Created
June 1, 2018 20:45
-
-
Save sgsinclair/bd87be9ce50f79920921e599637cb531 to your computer and use it in GitHub Desktop.
This file contains bidirectional Unicode text that may be interpreted or compiled differently than what appears below. To review, open the file in an editor that reveals hidden Unicode characters.
Learn more about bidirectional Unicode characters
| BURR | |
| How does a bastard, orphan, son of a whore and a | |
| Scotsman, dropped in the middle of a | |
| Forgotten spot in the Caribbean by providence | |
| Impoverished, in squalor | |
| Grow up to be a hero and a scholar? | |
| LAURENS | |
| The ten-dollar founding father without a father | |
| Got a lot farther by working a lot harder | |
| By being a lot smarter | |
| By being a self-starter | |
| By fourteen, they placed him in charge of a | |
| Trading charter | |
| JEFFERSON | |
| And every day while slaves were being slaughtered and carted | |
| Away across the waves, he struggled and kept his guard up | |
| Inside, he was longing for something to be a part of | |
| The brother was ready to beg, steal, borrow, or barter | |
| MADISON | |
| Then a hurricane came, and devastation reigned | |
| Our man saw his future drip, dripping down the drain | |
| Put a pencil to his temple, connected it to his brain | |
| And he wrote his first refrain, a testament to his pain | |
| BURR | |
| Well, the word got around, they said, “This kid is insane, man” | |
| Took up a collection just to send him to the mainland | |
| “Get your education, don’t forget from whence you came, and | |
| The world is gonna know your name. What’s your name, man?” | |
| HAMILTON | |
| Alexander Hamilton | |
| My name is Alexander Hamilton | |
| And there’s a million things I haven’t done | |
| But just you wait, just you wait… | |
| ELIZA | |
| When he was ten his father split, full of it, debt-ridden | |
| Two years later, see Alex and his mother bed-ridden | |
| Half-dead sittin' in their own sick, the scent thick | |
| COMPANY | |
| And Alex got better but his mother went quick | |
| WASHINGTON | |
| Moved in with a cousin, the cousin committed suicide | |
| Left him with nothin’ but ruined pride, something new inside | |
| A voice saying | |
| WASHINGTON | |
| “You gotta fend for yourself.” COMPANY | |
| “Alex, you gotta fend for yourself.” | |
| WASHINGTON | |
| He started retreatin’ and readin’ every treatise on the shelf | |
| BURR | |
| There would have been nothin’ left to do | |
| For someone less astute | |
| He woulda been dead or destitute | |
| Without a cent of restitution | |
| Started workin’, clerkin’ for his late mother’s landlord | |
| Tradin’ sugar cane and rum and all the things he can’t afford | |
| Scammin’ for every book he can get his hands on | |
| Plannin’ for the future see him now as he stands on | |
| The bow of a ship headed for a new land | |
| In New York you can be a new man | |
| COMPANY | |
| Scammin’ | |
| Plannin’ | |
| Oooh… | |
| COMPANY | |
| In New York you can | |
| Be a new man— | |
| In New York you can | |
| Be a new man— | |
| HAMILTON | |
| Just you wait! | |
| Just you wait! | |
| COMPANY | |
| In New York you can be a new man— | |
| WOMEN | |
| In New York— | |
| MEN | |
| New York— | |
| HAMILTON | |
| Just you wait! | |
| COMPANY | |
| Alexander Hamilton | |
| We are waiting in the wings for you | |
| You could never back down | |
| You never learned to take your time! | |
| Oh, Alexander Hamilton | |
| When America sings for you | |
| Will they know what you overcame? | |
| Will they know you rewrote the game? | |
| The world will never be the same, oh | |
| BURR | |
| The ship is in the harbor now | |
| See if you can spot him | |
| Another immigrant | |
| Comin’ up from the bottom | |
| His enemies destroyed his rep | |
| America forgot him COMPANY | |
| Alexander Hamilton | |
| Waiting in the wings for you | |
| You never learned to take your time! | |
| Oh, Alexander Hamilton | |
| Alexander Hamilton… | |
| America sings for you | |
| Will they know what you overcame? | |
| Will they know you rewrote the game? | |
| The world will never be the same, oh | |
| MEN | |
| Just you wait | |
| COMPANY | |
| Just you wait | |
| MULLIGAN/MADISON & LAFAYETTE/JEFFERSON | |
| We fought with him | |
| LAURENS/PHILIP | |
| Me? I died for him | |
| WASHINGTON | |
| Me? I trusted him | |
| ELIZA & ANGELICA & PEGGY/MARIA | |
| Me? I loved him | |
| BURR | |
| And me? I’m the damn fool that shot him | |
| COMPANY | |
| There’s a million things I haven’t done | |
| But just you wait! | |
| BURR | |
| What’s your name, man? | |
| COMPANY | |
| Alexander Hamilton! | |
| COMPANY | |
| 1776. New York City | |
| HAMILTON | |
| Pardon me. Are you Aaron Burr, sir? | |
| BURR | |
| That depends. Who’s asking? | |
| HAMILTON | |
| Oh, well, sure, sir | |
| I’m Alexander Hamilton, I’m at your service, sir | |
| I have been looking for you | |
| BURR | |
| I’m getting nervous | |
| HAMILTON | |
| Sir… | |
| I heard your name at Princeton. I was seeking an accelerated course of study when I got sort of out of sorts with a buddy of yours. I may have punched him. It’s a blur, sir. He handles the financials? | |
| BURR | |
| You punched the bursar | |
| HAMILTON | |
| Yes! | |
| I wanted to do what you did. Graduate in two, then join the revolution. He looked at me like I was stupid, I’m not stupid | |
| So how’d you do it? How’d you graduate so fast? | |
| BURR | |
| It was my parents’ dying wish before they passed | |
| HAMILTON | |
| You’re an orphan. Of course! I’m an orphan | |
| God, I wish there was a war! | |
| Then we could prove that we’re worth more | |
| Than anyone bargained for… | |
| BURR | |
| Can I buy you a drink? | |
| HAMILTON | |
| That would be nice | |
| BURR | |
| While we’re talking, let me offer you some free advice | |
| Talk less | |
| HAMILTON | |
| What? | |
| BURR | |
| Smile more | |
| HAMILTON | |
| Ha | |
| BURR | |
| Don’t let them know what you’re against or what you’re for | |
| HAMILTON | |
| You can’t be serious | |
| BURR | |
| You wanna get ahead? | |
| HAMILTON | |
| Yes | |
| BURR | |
| Fools who run their mouths off wind up dead | |
| LAURENS | |
| Yo yo yo yo yo! | |
| What time is it? | |
| LAURENS/LAFAYETTE/MULLIGAN | |
| Show time! | |
| BURR | |
| …like I said… | |
| LAURENS | |
| Show time! Show time! Yo! | |
| I’m John Laurens in the place to be! | |
| Two pints o’ Sam Adams, but I’m workin’ on three, uh! | |
| Those redcoats don’t want it with me! | |
| Cuz I will pop chick-a pop these cops till I’m free! | |
| LAFAYETTE | |
| Oui oui, mon ami, je m’appelle Lafayette! | |
| The Lancelot of the revolutionary set! | |
| I came from afar just to say “Bonsoir!” | |
| Tell the King “Casse toi!” Who’s the best? | |
| C’est moi! | |
| MULLIGAN | |
| Brrrah brraaah! I am Hercules Mulligan | |
| Up in it, lovin’ it, yes I heard ya mother said “Come again?” | |
| LAFAYETTE & LAURENS | |
| Ayyyyy | |
| MULLIGAN | |
| Lock up ya daughters and horses, of course | |
| It’s hard to have intercourse over four sets of corsets… | |
| LAFAYETTE | |
| Wow | |
| LAURENS | |
| No more sex, pour me another brew, son! | |
| Let’s raise a couple more… | |
| LAURENS/LAFAYETTE/MULLIGAN | |
| To the revolution! | |
| LAURENS | |
| Well, if it ain’t the prodigy of Princeton college! | |
| MULLIGAN | |
| Aaron Burr! | |
| LAURENS | |
| Give us a verse, drop some knowledge! | |
| BURR | |
| Good luck with that: you’re takin’ a stand | |
| You spit. I’m ‘a sit. We’ll see where we land | |
| LAFAYETTE/MULLIGAN | |
| Boooo! | |
| LAURENS | |
| Burr, the revolution’s imminent. What do you stall for? | |
| HAMILTON | |
| If you stand for nothing, Burr, what’ll you fall for? | |
| LAURENS | |
| Ooh | |
| Who are you? MULLIGAN | |
| Ooh | |
| Who are you? LAFAYETTE | |
| Ooh | |
| Who are you? | |
| MULLIGAN/LAFAYETTE/LAURENS | |
| Ooh, who is this kid? What’s he gonna do? | |
| College | |
| I prob’ly shouldn’t brag, but dag, I amaze and astonish | |
| The problem is I got a lot of brains but no polish | |
| I gotta holler just to be heard | |
| With every word, I drop knowledge! | |
| I’m a diamond in the rough, a shiny piece of coal | |
| Tryin’ to reach my goal. My power of speech: unimpeachable | |
| Only nineteen but my mind is older | |
| These New York City streets get colder, I shoulder | |
| Ev’ry burden, ev’ry disadvantage | |
| I have learned to manage, I don’t have a gun to brandish | |
| I walk these streets famished | |
| The plan is to fan this spark into a flame | |
| But damn, it’s getting dark, so let me spell out the name | |
| I am the— | |
| HAMILTON/LAFAYETTE/MULLIGAN/LAURENS | |
| A-L-E-X-A-N-D | |
| E-R—we are—meant to be… | |
| HAMILTON | |
| A colony that runs independently | |
| Meanwhile, Britain keeps shittin’ on us endlessly | |
| Essentially, they tax us relentlessly | |
| Then King George turns around, runs a spending spree | |
| He ain’t ever gonna set his descendants free | |
| So there will be a revolution in this century | |
| Enter me! | |
| LAFAYETTE/MULLIGAN/LAURENS | |
| (He says in parentheses) | |
| HAMILTON | |
| Don’t be shocked when your hist’ry book mentions me | |
| I will lay down my life if it sets us free | |
| Eventually, you’ll see my ascendancy | |
| HAMILTON | |
| And I am not throwing away | |
| My shot | |
| I am not throwing away | |
| My shot | |
| Hey yo, I’m just like my country | |
| I’m young, scrappy and hungry | |
| And I’m not throwing away my shot | |
| LAURENS | |
| My shot! | |
| My shot! | |
| And I’m not throwing away my shot. | |
| HAMILTON/MULLIGAN/LAURENS/LAFAYETTE | |
| I am not throwing away my shot | |
| I am not throwing away my shot | |
| Hey yo, I’m just like my country | |
| I’m young, scrappy and hungry | |
| And I’m not throwing away my shot | |
| It’s time to take a shot! | |
| LAFAYETTE | |
| I dream of life without a monarchy | |
| The unrest in France will lead to ‘onarchy? | |
| ‘Onarchy? How you say, how you say, ‘anarchy?’ | |
| When I fight, I make the other side panicky | |
| With my— | |
| HAMILTON/LAURENS/LAFAYETTE/MULLIGAN | |
| Shot! | |
| MULLIGAN | |
| Yo, I’m a tailor’s apprentice | |
| And I got y’all knuckleheads in loco parentis | |
| I’m joining the rebellion cuz I know it’s my chance | |
| To socially advance, instead of sewin’ some pants! | |
| I’m gonna take a— | |
| HAMILTON/LAURENS/LAFAYETTE/MULLIGAN | |
| Shot! | |
| LAURENS | |
| But we’ll never be truly free | |
