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"Man: Biology of a Fall"
Music by Evan Hause, Libretto by Gary Heidt Act I, Scene 2 Per "Man: Biology of a Fall" Music by Evan Hause, Libretto by Gary Heidt Act I, Scene 2 Performed 10/6/07 at Kumble Theater in Brooklyn, NY Directed by Jyana S. Gregory Conducted by Evan Hause Sets: Rumiko Ishii Costumes: Jessica Ford Lights: Matthew Richards Olson (Steven Ebel) and Benjamin Wilson (Raemond Martin) are working on a squirtflower of death in the laboratory at Camp Detrick. Later, Sidney Gottlieb (San-ky Kim) enters to observe the experiment. SCENE 2 Fort Detrick Laboratories Wilson: I'm so glad you're back in the lab. Olson: In my brief reign as chief I nearly went mad. W: I thought the chief drinks martinis and drives a golf cart. O: He needs those martinis just to ease his heart. It's hard work killing monkeys for freedom Filling shells with germs to kill North Koreans It's a top secret weapon, but we sell them to Britain That's how we buy monkeys for killing for freedom O: Ben, hand me that anthrax. Take care with the bulb. W: I've taken extra care since Jimmy was killed. O: If I'd have been there, the truth would be told. W: Jimmy died for freedom, God bless his soul It's high risk killing monkeys for freedom The same things that kill them will also kill women And children and then we'll be like them and die on an island, Who are we to kill monkeys for freedom? O: You learn to laugh at the face of death. W: You know how many monkeys we slaughter? O: But it all looks strange to a man of faith W: If you found the answer, they'd put it in the water It's really hard work killing monkeys for freedom The ethical aspects alone can exhaust one. Creating new methods to kill and disable, To make the world free or at least keep it stable, Spending our days... Earning our pay... Making our way killing monkeys for freedom. (GOTTLIEB enters) GOTTLIEB I hope that water's pure, Olson. OLSON Autoclaved. GOTTLIEB We need some more condoms tainted with syphilis. The ones you gave us last week were tainted with anthrax. O&W: A most potent new venereal disease! What a shame! To whom did you give them... G: None of your business. O&W: To anyone in particular? Or the public at large? G: We stay away from servicemen's bars. O&W: Thank God for that. G: Of course I'd never tell you what they were actually for. O&W: We'd never believe it even if it were true. GOTTLIEB: You keep doing the work you do, and we will too... By the way, Olson, loved your idea. A squirt flower of death. It's just sublime. I can't wait to observe this fine monkey dying. Just remember.... keep your syphilis pure. Is our squirt flower ready for testing? OLSON Squirt the monkey. WILSON, GOTTLIEB Squirt the monkey! Cameras: Orin Buck & Yuji Takematsu Sound: Dan Gaydos Video editing: Evan Hause www.manbiologyofafall.com This opera is a work of fiction based upon true events and people. (more) (less)
Added: 3 days ago
Views: 29no rating
04:20
"Man: Biology of a Fall"
Music by Evan Hause, Libretto by Gary Heidt Act I, Scene 1, Con "Man: Biology of a Fall" Music by Evan Hause, Libretto by Gary Heidt Act I, Scene 1, Conclusion Performed 10/6/07 at Kumble Theater in Brooklyn, NY Directed by Jyana S. Gregory Conducted by Evan Hause Sets: Rumiko Ishii Costumes: Jessica Ford Lights: Matthew Richards Frank Olson (Steven Ebel), American biological weapons researcher is discussing his work with his British MI-5 counterpart, William Sargant (C. David Morrow) in Sargant's office. Here begins a flashback to an episode in Europe where Olson witnessed a gruesome interrogation, and met George White (Mark Peters; Yuval Boim as Subject). Olson leaves, and Sargant reports his thoughts to a mysterious authority. When I was in Germany, a couple weeks back, I got a call from headquarters. They asked me to see A fellow named White -- George White -- who'd requested Any interrogation tools, proven or untested. I met this thick necked fellow, a ball of a man, With the hands of a killer, the lips of a snake, Eyes cold as the ice we used to saw from the lake, As evil a man as I ever hope to lay eyes on. When I came to him working, he was alone with a man, Who was strapped to a table. White had a saw in his hand. (To