Skip to main content

Full text of "The Manson Family: An Opera"

See other formats





432 967-2 John Moran - The Manson Family: An Opera POINT / PHILIPS 


MKMiiiii 


ACT 1: "The Murders" 

D3 Night Highway #1 5:05 
GO Tate House (Early Morning) 2:24 
GD "The Prosecutor/' at Death-Train Station Five 
(The Tate House) 3:06 
GD SUBJECT: The Beatles 3:59 
ACT 2: "The Family" 

S3 Rape Music (Intro, to Act 2) 0:29 
GO SUBJECT: Lynette (Squeaky) Fromme 3:14 
(23 Charlie in a Field, Forever 3:47 
CD Susan Atkins on Night Highway #2 4:10 
@3 SUBJECT: Charles Manson (at Spahn's Movie Ranch) 4:52 
(ED "Good Morning!" ...it's The Beatles 4:06 
ACT 3: "The Hall of Justice" 

ES3 Raid on Spahn (Intro, to Act3) 0:27 
(H Susan Atkins, on The Staircase of Justice 
(leading to Night Highway #3) 5:46 
M Night Highway #3 1:59 
El Squeaky in a Boat 4:58 

HD The Family in a Courtroom ("Manson Leaps at Judge!") 2:16 
HI The Judge 0:54 

(0 SUBJECT: Charles (no name) Manson 1:34 

All songs Written by John Moran 

Produced by Roger Greenawalt and Clifford Lane 

Executive Producers: Philip Glass - Kurt Munkacsi - Rory Johnston 



0D@ 




PHILIPS 


® © 1 992 Point Music/A joint venture of Euphorbia Productions, Ltd., and Philips Classics Productions. 

Manufactured and Marketed by PolyGram Classics and Jazz, a division of PolyGram Records, Inc., New York, N.Y. All Rights Reserved. 
Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited. Printed in U.S.A. 


Of 04 


"The Manson Family" 

An Opera 

by John Moran 1 9909 1 

A safe ironic distance is the preferred proximity and dialectic with which most pop-oriented 
avant-garde artists address their subjects. Usually, this unspoken code provides a one-way mirror for 
audiences, creating an instant — if hermetically sealed bond with low artistic and intellectual 
liability for all involved. John Moran is one of those rarest of pop-oriented avant-garde artists who 
boldly addresses his subjects with a dangerous ironic closeness. His musical theatre pieces turn that 
unspoken code of one-way mirror bonding into a screaming house of two-way mirrors where belief 
is not willfully suspended but virtually hyper-extended and put under subconscious scrutiny along 
with all other conventions. 

The Manson Family, Morans fourth opera and first record, is all of that and more. It is an 
opera that challenges conditional acceptances in both form and content. Not surprisingly, this 
challenging works' world premiere, in NYC at Lincoln Centers Serious Fun! series in July, '90, left 
audiences enthralled and critics threatened— with the latter contingent issuing prose of a decidedly 
more defensive nature than usual. 

Form-wise, it is an opera that is not entirely sung and does not present a clear, tragically- 
correct, moral ending. Rather it is a montage of aria, song and monologue set against classical 
acoustic and experimental electronically-treated soundscapes. 

Content-wise, it calls out Opera/criminal culture buffs on their fascination (read side-show 
dehumanization) of villains by casting one of "Americas all-time & still living notoriously wanted" in 
a touchable light, while reserving moral judgement on either the accused or the accusers. 

For the operas much anticipated recording, Moran has aligned himself with artists totally at 
home in his opera's "dangerous ironic closeness" milieu. The provocative cast features: Iggy Pop 
as Vincent Bugliosi; Terre Roche as Lynette "Squeaky" Fromme; Paige Snell recreating the tour de 
force Susan Atkins role she originated onstage; and the composer himself as Manson. Together, 
with the highly inventive aural enviroment created by the production team of The Poppies' Roger 
Greenawalt and Clifford Lane, they have successfully transformed The Manson Family from an 
extraordinary theatrical event into and equally extraordinary recording. 

John Moran's The Manson Family is a night at the opera where things are never what they 
seem they should be, but are simply what they are. The experience, dear listener, is all yours. 

