Prelude

 [In the dark, a droning.

Accompanied by a sound like rockets slicing through icy space, words swoop onto a large central screen:  
            
                                                                   THE MEDIATOR
                        BETWEEN THE HEAD THAT PLANS
                       AND THE HAND THAT BUILDS
                      MUST BE
                     THE HEART

Explosion.  Flash of white light fills the screens.  We hear the tinkling of a distant piano.  In a dim pocket of light, A CHILD appears, wandering aimlessly through the hulking,  silhouetted chunks of scenery.  The child is quietly singing a Sunday School song as images of toiling workers from all time periods begin to fade up on the screens.  Close-ups of people’s sweating faces filled with the anguish of toiling endlessly, bodies hunched and bent from the work.  The sweet purity of the child’s voice continues…]

I BELIEVE IN THE BIBLE, I BELIEVE IN THE BIBLE
I WILL NOT BE OPPRESSED, I WILL BE FREE
I WILL CARRY MY LOAD DOWN THIS LONG AND LONELY ROAD
FOR MY GOD AND FOR MY FAMILY

WHERE THERE’S HOPE, WHERE THERE’S LOVE
WHERE THERE’S STILL A PLACE FOR CHILDREN
WHERE THERE’S STILL A GOD ABOVE
THERE IS HOPE, THERE IS LOVE, THERE IS HOPE (dissonance creeps into the music)

I BELIEVE IN THE BIBLE, I BELIEVE IN THE BIBLE
AND THE GOOD BOOK WILL KEEP ME COMPANY
AND I’LL NOT WORK FOR NOTHING, THEY CANNOT KEEP ME A SLAVE
THEY CANNOT TAKE ADVANTAGE OF ME

[WORKERS suddenly appear in an angular clump, from behind a shadowy mass of scenery.  Floodlights are snapped on as emphatic chords shift the mood, and we start to see more of the grim Underground City.  Switches are thrown and showers of electric sparks momentarily fly through the air.  An omnipresent pressure gauge hovers above everything, displaying the number “101.111.”  As the music continues, WOMEN and CHILDREN appear and put together a makeshift altar for a simple wedding ceremony which MARIA officiates.  GROAT, the foreman, gruffly oversees this brief work break.  Everyone is dressed in the same dark, very worn looking jumpsuits.  Their mood alternates from bitterness to hopefulness, with both extremes uneasily coexisting as their song continues.]

WORKERS

	ONE OH ONE POINT ONE ONE ONE ONE
GET IT UP TO ONE POINT ONE ONE
	BETTER SEE THAT NUMBER ON THE DIAL

	DAY AFTER DAY WE WORK HERE UNDERGROUND
	THIS IS WHAT WE CALL LIFE
	ALL THAT WE CAN CALL LIFE

	JOHN FREEMAN IS THE MASTER OF METROPOLIS
	HE CONTROLS ALL LIFE BELOW
	AND ALL LIFE ABOVE (on the screen, brief glimpses of a party above ground)

SOLO
	PRESSURE IS ALL THAT GROAT HERE THINKS ABOUT

GROAT
	ONE OH ONE POINT ONE
	THEY MUST MAINTAIN
	OR SOMEONE PAYS

ALL
	SUPPLYING POWER FOR METROPOLIS
	THEY WORK US NIGHT AND DAY

GROAT
	DON’T NEED NO TROUBLE MAKIN’ SCUM ‘ROUND HERE
	WORKERS WHO COMPLAIN
	HAVE BEEN KNOWN TO DISAPPEAR

SOLO
	EMPTY WORDS FILL EMPTY SPACES
	GROAT IS RIGHT
	WHY DREAM OF THE SUNLIGHT
	WHEN DOWN HERE IT’S ALWAYS NIGHT

MEN
	ONE OH ONE POINT ONE ONE HOT
	ONE OH ONE POINT ONE ONE HOT
	ONE ONE HOT
	ONE ONE HOT
	UP ON THE DIAL

WOMEN
	SHE’S GETTING MARRIED
WHAT A FOOLISH THING TO DO

MEN
	FIFTY THOUSAND POUNDS OF POWER
	COMING OUT OF HERE EACH HOUR

WOMEN
	SHE MAY REGRET IT 
ALL THE PAIN SHE MAY GO THROUGH

MEN
	ONE OH ONE POINT ONE ONE ONE ONE
ONE OH ONE POINT ONE ONE ONE ONE
	
	NO WAY TO BUILD A LIFE DOWN HERE
JUST AN UNDERGROUND CITY OF STRIFE DOWN HERE
NO PLACE FOR A GIRL TO BE A WIFE
AND START A LIFE DOWN HERE

CHILDREN
	SHE’S GETTING MARRIED

WOMEN
	WHAT A FOOLISH THING TO DO

ALL
	SHE MAY REGRET IT 
ALL THE PAIN SHE MAY GO THROUGH

MEN
	NO WAY TO BE A HUSBAND DOWN HERE
NO WAY TO BE A FATHER DOWN HERE
NO WAY TO BE A PROVIDER DOWN HERE
ALL YOU DO IS WORK AND THEN YOU DIE DOWN HERE

ALL
	NO WAY TO BE A BRIDE DOWN HERE
	NO WAY TO HIDE YOUR LIFE DOWN HERE
A CITY OF WORK, NO LIFE, JUST STRIFE
THAT’S ALL THERE IS IN OUR LIFE DOWN HERE

CHILDREN
	SHE’S GETTING MARRIED
SHE’S GETTING MARRIED

GOD BLESS HER 
GOD BLESS HIM  
GOD BLESS EVERYONE OF THEM.

MARIA AND CHILDREN
	GOD BLESS HER
GOD BLESS HIM
	LET THE LIGHT SHINE IN

MARIA
	SHE’S GETTING MARRIED
SHE’S GETTING MARRIED
TOO LATE TO TURN AROUND
SO STRONG IN WHAT THEY FOUND
SURELY THEIR LOVE HAS NO BOUNDS

MEN
	NO WAY TO BE A HUSBAND DOWN HERE--NO WAY TO BE A FATHER DOWN HERE
NO WAY TO BE A PROVIDER DOWN HERE
ALL YOU DO IS WORK AND THEN YOU DIE DOWN HERE

SOLO
	WHY BOTHER?
 
JADE (THE BRIDE)
	WHERE THERE’S HOPE
WHERE THERE’S LOVE
WHERE THERE’S STILL A PLACE FOR CHILDREN
WHERE THERE’S STILL A GOD ABOVE
THERE IS LOVE – THERE IS HOPE – THERE IS LOVE

MARIA
	SHE’S GETTING MARRIED, SHE’S GONNA HAVE A GOOD LIFE
SHE’S GETTING MARRIED, SHE’S GONNA  HAVE A GOOD LIFE
GOD BLESS HER TODAY

WORKERS (SINGING OVER MARIA)
                      DAY AFTER DAY WE WORK ON THESE MACHINES
                      ONE OH ONE POINT ONE ONE HOT
                      DAY AFTER DAY
                      ONE OH ONE - NO WAY TO LIVE A LIFE
	 SHE’S GETTING MARRIED	
                      ONE OH ONE POINT ONE ONE HOT
                      DAY AFTER DAY
                      ONE OH ONE - DAY AFTER DAY - NO WAY TO LIVE A LIFE
                      SHE’S GETTING MARRIED            

                                                                         GROAT
                       BACK TO WORK
		
	[Groat and the workers exit, Maria and the children stay behind.]	
Act One – Scene One
The Worker’s Zone—Outside and inside Machine Room 22

[Old fashioned illustrations come up on the screen, matching what THE CHILDREN say as they peer over MARIA’s shoulder at the small tattered book she’s holding.]

CHILDREN
Tree!  Flower!  Sun!
ONE SMALL BOOK

MARIA
	THE FUTURE’S IN THE CHILDREN
	IF I CAN KEEP THEIR MINDS ALIVE
	THEIR SPIRITS WILL SURVIVE
	THE YOUNG ONE DAY WILL LEAD US OUT OF HERE
	IF THEY JUST STAY STRONG AND NOT GIVE IN TO FEAR
	BUT I MUST RELY ON SO MUCH MEMORY
	FOR ALL I HAVE IS WHAT THEY GIVE TO ME
	
	AND OUT OF ONE SMALL BOOK
	I READ TO THEM OUT OF ONE SMALL BOOK
	AND LEAD THEM DOWN THE ROAD OF GOOD INTENTIONS
	HOPING TO MAKE A DIFFERENCE IN THEIR LIVES

(MARIA contd.)
	OUT OF ONE SMALL BOOK
	I STEAL IDEAS AND I MAKE THEM LOOK
	AND TRY TO OPEN UP THEIR EAGER MINDS
	HOPING TO MAKE A DIFFERENCE IN THEIR LIVES

CHILDREN
	OUT OF ONE SMALL BOOK
	OUR EDUCATION OUT OF ONE SMALL BOOK
	THE MINIMUM OF WHAT THEY WANT US TO KNOW
	EACH DAY IT GOES ON 

MARIA (as stars swim on the screen)
	LOOK AT THE SUN

CHILDREN
	IT IS PART OF MANY GALAXIES

MARIA
	LOOK STRAIGHT AHEAD – WHAT YOU SEE ON THE SIDE

CHILDREN
	IS CALLED PERIPHERY

MARIA
	EVERYTHING HAS A DEPTH

CHILDREN
	THAT’S CALLED DIMENSIONAL

MARIA
	SOMETHING YOU DO ON PURPOSE

CHILDREN
	IS CALLED INTENTIONAL

MARIA
	OUT OF ONE SMALL BOOK
	I READ TO THEM OUT OF ONE SMALL BOOK
	AND LEAD THEM DOWN THE ROAD OF GOOD INTENTIONS
	HOPING TO MAKE A DIFFERENCE IN THEIR LIVES

CHILDREN
	OUT OF ONE SMALL BOOK
	OUR EDUCATION OUT OF ONE SMALL BOOK
	THE MINIMUM OF WHAT THEY WANT US TO KNOW
	ONLY WHAT THEY WANT US TO KNOW
	EACH DAY IT GOES ON

		[Groat comes out of the shadows and confronts Maria]

GROAT
What are you doing Maria?

