SixthRomeo.com   Authors' Pages:  Gerald Spencer and Marcela Basteri
A Kevorkian Christmas, a musical, is completed, copyrighted, filed
and registered with the LOC; all production rights reserved.
A Kevorkian Christmas.  Or Whacked by an Angel. Musical Theater. Gerald Spencer and Joe Mallah, authors. Completed June 2006. Copyright all rights reserved. Based on the novel A Kevorkian
Christmas. Gerald Spencer, author. Copyright 2006 all rights reserved.

Life is good, full of promise, the stars ascend in the heavens, some slowly, surely, others take meteoric rise and stay firmly fixed, others burn brightly, flare like nova taking much with them some never reach
far, they twinkle continue to twinkle or brightly flare and pass into oblivion. “Twinkle, twinkle, little star. How I wonder what you are.” A la Elvis.
“I want to live, I want to give. I've been searchin' for a heart of gold.” How do you work this into play, visually and/or verbally?

The song Joe Aguera heard on the operating table, listening to the surgeons argue about what it is and who did it? He sat up and answered. “King Harvest. Dancing in the moonlight.”

The protagonist is Aaron Star from a small town in Texas, SSW of Houston. Town's name is “Egypt, Texas.” There are no relatives, no family but there are one of two school flames/heart throbs that still
live there.

Song decisions, so far: (Note Mama Mia has 24 tracks on one disc, disc is 1hour 15 minutes long.)

Where to put Fire of Love?
Any place for Dead Man's Curve?”
What about Kurt Cobain?
Joe's music? He says has an obnoxious eloquence. Cool!
1. Overture: “You don't always get what you want.” Stone style segue into “a la Hendrix.” That is song to which Joe wakes. (full) Purple Haze may be better?
2. “Traveling Man.” (first verse)
3. “Will change.”
4. “Don't you want somebody (to love).” (first verse)
5. “Great Career.”
6. “Don't you need somebody (to love).” (second verse)
7. “Blue Christmas.” (full segues “a la Hendrix”)
8. “Happy Birthday.” (once full, second segues “a la Hendrix” then to 8a.)
8a. “Candle in the Wind.”
9. “All I want to do is have some fun.”
10. “Sex Beat.”
11. “Don't you want somebody to love.” (third verse)
12. “Satisfaction.” (full)
13. “White Rabbit.” (full)
14. “Oscar, joy of man's desiring.” (1st two verses)
15. “Can't live, can't live anymore.” (first verse)
15a. “Stairway to Heaven.”
15b. “I just dropped in (to see what condition my condition was in.”
15c. “I shall be released.”
16. “Manic Depression.” (full)
17. “Crosstown Traffic.”
18. “You don't always get what you want.” (partial)
19. “Get off my cloud.”
20 “Mercedes Benz.”
21. (Need a Hendrix song!)
22. “Haven't got time for the pain.”
23. “White Christmas.” (a la Striesand)
24. “I fought the law.” (change lyrics to suit Kevorkian)
25. “Santa Baby.”
26. “Heart of Gold.”
27. “Twinkle, twinkle, little star” or “Johnny Angel.”
28. “All I want to do is have some fun.”
29. “Signs.”
29a. “I think it's going to rain today.”
30. “Walk on the wild side.”
31. “Kicks.”
32. “Santa Baby.”
32a. “I don't live today.”
33. “Blue Christmas.”
34. “You don't always get what you want.”
35. "Going back to Indiana." Or "Carolina in My Mind." .or. "Indiana."
36. "Big Yellow Taxi." Joni Mitchell.

CAST
AARON STAR
KEVORKIAN
JOE
JIMI HENDRIX
ELVIS
MARILYN MONROE
JAMES DEAN
TIMMY
MATT
LAWYER
LAW CLERK
FILING CLERKS 4 GIRLS 4 BOYS
SHRINK
JANIS JOPLIN
MONTGOMERY CLIFT
CHRIST (ACTOR WHO PLAYS MATT PLAYS CHRIST)
JANIS JOPLIN SYCOPHANT
JOHN JOSEPH DAVID
MARY
JESUS
KEVORKIAN KHORUS 3 MALE 3 FEMALE
DEAD PEOPLE IN HEAVEN 3 MALE 2 FEMALE
ASPIRING STAR
DEPRESSED SHRINK PATIENT
MD PATIENT
JAN AND DEAN
MINDY
COLORED GIRLS - 3 MAGI
AARON STAR'S QUEQUE OF SEXUAL CONQUESTS
SIGN AND PRINTING SHOP WORKERS 2 MALES
Stage Set 1:
Christmas season in Los Angeles. Mostly the Wilshire Professional Building. Other: Santa Monica Boulevard.
Lawyer's office/shrink's office/medical doctor's office. Has revolving door.
Kevorkian Office
Filing area county office/Jimi Hendrix + Elvis office.
Concert/stage/film set. Has revolving door.
AARON Star's bedroom. Has a construction chute out a window at head of bed, to large dumpster below..
AARON Star's living room with bar. Has revolving door that leads to bedroom.
Stage Set 2:
Santa Monica Boulevard
Tattoo Parlor
Deli
Sign and Printing Shop
Street Mission

There's a group of  6 people, dressed in pajamas and in hospital gowns, they sit in chairs with IV trees covered in various bottles and bags full of different colored fluids, remarkably like Christmas trees,
many tubes going into their arms. The bottles and bags appear to be lit from within, medium light for the group. They are always present, on top tier/balcony of concert hall.
“Who's the audience?”
“Kevorkian clients.”
“Kevorkian Klient Khorus?”

First half of musical, before-intermission, is the “classics” introducing them anew. Post-intermission is the “Newbies.”

Hendrix in his "employment" as one of heaven's gate keepers, decides if people who wish to die will die later of natural causes or have their "wish" come true. Joe is his earthbound stand-in.
Elvis in his capacity as the other of heaven's gate keepers, allows people into heaven or out of heaven. He has no earthbound stand-in.

