and then you came along... (chorus) oh, I oh I'm dreaming of you every night and I see your face when I turn out the light yeah it's you you're the only one I see yeah it's you the only girl in the world... for me. 2nd verse stuff: took one look at you and knew that you were totally unique the only person who could ever see right down into my soul oh-oh-oh ooh ooh you make me shiver make me tremble so that I can hardly speak you got the power baby now you are the one who's in control (prechorus) oh I'm aching just to hold you I can't help the way I feel did you know that you're a miracle, miracle can't believe you're real (chorus) oh, I oh I'm dreaming of you every night and I see your face when I turn out the light yeah it's you you're the only one I see it's you you're the only girl in the world... for me. Bridge: you're the one who can release me BEATRICE (repeats his lyric, with new melody) you're the one who can release me CONTI from a solitary fate BEATRICE from a solitary fate CONTI login' you would be so easy BEATRICE lovin' you would be so easy CONTI, BEATRICE & PATRONS come on now don't make me wait (last choruses) because I oh I'm dreaming of you every night and I see your face when I turn out the light yeah it's you you're the only one I see it's you you're the only girl in the world... for me.