MARIA
Only teaching the children

GROAT
Didn’t sound like teaching to me.  More like complaining.

	THINGS COULD BE EASIER – IF YOU WERE NICE TO ME
	
  MARIA
	I’M AS NICE TO YOU AS I’M EVER GONNA BE

GROAT
	IT’S A PITY – YOU MIGHT FIND SOME OF YOUR FRIENDS WORKING A DOUBLE SHIFT

	                       [GROAT puts on a grotesque head piece and swings a microphone to his 	mouth as THE WORKERS, with cowed heads, begin slowly shuffling back in  	from all corners of the auditorium.   THE CHILDREN exit as the  	looping image of marching workers flickers on the central screen, and on 	the smaller screens randomly hanging in space.]

101.1

GROAT

PRESSURE’S FALLING
PUSH
PUSH
PUSH
PRESSURE’S FALLING
PUSH
PUSH
PUSH
THE PRESSURE’S FALLING	ALL WORKERS
ONE O ONE POINT ONE ONE ONE
ONE O ONE POINT ONE ONE ONE
KEEPING ONE O ONE HOT ON THE DIAL

FIFTY THOUSAND POUNDS OF POWER
COMING OUT OF HERE EACH HOUR
ONE OF ONE POINT ONE ONE ON THE DIAL

ONE O ONE POINT ONE ONE ONE
ONE O ONE POINT ONE ONE ONE
KEEPING ONE O ONE HOT ON THE DIAL	
GROAT

PUSH
PUSH
PUSH
OR SOMEONE PAYS NOW
PUSH
PUSH	WORKERS 1

FIFTY THOUSAND POUNDS OF POWER
COMING OUT OF HERE EACH HOUR
ONE O ONE POINT ONE ONE ON THE DIAL

KEEP PUSHING

FIFTY THOUSAND POUNDS OF POWER	WORKERS 2
KEEP PUSHING
PRESSURE

PUSHING ONE O ONE POINT
ONE O ONE POINT ONE ONE ONE
COMING OUT OF HERE EACH HOUR
ONE O ONE POINT ONE ONE ON THE DIAL	

GROAT
PUSH!	
MARCO
DAY AFTER DAY WE WORK ON THESE MACHINES
THIS IS WHAT WE CALL LIFE
	
FEMALE WORKERS
PRESSURE’S FALLING	
	MARCO AND GEORGE
ALL THAT WE CAN CALL LIFE
	MALE WORKERS
PRESSURE’S FALLING	

GROAT
PUSH
PUSH
PUSH
THE PRESSURE’S FALLING
PUSH

GROAT
PUSH

PUSH

PUSH

GROAT
PUSH

GROAT
PUSH	WORKERS 1
FIFTY THOUSAND POUNDS OF POWER
COMING OUT OF HERE EACH HOUR
ONE O ONE POINT ONE ONE ON THE DIAL
KEEP PUSHING

MALE WORKERS
SUPPLYING  POWER FOR METROPOLIS

WORKER SOLO
THEY WORK US NIGHT AND DAY!

WORKERS 1

THE DAYS ARE DARK HERE IN METROPOLIS

MACHINES KEEP TURNING IN METROPOLIS

KEEP PUSHING!

JADE
KEEP PUSHING!

ALL WORKERS
KEEP PUSHING!	WORKERS 2
PRESSURE
PUSHING ONE O ONE POINT
ONE O ONE POINT ONE ONE ONE ONE
FIFTY THOUSAND

FEMALE WORKERS
KEEP PUSHING

WORKERS 2

KEEP PUSHING

KEEP PUSHING

MARCO
KEEP PUSHING!	
	
	[Sirens fill the air as gigantic gears start turning and two semi-circular sections of wall slide in to change the large screen into The Clock Machine which is where GEORGE stations himself.  THE WORKERS scramble up to their control panel work stations, and a Hellish furnace starts glowing and pulsating with dangerous looking energy.]

GROAT
Come on, move yourselves!  Get on those machines!  Let’s see the pressure going up! Up! Up! Now, go!  Today, not tomorrow!  Go!

GROAT
PUSH
PUSH
PUSH
THE PRESSURE’S FALLING
PUSH

GROAT
PUSH
PUSH
PUSH
OR SOMEONE PAYS NOW
PRESSURE’S FALLING
PRESSURE’S FALLING

GROAT
PUSH
PUSH
PUSH
PUSH
PUSH

GROAT
PUSH
PUSH
PUSH
PUSH
PUSH	WORKERS
ONE O ONE POINT ONE ONE ONE ONE
ONE O ONE POINT ONE ONE ONE ONE

WORKERS 1
FIFTY THOUSAND POUNDS OF POWER
COMING OUT OF HERE EACH HOUR
ONE O ONE POINT ONE ONE ON THE DIAL
KEEP PUSHING
KEEP PUSHING
KEEP PUSHING

ALL WORKERS
PUSH
PUSH
PUSH
PUSH
PUSH
PRESSURE’S FALLING
KEEP ON PUSHING

ALL WORKERS
PRESSURE’S FALLING
KEEP ON PUSHING!
ONE O ONE
ONE O ONE
PRESSURE–PUSHING–PRESSURE-PUSHING	
MARCO:  PRESSURE!
JADE:  PRESSURE!
MARCO:  PUSH!
JADE:  KEEP PUSHING!

WORKERS 2
PRESSURE!
PRESSURE!
PUSHING ONE O ONE POINT
ONE O ONE POINT ONE ONE ONE ONE
ONE O ONE POINT ONE ONE ONE ONE
ONE O ONE POINT ONE ONE ON THE DIAL

JADE
DAY AFTER DAY
WE HAVE TO PAY
THERE IS NO LIGHT
BUT ONLY NIGHT
THERE IS NO LIGHT
NO LIGHT, NO LIGHT
NO LIGHT.	

	[JADE screams as she is caught between massive gears.  MARIA and some workers rush to extract JADE from the machine and lay her on the floor.  A light on a rolling stand is brought over as the bloodied JADE, supported by MARIA, is dying and looking at the light with fascination.]

JADE
	LOOK--THE SUN, MARIA
	I KNEW I’D SEE IT ONE DAY.
	CAN YOU SEE IT?

MARIA
	YES.  I CAN SEE IT.   [JADE dies]

HOLD BACK THE NIGHT

MARIA
	HOLD BACK THE NIGHT
	DON’T LET THE DARKNESS FILL HER SOUL
	SHE WILL STILL FLY HIGH…SOMEDAY
	THOUGH DAYS ARE DARK
	AND NOTHING COMES TO LIGHT THE WAY
	SHE WILL STILL FLY HIGH…SOMEDAY

MARCO
	FEELS LIKE WE’RE WORKING FOR THE DEVIL
	HE DON’T GIVE A DAMN IF WE DON’T SURVIVE
	FEELS LIKE WE’RE WORKING FOR THE DEVIL
	FIGHTING EACH DAY TO JUST STAY ALIVE

	NOTHING CAN LAST
	NOTHING CAN LIVE
	EVERYTHING BREAKS
	EVERYONE GIVES
	FREEDOM WON’T COME
	WAITED SO LONG
	THE WEAK GO FIRST
	FINALLY THE STRONG

MARIA

HOLD BACK THE NIGHT
DON’T LET THE DARKNESS FILL HER SOUL
SHE WILL STILL FLY HIGH…SOMEDAY

	MARCO
FEELS LIKE WE’RE WORKING FOR THE DEVIL
HE DON’T GIVE A DAMN IF WE DON’T SURVIVE
FEELS LIKE WE’RE WORKING FOR THE DEVIL
FIGHTING EACH DAY TO JUST STAY ALIVE

DEEP IN THE NIGHT THERE’S A BURNING
HUNGRY FOR LIFE THERE’S A YEARNING
BUT THE MACHINES KEEP ON TURNING
SEALING OUR FATE HOPING OUR SPIRITS WILL BREAK	
MARIA