ACT I
SCENE 1
In Joe's (barista) bedroom, he is in bed, sleeping. Jimi Hendrix is in office playing his guitar. Joe gets restless, kicks off covers, is in his tie-dyed BVD briefs and t-shirt, shirt has a Hendrix face printed on it,
Joe starts playing air guitar in bed, jumps up and out of bed., picks up his electric guitar; a bass.  He matches Jimi Hendrix movement for movement. After a long song, he falls back on his bed only to bounce
back up awake after the start of a second Jimi song.  Joe stretches, rubs his eyes, yawns, acts very tired.  His alarm clock rings, he looks at it.

JOE
“Man! I can't sleep! You're wearing me out!” (he adjusts his morning self)

HENDRIX
Jimi looks down over balcony to Joe's bedroom.
“I don't sleep. Why should you? Anyway . . . Hey Joe, where you goin' with that gun in your hand?”

ELVIS
“Who's that?”

HENDRIX
“That's Joe! He's my earthbound stand in, he influences peoples decisions to live or die whenever I'm not at work. That's Joe! He's my channeling man!”


JOE
(Singing) “Traveling man.” (first full verse)

HENDRIX
“Channeling, Joe, channel as in channeling, not traveling!”

JOE
“Oh, good! I don't know all the lyrics anyway. You saved me from a big embarrassment.”

HENDRIX
“Embarrassing is your briefs, Joe. Get dressed you'll be late for work.”

At the professional building, shrink's office locale, a coffee shop, baristas are Joe channeling Jimi Hendrix and Matt playing guitar, banjo,harmonica, etc. and singing songs.

Business suited lawyer behind desk, client leaning over, signing some papers, pushing them back to suit.

LAWYER
“It's a smart thing you did. You have a lot of money, you own a great deal of property, better that go to someone you know than to the state of California.”
The lawyer looks at papers, flips the stack, looking for signatures. “The last will and testament of Aaron Star. Being of sound mind and body. I Aaron Star do hereby bequeath . . . yada, yada, yada . . .to the
town of Egypt Texas! For a synagogue? That's a chunk of change. It's amazing that someone can pull themselves up from a small town, get famous, amass an ungodly fortune. I didn't know you were Jewish.
Texas yet!”

AARON
“It's not ungodly. I worked hard and I prayed hard for guidance to get that money. I'd rather leave it to some one I like instead of just someone I don't know, especially zoo critters that haven't even been
born yet.”

LAWYER
(Possibly sung to tune of “The Prayer,” ala Josh Groban and Charlotte Church.)
     “Oh, you WILL change it plenty.
     When you get married.
     When you have children.
     When you write them off.
     When you're riding high.
     When you've fallen off.
     Oh, you WILL change it plenty.”

     For now, it's just a gesture.
     It's the right thing to do.,
     You WILL change it plenty.
     When  you get remarried.
     You're so very young now.
     When you have your children.
     When you write them off.
     When your assets triple. . .”

AARON
“Does every lawyer who sings at the annual bar association review think he's an entertainer?” Gets up, shakes his attorney's hand. As he turns his back, the lawyer gleefully rubs his palms together, pushes
buttons on a cash register that goes “Ca Ching!” and spits money out like a Las Vegas slot machine. Star walks out to coffee shop.

Scene changes to Los Angeles County Court House Hall of Records where clerks are going up and down ladders, filing sheafs of papers and folders. All have the large black block letters “WILL” stamped on
them. Group is singing. “Don't you want somebody to love?"

A law clerk arrives from attorney's office with the star's last will and testament.

LAW CLERK
“Don't come down yet!” he yells up to a girl (FILING GIRL #1) while he is looking up her skirt. “Here's another one!” he shouts.

FILING GIRL #1
“Who's it this time? Another change for Brad or Madonna?” She climbs down to him, holding her skirt close to her legs while holding on to ladder rung.

LAW CLERK
The law clerk is cocking his head sideways as he continues to try to look up the girl's skirt.

“Aaron Star.”

FILING GIRL #1
“Who's the lucky beneficiary? New wife?”

LAW CLERK
“Pandas!”

7 others, mix of girls and guys, at different duties: “Panda!!!”
They all come down to gather, whipping will from the law clerk's hand, pushing him aside. Singing, together, possibly continuing the tune “The Prayer.”

     “He's got a great career.
     Now he needs a life.
     He's got mega bucks.” (Ka Ching goes register as another in a long line of law clerks file papers.)
     “Now he needs a wife.”

FILING BOY #1
“Or a boy friend!” he shouts, jumping up behind the group trying to see the will.

ALL
(The group limp wrists him, say in unison). “Good luck with that!”

A great avalanche of paper crashes down from a cabinet drawer that pops open with a loud rusty creak; the papers spill out. The filers start picking them up.

LAW CLERK
“Whose wills are those?”

ALL BUT LAW CLERK
“Elizabeth Taylor's!” (all together. They return to song, starting up where they left off). “Don't you need somebody to love?” While one girl files Adam Star's last will and testament.

The law clerk walks away, shrugging his shoulders, returning to lawyer's office for another will. “Geez! It's like every day here is Christmas.” More “Ka Ching!” from register.

ACT I
SCENE 2

Scene change, area above filing cabinets, that also has filing cabinet but painted white and a “pearly gate.”

((Remember: Joe's idea about lunch in the 9 to 5 office. Bananas and what? Peanut butter sandwiches?

Young Elvis Presley in his white Las Vegas jump suit is singing “Blue Christmas” while playing a guitar.
He's interrupted by chords of an electric guitar playing a “rock” version of the song, a la Jimi Hendrix who appears in stage clothes with white wings and a gold record halo behind his head. He takes the halo
off, as well as the wings, hangs them in a closet that already has Elvis's gold record halo and wings. The two work together. While they are talking, the coffee shop guys are also arriving for work. ((Did
Hendrix have gold record? If so, perhaps both should be gold record halos.))

ELVIS
“How was the commute?”

HENDRIX
“Murder. Sorry I'm late.”

ELVIS
“We're all late!”

HENDRIX
“I stopped for a passing Grateful Dead motorcade on its way to see Jerry Garcia.”

ELVIS
“Old groupies never die.”