WHITE) Dr. Frank Olson, Special Operations Division. WHITE I can always get them to talk-- if it's a gal, just put her fists in a drawer, and slam her-- If it's a guy, I whack on his wrist with a hammer. But this bastard won't talk. The bastard won't talk. If he doesn't talk soon, this bastard won't walk. OLSON I suggested cannabis extract, but White had tried it-- We went through the amphetamines, cocaine, mescaline, morphine, scopolamine, pentobarbital, and electrical shocks. Then I suggested something I'd been given for trial, A new drug from Sandoz I had in a vial-- Lysergic acid diethylamide. SARGANT How did the subject react? OLSON He went stark raving mad. SARGANT Did he confer new information? OLSON Let me put it like this-- what he gave, was like the screams of the dead from the grave, A madman's scrawl on an old yellowed page, The caw of crows, senseless with rage. WHITE I love this stuff. We need more. A bottle of this, some gin and a whore, And I'll get more out of them than ever before. OLSON But nothing the subject said made any sense. WHITE The man hasn't spoken for years. I just keep him for practice. (end of flashback) SARGANT My dear Frank, you don't seem well. OLSON My ulcer, that's all-- this job is hell. SARGANT You'd rather not be chief of S.O.D.? OLSON Working in the lab, that's my thing. Research, biochemistry, providing for my family. SARGANT That's what matters most. OLSON But I'm going to resign as Head of the Special Operations Division. I don't want to deal with the Gottliebs anymore. SARGANT Why, that's not a bad idea, Frank. You've taken on so much. OLSON I want more time with my family. SARGANT Most certainly. OLSON Thanks for listening, William. Now, I have a plane to catch. SARGANT Good-bye, Frank, bring my regards to Alice. (on phone) Frank's fatigued, I'd say.. Symptoms were bad-- Soul searching, seeking reassurance and so forth. Seems to have a bit of a conscience. Yes. Yes. A bit of a security risk, yes. Said something about a poison deodorant, and a hanky. Yes, a handkerchief. I would recommend that he be denied access to Porton Down, sir. Yes. And any other of our more sensitive facilities. Oh, certainly, you can pass this diagnosis. Cameras: Orin Buck & Yuji Takematsu Sound: Dan Gaydos Video editing: Evan Hause www.manbiologyofafall.com This opera is a work of fiction based upon true events and people. (more) (less)
Added: 1 week ago
Views: 59no rating
07:31
"Man: Biology of a Fall"
Music by Evan Hause, Libretto by Gary Heidt Act I, Scene 1, Beg "Man: Biology of a Fall" Music by Evan Hause, Libretto by Gary Heidt Act I, Scene 1, Beginning Performed 10/6/07 at Kumble Theater in Brooklyn, NY Directed by Jyana S. Gregory Conducted by Evan Hause Sets: Rumiko Ishii Costumes: Jessica Ford Lights: Matthew Richards Frank Olson (Steven Ebel), American biological weapons researcher is discussing his work with his British MI-5 counterpart, William Sargant (C. David Morrow) in Sargant's office. OLSON (to audience) Welcome to this chamber of horrors. This gentle soul, in his sweater, Sends men to madness and death for his state, And I do the same for mine. Once we were scientists; but this summer; We don't experiment; we interrogate. Here, in his consulting room I see with crystalline clarity. For I am about to change the course of history. (pulls test tube from his pocket) Doctor Sargant, I thought I'd show you Our latest feat of Yankee know-how; I have here a virus Culled from Malay's jungles; There it lives unseen in insects and is rarely passed to man; When it is, the dermis bubbles; The victim screams; it takes his brain by force, tearing out his words; He howls like a dog in pain; Bloody fingers tear at boils, The tongue swells; he chokes; In an hour he is dead; The virus inside him also dies; Too effective to survive, The host is dead; it cannot spread; But what a splendid bio-weapon; We have made it more infectious, Kept it alive in these conditions, Suspended it, volatile, Encased it in porcelain shells To be lobbed where enemies dwell This is the cream of our new science Of Health Alteration- war without violence. SARGANT I say, dear chap, hoorah, you're a prophet, Now for God's sake take care not to--- (OLSON drops it) OLSON Just a joke, Bill. Just