HOLD BACK THE NIGHT
DON’T LET THE DARKNESS FILL HER SOUL
SHE WILL STILL FLY HIGH…SOMEDAY	MARCO
FEELS LIKE WE’RE WORKING
FOR THE DEVIL
HE DON’T GIVE A DAMN
IF WE DON’T SURVIVE
FEELS LIKE WE’RE WORKING
FOR THE DEVIL
FIGHTING EACH DAY
TO JUST STAY ALIVE
	GEORGE
SHE THOUGHT SHE ONCE
SAW THE SUN
SHE THOUGHT THERE WAS HOPE
FOR US DOWN HERE
WHAT DID SHE KNOW ABOUT LIFE?
NOW I MUST BELIEVE UP THERE
THE WORLD IS ONLY BAD
AND MAN MUST PERISH FROM THE EARTH	
MARIA
WARM EYES AND LAUGHTER
SHE ONCE KNEW SOMEONE
KEEPS SOMETHING FOR SOMEBODY GONE SO SOON	CHILDREN
HOLD BACK THE NIGHT
DON’T LET THE DARKNESS FILL HER SOUL
SHE WILL STILL FLY HIGH…SOMEDAY	MARCO
FEELS LIKE WE’RE WORKING
FOR THE DEVIL
HE DON’T GIVE A DAMN
IF WE DON’T SURVIVE
FEELS LIKE WE’RE WORKING
FOR THE DEVIL
FIGHTING EACH DAY
TO JUST STAY ALIVE	GEORGE
SHE THOUGHT SHE ONCE
SAW THE SUN
SHE THOUGHT THERE WAS HOPE
FOR US DOWN HERE
WHAT DID SHE KNOW ABOUT LIFE?
NOW BELIEVE UP THERE
THE WORLD IS ONLY BAD
AND MAN MUST PERISH FROM THE EARTH	
		
		[JADE’S body is lifted high.]

MARIA
	THOUGH DAYS ARE DARK
	AND NOTHING COMES TO LIGHT THE WAY
	SHE WILL STILL FLY HIGH…SOMEDAY

WORKERS
	THOUGH DAYS ARE DARK
	AND NOTHING COMES TO LIGHT THE WAY
	SHE WILL STILL FLY HIGH…

		[GUARDS, wearing inhuman looking helmets and uniforms enter with a smoke spewing wheel barrow-like contraption and a body bag.  JADE is stripped and thrown into the bag.  MEN hold back the enraged GEORGE as the guards carry JADE to the upper level above and drop her body into the furnace.  As the flames consume the body, the gears start to turn with a burst of small energy.]

WORKERS
	THOUGH DAYS ARE DARK
	AND NOTHING COMES TO LIGHT THE WAY
	SHE WILL STILL FLY HIGH SOMEDAY!

		[GROAT stands ominously above the agitated crowd.]

GROAT
Back to work.  The little accident is over.  Good reminder to you all why we have certain rules down here.  Now get on those machines—the pressure’s falling, and no more carelessness!

	[THE WORKERS, as one organism, unflinchingly face down GROAT as THE 	GUARDS flank him, hands ready at their wicked looking rifles.]

WORKERS
	THOUGH DAYS ARE DARK
	AND NOTHING COMES TO LIGHT THE WAY
	WE WILL ALL FLY HIGH SOMEDAY!

		[GROAT and THE GUARDS turn on their heels in disgust and exit.  TWO 	MEN gently guide the grieving GEORGE out of the machine room.]

WATCH OVER THEM MARIA

WORKER
	NO WAY TO BUILD A LIFE DOWN HERE
	JUST AN UNDERGROUND CITY OF STRIFE DOWN HERE
	NO PLACE FOR A GIRL TO BE A WIFE AND
	START A LIFE DOWN HERE

ANOTHER WORKER
	SHE’S GETTING MARRIED
	SHE’S GONNA HAVE A GOOD LIFE
	SHE’S GETTING MARRIED
	SHE’S GONNA HAVE A GOOD LIFE

TWO WORKERS
How many more deaths, Maria, before we do something?

TWO MORE WORKERS
How many more deaths, Maria, before we do something?

		[MARIA only looks at the workers gently, then starts gathering THE 	CHILDREN.]

MARIA
	COME CHILDREN, NOW IT’S TIME TO MAKE OUR JOURNEY
	COME CHILDREN, THERE’S A DIFFERENT WORLD I WANT YOU TO SEE
	COME WITH ME

PARENTS
	WATCH OVER THEM, MARIA
	SEE THAT NO HARM COMES TO THEM
	WE TRUST YOU WITH THEM
	WATCH OVER THEM
	THEY ARE SO YOUNG

		[MARIA punches a code into the numeric pad by the elevator door.  After 	some farewell hugs with THE WORKERS, she and THE CHILDREN step into 	the elevator and are lifted out of the underground city.]

Scene Two
John Freeman’s Office

	[In his office/control room, The Mastermind of the city, JOHN  FREEMAN 	and JEREMIAH, his assistant, coolly observe flashing control panels, and 	make periodic adjustments.  There is something almost automaton about 	their movements.  Random numbers slowly drift like falling snow on the 	smaller screens, while the large screen becomes a picture window through 	which we see a breathtaking panoramic view of the city’s skyscrapers.]

THE MACHINES ARE BEAUTIFUL

FREEMAN
	THE MACHINES ARE BEAUTIFUL
MORE PERFECT THAN MAN
AND THEY MUST BE KEPT RUNNING
ANY WAY THAT THEY CAN
THE MACHINES ARE BEAUTIFUL
AND WORKERS MERE SLAVES
MACHINES WILL STILL BE TURNING
WHEN WE’RE DEEP IN OUR GRAVES
	[	close-ups of gears turning on the screens]
THE MACHINES ARE BEAUTIFUL
CREATION OF MAN
THEY’RE THE STRENGTH OF THE CITY
THEY’RE THE HEART OF THE PLAN
THEY SHOW NO EMOTION
THEY WILL ALWAYS OBEY
MACHINES WILL STILL BE RUNNING
THROUGH THE NIGHT, THROUGH THE DAY

FUTURE
WE MUST ENSURE THE FUTURE
IT IS A POINT OF NATURE
METROPOLIS WILL ALWAYS BE HERE
ALWAYS WATCH THE POWER
WE’RE HELPLESS WITHOUT POWER
WE’D FACE ETERNAL WINTER—AND STARVE AND DIE

(FREEMAN contd.)
AND NOTHINGNESS
NOTHING LESS (robotic arms slowly emerge from his desk to massage him)

THE MACHINES ARE BEAUTIFUL 
THE FUTURE IS BLACK
WE CAN LOVE THEM OR LEAVE THEM
WE CAN NEVER TURN BACK

THE MACHINES ARE BEAUTIFUL
THEY WILL NEVER BETRAY
MACHINES WILL KEEP US GOING
THERE IS NO OTHER WAY
NO OTHER WAY

[We hear a brief, strange roar, and GROAT’s nervous, sweaty face zooms into view on the screens.]

FREEMAN
Ah, Groat!  Why did the pressure dip at (checks a monitor) eighteen nine?

GROAT
Sir, worker 1312 has been terminally discontinued.

FREEMAN
Yes, but why did the pressure fall, Groat?  The pressure can only fall if workers leave the machines during a shift.  You’re not telling me that happened are you?

GROAT
No, never!

FREEMAN
Machines don’t lie.  Machines are beautiful, wouldn’t you say, Groat?

GROAT
Beautiful, Sir.

FREEMAN
I’m glad you’re so appreciative.  My spies have confirmed reports that there is a woman in Machine Room 22 who is creating discontent.  What do you know about this?

GROAT
Nothing, Sir!

FREEMAN
I understand that there is some sort of ritual going on down there.  Put an end to it immediately!

GROAT
Yes, Sir!

JEREMIAH
Mr. Freeman will hold you personally responsible for any further inconsistencies.

FREEMAN
Restore order or I will put you back on the machines.

GROAT
Yes, Sir!

FREEMAN
You may go.

[GROAT’s face disappears from the screen, to be replaced by that of WARNER,  an inventor and scientist who resembles Einstein.  In brief flashes, we catch glimpses of a smooth, gleaming, robotic face, golden and feminine,  peering around the distracted, sullen face of WARNER.]

FREEMAN
Ah, Warner, the great inventor!  Welcome.  (consults a screen) Yes, today is the day for the prototype of my robot.  Where is it?

WARNER
I need more time.

FREEMAN
I give you a great deal of time to build a perfect mechanical creature with all the functions of a human being and what do I get?  Excuses.  I keep on telling you workers are expendable.  My eyes are on the future.  I need robots.  I need them now.  Very disappointing.  Go away, leave me.

JEREMIAH (as the screen dissolves back to the skyline view)
Take heed, Warner!
FREEMAN
Time is running out for Warner.  Jeremiah, bring me the profiles of all the workers in Machine Room 22.

JEREMIAH
Yes, Sir. (STEVEN enters)  Steven, do excuse me.  (exits)

FREEMAN
Steven!  You wanted to see me.

STEVEN
Yes, father.

FREEMAN
It must be important for you to pay me a visit.  That is something you usually try to avoid these days.

STEVEN
I will not be involved in learning how to run your city unless I know everything.  Now I have asked you before, why am I forbidden to go below?

FREEMAN
Be patient.  In time you will have all the knowledge you need.

STEVEN
No, I’ve waited long enough.
FREEMAN (laughing)
Steven!