HENDRIX
“Sure they do but then they all come here.”

ELVIS
“We have some new arrivals,” he nods his head toward approaching line. Line is well spaced out (pun intended).

HENDRIX
Takes loud deep breath, sighs, “And here comes the self appointed welcome wagon!”

Marilyn Monroe is coming through the pearly gates in a white outfit, showing much cleavage.

MARILYN
(Breathily) “I just love new arrivals! It's like the first day of the rest of their lives. It's like . . . It's like their birthday! (Giggles)

Hendrix and Elvis do an exaggerated eye roll.

MARILYN
(Sings) “Happy birthday to you" (adding) "Mr. President!" a la JFK birthday performance.

The first man in line accepts a kiss from Marilyn. The next walks up to Marilyn.

MARILYN
(Sings) “Happy birthday to you.”

Hendrix starts playing his rendition of the song on his electric guitar.

Marilyn gets angry and storms off through a revolving door.
Matt (down in coffee shop) plays and sings “Good bye Norma Jean . . .” from Elton John's “Candle in the Wind.”

FIRST DEAD PERSON IN LINE
Next in line:        “She looks really unhappy. I thought this was supposed to be Heaven.”

HENDRIX
“It is but her kind of Heaven is my kind of Hell.”

ELVIS
“Where she going?”

HENDRIX
“To the Roosevelt Hotel. They have one of her dressing room mirrors in a basement corridor. She likes going there, to admire herself while Montgomery Clift practices his lines on her.”

ACT I
SCENE 3
Scene change:

In a coffee shop, named “Top Hat Cafe” that looks suspiciously like Schwab's fountain counter, Joe is arriving for work, setting up, making coffee, serving customers who look strangely like the line of
arrivals at the pearly gates.
Joe stops what he is doing every time Hendrix speaks,  he looks up in the direction of the pearly gatekeepers' office, he picks up his electric guitar each time Hendrix does and plays along with him.


AARON is walking down Santa Monica boulevard. Song playing, “All I want to do is have some fun . . .” He is picking up girls. Many of them, one after another, queue up going to his living room, through
to his bedroom. AARON is singing Sex Beat. After humping them, he sends them out the window by lifting up the foot of his bed. They go down the chute into the dumpster below. At one point FILING
BOY #1 for the county court office gets in line, he waves to the audience, gives an exaggerated wink, AARON humps him too and sends him down the chute to the dumpster. The young man's coworkers are
waiting along side the dumpster. The young man pokes his head up over the side. There's a banana peel and an unrolled condom on his shoulder.

ALL MALE AND FEMALE FILING CLERKS
(In unison.) “We told you so!”

FILING BOY #1
(Singing) “Don't you want somebody (to love)?” fiirst two lines).

ALL MALE AND FEMALE FILING CLERKS
(Singing) (pick up on third line of) “Don't you want somebody (to love)?”

Scene change. AARON is in shrink's office, lying on sofa, female “Lilith” type shrink in chair, classic Freudian setup.

AARON
“Doc, I think I'm in a rut.”

MATT
Matt as Jagger (sings) “(I Can't get no, Satisfaction.” (refrain)

AARON
“I get plenty of action but it's missing something.”

SHRINK
“What do you think is your problem?”

AARON
“Uhm, that's why I came here. If I knew, I'd fix it. I wouldn't be here.”

SHRINK
"If you don't have a clue, we'll have to schedule an appointment a week. It could take years . . .”

AARON
“I don't have time for that!”

SHRINK
“If that's the case, I'll write you a prescription but you'll have to come in every once in a while to see me, check in.” She writes on a script pad, pulls the sheet off, hands it to AARON.

AARON
(Looks at paper.) “Pills?”

SHRINK
“They work for most people.”

AARON
“How do I know if they work for me?”

SHRINK
(Writes a second script, pulls the sheet off, hands it to AARON.)

AARON
“More pills?”

SHRINK
(Sings.) “White Rabbit." (she writes a third script while singing, pulls it off and hands it to AARON who sits ups, leaves the shrink's office. Mean while Matt picks up the song in the coffee shop. The
shrink is pushing buttons on a cash register at her desk. Ka Ching! Other people go in and out the shrink's revolving door as she sings, writing a flurry of scripts and works the cash register.)

MD's (Kevorkian) office is also busy. People leaving with scripts and with gas canisters with inhaling masks.

Song:        (Sung by group of celebrity entertainers, who choose their award name, to the tune of “Jesu, joy of man's desiring.)
     “Oscar (Tony, Emmy, Grammy) joy of man's desiring
     Academy wisdom, love most bright
     Drawn by thee, our souls aspiring
     Soar to uncreated light.
     
     Word of gold our flesh that fashioned
     With the fire of life directed.
     Striving still to roles unknown,
     Acting(singing), dying round thy throne.”
KEVORKIAN KHORUS

     (Singing to losers of awards) “'Can't live, can't live anymore."

Scene Change:
     Coffee shop. Joe and Matt.
     T-shirt vendor on corner,  (Aguera Surf Shop?) has cash register also. Source of t-shirts worn in coffee shop and other times on stage. Some say: “Suicidal” “Manic Depressive” “Drugs: Just say yes”
“Star Wannabe”
Song:        (Hendrix song. Manic Depression.)

     “Men are like birds, when one leaves her finger, leaves her nest, another one comes to rest.”

“Ka Ching” sounds Joe's cash register as another customer pays. Stools fill up with regulars and customers that look like they are waiting to be discovered. “Ka Ching” rings in chorus from Attorney, Shrink,
MD, Clerks, T-Shirt shop.
Matt: (talking to customers, while Joe works espresso machine) “What are you asking Santa Claus to bring you for Christmas?”

AARON
“A nice splashy role to end my career. I'm so tired of this business. I want to go out with a bang!”

JOE
“That can be arranged.”

ASPIRING STAR
“I just want  my face plastered on the wide screen, period. Just once. I'm wasting my life here, it's got to stop somewhere.”

JOE
“You are so easy.”

MD PATIENT
“I want my doctor to find a cure for my illness.”