a joke. Empty tube. SARGANT Of course it was, Frank. I feel a perfect boob. OLSON I tried that joke last week in Washington, of all places-- You should have seen those CIA guys' faces-- SARGANT On old Sid Gottlieb of TSS? I'd have paid to see it, I confess. What'd he say? OLSON (imitating GOTTLIEB's stutter) Ay- ay- ay- ay- ay- ay- ay... SARGANT He might have died from a placebo effect. OLSON Wouldn't have been a great loss. SARGANT I daresay we've all felt that way about a boss-- But really, Frank, he's given you a chance To do science for your country. OLSON Science! I'm making practical jokes. Poison deodorant, hallucinogenic handkerchiefs. I should suggest this to Sid: a squirt flower. Or a bio-inoculating whoopee cushion. But he wouldn't even get it. SARGANT Aha, that's the key. He has no sense of humor, so you can't respect him. OLSON He does have a sense of humor, in his way; Like a boy killing insects for play. SARGANT Some might have thought that bit with the tube rather sadistic. OLSON Yes, but there's no harm done-- Gottlieb leaves no harm undone. He's funding Dr. Cameron's Psychic Driving technique. It's criminal. SARGANT: It's not even original. OLSON: Of course, if you lock somebody up, Administer heavy drugs and electroshock, Long periods of sensory deprivation alternated with loud, repetitive voices you'll drive people mad. SARGANT Well, someone had to do it. We're at war forever now. And you, too use unwilling subjects in your work. OLSON As do you. Do you feel right about it, William? SARGANT I don't lie awake at night, if that's what you're asking. Well, if you think these SS bastards don't deserve it, who does? OLSON It's one thing to kill a pig with germs-- It's another to see an old man die After daubing his eye with an infected hanky-- Or last week, in Sweden, in a beautiful lab, I saw them shoot an old SS commander With a bio-inoculated dart, And watched as the poison worked its way to his heart. SARGANT It's not a job for the faint, as I'm sure you knew. War isn't won by kindness, caring, and compassion. OLSON I grew up in North Wisconsin with my father cutting ice. The cold there makes Porton Down look like paradise. We were always on the edge of killing: critters, strangers, Indians, But it was only survival, never sadistic. I'm afraid that fascism is catching. SARGANT Oh, you mustn't believe all the propaganda you hear. "Land of the Free." Frank, that's fodder for the masses. We both know both countries are run by the elite classes. OLSON It rankles my American pride. SARGANT I suppose as time passes your countrymen will see That your ideals and empire won't sit easily. OLSON That's easy to say-- but some things I've seen— Cameras: Orin Buck & Yuji Takematsu Sound: Dan Gaydos Video editing: Evan Hause www.manbiologyofafall.com This opera is a work of fiction based upon true events and people. (more) (less)
Added: 3 weeks ago
Views: 351no rating
09:41
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From "Nightingale: The Last Days of James Forrestal"
Defenestration opera #2 by Evan Hau From "Nightingale: The Last Days of James Forrestal" Defenestration opera #2 by Evan Hause Libretto Gary Heidt. Act 2, Scene 1. Performed 6/2/02 at Present Company Theatorium, NYC. Directed by Philippe Bodin Conducted by Evan Hause SYNOPSIS: James Forrestal (played by Salvatore Basile) is visited by his wife, Josephine (Ilya Speranza). They recount their marital issues and then some. JOSEPHINE: Sometimes I wished you were dead, but you just got stronger like some monster. Then something changed. FDR died and the atomic bomb came. You became hollow. Headpiece filled with straw. Rats feet on dry glass. This is the way the world ends. I was just beginning to find myself... in the Bible... FORRESTAL: Whatever do you mean, Josephine? JOSEPHINE: What does any of it mean... Kabbalah. Revelation. The Apocrypha. Now, Nag Hammadi. Who knows anything about anything? I don't. I can't even stop drinking. I'm sober now... aren't you proud? I haven't touched it in twenty-four hours. He forgives everything. FORRESTAL: Jo, are you drunk now? JOSEPHINE: I guess you don't know that Jesus wasn't crucified. FORRESTAL: What? JOSEPHINE: Matthew 27:32. Mark 15:21. Luke 23:26. The cross