STEVEN
Don’t patronize me father.  I’m not a child.  I’ve obeyed you up until now, never asking any awkward questions.  Father, it’s time for me to know everything.

FREEMAN
My dear boy, understand me.  I need you.  I’m not getting any younger.  It is very hard to explain, believe me, but um, you are not ready yet.

STEVEN
And when will I be ready?

FREEMAN
Be patient.  Trust my wisdom.

JEREMIAH (returning)
The printouts you asked for, Sir.
FREEMAN
Thank you, Jeremiah.  

STEVEN
I’m leaving you now, father.

FREEMAN (as STEVEN exits)
I’ve enjoyed our short conversation, we must do it more often.

JEREMIAH
Sir, there are some things Steven should not know, but with respect, now is not the time to neglect him.

FREEMAN
Yes, you may be right, Jeremiah.

JEREMIAH
With regard to Machine Room 22, six workers have had to be terminated.  I dealt with it personally.

FREEMAN
Splendid, Jeremiah!  You see, Steven has a conscience, and you, my dear Jeremiah, have not.

JEREMIAH
No, Sir.

FREEMAN
Be careful, Steven.  Be very careful.  Remember you are John Freeman’s son.  It is a privilege.  Don’t abuse it.

	THE MACHINES ARE BEAUTIFUL
	MORE PERFECT THAN MAN
	AND THEY MUST BE KEPT RUNNING
	ANY WAY THAT THEY CAN

		[The control office starts to disappear]

	THE MACHINES ARE BEAUTIFUL
	THEY’LL NEVER BETRAY
	MACHINES WILL KEEP US GOING
	THERE IS NO OTHER WAY

Scene Three
An Open Space

HE’S DISTANT FROM ME NOW

STEVEN
		HE’S DISTANT FROM ME NOW
		HOW SAD IT SEEMS
		THAT HE CAN’T SEE
		HE’S LOSING ME
		HE THINKS IF NO ONE ELSE
		CAN TAKE HIS PLACE
		HE’LL DISAPPEAR
	WITHOUT A TRACE
		
		DUTY
		HE THINKS IT’S MY DUTY
		TO FOLLOW HIS LEAD
		ADMIRE HIS SCHEMES
		HIS COLD AND FUTILE DREAMS
		TO START
		OH, HOW CAN I START
		TO LOOK FOR SOME WARMTH
TO STRUGGLE AND FIGHT
TO CHANGE HIS EMPTY HEART?

DOES HE KNOW WHAT IT’S LIKE
TO BE HIS SON
THE PRECIOUS BOY
THE PERFECT ONE?
IS THIS A PRIVILEGE
BEYOND THE DREAMS
OF ANYONE
JOHN FREEMAN’S SON?

MY LIFE
MUST NOW BE MY OWN
BUT WHICH WAY TO TURN?
THE POWER AND PLANS
BELONG TO HIM ALONE
TO START
OH, HOW CAN I START
TO LOOK FOR SOME WARMTH
TO LOOK FOR SOME LOVE?

HE’S DISTANT FROM ME NOW
HOW SAD
IT SEEMS THAT HE CAN’T SEE
HE’S LOSING ME

Scene Four
The Pleasure Gardens and the street outside
	
	[Exotically dressed ELITISTS, some wearing feathered masks, robotically 	enter.  They pose and preen their way through a dance as STEVEN 	watches from the side, to be drawn into the action by his mistress, 	LULU.]

THE ELITISTS

STEVEN
	LIFE IS A STRUGGLE
	BUT LIFE GOES ON
	IT’S TOUGH BUT ELITISTS DON’T COMPLAIN
	INSTEAD WE RARELY MOVE
	ONE HEARS THAT IT COULD BE DETRIMENTAL TO THE BRAIN
	THE HEART
	FOR A START
	MAY NEVER QUITE RECOVER FROM THE STRAIN

	JUST LOOK AT HER SWEATY LITTLE FINGERS
	UP HERE PERSPIRATION NEVER LINGERS
	SHE THINKS IT’S SUCH A PLEASANT WAY
	TO SPEND THE AFTERNOON
	WE’RE DEAD ON OUR FEET
	WE’RE ALWAYS DORMANT
	AND NOTHING EVER SEEMS TO BE IMPORTANT
	JUST INDURANCE
	IT’S INSURANCE
	YOUTH WILL NOT GO SOON

		[LULU dances seductively around STEVEN]

	DEAR GOD WHAT A BORING CONVERSATION
	I’D RATHER SPEND THE DAY AT A CREMATION
	THE CLOCK TICKS WEARILY THROUGH THE ENDLESS AFTERNOON
	AND STILL NOTHING EVER SEEMS TO HAPPEN
	NOTHING EVER REALLY SEEMS TO HAPPEN
	THE SENSATION
	ISOLATION
	I WILL GO MAD SOON

		[STEVEN steps outside, LULU follows, and the ELITISTS are left in the 	shadows.]

LULU
Steven, what’s wrong?

STEVEN
I’m sorry, Lulu.  I have a lot on my mind.

LULU
I don’t understand you.

	[MARIA and the children come up from the underground city into the light 	of Metropolis.  The children look around in amazement as STEVEN and 	LULU go to them in curiosity.  The other ELITISTS notice and come closer, 	but keep their distance, pointing and chuckling snidely amongst themselves 	at the sorry looking group of raggedy children.]

THE CHILDREN OF METROPOLIS

CHILDREN
	OH MY WHAT A BEAUTIFUL CITY
	HOW TALL ARE THE BUILDINGS
	THE WINDOWS SO HIGH
	OH MY WHAT A BEAUTIFUL CITY
	HOW WIDE AND HOW WHITE IS THE SKY

MARIA
	THIS IS THE VISION WE’RE FORBIDDEN
	MIGHTY AND POWERFUL, BEAUTIFUL, RICH AND STRONG
	NOW YOU CAN SEE THE WAY THEY LIVE HERE
	CHILDREN YOU NEED TO SEE THIS ONCE
	AND YOU WILL ALWAYS REMEMBER THIS DAY
	AND WILL KNOW WHAT IS ABOVE--AND WHAT IS BELOW
	
STEVEN (to Maria)
	WHO ARE THESE CHILDREN DRESSED IN RAGS
	WHO ARE THESE CHILDREN LOOKING HUNGRY
	WHO ARE THESE CHILDREN I HAVE NEVER SEEN THE LIKES OF THEM BEFORE
	WHERE DID THEY COME FROM
	HOW MANY ARE THERE ARE THERE MANY MORE

MARIA

	THESE ARE THE CHILDREN OF METROPOLIS
	THE FORGOTTEN ONES BENEATH THE CITY
	TAKE A LOOK AT THEM – YOU HAVE BANISHED THEM
	TAKE A LOOK.  IT ISN’T VERY PRETTY…

	THESE ARE THE CHILDREN OF METROPOLIS
	THE FORGOTTEN ONES BENEATH THE CITY - LOOK AT THESE FACES
	THINK OF THE YEARS YOU’VE BEEN AVOIDING THIS
	TOO SCARED TO LOOK BELOW YOUR CITY

STEVEN (to Lulu)
	WHO ARE THESE CHILDREN DRESSED IN RAGS
	WHO ARE THESE CHILDREN LOOKING HUNGRY
	WHO ARE THESE CHILDREN I HAVE NEVER SEEN THE LIKES OF THEM BEFORE
	WHERE DID THEY COME FROM
	HOW MANY ARE THERE ARE THERE MANY MORE

MARIA (to The Elitists, who shrink back)
	HAVE YOU NO HEART DO YOU NOT CARE ENOUGH
	YOU WHO KEEP YOUR CONSCIENCE SAFE AT HOME
	HOW CAN YOU LIVE WITH SUCH AN INDIFFERENCE
	WOULD YOU DO THIS TO CHILDREN OF YOUR OWN

(MARIA contd.)	
	THESE ARE THE CHILDREN OF METROPOLIS
	THE FORGOTTEN ONES BENEATH THE CITY

STEVEN (to himself as THE CHILDREN playfully climb on him)
	WHO ARE THESE CHILDREN DRESSED IN RAGS

MARIA
	YOU BANISHED THEM BELOW

STEVEN
	WHO ARE THESE CHILDREN LOOKING HUNGRY

MARIA
	SO NOW YOU REALLY KNOW

STEVEN
	WHERE DID THEY COME FROM

MARIA
	COME CHILDREN – WE MUST GO

I KNOW YOU FROM SOMEWHERE

STEVEN
	WAIT I MUST TALK TO YOU
	I KNOW I KNOW YOU…FROM SOMEWHERE

	I KNOW YOU FROM SOMEWHERE
	I KNOW WE’VE MET BEFORE
	I’VE SEEN THAT FACE AND HEARD THAT LAUGH BEFORE

	I KNOW YOU FROM SOMEWHERE
	MY HEART HAS FELT THE THINGS IT’S FEELING NOW
	SOME OTHER TIME, SOME OTHER PLACE
	I KNOW IT--I KNOW WE’VE MET BEFORE

MARIA
	[angry]YOU HAVE NEVER SEEN ME
	NO WAY YOU’VE EVER SEEN ME
	I HAVE LIVED BELOW FOR ALL MY LIFE
	[softer] FOR ALL MY LIFE

STEVEN
	I REMEMBER SUMMER DAYS 
	AND THE SOUND OF LAUGHTER
	DON’T YOU HAVE THOSE MEMORIES TOO

MARIA
	YOU’VE MISTAKEN ME FOR SOMEBODY ELSE
	THINGS LIKE THAT HAPPEN ALL THE TIME

STEVEN
	DID I NOT TELL YOU ONE DAY WE’D MARRY
	THE KIND OF DAYDREAMS THAT CHILDREN DO

MARIA (watching a boy and girl sitting and whispering together)
	OH NO I WOULD HAVE REMEMBERED
	I KNOW I WOULD HAVE REMEMBERED
	IF ALL THIS WERE TRUE
	I WOULD HAVE REMEMBERED YOU
	
MARIA
I WOULD HAVE REMEMBERED…	STEVEN
I KNOW YOU FROM SOMEWHERE…I REMEMBER…	

MARIA AND STEVEN
I REMEMBER YOU
I REMEMBER YOU	

	[ JEREMIAH enters with GUARDS.]