| Until those in bondage have the same rights as you and me | |
| You and I. Do or die. Wait till I sally in | |
| On a stallion with the first black battalion | |
| Have another— | |
| HAMILTON/LAURENS/LAFAYETTE/MULLIGAN | |
| Shot! | |
| BURR | |
| Geniuses, lower your voices | |
| You keep out of trouble and you double your choices | |
| I’m with you, but the situation is fraught | |
| You’ve got to be carefully taught: | |
| If you talk, you’re gonna get shot! | |
| HAMILTON | |
| Burr, check what we got | |
| Mister Lafayette, hard rock like Lancelot | |
| I think your pants look hot | |
| Laurens, I like you a lot | |
| Let’s hatch a plot blacker than the kettle callin’ the pot… | |
| What are the odds the gods would put us all in one spot | |
| Poppin’ a squat on conventional wisdom, like it or not | |
| A bunch of revolutionary manumission abolitionists? | |
| Give me a position, show me where the ammunition is! | |
| Oh, am I talkin’ too loud? | |
| Sometimes I get over excited, shoot off at the mouth | |
| I never had a group of friends before | |
| I promise that I’ll make y’all proud | |
| LAURENS | |
| Let’s get this guy in front of a crowd | |
| HAMILTON/LAURENS/LAFAYETTE/MULLIGAN/ENSEMBLE | |
| I am not throwing away my shot | |
| I am not throwing away my shot | |
| Hey yo, I’m just like my country | |
| I’m young, scrappy and hungry | |
| And I’m not throwing away my shot | |
| I am not throwing away my shot | |
| I am not throwing away my shot | |
| Hey yo, I’m just like my country | |
| I’m young, scrappy and hungry | |
| And I’m not throwing away my shot | |
| LAURENS | |
| Ev’rybody sing: | |
| Whoa, whoa, whoa | |
| Hey! | |
| Whoa! | |
| Wooh!! | |
| Whoa! | |
| Ay, let ‘em hear ya! | |
| Let’s go! | |
| I said shout it to the rooftops! | |
| Said, to the rooftops! | |
| Come on! | |
| Come on, let’s go! HAMILTON/LAFAYETTE/ | |
| MULLIGAN | |
| Whoa! Whoa! Whoa! | |
| Whoa! | |
| Whoa! | |
| Yea! | |
| COMPANY | |
| Whoa! Whoa! Whoa! | |
| Whoa! | |
| Whoa! | |
| Yea! | |
| LAURENS | |
| Rise up! | |
| When you’re living on your knees, you rise up | |
| Tell your brother that he’s gotta rise up | |
| Tell your sister that she's gotta rise up | |
| LAURENS AND ENSEMBLE | |
| When are these colonies gonna rise up? | |
| When are these colonies gonna rise up? | |
| When are these colonies gonna rise up? | |
| When are these colonies gonna rise up? | |
| Rise up! | |
| COMPANY | |
| Whoa! Whoa! | |
| Whoa! | |
| Whoa! | |
| Whoa! | |
| Rise up! | |
| HAMILTON | |
| I imagine death so much it feels more like a memory | |
| When’s it gonna get me? | |
| In my sleep? Seven feet ahead of me? | |
| If I see it comin’, do I run or do I let it be? | |
| Is it like a beat without a melody? | |
| See, I never thought I’d live past twenty | |
| Where I come from some get half as many | |
| Ask anybody why we livin’ fast and we laugh, reach for a flask | |
| We have to make this moment last, that’s plenty | |
| Scratch that | |
| This is not a moment, it’s the movement | |
| Where all the hungriest brothers with | |
| Something to prove went? | |
| Foes oppose us, we take an honest stand | |
| We roll like Moses, claimin’ our promised land | |
| And? If we win our independence? | |
| Is that a guarantee of freedom for our descendants? | |
| Or will the blood we shed begin an endless | |
| Cycle of vengeance and death with no defendants? | |
| I know the action in the street is excitin’ | |
| But Jesus, between all the bleedin’ ‘n fightin’ | |
| I’ve been readin’ ‘n writin’ | |
| We need to handle our financial situation | |
| Are we a nation of states? What’s the state of our nation? | |
| I’m past patiently waitin’. I’m passionately | |
| Smashin’ every expectation | |
| Every action’s an act of creation! | |
| I’m laughin’ in the face of casualties and sorrow | |
| For the first time, I’m thinkin’ past tomorrow | |
| HAMILTON AND COMPANY | |
| And I am not throwing away my shot | |
| I am not throwing away my shot | |
| Hey yo, I’m just like my country | |
| I’m young, scrappy and hungry | |
| And I’m not throwing away my shot | |
| HAMILTON/LAURENS/ | |
| LAFAYETTE/MULLIGAN | |
| We’re gonna rise up! Time to take a shot! | |
| We’re gonna rise up! Time to take a shot! | |
| We’re gonna | |
| HAMILTON | |
| Time to take a shot! | |
| HAMILTON/LAFAYETTE/ | |
| LAURENS/MULLIGAN | |
| Time to take a shot! | |
| Time to take a shot! | |
| Take a shot! | |
| Shot! | |
| Shot! | |
| A-yo it’s | |
| Time to take a shot! | |
| Time to take a shot! | |
| And I am— | |
| ENSEMBLE | |
| Not throwing away my shot | |
| Not throwing away my shot | |
| We’re gonna | |
| Rise up! | |
| Rise up! | |
| Rise up! | |
| Rise up! | |
| Rise up! | |
| Rise up! | |
| Ri— ri— ri— | |
| Time to take a shot! | |
| Time to take a shot! | |
| And I am— | |
| HAMILTON/LAFAYETTE/MULLIGAN/LAURENS | |
| Not throwin’ away my— | |
| COMPANY | |
| Not throwin’ away my shot! | |
| HAMILTON | |
| I may not live to see our glory! | |
| LAFAYETTE/MULLIGAN/LAURENS | |
| I may not live to see our glory! | |
| HAMILTON | |
| But I will gladly join the fight! | |
| LAFAYETTE/MULLIGAN/LAURENS | |
| But I will gladly join the fight! | |
| HAMILTON | |
| And when our children tell our story… | |
| LAFAYETTE/MULLIGAN/LAURENS | |
| And when our children tell our story… | |
| HAMILTON | |
| They’ll tell the story of tonight | |
| MULLIGAN | |
| Let’s have another round tonight | |
| LAFAYETTE | |
| Let’s have another round tonight | |
| HAMILTON | |
| Let’s have another round tonight | |
| LAURENS | |
| Raise a glass to freedom | |
| Something they can never take away | |
| No matter what they tell you | |
| Raise a glass to the four of us | |
| LAURENS/MULLIGAN | |
| Tomorrow there’ll be more of us | |
| MULLIGAN/LAFAYETTE/LAURENS | |
| Telling the story of tonight | |
| HAMILTON | |
| They’ll tell the story of tonight | |
| LAURENS/MULLIGAN/LAFAYETTE | |
| Raise a glass to freedom | |
| Something they can never take away | |
| HAMILTON | |
| No matter what they tell you | |
| MULLIGAN/LAFAYETTE | |
| Let’s have another round tonight | |
| LAURENS | |
| Raise a glass to the four of us | |
| HAMILTON/LAURENS/MULLIGAN/LAFAYETTE | |
| Tomorrow there’ll be more of us | |
| HAMILTON/LAURENS | |
| Telling the story of tonight | |
| MULLIGAN/LAFAYETTE | |
| Let’s have another round tonight | |
| HAMILTON/LAURENS/ | |
| ENSEMBLE | |
| They’ll tell the story of tonight | |
| They’ll tell the story of tonight | |
| They’ll tell the story of tonight | |
| MULLIGAN/LAFAYETTE/ | |
| ENSEMBLE | |
| Raise a glass to freedom | |
| Raise a glass to freedom | |
| They’ll tell the story of— | |
| FULL ENSEMBLE | |
| Tonight | |
| BURR | |
| There’s nothing rich folks love more | |
| Than going downtown and slummin’ it with the poor | |
| They pull up in their carriages and gawk | |
| At the students in the common | |
| Just to watch them talk | |
| Take Philip Schuyler: the man is loaded | |
| Uh-oh, but little does he know that | |
| His daughters, Peggy, Angelica, Eliza | |
| Sneak into the city just to watch all the guys at— | |
| COMPANY | |
| Work, work! | |
| ANGELICA | |
| Angelica! | |
| COMPANY | |
| Work, work! | |
| ELIZA | |
| Eliza! | |
| PEGGY | |
| And Peggy! | |
| COMPANY | |
| Work, work! | |
| The Schuyler sisters! | |
| ANGELICA | |
| Angelica! | |
| PEGGY | |
| Peggy! | |
| ELIZA | |
| Eliza! | |
| COMPANY | |
| Work! | |
| PEGGY | |
| Daddy said to be home by sundown | |
| ANGELICA | |
| Daddy doesn’t need to know | |
| PEGGY | |
| Daddy said not to go downtown | |
| ELIZA | |
| Like I said, you’re free to go | |
| ANGELICA | |
| But—look around, look around, the | |
| Revolution’s happening in New York | |
| ELIZA/PEGGY | |
| New York | |
| COMPANY | |
| Angelica | |
| SCHUYLER SISTERS AND COMPANY | |
| Work! | |
| PEGGY | |
| It’s bad enough daddy wants to go to war | |
| ELIZA | |
| People shouting in the square | |
| PEGGY | |
| It’s bad enough there’ll be violence on our shore | |
| ANGELICA | |
| New ideas in the air | |
| ANGELICA AND MALE ENSEMBLE | |
| Look around, look around— | |
| ELIZA | |
| Angelica, remind me what we’re looking for… | |
| ALL MEN | |
| She’s lookin’ for me! | |
| ANGELICA | |
| Eliza, I’m lookin’ for a mind at work | |
| I’m lookin’ for a mind at work! | |
| I’m lookin’ for a mind at work! | |
| Whooaaaaa! | |
| ELIZA/ANGELICA/PEGGY | |
| Whooaaaaa! | |
| Work! COMPANY | |
| Work, work! | |
| Work, work! | |
| Work, work! | |
| Work! | |
| BURR | |
| Wooh! There’s nothin’ like summer in the city | |
| Someone in a rush next to someone lookin’ pretty | |
| Excuse me, miss, I know it’s not funny | |
| But your perfume smells like your daddy’s got money | |
| Why you slummin’ in the city in your fancy heels | |
| You searchin for an urchin who can give you ideals? | |
| ANGELICA | |
| Burr, you disgust me | |
| BURR | |
| Ah, so you’ve discussed me | |
| I’m a trust fund, baby, you can trust me! | |
| ANGELICA | |
| I’ve been reading Common Sense by Thomas Paine | |
| So men say that I’m intense or I’m insane | |
| You want a revolution? I want a revelation | |
| So listen to my declaration: | |
| ELIZA/ANGELICA/PEGGY | |
| “We hold these truths to be self-evident | |
| That all men are created equal” | |
| ANGELICA | |
| And when I meet Thomas Jefferson | |
| COMPANY | |
| Unh! | |
| ANGELICA | |
| I’m ‘a compel him to include women in the sequel! | |
| WOMEN | |
| Work! | |
| ELIZA | |
| Look around, look around at how | |
| Lucky we are to be alive right now! | |
| ELIZA/PEGGY | |
| Look around, look around at how | |
| Lucky we are to be alive right now! | |
| ELIZA/ANGELICA/PEGGY | |
| History is happening in Manhattan and we just happen to be | |
| In the greatest city in the world! | |
| SCHUYLER SISTERS AND COMPANY | |
| In the greatest city in the world! | |
| ANGELICA | |
| Cuz I’ve been reading Common Sense by Thomas Paine | |
| So men say that I’m intense or I’m insane | |
| ANGELICA | |
| You want a revolution? | |
| I want a revelation | |
| So listen to my declaration: | |
| ANGELICA/ELIZA/PEGGY | |
| We hold these truths to be self evident that all men are created equal | |
| Whoo! ELIZA/PEGGY | |
| Look around, look around | |
| The revolution’s happening in— | |
| ELIZA/PEGGY | |
| New York! | |
| In New York! | |
| FEMALE ENSEMBLE | |
| Look around | |
| Look around | |
| At how lucky we are to be alive right now MEN | |
| Hey! Hey! Hey! Hey! | |