JOE
“Six of one, a half-dozen of the other. Here's your half decaf, skimmed milk, lo-cal vanilla latte. Not too hot, not too cold.”

MD PATIENT
“Uhm, I asked for a triple shot espresso.”

JOE
“Trust me, this is what you need. I assure you.”

MD PATIENT
(Looks at other customers) “Maybe this is yours.”

AARON
“I have what I ordered.”

ASPIRING STAR
“Me too.”

JOE
Joe:         “You have no idea.”

MATT
(singing) “You don't always get what you want." (first two lines).

DEPRESSED SHRINK PATIENT
“I'm hungry, do you know of a good place to eat? Actually, I'm looking for some comfort food. Something to satisfy the soul.”

MATT
“I know just the place. (Aside to customer who is sitting by himself at far end of coffee bar) What do you say Jim?”

JAMES DEAN
“Barney's Beanery, 8447 Santa Monica.”

SHRINK PATIENT
“How do I get there?”

JOE
“Take the Arroyo Seco Bridge. 250 souls can't be wrong.”

JAMES DEAN
James Dean:  (to Joe.) “Pushy.”

JOE
“Yes, some people are pushed into it, others are born into it, look at the Hemingways.”

JAMES DEAN
(Snorts at Joe's comment, turns to shrink patient) “I'm going there. You can follow me.”

JOE
“That's what you told Janis.”

JAMES DEAN
“And what's your point? Would you like to ride with me?”

JOE
Raises his hands and backs off. “I don't even want to know how you got your car back.” (Hendrix song: Crosstown Traffic.)

JAMES DEAN
Smiles. “Now that, I'll always leave a mystery.”

James Dean leaves coffee shop with shrink patient. Aspiring Star leaves coffee shop. Joe is wiping down the counter when there is a loud honking off stage, voices yelling “Watch where you're going!”
Screech of brakes. Loud thump. Timmy a painting laborer from outside comes to door.

TIMMY
(calmly) “Call an ambulance. Your last customer just got hit by a  Paramount tour bus. Looks like a bug on a wind shield. No hurry, it's just clean up.”

MATT
(to Joe) “Richard Arlen became a star after he was hit by a studio delivery truck in 1920.”

JOE
"Uh, huh, that was Paramount too. But Arlen lived until 1976.”

MATT
Matt as Jagger (singing in coffee shop) “You don't always get what you want. You don't always get what you ask for.”

ELVIS
“That's Mick Jagger! He's not dead!”

MATT
Matt as Jagger (singing) “Hey! You! Get off of my cloud!”

HENDRIX
“Honorary member, he's sends a lot of customers our way. Besides, this isn't all about dead people. If it were, we'd be out of jobs.”

ELVIS
“I thought you were leaving for a couple days.”

HENDRIX
“In a bit, for now I'm just going to watch. Let Joe wing it on his own. You hungry?” goes to filing cabinet, pulls out two plates of sandwiches.

JANIS JOPLIN
(Sitting next to Christ, male sycophant washing and adoring her feet, turns to Christ, sings) “Mercedes Benz" (Full song with giggles at end.) “I haven't had this much fun since I ate at Barney's Beanery with
James Dean.”

SYCOPHANT
“But that's the night you died!”

CHRIST
“Last supper for James Dean and for you at the same place?”

Back at Coffee Shop:
Marilyn is getting up to leave, straightening her short tight dress.

JOE
“Where are you off to, Marilyn?”

MARILYN
“Back to the Roosevelt Hotel.”

JAN AND DEAN
“You  and Monty rehearsing lines again?”

MARILYN
“No, we're going for a drive.”

JAN AND DEAN
“We wouldn't do that, Montgomery's a lousy driver. Remember?”

ALL BUT MARILYN
Jan and Dean, James Dean, Mont Cliff, Joe and Matt:
     (Singing) “Dead Man's Curve.”

MARILYN
“What can he hurt now?”  (Now to Joe.) “Oh, Honey, I forgot to show you something.” She starts to pull back the top of her dress.

JOE
"I have a girl friend . . .”

MATT
(Singing) “Hey, Joe! Where you goin' with that gun in your pants?”

MARILYN
(Giggling) “Silly.” (She pulls out a folded piece of paper, hands it to Joe.) “Jimmi Hendrix said to give you this.”

JOE
Joe takes paper but keeps looking at Marilyn's now greatly revealed cleavage.

MARILYN
“Aren't you going to read it?”

JOE
“Uh huh, sure.” (He reads the note) “Oh, no! He's taking two days off. I'm on my own!”

MARILYN
“I guess I should have given that to you yesterday, huh?” She pays for her coffee with several bills pulled from her cleavage.

Joe puts the money in the register, “Ka Ching!”

KEVORKIAN KHORUS
“Star bucks!”

Post Intermission:

ACT II
SCENE 1
Scene Change.
JOE
"Marilyn and James are about the only two anyone remembers. What do you say we kick up some old grave dust, put a new spin on the oldies but moldies?”

MARILYN
“Grant Tracey Hexum shot his brains out using a gun with blanks.”

HENDRIX
“Television's become the opiate of the people.”

ELVIS
“That should tell you something.”

MARILYN
“Watt?”

ELVIS
“Lack of them in both your cases.” (To Joe) “ Joe, I thought we were going to make some music. What are you waiting for? A one and a two . . .”

MARILYN
“Bobby Fuller mistook a gas station for a bar . . .”

JOE
(Playing Hendrix guitar, singing).((What song?))

MARILYN
“So James Dean and Sal Mineo tells the story of Hollywood better than any other.”

ELVIS
“I never fell to the Hollywood thing, Marilyn, so why is this James and Sal story better than others? Dean died a long time before Mineo.”

MARILYN
“Dean stabbed Sal in the heart. He hurt him bad when Dean went after that (name) girl. Yes, Sal died many years later but it still just as Dean put the knife in Williams' hands. Stabbed in the heart twice once
by James Dean and then Lionel Williams finished him off.”

HENDRIX
“It takes a long time to kill some people. Drugs are faster, cars even quicker than drugs.”