JEREMIAH
Steven, what are you doing?  Your father would never allow this.

LULU
Steven!

	 [A brief moment as LULU and MARIA exchange looks before MARIA herds the children off, STEVEN ignores JEREMIAH and follows.  JEREMIAH calls FREEMAN on his wrist radio, and FREEMAN’s face appears on the screens.]

JEREMIAH
Urgent access.  Urgent access.  Control office.

FREEMAN
Control here.  What is it?

JEREMIAH
Steven has followed some intruders down to the Workers’ Zone.

FREEMAN
He’s done WHAT!?  Stop him, Jeremiah!  He must not see the conditions down there. Stop him immediately!  (JEREMIAH runs off with the GUARDS.)

Scene Five
Machine Room 22

ANNOUNCER ON SCREEN
Toxic hydrocarbons have risen above the danger levels.  Gas masks must be worn immediately.  Repeat, the toxic level is now life threatening.  All gas masks must be worn immediately.

A SECOND ANNOUNCER
The toxic alert is only temporary – We will inform you as soon as the level falls.  Please remember to make sure your gas masks fit securely.  Thank you.

	[The workers return.  Steven enters and looks around in amazement.]

50,000 POUNDS OF POWER/ONE MORE MORNING

WORKERS
	FIFTY THOUSAND POUNDS OF POWER
	PUSHING OUT OF HERE EACH HOUR
	KEEPING ONE OH ONE UP ON THE DIAL

	FIFTY THOUSAND POUNDS OF POWER
	PUSHING OUT OF HERE EACH HOUR
	ONE OH ONE POINT ONE ONE ON THE DIAL

STEVEN
	SWEATING HERE TOGETHER
	SKINS AS HARD AS LEATHER                                      WORKERS
FACES THAT HAVE NEVER SEEN THE SKY                    DAY AFTER DAY KEEP WORKING
	CAN THESE MEN BE MY BROTHERS
	MY BROTHERS AND MY SISTERS
DOOMED TO WORK HERE TILL THE DAY THEY DIE

ONE MORE MORNING – ONE MORE NIGHT
ROLLING IN AND ROLLING OUT WITH NO END IN SIGHT
LIFT THAT LEVER – PUMP THAT STEAM
IS THERE ANY WAY TO GET THEM OFF
THESE DAMN MACHINES (red lights bathe the machine room)

WORKERS 1

ONE OH ONE POINT ONE ONE ONE ONE
ONE OH ONE POINT ONE ONE ONE ONE
KEEPING ONE OH ONE HOT ON THE DIAL

FIFTY THOUSAND POUNDS OF POWER
PUSHING OUT OF HERE EACH HOUR
ONE OH ONE POINT ONE HOT ON THE DIAL	WORKERS 2

DAY AFTER DAY WE WORK ON THESE MACHINES
THIS IS WHAT WE CALL LIFE
ALL THAT WE CAN CALL LIFE

DAY AFTER DAY WE KEEP ON PUSHING

ONE OH ONE POINT ONE HOT ON THE DIAL	
STEVEN
	SOMEWHERE NEAR I HEAR THE SOUND OF LAUGHTER IN THE AIR
	SOMEWHERE NEAR THE GIRL I SAW IS LAUGHING AT ME THERE
 I’D LIKE TO GET THE WHOLE DAMN USELESS LOT OF US DOWN HERE
	LET THEM HEAR THE WAY THAT THESE MACHINES ROAR IN MY EARS

WORKERS 1
ONE O ONE
ONE O ONE
FIFTY THOUSAND POUNDS OF POWER
ON THE DIAL
PRESSURE’S FALLING
KEEP ON PUSHING
FIFTY THOUSAND POUNDS OF POWER	WORKERS 2
PRESSURE’S FALLING
KEEP ON PUSHING 
ONE O ONE
ONE O ONE
FIFTY THOUSAND
POUNDS OF
POWER

STEVEN
IF THIS IS THE LIFE
I’VE NEVER SEEN THIS LIFE BEFORE
IF THIS IS LIFE
A MAN HAS GOT TO WANT MORE	ALL WORKERS
DAY AFTER DAY AFTER DAY
WE ARE WORKING
WHY DREAM OF THE SUNLIGHT?
WHY DREAM OF THE SUNLIGHT?	
STEVEN
	SHE’S GOT COURAGE
	SHE’S GOT GRACE
	GOT TO FIND THAT GIRL
	GOT TO GET THEM OFF
	THESE DAMN MACHINES

ALL WORKERS
	PRESSURE’S FALLING
	KEEP ON PUSHING

STEVEN
	ONE MORE MORNING

ALL
	ONE MORE NIGHT

		[Siren.  Work shift is over.  The workers start to leave, exhausted.  STEVEN looks around,  trying to find MARIA.  Some of the CHILDREN cautiously walk up to STEVEN.]
	
STEVEN
You came up to the city, didn’t you?  That was a very brave thing to do.  Now, can you tell me where I can find the young woman who was with you?

	[The CHILDREN look around to be certain they are not being watched.]

BESO
That’s Maria, our teacher.

LAKE
Beso!  Shhh!

	[The CHILDREN run off, but LAKE and one of the other girls return and hide 	behind a machine to watch STEVEN.]

IT’S ONLY LOVE/BRING ON THE NIGHT

STEVEN
	WHO DOES SHE BELONG TO--IS SHE ON HER OWN
	SOMEONE WHO’S THAT WONDERFUL
	MUST BELONG TO SOMEONE
	SHOULD I TAKE A CHANCE
	CAN SHE BE THE ONE I’VE WAITED FOR SO LONG
	IS THIS REALLY HAPPENING TO ME
	THE FEELINGS ARE SO STRONG

	IF IT’S ONLY LOVE
	SHOULDN’T BE ENOUGH TO BREAK MY HEART
	IF IT’S ONLY LOVE--IT’S ONLY LOVE

(STEVEN contd)
	FEELINGS FROM THE HEART
	DO NOT COME EASY FOR ME
	I HAVE NOT HAD MANY LOVERS IN MY LIFE
	AND MOSTLY THAT WAS MY OWN CHOICE
	
	OUT OF NOWHERE NOW SHE COMES INTO MY LIFE
	AND I KNOW SO FAST SHE HAS TO BE A PART OF MY LIFE

	IF IT’S ONLY LOVE
	SHOULDN’T BE ENOUGH TO BREAK MY HEART
	IF IT’S ONLY LOVE
	IT’S ONLY LOVE
	IT’S ONLY LOVE – IT’S ONLY LOVE

		[THE GIRLS lead STEVEN off as MARIA enters in another area of the 	machine room.]

MARIA
BRING ON THE NIGHT
I CAN TAKE THE DARKNESS
I’M NOT EMPTY INSIDE
I DON’T LIE AWAKE LONG
AND I KNOW THAT IN THIS LIFE
THE STRONG ARE THE WINNERS
SO IF I’M ALONE
I’M NOT ON MY OWN
I HAVE THE NIGHT

EVERYONE HURTS
EVERYONE IS LONELY
SO I’M LIKE ALL THE REST
EVERYBODY HAS PAIN
AND IF ONCE AND A WHILE
I CATCH MYSELF CRYING
IF I’M A LITTLE SAD
PERHAPS IT’S NOT SO BAD
IT’S PART OF THE GAME

IN THE COLD AND LONELY NIGHT
I CAN STILL BE STRONG
I CAN MAKE IT ON MY OWN
NO ONE REALLY NEEDS TO LOVE
NOT EVERYONE NEEDS LOVE
IF YOU’VE LOVE INSIDE
YOU DON’T HAVE TO SHARE IT TO SURVIVE
AND I WILL SURVIVE…

		[STEVEN appears above, lead by LAKE.  He sees MARIA, and begins to climb down.  He stops, deciding to take her in from a distance.  The song now turns into a duet with STEVEN and MARIA singing counterpoint.  MARIA, however, does not see that she is being watched.]