| Hey! Hey! Hey! Hey! | |
| WOMEN | |
| Look around, look around the revolution’s happening | |
| Hey! Hey! | |
| Hey! Hey! | |
| Hey! Hey! | |
| Hey! Hey! | |
| FULL COMPANY | |
| Look around, look around at how lucky we are to be alive right now! | |
| History is happening in Manhattan and we just happen to be | |
| ALL WOMEN | |
| In the greatest city in the world | |
| ALL MEN | |
| In the greatest city— | |
| COMPANY | |
| In the greatest city in the world! | |
| COMPANY | |
| Work, work! | |
| Work, work! | |
| Work, work! | |
| Work, work! | |
| Work, work! | |
| Work, work! | |
| Work, work! | |
| COMPANY | |
| Work, work! | |
| Work, work! | |
| Work, work! | |
| ANGELICA | |
| Angelica! | |
| ELIZA | |
| Eliza! | |
| PEGGY | |
| And Peggy! | |
| ANGELICA/ELIZA/PEGGY | |
| The Schuyler sisters! | |
| We’re looking for a mind at work! | |
| Hey! | |
| Hey! | |
| ANGELICA | |
| Whoa! | |
| In the greatest | |
| City in the world | |
| ELIZA/PEGGY | |
| Hey! Hey! Hey! Hey! Hey! | |
| In the greatest | |
| City in the world | |
| COMPANY | |
| In the greatest city in the world! | |
| SEABURY | |
| Hear ye, hear ye! My name is Samuel Seabury | |
| And I present “Free Thoughts on the | |
| Proceedings of the Continental Congress!” | |
| Heed not the rabble who scream revolution | |
| They have not your interests at heart | |
| MULLIGAN | |
| Oh my God. Tear this dude apart | |
| SEABURY | |
| Chaos and bloodshed are not a solution | |
| Don’t let them lead you astray | |
| This Congress does not speak for me | |
| BURR | |
| Let him be | |
| SEABURY | |
| They’re playing a dangerous game | |
| I pray the king shows you his mercy | |
| For shame, for shame… | |
| HAMILTON | |
| Yo! | |
| He’d have you all unravel at the | |
| Sound of screams but the | |
| Revolution is comin’ | |
| The have-nots are gonna | |
| Win this | |
| It’s hard to listen to you with a straight face | |
| Chaos and bloodshed already haunt us, honestly you shouldn’t even talk. And what about Boston? Look at the cost, n’ all that we’ve lost n’ you talk | |
| About Congress?! | |
| My dog speaks more eloquently than thee! | |
| But strangely, your mange is the same | |
| Is he in Jersey? | |
| For the revolution! | |
| SEABURY | |
| Heed not the rabble | |
| Who scream | |
| Revolution, they | |
| Have not your | |
| Interests | |
| At heart | |
| Chaos and bloodshed are | |
| Not a | |
| Solution. Don’t | |
| Let them lead you | |
| Astray | |
| This Congress does not | |
| Speak for me | |
| They’re playing a dangerous game | |
| I pray the king shows you his mercy | |
| For shame | |
| For shame! | |
| COMPANY | |
| For the revolution! | |
| SEABURY | |
| Heed— | |
| HAMILTON | |
| If you repeat yourself again I’m gonna— | |
| SEABURY/HAMILTON | |
| Scream— | |
| HAMILTON | |
| Honestly, look at me, please don’t read! | |
| SEABURY | |
| Not your interests— | |
| HAMILTON | |
| Don’t modulate the key then not debate with me! | |
| Why should a tiny island across the sea regulate the price of tea? | |
| BURR | |
| Alexander, please! | |
| HAMILTON | |
| Burr, I’d rather be divisive than indecisive, drop the niceties | |
| ENSEMBLE | |
| Silence! A message from the King! | |
| A message from the King! | |
| FULL COMPANY | |
| A message from the King! | |
| Verse1: KING GEORGE | |
| You say | |
| The price of my love’s not a price that you’re willing to pay | |
| You cry | |
| In your tea which you hurl in the sea when you see me go by | |
| Why so sad? | |
| Remember we made an arrangement when you went away | |
| Now you’re making me mad | |
| Remember, despite our estrangement, I’m your man | |
| You’ll be back, soon you’ll see | |
| You’ll remember you belong to me | |
| You’ll be back, time will tell | |
| You’ll remember that I served you well | |
| Oceans rise, empires fall | |
| We have seen each other through it all | |
| And when push comes to shove | |
| I will send a fully armed battalion to remind you of my love! | |
| Chorus: KING GEORGE | |
| Da da da dat da dat da da da da ya da | |
| Da da dat dat da ya da! | |
| Da da da dat da dat da da da da ya da | |
| Da da dat dat da… | |
| Verse2: KING GEORGE | |
| You say our love is draining and you can’t go on | |
| You’ll be the one complaining when I am gone… | |
| And no, don’t change the subject | |
| Cuz you’re my favorite subject | |
| My sweet, submissive subject | |
| My loyal, royal subject | |
| Forever and ever and ever and ever and ever… | |
| Verse3: KING GEORGE | |
| You’ll be back like before | |
| I will fight the fight and win the war | |
| For your love, for your praise | |
| And I’ll love you till my dying days | |
| When you’re gone, I’ll go mad | |
| So don’t throw away this thing we had | |
| Cuz when push comes to shove | |
| I will kill your friends and family to remind you of my love | |
| Chorus: KING GEORGE | |
| Da da da dat da dat da da da da ya da | |
| Da da dat dat da ya da! | |
| Da da da dat da dat da da da da ya da | |
| Da da dat— | |
| Everybody! | |
| Chorus: All | |
| Da da da dat da dat da da da da ya da | |
| Da da dat dat da ya da! | |
| Da da da dat da dat da da da da ya da da da da | |
| Dat dat da ya da! | |
| COMPANY | |
| British Admiral Howe’s got troops on the water | |
| Thirty-two thousand troops in New York harbor | |
| ENSEMBLE 1 | |
| Thirty-two thousand troops in New York harbor | |
| When they surround our troops! | |
| They surround our troops! | |
| When they surround our troops! | |
| ENSEMBLE 2 | |
| Thirty-two thousand troops in New York harbor | |
| They surround our troops! | |
| They surround our troops! | |
| HAMILTON | |
| As a kid in the Caribbean I wished for a war | |
| I knew that I was poor | |
| I knew it was the only way to— | |
| HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE | |
| Rise up! | |
| HAMILTON | |
| If they tell my story | |
| I am either gonna die on the battlefield in glory or— | |
| HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE | |
| Rise up! | |
| HAMILTON | |
| I will fight for this land | |
| But there’s only one man | |
| Who can give us a command so we can— | |
| HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE | |
| Rise up! | |
| HAMILTON | |
| Understand? It’s the only way to— | |
| HAMILTON/BURR/MULLIGAN/LAURENS/LAFAYETTE | |
| Rise up! Rise up! | |
| HAMILTON | |
| Here he comes! | |
| ENSEMBLE | |
| Here comes the General! | |
| BURR | |
| Ladies and gentlemen! | |
| ENSEMBLE | |
| Here comes the General! | |
| BURR | |
| The moment you’ve been waiting for! | |
| ENSEMBLE | |
| Here comes the General! | |
| BURR | |
| The pride of Mount Vernon! | |
| ENSEMBLE | |
| Here comes the General! | |
| BURR | |
| George Washington! | |
| WASHINGTON | |
| We are outgunned | |
| Outmanned | |
| Outnumbered | |
| Outplanned | |
| We gotta make an all out stand | |
| Ayo, I’m gonna need a right-hand man. | |
| ENSEMBLE | |
| What? | |
| What? | |
| Buck, buck, buck, buck, buck! | |
| Buck, buck, buck, buck, buck! | |
| WASHINGTON | |
| Check it— | |
| Can I be real a second? | |
| For just a millisecond? | |
| Let down my guard and tell the people how I feel a second? | |
| Now I’m the model of a modern major general | |
| The venerated Virginian veteran whose men are all | |
| Lining up, to put me up on a pedestal | |
| Writin’ letters to relatives | |
| Embellishin’ my elegance and eloquence | |
| But the elephant is in the room | |
| The truth is in ya face when ya hear the British cannons go… | |
| ENSEMBLE | |
| Boom! | |
| WASHINGTON | |
| Any hope of success is fleeting | |
| How can I keep leading when the people I’m | |
| Leading keep retreating? | |
| We put a stop to the bleeding as the British take Brooklyn | |
| Knight takes rook, but look | |
| WASHINGTON | |
| We are outgunned | |
| Outmanned | |
| Outnumbered | |
| Outplanned | |
| We gotta make an all out stand | |
| Ayo, I’m gonna need a right-hand man | |
| Incoming! | |
| ENSEMBLE | |
| What? | |
| What? | |
| Buck, buck, buck, buck, buck! | |
| Buck, buck, buck, buck, buck! | |
| HAMILTON | |
| They’re battering down the Battery check the damages | |
| MULLIGAN | |
| Rah! | |
| HAMILTON | |
| We gotta stop ‘em and rob ‘em of their advantages | |
| MULLIGAN | |
| Rah! | |
| HAMILTON | |
| Let’s take a stand with the stamina God has granted us | |
| Hamilton won’t abandon ship | |
| Yo, let’s steal their cannons— | |
| MULLIGAN | |
| Shh-boom! COMPANY | |
| Boom! | |
| WASHINGTON | |
| Goes the cannon, watch the blood and the shit spray and… | |
| COMPANY | |
| Boom! | |
| WASHINGTON | |
| Goes the cannon, we’re abandonin’ Kips Bay and… | |
| COMPANY | |
| Boom! | |
| WASHINGTON | |
| There’s another ship and… | |
| COMPANY | |
| Boom! | |
| WASHINGTON | |
| We just lost the southern tip and… | |
| COMPANY | |
| Boom! | |
| WASHINGTON | |
| We gotta run to Harlem quick, we can’t afford another slip | |
| Guns and horses giddyup | |
| I decide to divvy up | |
| My forces, they’re skittish as the British cut the city up | |
| This close to giving up, facing mad scrutiny | |
| I scream in the face of this mass mutiny: | |
| Are these the men with which I am to defend America? | |
| We ride at midnight, Manhattan in the distance | |
| I cannot be everywhere at once, people | |
| I’m in dire need of assistance… | |
| BURR | |
| Your excellency, sir! | |
| WASHINGTON | |
| Who are you? | |
| BURR | |
| Aaron Burr, Sir? | |
| Permission to state my case? | |
| WASHINGTON | |
| As you were | |
| BURR | |
| Sir | |
| I was a captain under General Montgomery | |
| Until he caught a bullet in the neck in Quebec | |
| And well, in summary | |
| I think that I could be of some assistance | |
| I admire how you keep firing on the British | |
| From a distance | |
| WASHINGTON | |
| Huh | |
| BURR | |
| I have some questions, a couple of suggestions on how to fight instead of fleeing west | |
| WASHINGTON | |
| Yes? | |
| BURR | |
| Well— | |
| HAMILTON | |
| Your excellency, you wanted to see me? | |
| WASHINGTON | |
| Hamilton, come in, have you met Burr? | |
| HAMILTON | |
| Yes, sir | |
| HAMILTON AND BURR | |
| We keep meeting | |
| BURR | |
| As I was saying, sir, I look forward to seeing your strategy play out | |
| WASHINGTON | |
| Burr? | |
| BURR | |
| Sir? | |
| WASHINGTON | |
| Close the door on your way out | |
| HAMILTON | |
| Have I done something wrong, sir? | |
| WASHINGTON | |
| On the contrary | |
| I called you here because our odds are beyond scary | |