Alvin Eng New York City, September, 1991 


ABOUT THE OPERA 

In this opera, the individuals known collectively to the world as "The Family" are not 
represented in any way that could be considered 'complete,' or really even accurate. It is not the 
point of this work to provide an education on the events leading to their arrest, highly 
sensationalized trial, and subsequent death-penalty — which was revoked a few years later. 
Information about those events, from any number of perspectives, can be easily obtained by 
anyone walking into a book store. Also, it is not meant to be seen as any sort of condemnation or 
approval, towards either side of the law. 

In this work, I have attempted to use several — but not all — of the leading figures of The 
Family to express something larger than the events of 1969. In the opera, they are represented in 
form and basic character only, to serve as empty vessels for this new material; textual, musical and 
philosophical. Each character is matched to a different set of environments, and then "allowed" to 
function within them, in order to find a sort of "natural" course of events. This, of course, is all very 
subjective, and really speaks more about its author than his subject. 

- John Moran 


CHARACTERS (In Order of Appearance) 

Catherine Share aka Gypsy Richard Sortomme (Viola) 

Jack Lord, as "The Prosecutor" Iggy Pop 

The Beatles Ensemble 

Lynette Fromme aka Squeaky Terre Roche 

Susan D. Atkins aka Sadie-Mae Glutz Paige Snell 

Charles Manson aka Jesus Christ... .John Moran 

The Family (chorus) .John Moran 

Terre Roche 
Joyce Bowden 

Courtroom Host Clifford Lane , 

The Judge Bob McGrath 

Voice of Defense Roger Greenawalt 

Where are we? The Stars 




Act 1 : "The Murders" 

□H Night Highway #1 

® Tate House (Early Morning) 

[3] "The Prosecutor," 

at Death-Train Station Five 
(The Tate House) 

H] SUBJECT: The Beatles 

Act 2: "The Family" 

[5] Rape Music (Intro, to Act 2) 

[6] SUBJECT: Lynette (Squeaky) Fromme 

\T\ Charlie in a Field, Forever 

[H Susan Atkins on Night Highway #2 

[U SUBJECT: Charles Manson 

(at Spahn's Move Ranch) 

□Q] "Good Morning!" ...it's The Beatles 

Act 3: "The Hall of Justice" 

□II Raid on Spahn (Intro, to Act 3) 

02] Susan Atkins, on The Staircase of Justice 

(leading to Night Highway #3) 

03] Night Highway #3 



031 Squeaky in a Boat 

05] The Family in a Courtroom 

("Manson Leaps at Judge!") 

0H The Judge 

03 SUBJECT: Charles (no name) Manson 




Act 1 : "The Murders" 

[T] Night Highway #1 ■ 

SCENE :The image of a highway tine, from a low 
perspective, extending into the horizon. It is night time, in 
the desert. We are on a road in Death-Valley. As music 
enters, highway line begins to move, slowly at first, 
gradually building in speed until end of scene, when the 
film suddenly runs off its reel, unexpectedly: 

Until "Damn, I'm in a head-light, you meat-hook!" 
Isn't this the way our lives lead us into unimaginable 
events? 

Here is a "Manson Girl"... playing the song of life 
Which, as you will see, is really a song about death 

[U Tate House (Early Morning) 

SCENE: Officers of the Los Angeles Police Department are 
investigating the situation of 10050 Cielo Drive, 
sometime in the early part of the morning on August 9th, 

1 969. Cover your face, in the place of emotion. There is 
really nothing to say: We should respect these moments of 
eternity, wherever they are pocketed. 

Strewn around the living room, and extending 
into the yard, are the occupants and guests of this lavish 
60's abode, shot, stabbed, hung and mutilated. On the 
front door of the house is the word "PIG," written in blood. 


The way the sun streams in through God's 
green window, I know that I am in love, and that I have 
always been here. 

And that, 

It's always morning here at the Tate House... forever. 

m "The Prosecutor" 

at Death-Train Station Five 

(The Tate House) 

SCENE: Now arriving at this scene is the Big Cheese 
himself. Get out of his way when he enters a room: he 
only sees the facts. Little toes get stepped on, as we are 
marching towards the truth. 

The living room is always a junction: All aboard for a 
different truth. Which do you think is more real? 

THE PROSECUTOR: 

Night's air-file 
You oP sky waves! 