STEVEN
WHO DO YOU BELONG TO
ARE YOU ON YOUR OWN
SOMEONE THAT WONDERFUL THEY MUST BELONG
SHOULD I TAKE A CHANCE
AND OUT OF NOWHERE HERE YOU WALK INTO MY LIFE
AND I KNOW SO FAST YOU HAVE TO BE PART OF MY LIFE
BRING ON THE NIGHT

IF IT’S ONLY LOVE
SHOULDN’T BE ENOUGH TO BREAK MY HEART
IF IT’S ONLY LOVE
IT’S ONLY LOVE

IF IT’S ONLY LOVE
SHOULDN’T BE ENOUGH TO BREAK MY HEART
IF IT’S ONLY LOVE
IT’S ONLY LOVE	MARIA
EVEN THOUGH IT’S HURTING
THOUGH I’M ASKING TOO MUCH
AND AIMING TOO HIGH
IF TONIGHT I FIND I NEED SOMEONE BADLY
I WILL HIDE THE PAIN
HERE IT COMES AGAIN
BRING ON THE NIGHT

IT WON’T TAKE LONG
I WILL BE STRONG ENOUGH WILL LOVE FIND A 
WAY
IT WON’T TAKE LONG
IT’S ONLY LOVE

IT WON’T TAKE LONG
I WILL BE STRONG ENOUGH WILL LOVE FIND A WAY
IT WON’T TAKE LONG
IT’S ONLY LOVE
	
MARIA
	IT’S ONLY LOVE

STEVEN
	IT’S ONLY LOVE

BOTH
	IT’S ONLY LOVE

		[MARIA sees STEVEN and runs off,  frightened.  FREEMAN and JEREMIAH appear on the screen, claustrophobically close to the lens.]

FREEMAN
Steven!  Stay where you are.  These people can be dangerous.

STEVEN
It was just a young woman and some children, father.

FREEMAN
Steven, it is strictly forbidden to go down there.

STEVEN
I know.

FREEMAN
Are you obsessed with this girl?  Describe her to me.  (silence)  I see.  She intrigues you because she’s strange.

STEVEN
She has courage.  (MARIA returns, drawn by the conversation.  She hides and listens.)

FREEMAN
I forbid you to come here again.

STEVEN
These people never see daylight.  They eat and sleep in the shadow of these machines.  They live and die like cattle.

FREEMAN
They don’t know any better.  They’re perfectly happy the way they are.  It would be cruel for them to know anything else.

STEVEN
And what do you know about them?  They’re just a source of human energy for you and that is all.

FREEMAN
Exactly. Earth’s resources are exhausted.  We have no energy left but human energy.  We are elitists and they are workers.  That is all there is to know.

STEVEN
I’m going to change that.  I’m not taking orders from you anymore.

FREEMAN
Then you must face the consequences.

STEVEN
Oh, I’m prepared to do that.

	[STEVEN disappears behind a machine in disgust.]

FREEMAN
Steven!  (To JEREMIAH) It’s that arrogant girl.  Why does she attract my son?  How does she have the courage to show herself up there?  I want to know everything about her, Jeremiah.

JEREMIAH
They all look the same to me.  How will I find her again?

FREEMAN
Follow my son!

[The screen blinks off.  STEVEN steps out and is suddenly surrounded by workers for the next shift.]

PRESSURE CHANT 1

GROAT
Come on to work, to work!  Let’s see some action over there!  Move it!  MOVE IT!  When I say move it, I mean move it!

GROAT
PUSH!

PUSH!

PUSH!	WORKERS

PRESSURE!  PRESSURE!

GOT TO KEEP THE PRESSURE HIGHER, HIGHER!
PRESSURE!  GOT TO KEEP THAT PRESSURE HIGHER, HIGHER
WORKING!  WORKING!  WORKING!  WORKING!
PRESSURE!  PRESSURE!  PRESSURE!  PRESSURE!

	[MARIA strides up to STEVEN with fierce determination.]

MARIA
Your John Freeman’s son.  Have you come to spy on us,  John Freeman’s son?

STEVEN
No, I’ve come to help you.

MARIA
This is a trick.  You’re an informer.

STEVEN
No, I just want to help you.

MARIA
Is this some kind of game?  There is no time for games here, only work.  (starts to exit)

STEVEN (stopping her)
Maria, do you remember me or don’t you?

MARIA
Yes.  Of course I do.  I remember being a child in the upper world.  Didn’t you ever stop to wonder what happened to me?

STEVEN
Maria, I’m sorry—I was a child.  People came and went--

MARIA
Sorry isn’t good enough.  Not nearly good enough.  Sorry for what?  Sorry that your father took my mother and—(stops herself)

STEVEN
What?  Maria—what are you saying?  

MARIA
I don’t really know.  I never knew her.  There were rumors, that she had been your father’s mistress.  His whore.  But I don’t believe that.  I can’t believe that.  All I really know is that one day, when I was about five, guards arrived at the Garden of Children and took me away.  I’ve lived here ever since.  I assume I’d become an embarrassment—to someone.

STEVEN
But my father—He isn’t—he can’t be your…

MARIA (painfully, studying his eyes)
I don’t know.  I don’t know.

STEVEN (moves away, dazed)
This can’t be.  There’s more to this.  Maria, we are going to find out the truth.  Your mother, may I speak with her?

MARIA
Not very likely.  She’s dead.

STEVEN
I’m sorry.

MARIA
Yes, you keep saying that.  We don’t need you to be sorry, we need you to help us out of here.

STEVEN (taking her by the shoulders)
	I’LL BE A WORKER DRESSED IN RAGS
	I’LL PULL MY WEIGHT
	I’LL STAND BESIDE YOU
	I LOOK INTO YOUR EYES
	BELIEVE ME I CAN SEE THE THINGS YOU SEE
	I’M STRONG I’LL PASS THE TEST
	I SWEAR I WILL NOT REST
	UNTIL I SET YOU FREE

	[MARIA leaves.  STEVEN crosses to GEORGE at the Clock Machine.]

STEVEN
Here, let me do that.

GEORGE
I don’t take orders from you!

	[A guard is blowing a whistle.]
STEVEN
Come on!

GEORGE
I can’t leave the machines!

STEVEN
Come on!

	[STEVEN grabs GEORGE and drags him off stage.]

GROAT
Where’s 11811?  Come on, my boy, where are you?  Let’s see you back on that machine or I’ve got a body bag lined up especially for you and you’ll go on a little joy ride!  (signals a GUARD to search)

PRESSURE CHANT 2

GROAT

PUSH
PUSH, PUSH, PUSH
THE PRESSURE IS FALLING

	WORKERS 1

KEEP PUSHING
ONE OH ONE POINT ONE ONE ONE ONE 
ONE OH ONE POINT ONE ONE ONE ONE
KEEPING ONE OH ONE
UP ON THE DIAL

	MARCO

PRESSURE
PUSH	WORKERS 2

PRESSURE
KEEP PUSHING

	
GROAT

PUSH, PUSH, PUSH
OR SOMEONE PAYS NOW
PRESSURE’S FALLING
PRESSURE’S FALLING

PUSH
PUSH, PUSH, PUSH
PRESSURE’S FALLING
KEEP ON PUSHING
PRESSURE’S FALLING
PUSH, PUSH, PUSH
PUSH
	WORKERS 1

FIFTY THOUSAND POUNDS OF POWER
COMING OUT OF HERE EACH HOUR
ONE O ONE POINT ONE ONE ON THE DIAL
KEEP PUSHING
KEEP PUSHING
KEEP PUSHING

PUSH, PUSH, PUSH, PUSH
PRESSURE’S FALLING

PRESSURE’S FALLING
KEEP ON PUSHING

WORKERS

ONE O ONE
ONE O ONE
PRESSURE, PUSHING, PRESSURE, PUSHING

GROAT AND WORKERS

PUSH!
	WORKERS 2

PRESSURE
PUSHING ONE O ONE POINT
ONE O ONE POINT ONE ONE ONE ONE
ONE O ONE POINT ONE ONE ONE ONE
ONE O ONE POINT ONE ONE ONE ONE

DAY AFTER DAY WE HAVE TO PAY
THERE IS NO LIGHT BUT ONLY NIGHT
THERE IS NO LIGHT
NO LIGHT, NO LIGHT, NO LIGHT

PRESSURE’S FALLING
KEEP ON PUSHING	
	[STEVEN and GEORGE enter.  They have switched their clothes.]

STEVEN
What’s your name?

GEORGE
11811.

STEVEN
No, no, your real name.

GEORGE
George.

STEVEN
          Well, George, I am now 11811.  Take that elevator up to the city,  my pass code is in my wallet.  You’ll be safe up there. 

GEORGE
Why?

STEVEN
Because I am taking your place.

GEORGE
I want to go back to the machine!

STEVEN
No, just go to level 8.  Follow the signs to The Club of The Sons and I’ll join you there.
GEORGE
But what if someone notices me?

STEVEN
They’re too busy noticing themselves; just don’t talk to anyone, then you’ll be safe.  Go on!  I’ll come. You’ll be all right.

	[GEORGE goes up the elevator. STEVEN takes his place on the machine.  Grabbing the clock’s hands, and moving them to the required positions, he appears to be crucified on the clock’s face.]

DAY AFTER DAY

GROAT
	PUSH!

WORKERS
	PRESSURE, HIGHER

GROAT
	PUSH!