| Your reputation precedes you, but I have to laugh | |
| HAMILTON | |
| Sir? | |
| WASHINGTON | |
| Hamilton, how come no one can get you on their staff? | |
| HAMILTON | |
| Sir! | |
| WASHINGTON | |
| Don’t get me wrong, you’re a young man of great renown | |
| I know you stole British cannons when we were still downtown | |
| Nathaniel Green and Henry Knox wanted to hire you… | |
| HAMILTON | |
| To be their Secretary? I don’t think so | |
| WASHINGTON | |
| Why’re you upset? | |
| HAMILTON | |
| I’m not— | |
| WASHINGTON | |
| It’s alright, you want to fight, you’ve got a hunger | |
| I was just like you when I was younger | |
| Head full of fantasies of dyin’ like a martyr? | |
| HAMILTON | |
| Yes | |
| WASHINGTON | |
| Dying is easy, young man. Living is harder | |
| HAMILTON | |
| Why are you telling me this? | |
| WASHINGTON | |
| I’m being honest | |
| I’m working with a third of what our Congress has promised | |
| We are a powder keg about to explode | |
| I need someone like you to lighten the load. So? | |
| COMPANY (EXCEPT HAMILTON) | |
| I am not throwin’ away my shot! | |
| I am not throwin’ away my shot! | |
| Ayo, I’m just like my country, I’m young | |
| Scrappy and hungry! | |
| HAMILTON | |
| I am not throwing away my shot! | |
| WASHINGTON | |
| Son | |
| WASHINGON AND COMPANY | |
| We are outgunned, outmanned! | |
| HAMILTON | |
| You need all the help you can get | |
| I have some friends. Laurens, Mulligan | |
| Marquis de Lafayette, okay, what else? | |
| WASHINGTON AND COMPANY | |
| Outnumbered, outplanned! | |
| HAMILTON | |
| We’ll need some spies on the inside | |
| Some King’s men who might let some things slide | |
| HAMILTON | |
| I’ll write to Congress and tell ‘em we need supplies, you rally the guys, master the element of surprise | |
| I’ll rise above my station, organize your information, ‘til we rise to the occasion of our new nation. Sir! | |
| ENSEMBLE | |
| Here comes the General! | |
| HAMILTON | |
| Rise up! | |
| HAMILTON | |
| Rise up! | |
| ENSEMBLE | |
| Here comes the General! | |
| HAMILTON | |
| Rise up! COMPANY | |
| Boom! | |
| Chicka-boom! | |
| ENSEMBLE | |
| Here comes the General! | |
| SCHUYLER SISTERS | |
| Rise up! | |
| SCHUYLER SISTERS AND WOMEN | |
| Rise up! ELIZA/ANGELICA/PEGGY | |
| Whoa, whoa, whoa… | |
| Whoa, whoa, whoa… | |
| ELIZA/ANGELICA/PEGGY AND WOMEN | |
| Whoa, whoa, whoa… | |
| LAURENS/ | |
| LAFAYETTE/ | |
| MULLIGAN | |
| What? | |
| LAURENS/ | |
| LAFAYETTE/ | |
| MULLIGAN | |
| What? | |
| LAURENS/ | |
| LAFAYETTE/ | |
| MULLIGAN | |
| What? | |
| FULL COMPANY | |
| Here comes the General! | |
| HAMILTON | |
| What? | |
| WASHINGTON | |
| And his right hand man! | |
| FULL COMPANY | |
| Boom! | |
| Burr | |
| How does the bastard, orphan, son of a whore | |
| Go on and on | |
| Grow into more of a phenomenon? | |
| Watch this obnoxious, arrogant, loudmouth bother | |
| Be seated at the right hand of the father | |
| Washington hires Hamilton right on sight | |
| But Hamilton still wants to fight, not write | |
| Now Hamilton’s skill with a quill is undeniable | |
| But what do we have in common? We’re | |
| Reliable with the | |
| All Men | |
| Ladies! | |
| Burr | |
| There are so many to deflower! | |
| All Men | |
| Ladies! | |
| Burr | |
| Looks! Proximity to power | |
| All Men | |
| Ladies! | |
| Burr | |
| They delighted and distracted him | |
| Martha Washington named her feral tomcat after him! | |
| Hamilton | |
| That’s true! | |
| Full Company | |
| 1780 | |
| Burr | |
| A winter’s ball | |
| And the Schuyler sisters are the envy of all | |
| Yo, if you can marry a sister, you’re rich, son | |
| Hamilton | |
| Is it a question of if, Burr, or which one? | |
| Hamilton/Burr/Laurens | |
| Hey | |
| Hey | |
| Hey hey | |
| HAMILTON/BURR/LAURENS/ALL WOMEN (EXCEPT ELIZA) | |
| Hey hey hey hey | |
| ELIZA | |
| Ohh, I do I do I do I | |
| Dooo! Hey! | |
| Ohh, I do I do I do I | |
| Dooo! Boy you got me ALL WOMEN | |
| Hey hey hey hey | |
| Hey hey hey hey | |
| Hey hey hey hey | |
| Hey hey hey | |
| ELIZA AND WOMEN | |
| Helpless! | |
| Look into your eyes, and the sky’s the limit I’m helpless! | |
| Down for the count, and I’m drownin’ in ‘em | |
| ELIZA | |
| I have never been the type to try and grab the spotlight | |
| We were at a revel with some rebels on a hot night | |
| Laughin’ at my sister as she’s dazzling the room | |
| Then you walked in and my heart went “Boom!” | |
| Tryin’ to catch your eye from the side of the ballroom | |
| Everybody’s dancin’ and the band’s top volume | |
| ELIZA AND WOMEN | |
| Grind to the rhythm as we wine and dine | |
| ELIZA | |
| Grab my sister, and | |
| Whisper, “Yo, this | |
| One’s mine.” | |
| My sister made her way across the room to you | |
| And I got nervous, thinking “What’s she gonna do?” | |
| She grabbed you by the arm, I’m thinkin’ “I’m through” | |
| Then you look back at me and suddenly I’m | |
| Helpless! | |
| Oh, look at those eyes | |
| Oh! | |
| Yeah, I’m | |
| Helpless, I know | |
| I’m so into you | |
| I am so into you | |
| I know I’m down for the count | |
| And I’m drownin’ in ‘em. | |
| ALL WOMEN | |
| Oooh | |
| Oooh | |
| Oooh | |
| Oooh | |
| Helpless! | |
| Look into your eyes | |
| And the sky’s the limit | |
| I’m | |
| Helpless! | |
| Down for the count | |
| And I’m drownin’ in ‘em | |
| I’m helpless! | |
| Look into your eyes | |
| And the sky’s the limit I’m helpless! | |
| Down for the count | |
| And I’m drownin’ in ‘em. | |
| HAMILTON | |
| Where are you taking me? | |
| ANGELICA | |
| I’m about to change your life | |
| HAMILTON | |
| Then by all means, lead the way | |
| ELIZA | |
| Elizabeth Schuyler. It’s a pleasure to meet you | |
| HAMILTON | |
| Schuyler? | |
| ANGELICA | |
| My sister | |
| ELIZA | |
| Thank you for all your service | |
| HAMILTON | |
| If it takes fighting a war for us to meet, it will have been worth it | |
| ANGELICA | |
| I’ll leave you to it | |
| ELIZA AND WOMEN | |
| One week later | |
| ELIZA | |
| I’m writin’ a letter nightly | |
| Now my life gets better, every letter that you write me | |
| Laughin’ at my sister, cuz she wants to form a harem | |
| ANGELICA | |
| I’m just sayin’, if you really loved me, you would share him | |
| ELIZA | |
| Ha! | |
| Two weeks later | |
| In the living room stressin’ | |
| My father’s stone-faced | |
| While you’re asking for his blessin’ | |
| I’m dying inside, as | |
| You wine | |
| And dine | |
| And I’m tryin’ not to cry | |
| ‘cause there’s nothing that your mind can’t do | |
| My father makes his way across the room | |
| To you | |
| I panic for a second, thinking | |
| “we’re through” | |
| But then he shakes your hand and says | |
| “Be true” | |
| And you turn back to me, smiling, and I’m | |
| Helpless! | |
| Helpless! | |
| Hoo! | |
| That boy is mine | |
| That boy is mine! | |
| Helpless! Helpless! | |
| Down for the count | |
| And I’m drownin’ in em | |
| ALL WOMEN | |
| Stressin’ | |
| Blessin’ | |
| Oooh | |
| Oooh | |
| Oooh | |
| Oooh | |
| Helpless! | |
| Look into your eyes | |
| And the sky’s the | |
| Limit I’m | |
| Helpless! | |
| Down for the count | |
| And I’m drownin’ in | |
| ‘em I’m | |
| Helpless! | |
| Look into your eyes | |
| And the sky’s the | |
| Limit I’m | |
| Helpless! | |
| Down for the count | |
| And I’m drownin’ in em | |
| HAMILTON | |
| Eliza, I don’t have a dollar to my name | |
| An acre of land, a troop to command, a dollop of fame | |
| All I have’s my honor, a tolerance for pain | |
| A couple of college credits and my top-notch brain | |
| Insane, your family brings out a different side of me | |
| Peggy confides in me, Angelica tried to take a bite of me | |
| No stress, my love for you is never in doubt | |
| We’ll get a little place in Harlem and we’ll figure it out | |
| I’ve been livin’ without a family since I was a child | |
| My father left, my mother died, I grew up buckwild | |
| But I’ll never forget my mother’s face, that was real | |
| And long as I’m alive, Eliza, swear to God | |
| You’ll never feel so… | |
| HAMILTON | |
| Eliza… | |
| I’ve never felt so— | |
| My life is gon’ be fine cuz Eliza’s in it. | |
| ELIZA | |
| I do I do I do I do! | |
| I do I do I do I do! | |
| Hey, yeah, yeah! | |
| I’m down for the count | |
| I’m— | |
| I look into your eyes, and the sky’s the limit | |
| I’m | |
| …drownin’ in ‘em. ALL WOMEN | |
| Helpless! | |
| Helpless! | |
| Helpless! | |
| Down for the count | |
| And I’m drownin’ in ‘em | |
| Helpless! | |
| Helpless! | |
| Helpless! | |
| Down for the count | |
| And I’m drownin’ in ‘em. | |
| Wedding march plays | |
| ALL WOMEN | |
| In New York, you can be a new man… | |
| In New York, you can be a new man… | |
| In New York, you can be a new man… | |
| ELIZA | |
| Helpless | |
| LAURENS | |
| Alright, alright. That’s what I’m talkin’ about! | |
| Now everyone give it up for the maid of honor | |
| Angelica Schuyler! | |
| ANGELICA | |
| A toast to the groom! | |
| To the bride! | |
| From your sister | |
| Who is always by your side | |
| To your union | |
| And the hope that you provide | |
| May you always… | |
| Be satisfied | |
| ALL MEN | |
| To the groom! | |
| To the groom! | |
| To the groom! | |
| To the bride! | |
| To the bride! | |
| Angelica! | |
| Angelica! | |
| Angelica! | |
| By your side! | |
| To the union! | |
| To the revolution! | |
| You provide! | |
| You provide! | |
| HAMILTON AND MEN | |
| Always— | |
| Rewind— | |
| ALL WOMEN | |
| To the groom! | |
| To the bride! | |
| To the bride! | |
| ELIZA AND WOMEN | |
| Angelica! | |
| By your side! | |
| To the union! | |
| To the revolution! | |
| You provide! | |
| Always— | |
| Rewind— | |
| ANGELICA | |
| I remember that night, I just might | |
| Regret that night for the rest of my days | |
| I remember those soldier boys | |
| Tripping over themselves to win our praise | |
| I remember that dreamlike candlelight | |
| Like a dream that you can’t quite place | |
| But Alexander, I’ll never forget the first | |
| Time I saw your face | |
| I have never been the same | |
| Intelligent eyes in a hunger-pang frame | |
| And when you said “Hi,” I forgot my dang name | |
| Set my heart aflame, ev’ry part aflame | |
| FULL COMPANY | |
| This is not a game… | |
| HAMILTON | |
| You strike me as a woman who has never been satisfied | |
| ANGELICA | |
| I’m sure I don’t know what you mean. You forget yourself | |