White nail-file is the words: 

"Have" and "Has"... and "Had" 

(Oh, Man!) 

HERE'S A TRAIN 

Life's fair-grounds 
Gold pony 

Who turns out in your hand 
("Mama's in a question?") 

The World has... 

HERE'S ANOTHER TRAIN 

and You have been 
White's choking 
Who tunes out in the world 
Who has? 

The past... last Sat in an answer 
IT'S A TRAIN, DAD." 

This 3rd train sweeps us away... out into the 
field. The Prosecutor takes his bow, and looks to the sky 
for reassurance: 

I wish I was on that plane up there, going someplace 
far away. 



E Subject: The Beatles 

SCENE:The Beatles are having a party, on this jet from 
here to nowhere: Everyone is invited. Many people 
actually seem to believe that The Beatles somehow know 
the truth, and that the truth came first, not later. 

Do you think The Beatles can see me? 

THE BEATLES: 

So long you can't even imagine 
to Cancel the sirens! 

(or) 

Wait for long, Virginia 

Wakely late with me in the Now 

Wait for long, Virginia 

Don't be late for Sunnybrook farm 

Even if it's somebody's harm 

You'll drive 

(And) 

It doesn't Steven Matter 

That you've closed the chair 

Or howl you've cared 

If all 4 hearts have not crossed you over 

(Pop songs always have a break in the middle) 

Soo-o-o, 'You In/You Did' 

In the way you have been around 
In your heart 
And have spoke to use it 
Sa-a-a-w you in The Wave King 
Say "Hello... s' Rod-Row's medical department" 
(...hello?) 

It's you, baby (yes)... you 
In the way you have been on time 
For the heart-van to make a U-turn to 
the hospital 
Say: "lt% a static!" 

Sa-a-a-w you in The Wave King 
Say "Hello... s' Rod-Row's medical department" 
Hello/ Say goodbye to Act 1 


Act 2: "The Family" 

0 Rape Music (Intro, to Act 2) 

SCENE: The Vacerville Home for Wide-eyed Boys. 

Doesn't it hurt to be a young man? Doesn't it hurt even 
more to be unwanted, and unnoticed? Yes... yes. But 
doesn't it hurt most of all to be held down by the warden 
while he lubricates your anus with dirt and tobacco-spit so 
that the other boys can rape you? 

Do you think that we ask for life, or is it just thrust upon us? 


Maybe someday, all things can be equal 
And fields of livestock wil embrace me 
Hold on to me Mother, my life is getting 
stranger 

As in... Here is a whole new thing: 

(U Subject: Lynette (Squeaky) Fromme 

SCENE: Here is our little tiver-lillied Lynette, red-headed 
flower... sitting On my green hill. Here we are at Spahn's 
Movie Ranch, in the middle of Death-Valley: 

Look at the grass 
Look at the sky 

Polish that rifle 'till it glints in your eye 
Everything that is good in the world, is a gift from Charlie 

SQUEAKY: 

J.C...you loaned, and 
Mingled in a whirlpool 
The world 

That's every face of grass that's growing 
On my heart 
You own 

That's everything cums around thee 
And "well, hnostly,..on...(me)" 

SQUEAKY: 

J.C., my door's always open 
My house in the ocean 
That really sends me... via storelightj 
Your house. 

It's you and me 





THE OL' VIRGINIAN: 

Place that I call home 

It's you and that old surround thing 

That's now... on... (me) 

Yet, everything we've seen up to now is an 
illusion 

Don't be frightened: The Truth is coming 

0 Charlie in a Field, Forever 

SCENE: Wake up: where is Charlie? 

MANSON GIRL: 

Charlie? 

Charlie? 

Charliecharliechariiecharlie! 

CHARLIE: What the fuck, Woman!? 

MANSON GIRL: 

Oh, Hello, Charlie... I'm a little blade of grass, 
that sings. 

CHARLIE: 

Well... good mother fucking morning, 
Petunia-brain! 

s'Nice ta' finally meet ya', in this... this 
bitchin' new ensemble ya' got on here! 

What is it that I have been saying to you, 

Over and Over... all of this time? 

Those layers are your God-damned 
programming, Cunt! 

I love it when everything's RED for a second 

CHARLIE: 

It's your fear, women! 