WORKERS
	PRESSURE, HIGHER

STEVEN
	DAY AFTER DAY WE WORK ON THESE MACHINES
THIS IS WHAT THEY CALL LIFE
EVERY HOUR IS STRIFE
EVERY MORNING – EVERY NIGHT
GIVE ME REASON – GIVE ME LIGHT
IF THIS IS LIFE
I’VE NEVER SEEN THIS LIFE BEFORE
IF THIS IS LIFE
A MAN HAS GOT TO WANT MORE
PUSH!…PUSH!

PRESSURE’S FALLING--KEEP ON PUSHING
PRESSURE’S FALLING--KEEP ON PUSHING
KEEP ON PUSHING

(STEVEN contd.)
Father, have you forgotten us?

	[A bell rings to signal the end of the shift and the WORKERS leave.  STEVEN almost collapses.  Two workers pass him.]

A WORKER
Aren’t you coming to Maria’s meeting?

STEVEN
Maria’s meeting?

ANOTHER WORKER
Come with us…
Scene six
The Catacombs

	[THE WORKERS enter in various stages of exhaustion, mining lamps on their heads, rugs around their shoulders, greeting and comforting each other.]

WHEN MARIA COMES

WORKERS
	SO WE SHALL WAIT
	WE’LL WAIT
	FOR SOON THIS SLAVERY WILL END
	WILL END
	WHEN MARIA COMES

	GONE THE TORMENT
	GONE THE ANGER
	AS THE PERFECT MORNING BREAKS
	WHEN MARIA COMES

	[MARIA enters high above them.  STEVEN watches in admiration, from the 	shadows.]

YOU ARE THE LIGHT

MARIA
	MY FRIENDS MY BROTHERS AND MY SISTERS
	EVERY TIME WE MEET OUR MEETINGS ARE GROWING
	EVERY TIME I SPEAK YOU HEAR ME BETTER
	AND I KNOW YOUR MEMORY’S GROWING

	BUT THERE’S ONE THING YOU’VE ALWAYS GOT TO KNOW

	THAT YOU ARE THE LIGHT
	YOU ARE THE FUTURE
	WHERE THERE IS WRONG YOU’LL MAKE IT RIGHT
	LET EVERY HEART RISE UP AND FOLLOW
	BE STRONG FOR YOU ARE THE LIGHT

(MARIA contd.)
	NO MAN IS SMALL IF HE’S A BELIEVER
	YOU’LL ONLY LOSE IF YOU DON’T FIGHT
	PASS THE TORCH TO YOUR CHILDREN
	LET THEM NOT FEAR THE NIGHT
	YOU MUST KEEP THIS VISION IN YOUR SIGHT

	FOR YOU ARE THE LIGHT

MEN
	WE ARE THE LIGHT

MARIA
	YOU ARE THE FUTURE
WOMEN
	WE ARE THE LIGHT
MARIA
	WHERE THERE IS WRONG YOU’LL MAKE IT RIGHT

WORKERS
	WE’LL MAKE IT RIGHT SO SOON

MARIA
	FROM EVERY HOUSE

WORKERS
	SO SOON

MARIA
	RISE UP AND FOLLOW

WORKERS
	WE WILL RISE

MARIA
	BE STRONG FOR YOU ARE THE LIGHT

WORKERS
	WE WILL BE STRONG

MARIA
	KEEP WITH THE FAITH WHEN TIMES ARE THE HARDEST

WORKERS
	WE WILL BE STRONG

MARIA
	YOU’RE BOUND TO FAIL IF YOU DELAY

WORKERS
	WE WON’T DELAY NOW

MARIA
THOUGH YOUR BODY MAY BE WEARY
LET YOUR SPIRIT BE STRONG
THERE’S A NEW LIFE 
THAT’S COMING WITH THE DAWN	
WORKERS
SOON NOW
SOON NOW

A NEW LIFE IS COMING
	
WORKERS
	FROM EVERY HOUSE
	WE WILL RISE
	WE WILL SING ONE SONG
	AND WE WILL BE STRONG
	IF WE STAND TOGETHER

MARIA

YOU ARE THE LIGHT

YOU ARE THE LIGHT

YOU ARE THE LIGHT YOU ARE THE FUTURE

WHERE THERE IS WRONG YOU’LL MAKE IT RIGHT

LET EVERY HEART
RISE UP AND FOLLOW

YOU ARE THE LIGHT

YOU ARE THE LIGHT

YOU ARE THE LIGHT

YOU ARE THE LIGHT	WORKERS
WE ARE THE LIGHT

WE WILL FIND OUR WAY AT LAST

AND WE WILL SEE THE SUN SHINE THROUGH

FROM EVERY HOUSE

AND HOME
WE WILL RISE
WE WILL SING ONE SONG 
AND WE 
WE WILL BE STRONG
SO STRONG
WE WILL SEE THE SUN SHINE THROUGH

THE SUN SHINE THROUGH

THE SUN SHINE THROUGH

WE WILL BE STRONG
WE ARE THE LIGHT	

	[JEREMIAH has been hiding in the crowd.  He moves aside and speaks into his wrist radio.  FREEMAN’s eyes appear on a screen, unseen by the gathering.]

JEREMIAH
	THIS GIRL IS A WITCH
	A DANGEROUS WITCH
	SHE WANTS TO CONTROL
	EVERY MIND EVERY SOUL
	I KNOW SHE’S A WITCH
	A DANGEROUS WITCH
	SHE WANTS TO CONTROL
	EVERY MIND EVERY SOUL

FREEMAN
The girl is a danger.  A born agitator.  An anarchist.  She must not threaten Metropolis.  Take her up!

		[JEREMIAH exits as FREEMAN’s image blinks off.]

MARIA
My friends, it’s time to go.  Remember what we’ve said.  Do nothing hasty till we meet again.

WORKERS (as they exit)
	YES WE SHALL WAIT
	WE’LL WAIT
	FOR SOON THIS SLAVERY WILL END
	WILL END

		[Just as MARIA sees STEVEN,  GROAT suddenly arrives.]

GROAT
	YOU
	WHAT’S YOUR NUMBER

STEVEN (defiant)
	ONE ONE EIGHT ONE ONE

GROAT (perplexed but in control)
	WELL ONE ONE EIGHT ONE ONE
	YOU’RE GUILTY OF INDISCIPLINE—YOU’LL WORK A DOUBLE SHIFT

MARIA
	A DOUBLE SHIFT WILL KILL HIM

GROAT
	HE KNOWS THE RULES

MARIA
	A DOUBLE SHIFT WILL KILL HIM

GROAT
	THINGS COULD BE EASIER FOR YOU
	IF YOU WERE NICE TO ME

		[MARIA and STEVEN exchange looks.  She is almost willing to give herself to Groat to spare STEVEN, but STEVEN decides for her.]

STEVEN
	I’LL WORK A DOUBLE SHIFT
	SHE DOESN’T WANNA BE NICE TO YOU

GROAT
	HAVE IT YOUR WAY
	DOUBLE SHIFT STARTS IN TEN MINUTES (walks off muttering to himself)

MARIA (as STEVEN tries to interrupt)
Forget everything I said.  Leave, and don’t come down here again.  I didn’t think you were crazy enough to work on the machines.  Now go home before you get killed.

STEVEN
Maria!  I’m not leaving you.  

IT’S ONLY LOVE (reprise)

MARIA
	I’VE A LIFE SO DIFFERENT FROM THE ONE YOU KNOW
	HOW CAN WE SPEAK WORDS OF LOVE
	YOU SHOULD BE MY ENEMY
	AND WE BOTH KNOW
	I’M THE VICTIM OF YOUR FATHER’S TYRANNY
	BANISHED HERE
	AND THERE’S AN ANGER 
	DEEP INSIDE OF ME

	IF IT’S ONLY LOVE
	SHOULDN’T BE ENOUGH
	TO BREAK MY HEART
	IF IT’S ONLY LOVE
	IT’S ONLY LOVE
	IT’S ONLY…

		[MARIA kisses STEVEN, briefly, as GROAT enters and yanks STEVEN away 		from her.  TWO GUARDS appear and drag MARIA away, gagging her.  		GROAT blocks STEVEN’s path.]
STEVEN
What’s going on?  Why have they taken her?

GROAT
None of your business.

STEVEN
Do you know who you’re talking to?  (removes his skull cap)

GROAT
I-I-I wasn’t told.  I didn’t realize.  Forgive me.  Is your father not happy with my work?

		[STEVEN pushes GROAT away and runs after MARIA.  FREEMAN’s scowling 		face appears on the screens, surrounding the suddenly small looking 		GROAT.]

FREEMAN
Groat!  If my son wishes to remain below, then work him.  Work him hard!  No privileges!  Now control these workers!  Stop this ritual or I will replace you!

GROAT
Yes, sir!

		[GROAT stumbles off as the image of FREEMAN is replaced with awe inspiring views of Metropolis.  GEORGE steps out of the elevator and gasps at the sights around him.]