| HAMILTON | |
| You’re like me. I’m never satisfied | |
| ANGELICA | |
| Is that right? | |
| HAMILTON | |
| I have never been satisfied | |
| ANGELICA | |
| My name is Angelica Schuyler | |
| HAMILTON | |
| Alexander Hamilton | |
| ANGELICA | |
| Where’s your fam’ly from? | |
| HAMILTON | |
| Unimportant. There’s a million things I haven’t done but | |
| Just you wait, just you wait… | |
| ANGELICA | |
| So so so— | |
| So this is what it feels like to match wits | |
| With someone at your level! What the hell is the catch? It’s | |
| The feeling of freedom, of seein’ the light | |
| It’s Ben Franklin with a key and a kite! You see it, right? | |
| The conversation lasted two minutes, maybe three minutes | |
| Ev’rything we said in total agreement, it’s | |
| A dream and it’s a bit of a dance | |
| A bit of a posture, it’s a bit of a stance. He’s a | |
| Bit of a flirt, but I’m ‘a give it a chance | |
| I asked about his fam’ly, did you see his answer? | |
| His hands started fidgeting, he looked askance? | |
| He’s penniless, he’s flying by the seat of his pants | |
| Handsome, boy, does he know it! | |
| Peach fuzz, and he can’t even grow it! | |
| I wanna take him far away from this place | |
| Then I turn and see my sister’s face and she is… | |
| ELIZA | |
| Helpless… | |
| ANGELICA | |
| And I know she is… | |
| ELIZA | |
| Helpless… | |
| ANGELICA | |
| And her eyes are just… | |
| ELIZA | |
| Helpless… | |
| ANGELICA | |
| And I realize | |
| ANGELICA AND COMPANY | |
| Three fundamental truths at the exact same time… | |
| HAMILTON | |
| Where are you taking me? | |
| ANGELICA | |
| I’m about to change your life | |
| HAMILTON | |
| Then by all means, lead the way | |
| COMPANY (EXCEPT ANGELICA) | |
| Number one! | |
| ANGELICA | |
| I’m a girl in a world in which | |
| My only job is to marry rich | |
| My father has no sons so I’m the one | |
| Who has to social climb for one | |
| So I’m the oldest and the wittiest and the gossip in | |
| New York City is insidious | |
| And Alexander is penniless | |
| Ha! That doesn’t mean I want him any less | |
| ELIZA | |
| Elizabeth Schuyler. It’s a pleasure to meet you | |
| HAMILTON | |
| Schuyler? | |
| ANGELICA | |
| My sister | |
| COMPANY | |
| Number two! | |
| ANGELICA | |
| He’s after me cuz I’m a Schuyler sister | |
| That elevates his status, I’d | |
| Have to be naïve to set that aside | |
| Maybe that is why I introduce him to Eliza | |
| Now that’s his bride | |
| Nice going, Angelica, he was right | |
| You will never be satisfied | |
| ELIZA | |
| Thank you for all your service | |
| HAMILTON | |
| If it takes fighting a war for us to meet, it will have been worth it | |
| ANGELICA | |
| I’ll leave you to it | |
| COMPANY | |
| Number three! | |
| ANGELICA | |
| I know my sister like I know my own mind | |
| You will never find anyone as trusting or as kind | |
| If I tell her that I love him she’d be silently resigned | |
| He’d be mine | |
| She would say, “I’m fine” | |
| ANGELICA AND COMPANY | |
| She’d be lying | |
| ANGELICA | |
| But when I fantasize at night | |
| It’s Alexander’s eyes | |
| As I romanticize what might | |
| Have been if I hadn’t sized him | |
| Up so quickly | |
| At least my dear Eliza’s his wife; | |
| At least I keep his eyes in my life… | |
| ANGELICA | |
| To the groom! | |
| To the bride! | |
| From your sister | |
| Who is always by your side | |
| To your union | |
| And the hope that you provide | |
| May you always | |
| Be satisfied | |
| And I know | |
| She’ll be happy as | |
| His bride | |
| And I know ALL MEN (EXCEPT HAMILTON) | |
| To the groom! | |
| To the groom! | |
| To the groom! | |
| To the bride! | |
| To the bride! | |
| Angelica! | |
| Angelica! | |
| By your side | |
| To the union! | |
| To the revolution! | |
| You provide! | |
| You provide! | |
| HAMILTON AND MEN | |
| Always— | |
| Be satisfied | |
| Be satisfied | |
| MEN | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied. | |
| ALL WOMEN (EXCEPT ELIZA) | |
| To the groom! | |
| To the bride! | |
| To the bride! | |
| ELIZA AND WOMEN | |
| Angelica! | |
| By your side | |
| To the union! | |
| To the revolution! | |
| You provide! | |
| Always— | |
| Be satisfied | |
| WOMEN | |
| Be satisfied | |
| Be satisfied | |
| Be satisfied. | |
| ANGELICA | |
| He will never be satisfied | |
| I will never be satisfied | |
| LAURENS | |
| I may not live to see our glory! | |
| MULLIGAN/LAFAYETTE | |
| I may not live to see our glory! | |
| LAURENS | |
| But I’ve seen wonders great and small | |
| MULLIGAN/LAFAYETTE | |
| I’ve seen wonders great and small | |
| LAURENS | |
| ‘Cause if the tomcat can get married | |
| MULLIGAN/LAFAYETTE | |
| If Alexander can get married— | |
| LAURENS | |
| There’s hope for our ass, after all! | |
| LAFAYETTE | |
| Raise a glass to freedom | |
| LAURENS/MULLIGAN | |
| Hey! | |
| Something you will never see again! | |
| MULLIGAN | |
| No matter what she tells you | |
| LAFAYETTE | |
| Let’s have another round tonight! | |
| LAURENS | |
| Raise a glass to the four of us! | |
| LAFAYETTE/HAMILTON | |
| Ho! | |
| MULLIGAN | |
| To the newly not poor of us! | |
| LAURENS/LAFAYETTE/HAMILTON | |
| Woo! | |
| LAFAYETTE | |
| We’ll tell the story of tonight | |
| LAURENS | |
| Let’s have another round— | |
| HAMILTON | |
| Well, if it isn’t Aaron Burr | |
| BURR | |
| Sir! | |
| HAMILTON | |
| I didn’t think that you would make it | |
| BURR | |
| To be sure | |
| MULLIGAN/LAFAYETTE | |
| Burr! | |
| BURR | |
| I came to say congratulations | |
| MULLIGAN | |
| Spit a verse, Burr! | |
| BURR | |
| I see the whole gang is here | |
| LAFAYETTE | |
| You are the worst, Burr! | |
| HAMILTON | |
| Ignore them. Congrats to you, Lieutenant Colonel | |
| I wish I had your command instead of manning George’s journal | |
| BURR | |
| No, you don’t | |
| HAMILTON | |
| Yes, I do | |
| BURR | |
| Now, be sensible | |
| From what I hear, you’ve made yourself indispensable | |
| LAURENS | |
| Well, well, I heard | |
| You’ve got a special someone on the side, Burr | |
| HAMILTON | |
| Is that so? | |
| LAURENS | |
| What are you tryin’ to hide, Burr? | |
| BURR | |
| I should go | |
| HAMILTON | |
| No, these guys should go | |
| LAFAYETTE | |
| What? | |
| LAURENS | |
| No! | |
| HAMILTON | |
| Leave us alone | |
| MULLIGAN | |
| Man… | |
| HAMILTON | |
| It’s alright, Burr. I wish you’d brought this girl with you tonight, Burr | |
| BURR | |
| You’re very kind, but I’m afraid it’s unlawful, sir | |
| HAMILTON | |
| What do you mean? | |
| BURR | |
| She’s married | |
| HAMILTON | |
| I see | |
| BURR | |
| She’s married to a British officer | |
| HAMILTON | |
| Oh shit… | |
| BURR | |
| Congrats again, Alexander. Smile more | |
| I’ll see you on the other side of the war | |
| HAMILTON | |
| I will never understand you | |
| If you love this woman, go get her! What are you waiting for? | |
| BURR | |
| I’ll see you on the other side of the war | |
| HAMILTON | |
| I’ll see you on the other side of the war | |
| BURR | |
| Theodosia writes me a letter every day | |
| I'm keeping the bed warm while her husband is away | |
| He's on the British side in Georgia | |
| He's trying to keep the colonies in line | |
| But he can keep all of Georgia | |
| Theodosia, she's mine | |
| Love doesn't discriminate | |
| Between the sinners | |
| And the saints | |
| It takes and it takes and it takes | |
| And we keep loving anyway | |
| We laugh and we cry | |
| And we break | |
| And we make our mistakes | |
| And if there's a reason I'm by her side | |
| When so many have tried | |
| Then I'm willing to wait for it | |
| I'm willing to wait for it | |
| BURR | |
| My grandfather was a fire and brimstone preacher | |
| But there are things that the | |
| Homilies and hymns won't teach ya | |
| My mother was a genius | |
| My father commanded respect | |
| When they died they left no instructions | |
| Just a legacy to protect | |
| MEN | |
| Preacher, preacher | |
| Preacher | |
| Teach ya, teach ya, teach ya | |
| Respect, respect | |
| WOMEN | |
| Genius | |
| BURR/ENSEMBLE | |
| Death doesn’t discriminate | |
| Between the sinners | |
| And the saints | |
| It takes and it takes and it takes | |
| And we keep living anyway | |
| We rise and we fall | |
| And we break | |
| And we make our mistakes | |
| And if there’s a reason I’m still alive | |
| When everyone who loves me has died | |
| I’m willing to wait for it | |
| I’m willing to wait for it | |
| Wait for it | |
| ENSEMBLE | |
| Wait for it | |
| Wait for it | |
| Wait for it | |
| BURR | |
| I am the one thing in life I can control | |
| ENSEMBLE | |
| Wait for it | |
| Wait for it | |
| Wait for it | |
| Wait for it | |
| BURR | |
| I am inimitable | |
| I am an original | |
| ENSEMBLE | |
| Wait for it | |
| Wait for it | |
| Wait for it | |
| Wait for it | |
| BURR | |
| I’m not falling behind or running late | |
| ENSEMBLE | |
| Wait for it | |
| Wait for it | |
| Wait for it | |
| Wait for it | |
| BURR | |
| I’m not standing still | |
| I am lying in wait | |
| ENSEMBLE | |
| Wait | |
| Wait | |
| Wait | |
| BURR | |
| Hamilton faces an endless uphill climb | |
| ENSEMBLE | |
| Climb | |
| Climb | |
| Climb | |
| BURR | |
| He has something to prove | |
| He has nothing to lose | |
| ENSEMBLE | |
| Lose | |
| Lose | |
| Lose | |
| Lose | |
| BURR | |
| Hamilton’s pace is relentless | |
| He wastes no time | |
| ENSEMBLE | |
| Time | |
| Time | |
| Time | |
| BURR | |
| What is it like in his shoes? | |
| Hamilton doesn’t hesitate | |
| He exhibits no restraint | |
| He takes and he takes and he takes | |
| And he keeps winning anyway | |
| He changes the game | |
| He plays and he raises the stakes | |
| And if there’s a reason | |
| He seems to thrive when so few survive, then Goddamnit— | |
| BURR | |
| I'm willing to wait for it | |
| I'm willing to wait for it… | |
| Life doesn't discriminate | |
| Between the sinners and the saints | |
| It takes and it takes and it takes | |
| We rise | |
| We fall | |
| And if there's a reason I'm still alive | |
| When so many have died | |
| Then I'm willin' to— | |
| COMPANY | |
| I'm willing to wait for it | |
| Wait for it | |
| Wait for… | |
| I'm willing to— | |
| Life doesn't discriminate | |
| Between the sinners and the saints | |
| It takes and it takes and it takes | |
| And we keep living anyway | |
| We rise and we fall and we break | |