Your afraid of every cycle, ladies, and it keeps 
you in your graves! Now do you see this? 

Do you see this? This is a perfec'ke zample of 
wafyajus' talkin' about... do you see this? 
Where? 

We're all over here. 

In Heaven 

And then here and we're ready to go: 

Oh! 

And you sure as hell know none 'a these 


creeps are gonna' help you out, Red. 

They can't even see past their 
own... shadows... long enough to have 
any actual... contact... with anybody! 

Hell, their all too busy steppin' on each 
other! Like a bunch 'a cooped up 
chickens 'er somethin'... just to suck on 
my dick! To get to me! You assholes 
would buy and sell each other if you 
thought id'a get my attention for a 
minute! 

Yeah! And then you walk around this 
ranch, andyou talk about "Love." Love of 
what? Love of brother!? Shit, you rejects 
don't give a fuck about your brother! Or 
your sister! You only give a fuck about 
"Charlie!!!" Well, when are yougonna'k 
give your fear to me? 

X 

From Repeat 

Give to me, Daddy 

(With glinting teeth, on an athletes' smile) 
Catch me girls! 

(Everyone, when they're a kid) 

I'm goin' out for a Pasththsthsth! 

And it's the looonnnnnggggg onnnnnnneee! 

(I know that Charlie really cares about us) 

I been tryin' to help you I'd get through 
that, Red. 

(That's why he just might punch me in 
the mouth again) 

I been tryin' to hep ya' I'd see ya' in 
September 'er someth in '...but it's in your 
programming!!) 

(What's a guy to do?) 

(Tell them in cadence) 

Your Programmers were Programmed and Just 
Like You, yeah it's just Like you! 

Oh, my God 

Shit! It's easy to be herel 

Where? 

In the Now, 



In Heaven 

Remember the time when... 

It's like I been... 

Oh yeah, I forgot I'm in a field w/the PA on 
Whoa h I 
Hey, 

(Announce it: say...) 

I'm on the fucking planet, man! 

We're all failin' in the same Submarine 
of a Solar-System... well, pretty much forever. 

1ST ENDING: 

When are you gonna' give 'yer fear to me!? 

x 

Repeat 

And Relive Every Moment 
Come out of loop, go to 2nd ending 

2ND ENDING: 

Is that okay by you? 

I mean... if the planet spinsl 
...is that a fair deal? Huh? 

(Snapping fingers) 

Hey, earth to stoned chick! 

This scene ends so fast, I didn't even really 
know it was... Oh 

HD Susan Atkins, on 
Night Highway #2 

SCENE: Oh look, we're on the highway. I guess somebody 
is living a life here. Sometimes the lines go super fast, and 
it's easy to miss a few road-signs: 
like, Sadie Mae 
Who has lost her way 
And who doesn't know where to find it. 

"Charlie kicked me out." 

"And they took my baby away. " 

"And I don't know what I'm gonna' do without 
Charlie (!)" 

Shit. 

Shit, man! 

What am I gonna' do without Charlie? 

This ghostly sleep-walker speaks: 



ATKINS: 

Charlie? I know it's you! 

C'mon...! 

I know it's you Charlie! 

Charlie? 

I know it's you. 

Susan is alone 

You always try to fool you, but I know that 
it's me inside. 

Like I sing in the morning when I know it 
will be dark again, Dad. 

ATKINS: 

I know that it's me, that has that in my mind, 
every time. 

And you can stand anywhere on this planet 
and tpll that whether I'm on it or not... I mean, 
whether I'm on it or not... every time! 

Because Susan is a ghost 

So? How's that sound to you, asshole? 

You can tell me every time I'm down here 
whether I'm on it or not, okay? 

You can tell me every time that I'm on the 
fucking planet whether I'm fucking on it or not! 
Is that what you want? Would that make you 
happy, you stupid, fucking asshole!? 

You can tell me every fucking time when I'm 
on the fucking planet, whether I'm fucking on 
it or not! 

Susan is a ghost on the highway at night time 

All for the shore 
Except for the brave 
Who drown on the shore 
And bloat in their graves 
(A sudden pain in abdomen) 

Owl It's a wave, Mother! 

Is that what it is you want? 