ELVIS
“It's a new breed. Television deadens their brains, deadens their pain. It's addictive but it's not illegal, there's no stigma and no one's died by television.”

HENDRIX
“Just actors who finished their careers by going there.”

MARILYN
“It's kept me alive. You fellas are lucky. People play your music, they emulate you.”

ELVIS
“You have your impersonators.”

MARILYN
“Gay guys, dressing up, drag queens. I mean people actually perform your music, sing your songs. Incorporate your styles into theirs. That's a lot better than guys in white dresses showing their penises
over New  York's subway grates.”

ELVIS AND HENDRIX
In unison, spit out their coffee as they begin laughing at the mental image Marilyn paints.

ACT II
SCENE 2
Scene Change:
Striesand's Christmas in LA song
Kevorkian look alike doctor.

KEVORKIAN PATIENT #1
Elderly patient, female, terminal, consults with doctor. (Singing) “'Haven't got time for the pain.”

KEVORKIAN
Writes script, gives gas canister and mask to patient.

KEVORKIAN PATIENT #2
(singing) “I just dropped in (to see what condition my condition was in).” (first verse)

KEVORKIAN
Writes script, gives canister and mask to patient.

KEVORKIAN PATIENT #1
Leaves, singing. “I shall be released.” (first verse)

KEVORKIAN PATIENT #2
Singing some line from Rod Stewart's “Have I told you lately that I love you.”

KEVORKIAN
Writes script but gives no canister nor mask. Patient not that sick.
     

Taking the good doctor off to jail, courts, appeals, prison, Santa Baby (thanks to CNN byline). Patients keep coming to the MD's office though the door is locked, an oversize “POLICE LINE” yellow tape
with black letters is across the door but the patients don't seem to see it. (Possibly song: Signs, signs, every where a sign. This picks up again later with star second time on Santa Monica Boulevard.)After a
while of patients walking in circles, unknowing about what to do, they start drifting down to the Top Hat cafe and then to the lawyer's office, increasing the number of trips clerks take wills to county offices.

First time doctor is in front of judge, he is wearing colonial costume a la Mark Lindsay of Paul Revere and the Raiders. He is being arraigned while Star is talking to couple in his home. Star is singing Kicks to
the girl.
Second time MD is taken in front of judge Bobby Fuller's I fought the law and the law won. Also need something current since this is the “Newbie” side of the musical.))

Christmas in jail for MD after then Santa Baby.
Elvis reprise of Blue Christmas when? Toward end.

ACT II
SCENE 3

Scene Change:
Top Hat Cafe. Star is at counter talking with Joe. Matt is strumming his guitar, singing low. ((What song?)) The male filing clerk from the hall of records gets his order, there's no where to sit. James Dean
stands, offers him his seat next to Star but the boy declines.

FILING BOY #1
Does a triple take at James Dean. Smiles coyly. “Thanks, if it's all the same to you. I'll kneel with Mindy.” (He points to a girl on her knees staring up at Star's back. The straw from her drink dangles from
her mouth until she starts to sing, Twinkle, twinkle, little star,  (one verse, choose well) the straw somehow sticks to her lip during the song.)

JAMES DEAN
“Suit yourself.”

AARON
(turns to boy) “You're familiar. Have we worked together?”

FILING BOY #1
“Uhm, kind of, (he stutters, kneels, dribbling foam from his latte down his chin. He wipes it with his fingers, sticks his fingers in his mouth, sucks on them absentmindedly.)

AARON
“Oh, now I remember. Nice to see you again.”

MINDY
(shrilly) “He talked to you! Oh! My! God! You know him!” (She falls over faint. Boy doesn't flinch, he smiles a megawatt toothy smile.)

JAMES DEAN
(laughing) “Cute, he's all aquiver like a baby sparrow waiting to be fed.”

AARON
“Yeah, he must have made an impression on me, kind of memorable but not what I'm looking for. I'm not sure how we . . .well . . .” (He turns to look at he boy again, he flashes him a peace sign before
turning back to Dean.) “So how did dinner go at Barney's with the hungry girl?”

JAMES DEAN
“She's not hungry any more, thought if the place is called Barney's Beanery she had to have beans. She did, a lot of them, gave her a bad case of gas and an idea so we went back to her hotel. She stunk up the
place so bad she decided to gas herself with a cylinder her doctor gave her. I thought she was carrying oxygen. That's what I thought all these people have when they come in here. It's poison gas, man!
Carbon Monoxide! Did you know that? But anyway, what a blast! She had quite an orgasm when she went. Me too.”

FILING BOY #1
Perks up. Interested in conversation.

JOE
“You can still do that? I mean . . .”

JAMES DEAN
“What made you think I couldn't? Want to find out?” (Dean chucks Joe under the chin with an index finger.)

FILING BOY #1
Makes movement to get up. Looks jealously at Dean chucking Joe under the chin.

JOE
(backs off) “Uhm,  no thanks. I . . .”

KEVORKIAN KHORUS
Kevorkian Chorus plus Dean, Star, Boy, Matt, et al:
     (In unison) “. . . (H)ave a girl friend!”

JOE
Joe:        (responds by playing his guitar – what song? Do it a la Hendrix. Matt to accompany with drum rhythms.)(( Look up something like “I have a girl named . . .”))

JAMES DEAN
(to AARON) “So are you doing okay? Anything getting you down?”

AARON
“I think the holiday season is having a good impact on me.” (Sings Heart of Gold.) “I'm doing okay, staying in shape doing bedroom aerobics. Staying away from the pills, I got so many scripts from my
shrink I could stock a pharmacy.”

JAMES DEAN
“Good stuff?”

AARON
“Don't know. I didn't have them filled, no time. Well, guys, I have another kind of script to study but first . . . (he bends down to look at the fainted girl. Shakes his head no) . . . I'm going to head on over to
Santa Monica, pick out a conscious Christmas present for myself. I think I'll stop to talk to her first, she might have something worth hearing. Maybe I'll remember something more than a pretty face.” (Star
turns to Joe.) “What do you think, Joe?”