| And we make our mistakes | |
| And if there's a reason I'm still alive | |
| When so many have died | |
| Then I'm willin' to— | |
| BURR | |
| Wait for it… | |
| Wait for it… | |
| WOMEN | |
| Wait for it… | |
| Wait for it… | |
| Wait for it… | |
| Wait for it… | |
| Wait for it… | |
| MEN | |
| Wait for it… | |
| Wait for it… | |
| Wait for it… | |
| Wait for it… | |
| Wait… | |
| ELIZA | |
| Stay alive… | |
| ELIZA/ANGELICA/ENSEMBLE WOMEN | |
| Stay alive… | |
| HAMILTON | |
| I have never seen the General so despondent | |
| I have taken over writing all his correspondence | |
| Congress writes, “George, attack the British forces.” | |
| I shoot back, we have resorted to eating our horses | |
| Local merchants deny us equipment, assistance | |
| They only take British money, so sing a song of sixpence | |
| WASHINGTON | |
| The cavalry’s not coming | |
| HAMILTON | |
| But, sir! | |
| WASHINGTON | |
| Alex, listen. There’s only one way for us to win this | |
| Provoke outrage, outright | |
| HAMILTON | |
| That’s right | |
| WASHINGTON | |
| Don’t engage, strike by night | |
| Remain relentless ‘til their troops take flight | |
| HAMILTON | |
| Make it impossible to justify the cost of the fight | |
| WASHINGTON | |
| Outrun | |
| HAMILTON | |
| Outrun | |
| WASHINGTON | |
| Outlast | |
| HAMILTON | |
| Outlast | |
| WASHINGTON | |
| Hit ‘em quick, get out fast | |
| HAMILTON | |
| Chick-a-plao! | |
| WASHINGTON | |
| Stay alive ‘til this horror show is past | |
| We’re gonna fly a lot of flags half-mast | |
| HAMILTON/LAURENS/LAFAYETTE | |
| Raise a glass! | |
| MULLIGAN | |
| I go back to New York and my apprenticeship | |
| LAFAYETTE | |
| I ask for French aid, I pray that France has sent a ship | |
| LAURENS | |
| I stay at work with Hamilton | |
| We write essays against slavery | |
| And every day’s a test of our camaraderie | |
| And bravery | |
| HAMILTON | |
| We cut supply lines, we steal contraband | |
| We pick and choose our battles and places to take a stand | |
| And ev’ry day | |
| “Sir, entrust me with a command,” | |
| And ev’ry day | |
| WASHINGTON | |
| No | |
| HAMILTON | |
| He dismisses me out of hand | |
| HAMILTON | |
| Instead of me | |
| He promotes | |
| Charles Lee | |
| Makes him second-in-command: | |
| LEE | |
| Charles Lee. ELIZA/ANGELICA | |
| Stay alive… | |
| LEE | |
| I’m a General. Whee!!!! | |
| HAMILTON | |
| Yeah. He’s not the choice I would have gone with | |
| HAMILTON/LAURENS/LAFAYETTE | |
| He shits the bed at the Battle of Monmouth | |
| WASHINGTON | |
| Ev’ryone attack! | |
| LEE | |
| Retreat! | |
| WASHINGTON | |
| Attack! | |
| LEE | |
| Retreat! | |
| WASHINGTON | |
| What are you doing, Lee? Get back on your feet! | |
| LEE | |
| But there’s so many of them! | |
| WASHINGTON | |
| I’m sorry, is this not your speed?! | |
| Hamilton! | |
| HAMILTON | |
| Ready, sir! | |
| WASHINGTON | |
| Have Lafayette take the lead! | |
| HAMILTON | |
| Yes, sir! | |
| LAURENS | |
| A thousand soldiers die in a hundred degree heat | |
| LAFAYETTE | |
| As we snatch a stalemate from the jaws of defeat | |
| HAMILTON | |
| Charles Lee was left behind | |
| Without a pot to piss in | |
| He started sayin’ this to anybody who would listen: | |
| LEE | |
| Washington cannot be left alone to his devices | |
| Indecisive, from crisis to crisis | |
| The best thing he can do for the revolution | |
| Is turn n’ go back to plantin’ tobacco in Mount Vernon | |
| COMPANY | |
| Oo!! | |
| WASHINGTON | |
| Don’t do a thing. History will prove him wrong | |
| HAMILTON | |
| But, sir! | |
| WASHINGTON | |
| We have a war to fight, let’s move along | |
| LAURENS | |
| Strong words from Lee, someone oughta hold him to it | |
| HAMILTON | |
| I can’t disobey direct orders | |
| LAURENS | |
| Then I’ll do it | |
| Alexander, you’re the closest friend I’ve got | |
| HAMILTON | |
| Laurens, do not throw away your shot | |
| MEN | |
| One, two, three, four | |
| FULL COMPANY | |
| Five, six, seven, eight, nine… | |
| BURR/HAMILTON/LAURENS/LEE | |
| It’s the Ten Duel Commandments | |
| FULL COMPANY | |
| It’s the Ten Duel Commandments | |
| Number one! | |
| LAURENS | |
| The challenge: demand satisfaction | |
| If they apologize, no need for further action | |
| COMPANY | |
| Number two! | |
| LAURENS | |
| If they don’t, grab a friend, that’s your second | |
| HAMILTON | |
| Your lieutenant when there’s reckoning to be reckoned | |
| COMPANY | |
| Number three! | |
| LEE | |
| Have your seconds meet face to face | |
| BURR | |
| Negotiate a peace… | |
| HAMILTON | |
| Or negotiate a time and place | |
| BURR | |
| This is commonplace, ‘specially ‘tween recruits | |
| COMPANY | |
| Most disputes die, and no one shoots | |
| Number four! | |
| LAURENS | |
| If they don’t reach a peace, that’s alright | |
| Time to get some pistols and a doctor on site | |
| HAMILTON | |
| You pay him in advance, you treat him with civility | |
| BURR | |
| You have him turn around so he can have deniability | |
| COMPANY | |
| Five! | |
| LEE | |
| Duel before the sun is in the sky | |
| COMPANY | |
| Pick a place to die where it’s high and dry | |
| Number six! | |
| HAMILTON | |
| Leave a note for your next of kin | |
| Tell ‘em where you been. Pray that hell or heaven lets you in | |
| COMPANY | |
| Seven! | |
| LEE | |
| Confess your sins. Ready for the moment | |
| Of adrenaline when you finally face your opponent | |
| COMPANY | |
| Number eight! | |
| LAURENS/LEE/HAMILTON/BURR | |
| Your last chance to negotiate | |
| Send in your seconds, see if they can set the record straight… | |
| BURR | |
| Alexander | |
| HAMILTON | |
| Aaron Burr, sir | |
| BURR | |
| Can we agree that duels are dumb and immature? | |
| HAMILTON | |
| Sure | |
| But your man has to answer for his words, Burr | |
| BURR | |
| With his life? We both know that’s absurd, sir | |
| HAMILTON | |
| Hang on, how many men died because Lee was inexperienced and ruinous? | |
| BURR | |
| Okay, so we’re doin’ this | |
| COMPANY | |
| Number nine! | |
| HAMILTON | |
| Look ‘em in the eye, aim no higher | |
| Summon all the courage you require | |
| Then count | |
| MEN | |
| One two three four | |
| FULL COMPANY | |
| Five six seven eight nine | |
| HAMILTON/BURR | |
| Number | |
| COMPANY | |
| Ten paces! | |
| HAMILTON/BURR | |
| Fire! | |
| HAMILTON | |
| Lee, do you yield? | |
| BURR | |
| You shot him in the side! | |
| Yes, he yields! | |
| LAURENS | |
| I’m satisfied | |
| BURR | |
| Yo, we gotta clear the field! | |
| HAMILTON | |
| Go! We won | |
| COMPANY | |
| Here comes the General! | |
| BURR | |
| This should be fun | |
| WASHINGTON | |
| What is the meaning of this? Mr. Burr, get a medic for the General | |
| BURR | |
| Yes, sir | |
| WASHINGTON | |
| Lee, you will never agree with me | |
| But believe me, these young men don’t speak for me | |
| Thank you for your service | |
| BURR | |
| Let’s ride! | |
| WASHINGTON | |
| Hamilton! | |
| HAMILTON | |
| Sir! | |
| WASHINGTON | |
| Meet me inside | |
| COMPANY | |
| Meet him inside! Meet him inside! | |
| Meet him inside, meet him, meet him inside! | |
| WASHINGTON | |
| Son— | |
| HAMILTON | |
| Don’t call me son | |
| WASHINGTON | |
| This war is hard enough | |
| Without infighting— | |
| HAMILTON | |
| Lee called you out. We called his bluff | |
| WASHINGTON | |
| You solve nothing, you aggravate our allies to the south | |
| HAMILTON | |
| You're absolutely right, John should have shot him in the mouth | |
| That would’ve shut him up | |
| WASHINGTON | |
| Son— | |
| HAMILTON | |
| I’m notcha son— | |
| WASHINGTON | |
| Watch your tone | |
| I am not a maiden in need of defending, I am grown | |
| HAMILTON (OVERLAPPING) | |
| Charles Lee, Thomas Conway | |
| These men take your name and they rake it | |
| Through the mud | |
| WASHINGTON | |
| My name’s been through a lot, I can take it | |
| HAMILTON | |
| Well, I don’t have your name. I don’t have your titles | |
| I don’t have your land | |
| But, if you— | |
| WASHINGTON | |
| No— | |
| HAMILTON | |
| If you gave me command of a battalion, a group of men to lead, I could fly above my station after the war | |
| WASHINGTON | |
| Or you could die and we need you alive | |
| HAMILTON | |
| I’m more than willing to die— | |
| WASHINGTON | |
| Your wife needs you alive, son, I need you alive— | |
| HAMILTON | |
| Call me son one more time— | |
| WASHINGTON | |
| Go home, Alexander | |
| That’s an order from your commander | |
| HAMILTON | |
| Sir— | |
| WASHINGTON | |
| Go home | |
| ELIZA | |
| Look around, look around at how lucky we are | |
| To be alive right now | |
| Look around, look around… | |
| HAMILTON | |
| How long have you known? | |
| ELIZA | |
| A month or so | |
| HAMILTON | |
| Eliza, you should have told me | |
| ELIZA | |
| I wrote to the General a month ago | |
| HAMILTON | |
| No | |
| ELIZA | |
| I begged him to send you home | |
| HAMILTON | |
| You should have told me | |
| ELIZA | |
| I’m not sorry | |
| ELIZA | |
| I knew you’d fight | |
| Until the war was won | |
| But you deserve a chance to meet your son | |
| Look around, look around at how lucky we are | |
| To be alive right now. | |
| HAMILTON | |
| The war’s not | |
| Done. | |
| HAMILTON | |
| Will you relish being a poor man’s wife | |
| Unable to provide for your life? | |
| ELIZA | |
| I relish being your wife | |
| Look around, look around… | |
| Look at where you are | |
| Look at where you started | |
| The fact that you’re alive is a miracle | |
| Just stay alive, that would be enough | |
| And if this child | |
| Shares a fraction of your smile | |
| Or a fragment of your mind, look out world! | |
| That would be enough | |
| I don’t pretend to know | |
| The challenges you’re facing | |
| The worlds you keep erasing and creating in your mind | |
| But I’m not afraid | |
| I know who I married | |
| So long as you come home at the end of the day | |
| That would be enough | |
| We don’t need a legacy | |
| We don’t need money | |
| If I could grant you peace of mind | |
| If you could let me inside your heart… | |
| Oh, let me be a part of the narrative | |
| In the story they will write someday | |
| Let this moment be the first chapter: | |
| Where you decide to stay | |
| And I could be enough | |
| And we could be enough | |
| That would be enough | |
| BURR | |
| How does a ragtag volunteer army in need of a shower | |
| Somehow defeat a global superpower? | |