was borne by Simon of Cyrenius. The Romans knew they couldn't kill God so they made Jesus watch Cyrenius die on the cross. FORRESTAL: What are you talking about? Jesus wasn't crucified? JOSEPHINE: The Jews, the people, the Romans, All needed to believe that Jesus was dead and that he resurrected. But it's a lie. All those centuries of faith based on a lie. Christianity, your Catholic church with its smoke and robes, All lies and liars like you and your cronies. FORRESTAL: I am here now because someone lied. Symington said I was being pilloried because I was spying for the Catholics, or the Knights of Malta or some such claptrap. JOSEPHINE: I suggested that idea to Sydney. They were looking for an excuse to get rid of you. Now that they've dumped you, I can make you pay for all you did to me. FORRESTAL: You know it was for your drinking that I had you committed. JOSEPHINE: But what was my drinking for, Jim? FORRESTAL: Let me guess. It was for the mistake you made in marrying me. JOSEPHINE: You betrayed me. You betrayed everything. FORRESTAL: Washington never suited you. JOSEPHINE: The life you offered me was empty. Washington makes me sick. I'd rather swim in the Potomac nude than suffer another tea with these Midwestern prudes. I castigate their husbands, puke in their boudoires, After New York City, this society is fubar. All pallid smiles of indifference Like the whitewashed faces of monuments. And you are nowhere around. You'd have me burned at the stake, but you don't have what it takes, You hid in your office around the clock Even after our ships returned to their docks. I had to join them, Jimmy They needed me more than you did. BOTH IN TURN J: Where did your passion go? You were a lover and a dreamer F: Responsibility took it out of me. J: We had brilliant parties... F: All young men are dreamers... J: ...with architects and writers, F: Once I thought I could change things... J: Dorothy Parker, Dos Passos, O'Hara... F: ...first, with the pen... J: ...Irving Berlin, who will never talk to us again, F: ...then, with the dollar... J: The heretic in you drove you to... F: ...and, finally, with B: ...power JOSEPHINE: But once you found it, you changed. FORRESTAL: So did everybody else. They trapped me. JOSEPHINE: Jeremiah 9:21. Death has come to our windows. Audio engineer: Daniel Gaydos Cameramen: Orin Buck & Yuji Takamatsu Video editing: Evan Hause This opera is a work of fiction based on true events and people. (more) (less)
Added: 2 months ago
Views: 377no rating
07:57
"Man: Biology of a Fall"
from Defenestration Opera #3 by Evan Hause, Libretto by Gary Hei "Man: Biology of a Fall" from Defenestration Opera #3 by Evan Hause, Libretto by Gary Heidt Performed 10/6/07 at Kumble Theater in Brooklyn, NY Directed by Jyana S. Gregory Conducted by Evan Hause Costumes by Jessica Ford Lighting by Matthew Richards Sets by Rumiko Ishii Act 2, Scene 7 SYNOPSIS Frank Olson disappears from his New York City hotel room to return later disheveled, his wallet and ID discarded. Where was he? In this fictitious account we see him in a Greenwich Village bar. Billy (Christopher Burris), a poet and anarcho-syndicalist, regales Olson (Steven Ebel) with riffs on money, wage slavery and classism. The bartender (David Morrow) looks on. Audio engineer: Daniel Gaydos Cameramen: Orin Buck & Yuji Takamatsu Video editing: Evan Hause www.manbiologyofafall.com This opera is a work of fiction based on true events and people. (more) (less)
Added: 2 months ago
Views: 124
03:52
"Man: Biology of a Fall"
from Act I, Scene 3 of Defenestration Opera #3 by Evan Hause, Li "Man: Biology of a Fall" from Act I, Scene 3 of Defenestration Opera #3 by Evan Hause, Libretto by Gary Heidt, with additional words from the Bible; Performed 10/6/07 at Kumble Theater in Brooklyn, NY Directed by Jyana S. Gregory Conducted by Evan Hause SYNOPSIS Hughes discusses the dark arts; Olson defends his faith; Gottlieb, Schwab, Lashbrook and Hughes tell him that, concerning secrets, he is kept on a "need to know" basis. This scene takes place at Deep Creek, MD and is continued in the next clip. (Steven Ebel, San-ky Kim, Raemond Martin, C. David Morrow, John Schenkel, Darren Lougee, David A. Gordon, Jeffrey Mandelbaum, Mark Peters) LIBRETTO