JOE
“Yeah, I think you should start doing some comparison shopping. Don't just pick up anybody just because she has a pretty face. I think you should look for some sign.”

JAMES DEAN
“Can't you be more specific? Signs?”

JOE
(Plays Signs a la Hendrix.)

AARON
(Stands, ruffles the kneeling boy's hair.) “Maybe see you around, eh, Champ?” (He leaves the Top Hat.)

MINDY
(Stirs, sits up) “He talks to you! You know him!” (She makes sound like orgasm) "I love this place, it's paradise!" (then falls faint again.)

JAMES DEAN
“Now there's a girl after my own heart.” (to Joe)

FILING BOY #1
Looks at Mindy. “I'm better than her!”

JAMES DEAN
“I wonder if she'd like to go for a ride, maybe catch some dinner.”

KEVORKIAN KHORUS
“Barney's Beanery! Again?”

ACT III
SCENE 1
Scene Change:
AARON, on Santa Monica Boulevard, reprise from “All I want to do is have some fun.”
AARON picks up three colored girls who are really guys in drag, pays them each up front for their time. Others on stage, sing colored girls refrain from "Walk on the wild side." The three queens follow him.
AARON runs across a teen looking young boy and girl with a baby, the pair is entering into a suicide pact, discussing where to leave the infant. They offer it to the Star.

Store front signs:  Neon signs for symbols Faith Hope and Charity. Faith sign stutters, Hope dims, Charity brightens while Aaron Star is talking with John Joseph David and Mary. Tattoo parlor with skull,
anchor symbol, and heart symbol in window. Street Mission with cross symbol. Deli with Eats and Fish Symbol, Star of David, Kosher Mogan David Wine. Among the shop fronts is an open stairway (to
heaven), stars come and go through it.

AARON Kicks. He stops the suicide by collecting the three, taking them home, talking about getting help and jobs for them, moving them away from Hollywood where drug dealers are looking for past due
money, wanting to sell the baby to settle the debt. Reference the several suicide pacts where one or the other young person didn't  make it. AARON sends them off to Egypt Texas, where he's brought up
property, some stores, buildings, farm land. Song from Beaches, I think it's going to rain today.

AARON returns to attorney, changes his last will and testament.

Star “discovers” fainting girl. ((how?))
Boy “discovers” James Dean/ who “discovers” him. ((how?””
Kevorkian spends his days in prison, a man who released others from “prison.”  ((how?))

JOHN JOSEPH DAVID
“M . . . M . . . M . . . Mister, excuse me, s . . . s . . . sir. D . . . D . . . D . . . Do you think you can give us a f . . . f . . . f . . . few dollars so we can f . . . f . . . f . . . feed the baby, s . . . s . . . sir?”

AARON
(Star reaches in pocket, gives them what they ask.)

JOHN JOSEPH DAVID
“Thank you, s . . . s . . . s . . . sir. God bless you, s . . . s . . . s . . . sir.”

3 MAGI COLORED GIRLS
     (Hand over Star's “deposit” on their time.)

MARY
(Reaches for money, puts the baby in boy's arms. Turns to run from them but hits a lamp post. Ends up sitting on the sidewalk.)

JOHN JOSEPH DAVID
“Oh, M . . . M . . . M . . . Mary! What d . . . d . . . d . . . did you think you were going to d . . . d . . . d . . . do with that m . . . m . . . m . . . money? Put a down payment on s . . . s . . . s . . . some crack for
your brother?”

MARY
(Sits on side walk, face in hands, cries.)

JOHN JOSEPH DAVID
"S . . . S . . . S . . . Sorry, M . . . M . . . M . . . Mister. Sh . . . Sh . . . Sh . . . She's not going to make a good m . . . m . . . m . . . mom. Her parents m . . . m . . . m . . . messed her and her brother over. They're d .
. . d . . . d . . . dopers, her brothers a f . . . f . . . f . . . fiend. Sh . . . Sh . . . Sh . . . She's st . . . st . . . st . . . stolen all m . . . m . . . m . . . my st . . . st . . . st . . . stuff s . . . s . . . s . . . so sh . . . sh . . . sh . . . she can
pay off his d . . . d . . . d . . . drug d . . . d . . . d . . . debts. I d . . . d . . . d . . . don't  have anything else f . . . f . . . f . . . for her to pawn and I'm out of work.”

AARON
“What kind of work do you do? You're not an actor are  you?”

JOHN JOSEPH DAVID
“Carpentry, s . . . s . . . s . . . sir. Sh . . . Sh . . . Sh . . . She's afraid of her brother, her parents, the d . . . d . . . d . . . drug d . . . d . . . d . . . dealers who come after them. Now they're after her. They want to take
our baby, s . . . s . . . s . . . sell him.”

AARON
“Take your baby?”

JOHN JOSEPH DAVID
“Yeah, m . . . m . . . m . . . man. They want m . . . m . . . m . . . my s . . . s . . . s . . . son. I won't let her d . . . d . . . d . . . do it. M . . . M . . . M . . . My little J . . . J . . . J . . . Jesus is all the family I have left in
the world.”

AARON
“That's the baby's name?”

JOHN JOSEPH DAVID
“Yeah, he's a handsome little f . . . f . . . f . . . fellow. Isn't he?”

MARY
“He's my baby. I had him, you didn't.” (She gets up, reaches for the baby)

AARON
(gets in between her and the boy.)

MARY
(cops an attitude) “Big man, huh?” (she looks him over) “Nice clothes, expensive shoes. That a real Rolex? Say mister. You want to buy my baby? At least I'd know where he went.”

AARON
(turns to boy)

JOHN JOSEPH DAVID
(Holds baby tightly, shakes his head side to side.) “No, please. He's my s . . . s . . . s . . . son. I'd d . . . d . . . d . . . die if I lose him!”

AARON
(Looks at boy and at Mary, then at the baby. Turns around to look at two girls he picked up so far that are waiting near by. Says to waiting girls.) “Sorry, girls. It seems my plans changed.”