Scene Seven
An Open Space in the Upper Regions

GEORGE
	IS THIS A GAME
	THIS IS MAD
	IT’S INSANE
	AM I LEAVING A HELL 
	TO BE FREE

	CAN IT BE RIGHT
	THEY’VE DENIED ME THE LIGHT
	‘TIL TODAY
	HOPE’S IN SIGHT NOW FOR ME
	CAN IT BE

	FOR THE SUN NEVER SHINES
	‘CAUSE THE RULES NEVER BEND
	NOT A SHIMMER OF LIGHT EVER REACHES ME
	SO THE PAIN NEVER ENDS
	ALL MY NIGHTS HAVE BEEN LONG
	ALL MY LIFE HAS BEEN WRONG
	IT’S THE SAME OLD WORLD THAT IT USED TO BE
	FOR THE SUN NEVER SHINES
	NEVER SHINES ON ME

	MY HEART’S LIKE A STONE
	NOW I’M TRULY ALONE
	BUT I FACE THE UNKNOWN
	NEVER FREE
	SO MUCH I FEAR
	THERE’S NO JUSTICE UP HERE	
	BUT THE SWEET SMELL OF AIR
	BECKONED ME
	CAN IT BE

	FOR THE SUN NEVER SHINES
	‘CAUSE THE RULES NEVER BEND
	NOT A SHIMMER OF LIGHT EVER REACHES ME
	SO THE PAIN NEVER ENDS
	ALL MY NIGHTS HAVE BEEN LONG
	ALL MY LIFE HAS BEEN WRONG
	IT’S THE SAME OLD WORLD THAT IT USED TO BE
	FOR THE SUN NEVER SHINES
	NEVER SHINES ON ME
	NEVER SHINES ON ME

	SHINE ON ME

		[GEORGE seems to wither in the sunlight as the scene shifts.]

Scene Eight
Warner’s Laboratory

		[Warner and his equipment-laden lab appear.  Something, or someone, is apparently sitting in a chair and covered with an ancient, stained cloth.]

ALMOST DONE

WARNER
	ALMOST DONE
	ALMOST THERE
	PERFECT FORM
	PERFECT CARE
	EVERY MOVE
	FULL OF GRACE
	NOW I MUST FIND THE PERFECT FACE

	I WILL SEARCH 
	DAY AND NIGHT	
	FIND FOR HER
	FEATURES RIGHT
	NOT ALONE
	CHANGE MY LIFE 
	AT LAST SHE’LL CHANGE
	MY LIFE (JEREMIAH suddenly appears)

	WHAT ARE YOU DOING HERE
	WHAT DO YOU WANT FROM ME
	I HAVEN’T TIME FOR A SPY
	YOU’RE ONE OF FREEMAN’S MEN
	DON’T WANT ALL THAT AGAIN—I HAVEN’T TIME FOR A SPY
	
JEREMIAH
	YOU’RE A FAILURE OLD MAN
	WHAT HAPPENED TO THOSE OLD THINGS
	YOU USED TO BUILD
	YOU’RE LOSING YOUR TOUCH
	NEED SOME HELP WITH THE DETAILS
	YOUR WORK IS OVERDUE
	YOU MUST PROTECT YOUR HEALTH
	YOU’VE GOT TO PROVE YOURSELF
	GOT SOMETHING LOVELY FOR YOU
	I’D STOP INSULTING ME
	WHO IS AS SWEET AS ME
	GOT SOMETHING DAINTY FOR YOU (FREEMAN enters)

WARNER
What are you doing here?

FREEMAN
A rumor has reached our ears that your work has been progressing rather better than you led us to believe.

WARNER
This is a bad time.  I’m in the middle of an experiment.

FREEMAN
Show us this creature.  I’d like to know why you’re so keen to keep this discovery to yourself.

WARNER
She’s not ready yet.

FREEMAN
Warner, show us this creature.

WARNER
Not a creature.  A woman.  I call her—Futura.

		[WARNER snaps the cloth off the figure in the chair.  FUTURA is revealed.  		Golden, gleaming, beautiful, heartless.  Slowly she stands and offers to 		shake FREEMAN’s hand.]

FREEMAN
Fascinating.  Extraordinary.  Congratulations, Warner.  Futura, what a pretty name.  Quite remarkable, but the future still has no face.  We must help you find a face for this—creature.

WARNER (motioning FUTURA away)
	I DON’T NEED HELP FROM YOU
	I COULDN’T WORK WITH YOU
	DON’T EVEN KNOW WHY YOU CAME

JEREMIAH
	YOU ARE WASTING YOUR TIME
	SENILE FOOL

WARNER
	WHATEVER I CAN DO
	I’LL NEED NO HELP FROM YOU—WHY DON’T YOU TELL ME YOUR GAME
JEREMIAH
DON’T YOU KNOW
THAT THERE’S A GIRL DOWN BELOW
MORE BEAUTIFUL THAN ANY GIRL I’VE EVER SEEN
THE LIFE SHE HAS LED
HASN’T COARSENED HER FEATURES
HER EYES ARE CLEAR AND TRUE
YOU WANT A GIRL WITH GRACE
YOU WANT A PERFECT FACE
THIS IS THE PASSPORT TO FAME
YOU WANT A PERFECT FACE
STUDY EACH CURVE
EACH TRACE	WARNER

I WON’T BELIEVE THESE LIES

LIES—THAT’S ALL YOU TELL ME

NEVER TRUST YOU

NEVER TRUST YOU

WHY DON’T YOU TELL ME HER NAME	

		[GUARDS bring in MARIA, drugged and tied up in a sheet.  WARNER takes a look at her face.]

FREEMAN
Her name is Maria.  As you can see, we’re one step ahead of you already.

WARNER
What you told me was true.  A perfect face.  Your search was worth it.

FREEMAN
Well, the girl was a danger, a born agitator.  She’s more useful here.

		[WARNER places the nude MARIA in a capsule and attaches electrodes to her temples.  After guiding FUTURA into another capsule, he mans the switches at his control panel.]

How long will this take, Warner?  If this is another failure, then you are for the junkyard.

WARNER
You must be patient.  This is science.  It takes time.

	PERFECT FIT
	NOT TOO TIGHT
	FIRST IMPRESSION
	MUST BE RIGHT

JEREMIAH (admiring FUTURA)
	THE MASK

WARNER (admiring MARIA)
	THE FACE

JEREMIAH
	SUCH STYLE

WARNER
	SUCH SILENT GRACE
	GIVE ME POWER--GIVE ME HEAT
	HUMAN FACE--SOON COMPLETE
	ALL MY PLANS--ALL MY SCHEMES
	AT LAST--MY DREAMS

		[WARNER throws switches.  Flashes of light fill the room.  MARIA’s body convulses violently as the two capsules fill with smoke.  FUTURA takes on the form of MARIA, while MARIA collapses against the glass of her capsule.  WARNER raises his arms in triumph.  Feverishly he opens the chamber, wraps the old cloth around his naked creation,  and unsteadily,  the new FUTURA slowly moves forward, supported and guided by WARNER and FREEMAN.  She has the amazed expression of a baby suddenly born into an adult body.]

FREEMAN
Futura.  Futura, I am Freeman.  You must obey me.  She is beautiful.  Exquisite.  Absolutely beautiful.

FUTURA/ACT ONE FINALE

FREEMAN
	NOW IS THE TIME FOR A CHANGE
	WHO WOULD BELIEVE SUCH AS SHE
	COULD BECOME THE PERFECT WOMAN
	NOW I’LL MAKE HER WORK FOR ME
	MY SON WILL SEE A DIFFERENT GIRL
	A WOMAN’S FLESH THAT’S CARVED FROM STEEL
	HIS DREAM GIRL’S A TRAITOR
	NOW SEE WHAT’S REAL

(FREEMAN contd.)
	NO DOUBTS NO FEARS
	THE TIME IS HERE
	CAN’T BREAK CAN’T BEND
	SHE WILL LEAD THEM TO THEIR END

WARNER
Never!  You can’t steal her!  She’s mine!

FREEMAN
	LET FUTURA SHOW ME THE WAY
	SPREAD CONFUSION IN THE WORKERS
	MAKE THEM PAY FOR THEIR TREASON
	LET FUTURA SHOW ME THE WAY
	I SEE THE FUTURE
	IT’S HERE TODAY

		[FREEMAN and FUTURA embrace just as STEVEN enters, sees her, and assumes she’s the real MARIA.]

STEVEN
Maria!

FREEMAN
	LET FUTURA SHOW ME THE WAY
	THIS VENUS SOARS TRIUMPHANT
	FROM THE HANDS OF CLAY
	LET FUTURA SHOW ME THE WAY
	I SEE THE FUTURE
	I SEE THE FUTURE

WORKERS (appearing at the sides of the stage)
	WE HAVE NO FUTURE--BUT TO KEEP ON PUSHING--PRESSURE’S FALLING

FREEMAN
	IT’S HERE TODAY

WORKERS
	KEEP ON TURNING
	PUSHING NIGHT AND DAY

		[Tableaux:  JEREMIAH sneering at STEVEN who leans against a wall in shock, WARNER collapsed in the chair, despairingly cradling his head in his hands, FREEMAN standing proudly behind FUTURA whose live image is projected on all the screens as she smiles wickedly out to the audience and very slowly winks a single eye---THE WORKERS in a tight group, fists clenched to their hearts.]

End of Act One