Is that what I've kept on to? ' 

All for the shore 
Except for the dead 
Who drown in the days 
And keep these away, Team! 



(A sudden pain in abdomen) 

Owl It's a wave, Mother! 

And the world rests on the planet 
of your bullshit, Mother Tucker! 

Susan is sleep-walking on the Night Highway 

Home from the war 
It isn't; too far 
To drown on the shore 

(Like a pledge) 

"I mar the O' way, Team." 

(A sudden pain in abdomen) 

Owl It's a wave, Mother! 

And the world rests on the planet 
of your bullshit, Mother Tu...(run ov< 

Susan is run over by a speeding car 

Home in the waves 
It isn't too far 
To round on the shore 

(Like pledge) 

"I'm hardly awake, Team." 

(A sudden pain in abdomen) 

Owl It's a wave. Mother! 

And the world rests on the planet of your 
bullshit, Mother Tu...(run over) 

Susan is run over by a speeding car 
Home in the world 
It isn't the waves 
That drown on the shroe 
(Like a pledge) 

"I darby O' way, Team." 

(A sudden pain in abdomen) 

Ow! It's a wave, Mother! 

And the world rests on the planet of your 
bullshit, Mother Tu...(run over) 

Susan is run over by a speeding car 

It will be night time all night: Okay? 

Here we still are in Death-Valley... 




[9] Subject: Charles Manson, '69 

SCENE: Sitting around the camp-fire, at Spahn's. Charlie is 
holding the guitar: 

NOTE: These are actual words of Charles Manson, around 
1 970, until the * 

MANSON: 

We are sneakin'. ..in the the county 

jail. ..lookin' under 

the door... to see if the man is there (!) 
Sneakin'... sneakin' all around the courthouse. 
Sneakin', in and out of the ventellators, 
sneakin' everywhere. Everything we have to do 
to get to the truth has to be sneaky! j§ 

It seems a shame to have ta' sneak to get to 
thetruth 

To make the truth such an evil, dirty-ol'-nasty 
thang! 

You gotta' SNEAK to get to the TRUTH, the 
TRUTH is CONDEMNED: The truth is in the 
gas chamber. 

The truth has been in your Stockyards... your 
slaughter-houses. 

The truth has been in your reservations. 

Building your railroad. Emptying your garbage! 
The truth has been in your ghettos, and your 
jail, and your young-love: Not in your courts or 
your congress, 

where the old sit judgement on the young! 
What the hell do the OLD know about the 
young? 

You put a picture of old George on the dollar, 
and tell 

you that HE's your father. Look at the 
MADNESS, 
that goes on: 

MANSON: 

You can't PROVE anything... that happened 
yesterday: 

NOW is the only thing that's real. 

You can try and prove, that Columbus... sailed 
on an ocean. ..but it's not the same ocean: 





Turn off the sound, at the age that 
you go towards you heart 


It's a different ocean. 

*Hey, and it's whole new world. For YOU... 

X 

FROM REPEAT 

...and whatever kind'a life you got... sprinkled 
in the field of planets, you know? And how the 
only answer 
...is "YES" 

To everything: Hey, it's a SAAALL thing! 

But it exists, and so the answer... is "YES" 

You know like as in "POSITIVE"! 

Hey, 

And you want the prize... Tomata'? 

It's only REALLY a reflection of your HEART 
Like a blade of grass is: On a big, wide HILL 
Hey... tell NIXON that! 

And watch 'im take a shit on the pot! 

And say "My God!" 

I'm a parta' mankind. ..for YOU . (!) 

REPEAT x4 

X 

AND RELIVE EVERY MOMENT, ALL 4 TIMES 

2ND ENDING: 

Or you can... you can sit out here under the 
STARS. 

For heaven's sakefl) 

Look at this tiny fire, underneath this giant field 

M "Good Morning!" 

...it's The Beatles 

SCENE: The 4 angels of the Apocalypse: "and he opened 
the bottomless pit... And there came out of the smoke 
locusts upon the earth; and unto them was given power... 
There faces were as the faces of men... (yet) they had hair 
as the hair of women... (and out of their mouths was) 
issued fire and brimstone... for to slay the third part of 
men." 

REVELATION 9 

THE BEATLES: 

Release the 7 pen nines from within 


Where you have been going, is easy: 

But don't be. 