3 MAGI COLORED GIRLS
“Okay, Aaron, see you next time around but you have to promise we'll do it twice next time.”

AARON
(Waves to departing colored girls, turns to boy and Mary.) “Let's get to my place. I've stuff you can feed the baby and you too. I think we better talk. It's Christmas, you can stay with me today. We'll figure
something out.”

MARY
“Only if you think you're serious about buying my baby.”

JOHN JOSEPH DAVID
(Shakes his head, no, says) “No, no. I'd rather be on the st . . . st . . . st . . . street.”

AARON
(putting hand on boy's shoulder.) “Trust me, please.”

“Okay, but like you s . . s . . . s . . . said, because it's Christmas.”

AARON
“What's your name?”

JOHN JOSEPH DAVID
“J . . . J . . . J . . .”

AARON
“Don't tell me your name is Joseph.”

JOHN JOSEPH DAVID
(Shakes his head, no.) “J . . . J . . . J . . . John.”

AARON
“For a moment there, I thought I was in a Christmas pageant.”

JOHN JOSEPH DAVID
(Shakes head, no.) “J . . . J . . . J . . . John J . . . J . . . J . . . John J . . . J . . . J . . . Joseph D . . . D . . . D . . . David. I'm please to m . . . m . . . m . . . meet you.”
Deli neon sign for Mogan David Wine buzzes and blinks the words Mogan and wine  go black leaving the six pointed star and the word David.

ACT III
SCENE 2
Scene Change to Kevorkian prison cell.
Songs: Streisand song Christmas in LA, I shall be released, Santa Baby.

Kevorkian in cell talking with lawyer on Christmas Day.
Santa Baby, I want my appeal to be granted . . .
KEVORKIAN
“I'm going to die here. I reached my life expectancy, any longer is icing on the cake.”

LAWYER
“I don't know, Jack.”

KEVORKIAN KHORUS
“You said it. You don't know Jack.”

LAWYER
“You spared so many people from their suffering but here you are, suffering for all of it.”

KEVORKIAN
“I guess its suffering that was meant to be. Maybe all my years here are the years my patients would have lived and suffered if I didn't help them leave.”

LAWYER
“What? Like some kind of cosmic balance?”

HENDRIX AND JOE
     “It's about time somebody got it! Yes! That's exactly the thing!”

KEVORKIAN
“Had I known, I might have realized my priorities took my studies in a different vein.”

KEVORKIAN KHORUS
(Collective moan then) “Bad pun!”

KEVORKIAN
"Are there any more appeals that can be made?”

LAWYER
“Sadly, I'm afraid not.”

KEVORKIAN
“I can't even save myself. Where do saviors turn when they need salvation?”

KEVORKIAN KHORUS
“We're right here, Doctor. Haven't you learned anything from us? Physician, heal thyself!"

LAWYER
“You did your best, Jack. Not everyone can make that claim you had a good life, Uhm . . .”

KEVORKIAN
“Your family is waiting home for you. It's Christmas, you go ahead. Go home.”

LAWYER
“Thanks, Jack. You have a good Chr . . . uhm a good day. Uhm, if you can, uhm . . .”

KEVORKIAN
“Will I see you again?”

LAWYER
“Uhm, yeah, uh, sure, why not? Let me know if you take up painting again. You are really good at that. You shouldn't have stopped.”

KEVORKIAN
Gives a wry smile. Hears a chorus of “Ka Ching” from the stage. “Merry Christmas.”

KEVORKIAN, HENDRIX AND JOE
Kevorkian, Hendrix and Joe:
(Singing) Hendrix' “I don't live today.”

ACT III
SCENE 3
Scene Change

MARY
“Nice! Nice place you have here,” She admires and strokes a large statue of Astarte on a pedestal near the door. “I bet this is worth more money than I've spent in my life.”

JOHN JOSEPH DAVID
“D . . . D . . . D . . . Don't touch it, Mary. You're making me nervous.”

MARY
Walks away from pedestal. “So this will be a nice home for Jesus. You going to buy him today?”

AARON
“Mary, why don't we feed him first, get something to eat for ourselves?”

MARY
“Yeah,  yeah, sure.”

AARON
You have any bottles in there?” He asks John, pointing to a shoulder bag hanging against the young man's back.

JOHN JOSEPH DAVID
“Uh huh but no bags for them.”

AARON
Takes bag off his back, rummages through the few things in it, finds the bottle and nipple, looks though empty tube, figures out he will use a kitchen plastic baggie. “He doesn't have any food allergies does
he?”

MARY
“Poor children don't have allergies, that's for rich kids. He's as healthy as a baby horse.” Mary makes herself comfortable on a sofa in the living room while Star heats a milk mixture he puts together. The
bottle is ready quickly. He gives it to John who sits in an arm chair, feeds the hungry tyke. Star returns to kitchen counter puts some sandwiches together. Mary falls asleep on the sofa.

JOHN JOSEPH DAVID
Singing to baby as he feeds him. ((Need an appropriate lullaby sounding son. Does not have to be lullaby just soothing.)) John has an excellent voice, does not stutter while singing.

AARON
Puts a tray with sandwiches, drinks on the cocktail table between the chair and sofa.

JOHN JOSEPH DAVID
Finishes song. “Thank you.”

AARON
“Let me hold the baby while you eat.”

JOHN
“You'll give him back won't you?”

AARON
“Yes. I will. I wouldn't take your son away from you.”  Takes baby, walks around the room with him in his arms. Looks lovingly at the boy.

JOHN JOSEPH DAVID
Picking up sandwich. “Sh . . Sh . . Sh . . She really wants sell him you know. It's a bad s . . . s . . . s . . . scene.”

AARON
“What do you want, John?”

JOHN JOSEPH DAVID
“The American Dr . . . Dr . . . Dr . . . Dream. A sm . . . sm . . . sm . . . small home, for us, away from this place.  A j . . . j . . . j . . . job. Not having to worry every moment I'm awake or asleep.

AARON
“So that's still the American Dream?”

JOHN JOSEPH DAVID
“Oh, yes.”

AARON
“Here I thought I had the American Dream and it's a nightmare. I was happy when I had those things you want. Funny. I had the American Dream and didn't know it.”