| How do we emerge victorious from the quagmire? | |
| Leave the battlefield waving Betsy Ross’ flag higher? | |
| Yo. Turns out we have a secret weapon! | |
| An immigrant you know and love who’s unafraid to step in! | |
| He’s constantly confusin’, confoundin’ the British henchmen | |
| Ev’ryone give it up for America’s favorite fighting Frenchman! | |
| COMPANY | |
| Lafayette! | |
| LAFAYETTE | |
| I’m takin this horse by the reins makin’ | |
| Redcoats redder with bloodstains | |
| COMPANY | |
| Lafayette! | |
| LAFAYETTE | |
| And I’m never gonna stop until I make ‘em | |
| Drop and burn ‘em up and scatter their remains, I’m | |
| COMPANY | |
| Lafayette! | |
| LAFAYETTE | |
| Watch me engagin’ em! Escapin’ em! | |
| Enragin’ em! I’m— | |
| COMPANY | |
| Lafayette! | |
| LAFAYETTE | |
| I go to France for more funds | |
| COMPANY | |
| Lafayette! | |
| LAFAYETTE | |
| I come back with more | |
| LAFAYETTE AND ENSEMBLE | |
| Guns | |
| And ships | |
| And so the balance shifts | |
| WASHINGTON | |
| We rendezvous with Rochambeau, consolidate their gifts | |
| LAFAYETTE | |
| We can end this war at Yorktown, cut them off at sea, but | |
| For this to succeed, there is someone else we need: | |
| WASHINGTON | |
| I know | |
| WASHINGTON AND COMPANY | |
| Hamilton! | |
| LAFAYETTE | |
| Sir, he knows what to do in a trench | |
| Ingenuitive and fluent in French, I mean— | |
| WASHINGTON AND COMPANY | |
| Hamilton! | |
| LAFAYETTE | |
| Sir, you’re gonna have to use him eventually | |
| What’s he gonna do on the bench? I mean— | |
| WASHINGTON AND COMPANY | |
| Hamilton! | |
| LAFAYETTE | |
| No one has more resilience | |
| Or matches my practical tactical brilliance— | |
| WASHINGTON AND COMPANY | |
| Hamilton! | |
| LAFAYETTE | |
| You wanna fight for your land back? | |
| WASHINGTON | |
| I need my right hand man back! | |
| LAFAYETTE | |
| Ah! Uh, get ya right hand man back | |
| You know you gotta get ya right hand man back | |
| I mean you gotta put some thought into the letter but the sooner the better | |
| To get your right hand man back! | |
| COMPANY | |
| Hamilton! | |
| WOMEN | |
| Hamilton! | |
| Hamilton! | |
| Hamilton, Hamilton! | |
| Ha— ha—! | |
| MEN | |
| Get your right hand man back! | |
| Your right hand man back! | |
| Hamilton! | |
| Ha— | |
| Ha— | |
| Hamilton, Hamilton! | |
| Ha— ha—! | |
| WASHINGTON | |
| Alexander Hamilton | |
| Troops are waiting in the field for you | |
| If you join us right now, together we can turn the tide | |
| Oh, Alexander Hamilton | |
| I have soldiers that will yield for you | |
| If we manage to get this right | |
| They’ll surrender by early light | |
| The world will never be the same, Alexander… | |
| WASHINGTON | |
| I was younger than you are now | |
| When I was given my first command | |
| I led my men straight into a massacre | |
| I witnessed their deaths firsthand | |
| I made every mistake | |
| And felt the shame rise in me | |
| And even now I lie awake | |
| WASHINGTON | |
| Knowing history has its eyes on me | |
| HAMILTON/WASHINGTON | |
| History has its eyes on me. LAURENS/MULLIGAN | |
| Whoa… | |
| Whoa… | |
| Whoa… | |
| Yeah | |
| COMPANY | |
| Whoa… | |
| Whoa… | |
| Whoa… | |
| Yeah | |
| WASHINGTON | |
| Let me tell you what I wish I’d known | |
| When I was young and dreamed of glory: | |
| You have no control: | |
| WASHINGTON AND COMPANY | |
| Who lives, who dies, who tells your story | |
| WASHINGTON | |
| I know that we can win | |
| I know that greatness lies in you | |
| But remember from here on in | |
| WASHINGTON/HAMILTON AND MEN | |
| History has its | |
| Eyes on you. | |
| ENSEMBLE | |
| Whoa… | |
| Whoa… | |
| Whoa… | |
| FULL COMPANY | |
| History has its eyes on you | |
| COMPANY | |
| The battle of Yorktown. 1781 | |
| LAFAYETTE | |
| Monsieur Hamilton | |
| HAMILTON | |
| Monsieur Lafayette | |
| LAFAYETTE | |
| In command where you belong | |
| HAMILTON | |
| How you say, no sweat | |
| We're finally on the field. We’ve had quite a run | |
| LAFAYETTE | |
| Immigrants: | |
| HAMILTON/LAFAYETTE | |
| We get the job done | |
| HAMILTON | |
| So what happens if we win? | |
| LAFAYETTE | |
| I go back to France | |
| I bring freedom to my people if I’m given the chance | |
| HAMILTON | |
| We’ll be with you when you do | |
| LAFAYETTE | |
| Go lead your men | |
| HAMILTON | |
| See you on the other side | |
| LAFAYETTE | |
| ‘Til we meet again, let’s go! | |
| ENSEMBLE | |
| I am not throwin’ away my shot! | |
| I am not throwin’ away my shot! | |
| Hey yo, I’m just like my country, I’m young | |
| Scrappy and hungry | |
| And I’m not throwin’ away my shot! | |
| I am not throwin’ away my shot! | |
| HAMILTON | |
| ‘Til the world turns upside down… | |
| ENSEMBLE | |
| ‘Til the world turns upside down! | |
| HAMILTON | |
| I imagine death so much it feels more like a memory | |
| This is where it gets me: on my feet | |
| The enemy ahead of me | |
| If this is the end of me, at least I have a friend with me | |
| Weapon in my hand, a command, and my men with me | |
| Then I remember my Eliza’s expecting me… | |
| Not only that, my Eliza’s expecting | |
| We gotta go, gotta get the job done | |
| Gotta start a new nation, gotta meet my son! | |
| Take the bullets out your gun! | |
| ENSEMBLE | |
| What? | |
| HAMILTON | |
| The bullets out your gun! | |
| ENSEMBLE | |
| What? | |
| HAMILTON | |
| We move under cover and we move as one | |
| Through the night, we have one shot to live another day | |
| We cannot let a stray gunshot give us away | |
| We will fight up close, seize the moment and stay in it | |
| It’s either that or meet the business end of a bayonet | |
| The code word is ‘Rochambeau,’ dig me? | |
| ENSEMBLE | |
| Rochambeau! | |
| HAMILTON | |
| You have your orders now, go, man, go! | |
| And so the American experiment begins | |
| With my friends all scattered to the winds | |
| Laurens is in South Carolina, redefining brav’ry | |
| HAMILTON/LAURENS | |
| We’ll never be free until we end slavery! | |
| HAMILTON | |
| When we finally drive the British away | |
| Lafayette is there waiting— | |
| HAMILTON/LAFAYETTE | |
| In Chesapeake Bay! | |
| HAMILTON | |
| How did we know that this plan would work? | |
| We had a spy on the inside. That’s right | |
| HAMILTON/COMPANY | |
| Hercules Mulligan! | |
| MULLIGAN | |
| A tailor spyin’ on the British government! | |
| I take their measurements, information and then I smuggle it | |
| COMPANY | |
| Up | |
| MULLIGAN | |
| To my brother's revolutionary covenant | |
| I’m runnin’ with the Sons of Liberty and I am lovin’ it! | |
| See, that’s what happens when you up against the ruffians | |
| We in the shit now, somebody gotta shovel it! | |
| Hercules Mulligan, I need no introduction | |
| When you knock me down I get the fuck back up again! | |
| COMPANY | |
| Left! Right! Hold! | |
| Go! | |
| What! What! What! | |
| HAMILTON | |
| After a week of fighting, a young man in a red coat stands on a parapet | |
| LAFAYETTE | |
| We lower our guns as he frantically waves a white handkerchief | |
| MULLIGAN | |
| And just like that, it’s over. We tend to our wounded, we count our dead | |
| LAURENS | |
| Black and white soldiers wonder alike if this really means freedom | |
| WASHINGTON | |
| Not. Yet | |
| HAMILTON | |
| We negotiate the terms of surrender | |
| I see George Washington smile | |
| We escort their men out of Yorktown | |
| They stagger home single file | |
| Tens of thousands of people flood the streets | |
| There are screams and church bells ringing | |
| And as our fallen foes retreat | |
| I hear the drinking song they’re singing… | |
| ALL MEN | |
| The world turned upside down | |
| FULL COMPANY | |
| The world turned upside down | |
| The world turned upside down | |
| The world turned upside down | |
| Down | |
| Down, down, down | |
| LAFAYETTE | |
| Freedom for America, freedom for France! | |
| COMPANY | |
| Down, down, down | |
| HAMILTON | |
| Gotta start a new nation | |
| Gotta meet my son | |
| COMPANY | |
| Down, down, down | |
| MULLIGAN | |
| We won! | |
| LAFAYETTE | |
| We won! | |
| MULLIGAN/LAFAYETTE/LAURENS | |
| We won! | |
| MULLIGAN/LAFAYETTE/LAURENS/HAMILTON/WASHINGTON | |
| We won! | |
| COMPANY | |
| The world turned upside down! | |
| KING GEORGE | |
| They say | |
| The price of my war’s not a price that they’re willing to pay | |
| Insane | |
| You cheat with the French, now I’m fighting with France and with Spain | |
| I’m so blue | |
| I thought that we’d made an arrangement | |
| When you went away | |
| You were mine to subdue | |
| Well, even despite our estrangement, I’ve got | |
| A small query for you: | |
| What comes next? | |
| You’ve been freed | |
| Do you know how hard it is to lead? | |
| You’re on your own | |
| Awesome. Wow | |
| Do you have a clue what happens now? | |
| Oceans rise | |
| Empires fall | |
| It’s much harder when it’s all your call | |
| All alone, across the sea | |
| When your people say they hate you, don’t | |
| Come crawling back to me | |
| Da da da dat da dat da da da | |
| Da ya da | |
| Da da dat | |
| Da da ya da… | |
| You’re on your own… | |
| BURR | |
| Dear Theodosia, what to say to you? | |
| You have my eyes. You have your mother’s name | |
| When you came into the world, you cried and it broke my heart | |
| I’m dedicating every day to you | |
| Domestic life was never quite my style | |
| When you smile, you knock me out, I fall apart | |
| And I thought I was so smart | |
| You will come of age with our young nation | |
| We’ll bleed and fight for you, we’ll make it right for you | |
| If we lay a strong enough foundation | |
| We’ll pass it on to you, we’ll give the world to you | |
| And you’ll blow us all away… | |
| Someday, someday | |
| Yeah, you’ll blow us all away | |
| Someday, someday | |
| HAMILTON | |
| Oh Philip, when you smile I am undone | |
| My son | |
| Look at my son. Pride is not the word I’m looking for | |
| There is so much more inside me now | |
| Oh Philip, you outshine the morning sun | |
| My son | |
| When you smile, I fall apart | |
| And I thought I was so smart | |
| My father wasn’t around | |
| BURR | |
| My father wasn’t around | |
| HAMILTON | |
| I swear that | |
| I’ll be around for you. | |
| BURR | |
| I’ll be around for you. | |
| HAMILTON | |
| I’ll do whatever it takes | |
| BURR | |
| I’ll make a million mistakes | |
| BURR/HAMILTON | |
| I’ll make the world safe and sound for you… | |