You + Me = Death 
Shakey, you're "IN" 

Come out into the roses you win 
Come out and join them 
You're in you head-strong Trojan 
You win the 7 Seven Roses 
Which are colored, but don't be: 

It's easy. ^^^yt 
Enjoy this message of "YES" 

Say "good morning," and everything that you hold 
attachment towards, as this is the end of the world 

Act 3: "The Hall of Justice" 

HD Raid on Spahn (Intro, to Act 3) 

SCENE: Exactly that. Bang your gavel and begin: 

ATKINS: 

"The Staircase of justice" 
by Susan Denise Atkins 
So... 

Begin walking up stairs: 

Tex cut the screen on one of the windows. He 
opened the window and crawled inside. 

The next thing I knew 

he was standing at fhe front door letting us into 
the house. 

She must have thought I was someone's friend, : 
'cuz when she looked up at me, she just kind 
of smiled, and 

waved. And we all washed out across Sandy 
Hook's main. 

Stop: announce it on the landing 
Continuing: 

Continue walking up stairs: 

So, then I forget about Sedrick, but one of fhe 


Cl 


victims said "What are you going to do with 
us?" And Tex looked at him and he said "You 
are all going to die" 

ATKINS: 

...like the leaves do on the grass, and some 
units are destroyed in foreign conflict, you 
know? 

Remember this, when you reach the landing 

And we're alone in this house of the forgotten. 
Open the door: Look around 

Oh... these longing halls! 

Walk across the room to 2nd door 
Bring her on over here: 

These are all my new lastics. 

Press the buzzer 

"Out please." 

DOOR OPEN 
Step through the door 

"Thank you very much" 

DOOR CLOSE 
Continuing: 

Continue walking up stairs: 

I saw Tex stab Abigail Folger! And just before 
he stabbed, maybe an instant before he 
stabbed her, she must have thought we were 
someone's friend, 'cuz then she sort of looked 
up to us, and waved. 

And that was the NEXT thing that had 
happened: That after the shock of it 
happening, that it was all that had 
left in the trapet. . . I mean "the carpet." 

Man says: "A little girl bouncing ball" 

Bouncing: Bounth dis' widdle bawwy! 

Bounthy widdle bawwy! 

Stepping: The time: The waves 
And knowing the sea 

I'm miles away: "I'm designing the Mayfling!" 

Remember this, when you reach the landing, then OPEN 
THE DOOR and Look inside: 


Oh... these longing halls! 

Walk across the room to 2nd door 

Bring her on over here: These are all my new 
lastics. 

From the buzzer 

"Out please." 

Is there a run in my stocking? 

Is everything in order? 

DOOR OPEN 

Stepping through the door, "Susan" is professional 
Continue walking: 

If you will step this way, we will continue our 
tour of Central-Management Core CS-1 22. 
Areas 1 3 through 24 are in Trans-State B 
and... (phone rings) 

...Excuse me." 

Stop: Answer the telephone 

Well, where is Jenny anyway? 

Mr. VanBuren's office: 

No, I'm sorry. He's not available right now, 
may I take a message? 

Where is a pencil? She keeps this desk so, Oh 
Larry... Wil-son? Uh-huh...Yes, alright. I'll give 
him the message. Bye bye. 

Well... well whatever. It will be her fault, not 
mine. My responsibility is this group: 

"Excuse me: 

Continue walking: 

Area 1 3 through 24 are in Trans-state B and 
C. The others are titles for classification: 
'Sandra Robbins,' 'Elmer Dinkins,' 'Elizabeth 
Freedom,' as well as the 
securitymonitoring-systems are located here in 
this central complex. 

Use your keys 
Open The Door 
Step through the door, 
into the triangle at the foot of the stairs 
Announce it Now: 

"Beware, the Circle of Justice" 





Continue walking up stairs: 

Then Tex ordered me to go over and kill 
Frykowsky. 

Could it have been Frykowsky, you may ask? 

It could have been Frykowksy, it could have 
j been a chair. I 

don't know what it was: 
f Look at that clock going there: It lows, 

"Tick-Tock: I go all around the world" 

From Repeat 
Man says: 

" little girl bouncing ball." (w/Bouncing Sound) 
Bonth dis' widdle bawwy! 