JOHN JOSEPH DAVID
“You're s . . . s . . . s . . . so  lucky.”

AARON
“Lucky? Yes, I am lucky. John, I came from a small town in Texas, not far from Houston. I have a house, property, kind of a ranch but there's nothing on it yet. I wanted to have it as a country retreat.”

JOHN JOSEPH DAVID
“That's cool. I wish I had that.”

AARON
“I need someone to take care of it, get the things going I want while I'm here. Do you thin k you can do that for me? Let me take the three of you to Texas, you can have your dream and may be, maybe I can
have mine back.

JOHN JOSEPH DAVID
“Houston? Sure, we'll go with you!”

AARON
“Not Houston, outside of Houston. It's a small town called Egypt.”

JOHN JOSEPH DAVID
“Like the place with the pyramids?”

AARON
“Like that.”

MARY
Wakes up, stretches, yawns, grabs a sandwich, chows down.

JOHN JOSEPH DAVID
“Mary! Mary! Guess what? We're taking J . . . J . . . J . . . Jesus to Egypt!”

ACT IV
SCENE 1
Scene Change
To Top Hat Cafe. Star arrives, James Dean, Joe, Matt, fainting girl and file clerk boy are already there.

All present:        In unison when Star arrives. “AARON!” Lift their cups in a toast. “Happy Holidays!”

KEVORKIAN KHORUS
“CHEERS!”

JOE
“Aaron! Wow! It's been a long time no see! How are you? Where have you been? Working on a new movie? On location?”

AARON
“I'm fine,  never better really. I just got back in town from Egypt.”

JOE
“Egypt? Cool! What are you filming in Egypt??

AARON
“That's Egypt Texas, my home town. Just a visit to get family settled.”

JAMES DEAN
“I thought your family was gone. I remember meeting them. Nice people.”

LAW CLERK
Just from attorney's office arrives carrying folder with large letters "WILL." Sneaks up on FILING BOY #1 pinches his bottom. FILING BOY #1 turns around, raises eyebrows, smiles big, see folders,
mouthes "O" takes folder, opens, flips through papers inside.

SIGN AND PRINTING SHOP WORKERS
Arrive with arm loads of posters they paste on windows. Posters have notice:
"CONDEMNED BUILDING COMING DOWN! GOING OUT OF BUSINESS."

AARON
"What's going on here?"

MATT
"Building coming down."

AARON
"Where's everyone going to go?"

JOE
"I'm heading back to school, sound recording."

MATT
(Plays guitar and sings first verse and chorus of ) "I'm going back to Indiana." (or "Carolina In My Mind.")

AARON
(turns to face JAMES DEAN) "Uhm, what do . . . uhm . . .:

JAMES DEAN
"What do dead people do?"

AARON
(puffttts loudly)

JAMES DEAN
"It's okay. I'm all right with it. As long as people remember me, emulate me, I'm alive. Marilyn, me, Jimi, Elvis, Monty, Jan, Dean, all of us, when a new building goes up we'll be right here."

FILING BOY #1
(still has Aaron's will in hand, rolled into tube, he absently mindedly strokes it with other hand) "So what is going up here? Condominiums?"

AARON
(Takes cash from his pocket to pay for his coffee purchase)

JOE
(works register, KA CHING)

KEVORKIAN KHORUS
"Star bucks!"

MATT
(points to filing boy's action with rolled up folder) "Looks like you are but " (shakes head negatively) "no."

LAW CLERK
"Then what?"

MINDY
(as if just walking in or waking up from a dream state) "They're tearing down my paradise?"
(All others look at her like she is the missing link)

JOE
"To put up a parking lot."

FINALE


1. Overture: “You don't always get what you want.” Stone style segue into “a la Hendrix.” That is song to which Joe wakes. (full) Purple Haze may be better?
2. “Traveling Man.” Words: Ken Williams, Music: Lew Tobin.
3. “Will change.”
4. “Don't you want somebody (to love).” Words and music: C. Gregory Branklyn and Gregory D. Williams (.or. Darcy Slick, which is it?)
5. “Great Career.”
7. “Blue Christmas.” Words and music: Billy Hayes and Jay Johnson.
8. “Happy Birthday.” Music Mildred Hill, Summy Publishing with Gene Barry. Time Warner.
9. “Candle in the Wind.” Music: Elton John, Words: Bernie Taupin.
10. “All I want to do is have some fun.” Words and music: David Baerward, Sheryl Crow, Bill Bottrell.
10a. “Sex Beat.” Words and music: Jeffrey Lee Pierce.
12. “(I can't get no) Satisfaction.” Words and music by: Mick Jagger and Keith Richards.
13. “White Rabbit.” Grace Slick.
14. “Oscar, joy of man's desiring.”
15. “I Can't live (if living is without you)." Peter Ham and Tom Evans.
15a. “Stairway to Heaven.” Jimmy Page and Robert Plant
15b. “I just dropped in (to see what condition my condition was in).” Mickey Newbury.
15c. “I shall be released.” Bob Dylan.
16. “Manic Depression.” Jimi Hendrix.
17. “Crosstown Traffic.” Jimi Hendrix.
18. “You don't always get what you want.” Nick Drake .or. Paul Art Schlosser.
19. “Get off my cloud.” Mick Jagger and Leith Richards.
20 “Mercedes Benz.” Janis Joplin.
21. (Need a Hendrix song!)
22. “Haven't got time for the pain.” Sharimara Stallings.
23. “White Christmas.”
24. “I fought the law.” (change lyrics to suit Kevorkian) Sonny Curtis.
25. “Santa Baby.” Joan Javits.
26. “Heart of Gold.”
27. “Twinkle, twinkle, little star” or “Johnny Angel.”
29. “Signs.”
29a. “I think it's going to rain today.”
30. “Walk on the wild side.” Lou A. Reed.
31. “Kicks.” Words and music: Barry Mann and Cynthia Weil.
32a. “I don't live today.”
35. "Indiana." Sean Altman .Or. "Carolina in My Mind." John David Liska.
36. "Big Yellow Taxi." Joni Mitchell.