HUGHES "Occult" means hidden-- and the dark arts Work on minds and blinded hearts By concealing more than they reveal-- OLSON All this talk of magic-- Falls fascist on my ears. GOTTLIEB I forgot-- we have a Christian here. (Everyone laughs) OLSON Yeah, I believe in Christ! I believe that's still my right! HUGHES Of course, of course, sit down, Frank, You seem a bit high strung. Will Christ hold down Stalin? I pray he will. But God helps those who help themselves And we can't afford to turn the other cheek. CHORUS: SCHWAB, STUBBS, RUWET, WILSON, BORTNER, LASHBROOK We're soldiers for Christ, fighting the godless swarm of Satan. GOTTLIEB I have come not to bring peace, but a sword, your Jesus said. OLSON Praise the Lord. ALL Amen. GOTTLIEB Hosea thirteen: O death, I will be thy plagues! SCHWAB, LASHBROOK, CHORUS Samaria shall become desolate: for she hath rebelled against her God They shall fall by the sword, Their infants shall be dashed in pieces, and their women with child shall be torn asunder. Amen. OLSON But who is the deodorant for? Who are the diseased condoms for? And what about the swizzle sticks? What are they for? GOTTLIEB That's a need to know. Don't ask. OLSON Swizzle sticks that release LSD. I assume you put them in drinks. GOTTLIEB You assume Do your job Don't presume Pretend you're in the mob Suck it up Zip your lip Be a pup and just enjoy your trip "All players have their entrances and exits." SCHWAB Sign your name Do your task Don't complain And never, never ask What it means In the end Forget the scenes or you'll go round the bend LASHBROOK We'll tell you what you need to know GOTTLIEB Nothing less and nothing more We experiment on whores SCHWAB We infect the very doors That the degenerates will pass through OLSON You mean servicemen? GOTTLIEB That's a need to know LASHBROOK A need to know OLSON Do I hear an echo? ALL IN TURN Mind your head Watch your back Look straight ahead Don't veer from the track Write a book Be my guest But here's the hook: we shall avoid an inquest GOTTLIEB There'll be no hanky panky, Frankie 'Cause you're on a need to know LASHBROOK Need to know OLSON A hollow echo GOTTLIEB Nothing more and nothing less There's no need for you to guess The script is secret in this show And you're on a need to know LASHBROOK Need to know OLSON (to LASHBROOK) What are you, an actor? Or are you Sidney's lackey? LASHBROOK I'm a PhD like you. OLSON And what do you do? LASHBROOK I find new ways to kill. OLSON That's what I do... You bully scientists. LASHBROOK Go to hell. GOTTLIEB Stop it. "Infants all." (continued) Audio engineer: Daniel Gaydos Cameramen: Orin Buck & Yuji Takamatsu Video editing: Evan Hause www.manbiologyofafall.com This opera is a work of fiction based on true events and people. (more) (less)
Added: 3 months ago
Views: 141
05:37
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"Man: Biology of a Fall"
End of Act I of Defenestration Opera #3 by Evan Hause, Librett "Man: Biology of a Fall" End of Act I of Defenestration Opera #3 by Evan Hause, Libretto by Gary Heidt, with additional words by Shakespeare and Poe; performed 10/6/07 at Kumble Theater in Brooklyn, NY Directed by Jyana S. Gregory Conducted by Evan Hause SYNOPSIS Frank Olson (Steven Ebel) and others have been dosed with LSD by Sidney Gottlieb (San-ky Kim) at Deep Creek Lodge, MD. (also featuring Raemond Martin, C. David Morrow, John Schenkel, Darren Lougee, David A. Gordon, Jeffrey Mandelbaum, Mark Peters, Mary Ellen Assue) GOTTLIEB (Checking his watch) That's interesting. OLSON What's interesting? GOTTLIEB Well, I don't think you've ever been that frank, Frank. OLSON That's interesting? What are you saying? Are you studying me? I feel strange. The walls are moving. RUWET He's given us LSD, hasn't he? WILSON Sweet Jesus! Olson, I see Jesus in your eyes! OLSON The burning! BORTNER "Sighing furnace!" SCHWAB The flames! GOTTLIEB Just a scene in this little play. The effects wear off within a day. WILSON I'm going mad! My mind is inside out! (To OLSON) You can see my thoughts! My crippling doubt! OLSON You're loyal, Ben-- it's okay-- LASHBROOK Bow to the science of death! WILSON I can't breathe! GOTTLIEB Just relax-- don't resist! Let your mind go with the drift! You are not on stage-- Can't