Bounthy widdle bawwy! 

In Nowhere The Time: The Waves 
And knowing the Sea 

I'm miles away: "I'm designing the Mayfling!" 
(w/Bouncing Sound) 

Bounthy widdle bawwy! 

Bounthy widdle bawwy! 

Stepping: Looking at that clock going there: It lows. 

"Tick-Tock: I go all around the world. 

2 titles for classification: 

"Look at that clock going there." 
and "All the stars are out.” is California. 
Excuse me? 

Repeat To 

2nd x Open The Door 
Step out onto the highway 

H3 Night Highway #3 

SCENE: There is really no way out of the mess you are in, 
is there Susan? There are so many of them, and there is 
no way to get past them all. They are really going to kill 
you, yes? 

Sit in your cell and think "maybe it's 

okay, just try to relax now. 

"Wait until the ambulance gets here." 

"Wait until the ambulance gets here." 


© 


"Wait until the ambulance gets here." 

Susan? Isn't this my only life? 

Sweetest friend 

Here is a love-song to you: 

M "Squeaky, in a Boat" 

SCENE: Squeaky, is in a boat. 

SQUEAKY: 

Life's door: Playgrounds 
Your new door-bell 
My hands, growing in the world 
Your heart is you, old Has-Been 
You have been: You have had "Has" 

Like when youth has locked it's 
little door, you know that you've 
....been around 
Please me. 

Make it open for me, ocean of your heart 

SQUEAKY: 

You and The Planets are oh. ..oh. ..Oh, Man! 
Each moment that you have 
Goes around my heart 
As the world has.... and each planet. 

Did you know that? 

Well, I have.. ..shown. ...you. ...so: Now. 

Enter the Lighthouse: 

Stern Father on the shore, his long arm scans 
these waters in search of dyinggirls, that must 
be reeled to court. The black-board stands in 
The Great Hall of Justice, and his other one 
stands keeping score 
Belch me the song of your skeleton crew: 

THE PROSECUTOR: 

Bright young sailors 
Lock your doors 

These are keys that open for me , 

Oceans in your hearts 
You and The Family 
Are all that we have 

Enter Chorus 

Prayer- Vigel on the corner outside the Courthouse 



THE PROSECUTOR: 

But each planet, goes around my heart: 
w/ Chorus: 

Every planet. 

Did you know that? 

(Repeat x2j 

SQUEAKY: 

I'm all know you, friend-shine I'm sparkly (!) 

THE PROSECUTOR: 

Heavy Novak! 

But each planet, goes around my heart: 

w/ Chorus: 

Every planet 

That is breaking in the world, is "on" 

SQUEAKY: 

I'm on T.V. 

w/ Mary: 

Jesus turns me on 

THE PROSECUTOR: 

Every planet well, is a star 

w/ Squeaky: 

Every planet is an arc, 

in the flowing of "Grass-a' Tain" * 

THE PROSECUTOR: 

Did you know that, little start? 

That every planet is an arc? 

ding, ding, ding.. ..ding, diiinnnggg....ding. 

* French for "Woo- Woo!" 

meanwhile, 

BH The Family in a 
CourtRoom 

("Manson Leap at Judge!") 

SCENE: Crash! Here we are with our lives going on: 

COURTROOM HOST: 

No further questions at this Time, your Honor! 
The Judge said The witness may step down. 
Call your next witness, please. 


COURTROOM HOST: 

Your Honor, The People would like to call.... 
Charlie said May I question him, your Honor? 

(An uncomfortable pause) 

No you may not. . . ! Call your next witness, 
please! 

Then Manson said You know I'm gonna' 
defend myself one way or another. I'd like to 
do it with words. Mr. Manson, if you insist on 
interrupting this Court, I'll have no choice but to 
have you removed! 

Call your next witness, please! 

THE DEVIL 

I'll have you removed. 

I've got a little system here. 

THE COURT: 

Mr. Manson, you are instructed to silence 
yourselfl 

Call the next witness, plea.... 

MANSON: 

"Do you think I'm kidding?" 

"Yes?" 

And with a leap over the desk, and a sparkle in his eye: 
"In the name of Christian Justice, somebody 
oughta' cut your head off!" 