observe the scripted page. You must abandon the illusion of control, And slip into the rabbit hole. SCHWAB (starts crying) STUBBS (starts laughing) OLSON I'm not an actor, this is no stage, My body burns with righteous rage, To be the butt of your deception, Poisoned by your machinations, Undo this curse! An antidote! And yet I feel the dimensions stretch, I palpitate! WILSON I retch! RUWET I don't feel all that bad. OLSON Dammit, Sid, we could all go mad! GOTTLIEB "Ever the justice, full of wise saws and modern instances." BORTNER The lake is pouring in through the windows! GOTTLIEB You don't enjoy it because you clutch at your reason, While it falls to shreds before the wind of ancient magic. OLSON The devil's brew! The forbidden fruit! The third-eye prying honeydew! HUGHES You speak your lines as if trained. RUWET "To be or not to be that is the question." OLSON Oh, I know the lines. I learned them in school. From Poe's Conqueror Worm: RUWET Get thee to a "mummery" GOTTLIEB "His big manly voice, turning again toward childish treble" CHORUS Lo, tis a gala night Within the lonesome latter years; an angel throng, bewinged, bedight In veils, WILSON and drowned in tears, OLSON Sit in a theatre, to see a play of hopes and fears While the orchestra breathes fitfully the music of the spheres. OLSON Mimes in the form of God on High Mutter and mumble low, And hither and thither fly-- Mere puppets they, who come and go At bidding of vast formless things That shift the scenery to and fro Flapping from out their Condor Wings WILSON Invisible Wo! OLSON That motley drama-- oh, be sure, It shall not be forgot! HUGHES With its Phantom chased for evermore, By a crowd that seize it not, ALL Through a circle that ever returneth in To the self same spot! BORTNER And much of Madness, and more of Sin, RUWET & WILSON And Horror the Soul of the Plot! WILSON: But see, amid the mimic rout, RUWET: A crawling shape intrude! SCHWAB: A blood-red thing that writhes from out STUBBS: The scenic solitude! BORTNER: It writhes! It writhes! With mortal pangs LASHBROOK: The mimes become its food. OLSON And the angels sob at vermin fangs In human gore imbued! HUGHES Out-- out are the lights! Out all! GOTTLIEB And, over each quivering form, The curtain, a funeral pall, Comes down with the rush of a storm. OLSON, WILSON, RUWET And the angels, all pallid and wan, Uprising, unveiling, affirm that this play is the tragedy, "Man" And its hero, ALL The Conqueror Worm. OFFSTAGE SOPRANO "Last scene of all, that ends this strange eventful history, Is second childishness and mere oblivion." GOTTLIEB You have gone through the first death, and the second birth. I initiate you into the Secret Order of Death. We are the Sword of the Left Hand of God. OLSON You're no sword. You're just a bunch of thespians. END OF ACT I Audio engineer: Daniel Gaydos Cameramen: Orin Buck & Yuji Takamatsu Video editing: Evan Hause www.manbiologyofafall.com This opera is a work of fiction based on true events and people. (more) (less)
Added: 4 months ago
Views: 186no rating
09:37
"Man: Biology of a Fall"
from Defenestration Opera #3 by Evan Hause, Libretto by Gary Hei "Man: Biology of a Fall" from Defenestration Opera #3 by Evan Hause, Libretto by Gary Heidt Performed 10/6/07 at Kumble Theater in Brooklyn, NY Directed by Jyana S. Gregory Orchestra conducted by Evan Hause Act 2, Scene 5 (in continuation) SYNOPSIS Frank Olson (Steven Ebel), Vincent Ruwet (David Gordon) and Robert Lashbrook (Darren Lougee) visits the oracle, otherwise known as magician John Mulholland (Countertenor Jeffrey Mandelbaum) in NYC. OLSON He's going to drive me crazy. LASHBROOK That's a good one. The shrink's going to drive him crazy. OLSON He's not a therapist, he's an allergist. RUWET He's highly qualified... LASHBROOK ...he's an M.D.! OLSON An M.D. with a brain of cheese. RUWET Huh? MULHOLLAND Greetings, gentlemen. As you can see, I'm really not here. OLSON Fascinating! MULHOLLAND Dr. Olson, I'm glad you came by. OLSON Well, thanks. I read your book when I was in the service. Learned the cigarette tricks. MULHOLLAND Maybe you'll learn something else today. OLSON Like, why you're working for the C.I.A.? MULHOLLAND Aren't you? OLSON I'm afraid I can't say. That's why I'm