Manson is tackled and carried away, while the court 
stays in hell for a while 
VOICE OF DEFENSE: 

Due to your Honor's understandable state of 
mind after this event the defense moves for a 
mistrial. 

THE JUDGE: 

"Denied! 

The defendants will not prosper 
by their own misconduct: 

This court will continue! 

A-heh Hem.... 

The witness may step down, call your next 
witness, please." 

Crash Into 
We Are Here in Hell 


MANSON: 

lawyers Play with people! 

Well, 

And I'm a person 

And I will not be Played with in this manner! 
Oh, gosh darnif'! 

Kick an old can on the road: 

You people that Drive this system... 

"Do you think I'm kidding!?? 

Manson grabs a sharpened pencil, and leaps over the 
bench at judge: Girls jump up and go crazy, screaming 
in Latin. All are removed from the courtroom forcibly. 

The courtroom stays here, forever 

1 The Judge 

On Monday, April 19th of 1971, Charles Manson, 
Susan Atkins, Patricia Krenwinkel and Leslie Van Houten, 
were ordered to be delivered to the custody of the 
Warden of the State Prison, for the State of California, 
and to be by him put to death, in the manner prescribed 
by law, of the State of Califonia. 

And now: 

Here is Charrrr-lie Manson! 

02 Subject: Charlie (No name) Manson 
Note: Actual words of Charles Manson 

MANSON: 

The truth has not been in your courtroom. 
Never has been in your courtroom. 

Ail you have is confusion in your courtroom! 
Why do I have to stand and take the blame 
for your sins again? I've spent my life in jail: 
Paying for you. So that you could ride your 
bicycles.... have your birthday parties. 

Have what you'd call life! 

You know I never had a life. 

I don't even know what life is, you know? 

I go to your desert.... I'm not even allowed 
to live in your desert. I'm no good for any- 


thing except to be used! 

I'm used.... every day of my life I've been used. 
When I haven't been used, and I have been.... 
on the street. I've been chased, mugged, har- 
rassed, pushed, kicked, beaten. ...my ribs have 
been broken, you know? 

The same guy that gives you a traffic ticket 
is the same guy that knocks my brains out! 

He figures, just because he's The Man, he can 
get away withit, 'cuz nobody's gonna' say 
anything.... 

My Daddy's not a congressman.... 

....or a doctor.... or a lawyer. 

Everything is white 


© 1 991 John Moran Publishing Company (ASCAP) All Rights 
Reserved. Used by permission. International Copyright Secured. 



Produced and Mixed by Roger Greenawalt 
and Clifford Lane 

All words and music written and composed 

by John Moran 

All music performed by John Moran except Viola: 

Richard Sortomme 

Electric Bass on "Subject: The Beatles": Roger Greenawalt 
Additional percussion: Roger Greenawalt 
and Clifford Lane 

Viola parts conducted by Michael Riesman 
Assistant Engineers: Friendshine and Dante DeSole 
Additional Engineering: Paul Berry and Laura Fried 
Additional Engineering at JSM Music, NYC: 

Peter Rundquist 
Executive Producers: 

Philip Glass 
Kurt Munkacsi 
Rory Johnston 

Recorded at The Looking Glass Studios, Inc., NYC 
Produced by Roger Greenawalt and Clifford Lane for 
Euphorbia Productions, Ltd. /Power Flower Productions. 

Art Direction: Margery Greenspan 

Design: Phil Yarnall 

Illustrations: Jonathon Rosen 

Iggy Pop appears courtesy of Virgin Records, Inc. 

Terre Roche appears courtesy of 
MCA/Paradox Records, Inc. 

Roger Greenawalt and Clifford Lane appear courtesy of 
Columbia Records. 

Special Thanks: 

Philip Glass, Candy Jernigan, Susan Atkins, Ridge 
Theatre, The Looking Glass Studios, Jed Wheeler, Laura 
Aswad, P.S. 122, John Rockwell. 

The Manson Family was originally commissioned by Jed 
Wheeler for the 1990 Serious Fun! Festival at Lincoln 
Center, where it was directed by Bob McGrath and 
performed by Ridge Theatre. 

Copyright© 1991 John Moran Publishing Company 
(ASCAP) All Rights Reserved. 


For my dear friend, Susan