here. MULHOLLAND You seek an oracle? I can summon one. RUWET Well, I'm flabbergasted! OLSON What be my fate, oracle? MULHOLLAND I cannot see what depends on thee, When thou decideth must. OLSON It's all in my hands? I don't understand. MULHOLLAND You must choose between your pride and your family. OLSON My family? MULHOLLAND Stand your ground now and you stand to lose them. OLSON You fraud! Leave them out of this! MULHOLLAND I am indeed a master of deception. My magic is mere illusion; yours is real, can kill. OLSON Science isn't magic. MULHOLLAND Science is successful magic. The magic of deception is a compromise with failure. The power of science is greater than that of deception; but it is newer, and deception is integral to the exercise of power. OLSON You've got Gottlieb hooked, I bet. MULHOLLAND Mad! Drunk! Chained! Owned! OLSON Well congratulations, John, you hooked a fine one. This has been real fun but I think I'll head out. MULHOLLAND Hold on... you'll be wanting this. (hands him his wallet.) OLSON I should belt you. (MULHOLLAND hands him his belt.) RUWET Come on, let's go. OLSON He's so... atavistic. LASHBROOK I think he's gonna crack. Audio engineer: Daniel Gaydos Cameramen: Orin Buck & Yuji Takamatsu Video editing: Evan Hause www.manbiologyofafall.com (more) (less)
Added: 5 months ago
Views: 260no rating
05:13
From "Nightingale: The Last Days of James Forrestal"
Defenestration Opera #2 Music by From "Nightingale: The Last Days of James Forrestal" Defenestration Opera #2 Music by Evan Hause Libretto by Gary Heidt Performed June 2, 2002 in NYC SYNOPSIS Forrestal (Salvatore Basile) has his MJ-12 friend Sidney Souers (Mark Peters) check his room for listening devices. Directed by Philippe Bodin Conducted by Evan Hause ACT 1, SCENE 3 Forrestal's room. Enter Sidney SOUERS bearing a bizarre electronic device. SOUERS: Hello, Jim. FORRESTAL: Hi, Sidney. Good to see you. SOUERS: You're looking good. FORRESTAL: I've looked better. Sidney, I can't shave with safety razors. But I'm feeling better. They're easing up on my insulin shock. Er...have a seat. SOUERS: Thank you. The President sends his best. He'd like to see you. FORRESTAL: I'll have him anytime. Tell him that. SOUERS: All right. I'll check this room for listening devices. We wanted you to have a doctor to whom you could talk frankly. I want you to know it's okay to talk to Doctor Raines about anything up to MJ12 FORRESTAL: Somehow I can't accept that, Syd. You've told him about the aliens? SOUERS: He knew about them already. He interviewed the live one for us. The room is clean and your guards are Special Forces. FORRESTAL: They knew you were coming and took them out. Now they'll put them back in again. SOUERS: Jim, it's bad. The President found out about Nightingale--from Stalin. CHORUS: Operation Nightingale Operation Nightingale A sweet name for a foul game, Arming fighters in the Ukraine, Death camp operators given free reign, You violated Soviet sovereignty, Did the President know? FORRESTAL: We didn't have time to brief him on everything... SOUERS: Well, he would have had to deny knowing about it anyhow. But he's grilling me every day about the CIA He's nervous about all the German scientists we're bringing in, He's asking questions about Gehlen and the Knights of Malta. CHORUS: Really, it's amazing you got as far as you did. SOUERS: Good God, I mean, the Hopley report almost passed. But since Winchell broke the story, you've been political poison. FORRESTAL: Let whoever leaked that report be damned for all time. There's a Communist in the Cabinet. CHORUS: There's a Communist in the Cabinet. FORRESTAL: We won the war--but who are we, Sidney? SOUERS: Harry and I believe that you and your Wall Street friends who control the CIA are agents of the British bankers. FORRESTAL: Whereas Harry represents some American citizens of Italian descent in Chicago, Kansas City, and Las Vegas. SOUERS: They're all as American as you, Jim. Maybe more so. Audio engineer: Daniel Gaydos Cameramen: Orin Buck & Yuji Takamatsu Video editing: Evan Hause More at www.hausemusic.com This opera is a work of fiction based on true events and people. (more) (less)
Added: 6 months ago
Views: 1,182
04:24
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