| …will come of age with our young nation | |
| We’ll bleed and fight for you, we’ll make it right for you | |
| If we lay a strong enough foundation | |
| We’ll pass it on to you, we’ll give the world to you | |
| And you’ll blow us all away… | |
| Someday, someday | |
| Yeah, you’ll blow us all away | |
| Someday, someday | |
| BURR | |
| After the war I went back to New York | |
| HAMILTON | |
| A-After the war I went back to New York | |
| BURR | |
| I finished up my studies and I practiced law | |
| HAMILTON | |
| I practiced law, Burr worked next door | |
| BURR | |
| Even though we started at the very same time | |
| Alexander Hamilton began to climb | |
| How to account for his rise to the top? | |
| Maaaaan, the man is | |
| BURR & ENSEMBLE | |
| Non-stop! | |
| HAMILTON | |
| Gentlemen of the jury, I’m curious, bear with me | |
| Are you aware that we’re making hist’ry? | |
| This is the first murder trial of our brand-new nation | |
| The liberty behind | |
| Deliberation— | |
| ENSEMBLE | |
| Non-stop! | |
| HAMILTON | |
| I intend to prove beyond a shadow of a doubt | |
| With my assistant counsel— | |
| BURR | |
| Co-counsel | |
| Hamilton, sit down | |
| Our client Levi Weeks is innocent. Call your first witness | |
| That’s all you had to say! | |
| HAMILTON | |
| Okay! | |
| One more thing— | |
| BURR | |
| Why do you assume you’re the smartest in the room? | |
| Why do you assume you’re the smartest in the room? | |
| Why do you assume you’re the smartest in the room? | |
| Soon that attitude may be your doom! | |
| ENSEMBLE | |
| Awwww! | |
| BURR | |
| Why do you write like you’re running out of time? | |
| Write day and night like you’re running out of time? | |
| Ev’ry day you fight, like you’re running out of time | |
| Keep on fighting. In the meantime— ENSEMBLE | |
| Why do you write like you’re running out of time? | |
| Ev’ry day you fight, like you’re running out of time | |
| Non-stop! | |
| HAMILTON | |
| Corruption’s such an old song that we can sing along in harmony | |
| And nowhere is it stronger than in Albany | |
| This colony’s economy’s increasingly stalling and | |
| HAMILTON | |
| Honestly, that’s why public service | |
| Seems to be calling me BURR & ENSEMBLE | |
| He’s just | |
| Non-stop! | |
| HAMILTON | |
| I practiced the law, I practic’ly perfected it | |
| I’ve seen injustice in the world and I’ve corrected it | |
| Now for a strong central democracy | |
| If not, then I’ll be Socrates | |
| Throwing verbal rocks at these mediocrities | |
| ENSEMBLE | |
| Awww! | |
| BURR | |
| Hamilton, at the Constitutional Convention: | |
| HAMILTON | |
| I was chosen for the Constitutional Convention! | |
| BURR | |
| There as a New York junior delegate: | |
| HAMILTON | |
| Now what I’m going to say may sound indelicate… | |
| BURR | |
| Goes and proposes his own form of government! | |
| His own plan for a new form of government! | |
| COMPANY | |
| Awwww! | |
| What? | |
| What? | |
| BURR | |
| Talks for six hours! The convention is listless! | |
| ENSEMBLE MAN | |
| Bright young man… | |
| ANOTHER ENSEMBLE MAN | |
| Yo, who the f is this? | |
| BURR | |
| Why do you always say what you believe? | |
| Why do you always say what you believe? | |
| Ev’ry proclamation guarantees free ammunition for your enemies! | |
| BURR & MEN | |
| Why do you write like it’s | |
| Going out of style? | |
| Write day and night like it’s | |
| Going out of style? | |
| COMPANY | |
| Why do you always say what you believe? | |
| Awww! | |
| ALL WOMEN | |
| Going out of style, hey! | |
| Going out of style, hey! | |
| BURR & COMPANY | |
| Ev’ry day you fight like it’s | |
| Going out of style | |
| Do what you do | |
| BURR | |
| Alexander? | |
| HAMILTON | |
| Aaron Burr, sir | |
| BURR | |
| It’s the middle of the night | |
| HAMILTON | |
| Can we confer, sir? | |
| BURR | |
| Is this a legal matter? | |
| HAMILTON | |
| Yes, and it’s important to me | |
| BURR | |
| What do you need? | |
| HAMILTON | |
| Burr, you’re a better lawyer than me | |
| BURR | |
| Okay | |
| HAMILTON | |
| I know I talk too much, I’m abrasive | |
| You’re incredible in court. You’re succinct, persuasive | |
| My client needs a strong defense. You’re the solution | |
| BURR | |
| Who’s your client? | |
| HAMILTON | |
| The new U.S. Constitution? | |
| BURR | |
| No | |
| HAMILTON | |
| Hear me out | |
| BURR | |
| No way! | |
| HAMILTON | |
| A series of essays, anonymously published | |
| Defending the document to the public | |
| BURR | |
| No one will read it | |
| HAMILTON | |
| I disagree | |
| BURR | |
| And if it fails? | |
| HAMILTON | |
| Burr, that’s why we need it | |
| BURR | |
| The constitution’s a mess | |
| HAMILTON | |
| So it needs amendments | |
| BURR | |
| It’s full of contradictions | |
| HAMILTON | |
| So is independence | |
| We have to start somewhere | |
| BURR | |
| No. No way | |
| HAMILTON | |
| You’re making a mistake | |
| BURR | |
| Good night | |
| HAMILTON | |
| Hey | |
| What are you waiting for? | |
| What do you stall for? | |
| BURR | |
| What? | |
| HAMILTON | |
| We won the war | |
| What was it all for? | |
| Do you support this constitution? | |
| BURR | |
| Of course | |
| HAMILTON | |
| Then defend it | |
| BURR | |
| And what if you’re backing the wrong horse? | |
| HAMILTON | |
| Burr, we studied and we fought and we killed | |
| For the notion of a nation we now get to build | |
| For once in your life, take a stand with pride | |
| I don’t understand how you stand to the side | |
| BURR | |
| I’ll keep all my plans | |
| Close to my chest | |
| I’ll wait here and see | |
| Which way the wind | |
| Will blow | |
| I’m taking my time | |
| Watching the | |
| Afterbirth of a nation | |
| Watching the tension grow | |
| ENSEMBLE | |
| Wait for it, wait for | |
| It, wait… | |
| Which way the wind | |
| Will blow | |
| I’m taking my time | |
| Watching the | |
| Afterbirth of a nation | |
| Watching the tension grow | |
| ANGELICA | |
| I am sailing off to London | |
| I’m accompanied by someone who always pays | |
| I have found a wealthy husband | |
| Who will keep me in comfort for all my days | |
| He is not a lot of fun, but there’s no one | |
| Who can match you for turn of phrase | |
| My Alexander | |
| HAMILTON | |
| Angelica | |
| ANGELICA | |
| Don’t forget to write | |
| ELIZA | |
| Look at where you are | |
| Look at where you started | |
| The fact that you’re alive is a miracle | |
| Just stay alive, that would be enough | |
| And if your wife could share a fraction of your time | |
| If I could grant you peace of mind | |
| Would that be enough? | |
| BURR | |
| Alexander joins forces with James Madison and John Jay to write a series of essays defending the new United States Constitution, entitled The Federalist Papers. The plan was to write a total of twenty-five essays, the work divided evenly among the three men. In the end, they wrote eighty-five essays, in the span of six months. John Jay got sick after writing five. James Madison wrote twenty-nine. Hamilton wrote the other fifty-one! | |
| BURR | |
| How do you write like you’re | |
| Running out of time? | |
| Write day and night like you’re | |
| Running out of time? | |
| BURR AND MEN | |
| Ev’ry day you fight like you’re | |
| Running out of time like you’re | |
| Running out of time | |
| Are you running out of time? | |
| ALL WOMEN | |
| Running out of time? | |
| Running out of time? | |
| Running out of time | |
| Running out of time | |
| Awwww! | |
| FULL COMPANY (EXCEPT HAMILTON) | |
| How do you write like tomorrow won’t arrive? | |
| How do you write like you need it to survive? | |
| How do you write ev’ry second you’re alive? | |
| Ev’ry second you’re alive? Ev’ry second you’re alive? | |
| WASHINGTON | |
| They are asking me to lead | |
| I am doing the best I can | |
| To get the people that I need | |
| I’m asking you to be my right hand man | |
| HAMILTON | |
| Treasury or State? | |
| WASHINGTON | |
| I know it’s a lot to ask | |
| HAMILTON | |
| Treasury or State? | |
| WASHINGTON | |
| To leave behind the world you know… | |
| HAMILTON | |
| Sir, do you want me to run the Treasury or State department? | |
| WASHINGTON | |
| Treasury | |
| HAMILTON | |
| Let’s go | |
| ELIZA | |
| Alexander… | |
| HAMILTON | |
| I have to leave | |
| ELIZA | |
| Alexander— | |
| HAMILTON | |
| Look around, look around at how lucky we are to be alive right now | |
| ELIZA | |
| Helpless… | |
| HAMILTON | |
| They are asking me to lead | |
| ELIZA | |
| Look around, isn’t this enough? | |
| ANGELICA | |
| He will never be satisfied | |
| He will never be satisfied | |
| Satisfied | |
| Satisfied… | |
| He will never be satisfied | |
| Satisfied… | |
| Satisfied… | |
| Why do you fight like | |
| ELIZA | |
| What would be enough | |
| To | |
| Be satisfied | |
| Satisfied | |
| Satisfied… | |
| Look around | |
| Look around! | |
| Isn’t this enough? | |
| What would be enough? | |
| Why do you fight like | |
| WASH | |
| History has its eyes… | |
| On… | |
| You! | |
| WASH/MULL/LAUR/LAF | |
| History has its eyes… | |
| On… | |
| You… | |
| BURR | |
| Why do you assume you’re the smartest in the room? Why do you assume you’re the smartest in the room? Why do you assume you’re the smartest in the room? | |
| Soon that attitude’s gonna be your doom! | |
| Why do you fight like you’re running out of time? | |
| Why do you fight like | |
| All | |
| Non-stop! | |
| Non-stop! | |
| Non-stop! | |
| Non-stop! | |
| COMPANY | |
| History has its eyes on you | |
| HAMILTON | |
| I am not throwin’ away my shot! | |
| I am not throwin’ away my shot! | |
| I am | |
| Alexander Hamilton! | |
| I am not throwin’ away my shot! | |
| COMPANY | |
| Seventeen. Se- se- seventeen… | |
| Se- se- seventeen… | |
| BURR | |
| 1789 | |
| How does the bastard orphan | |
| Immigrant decorated war vet | |
| Unite the colonies through more debt? | |
| Fight the other founding fathers til he has to forfeit? | |
| Have it all, lose it all | |
| You ready for more yet? | |
| Treasury Secretary. Washington’s the President | |
| Ev’ry American experiment sets a precedent | |
| Not so fast. Someone came along to resist him | |
| Pissed him off until we had a two-party system | |
| You haven’t met him yet, you haven’t had the chance | |
| ‘cause he’s been kickin’ ass as the ambassador to France | |
| But someone’s gotta keep the American promise | |
| You simply must meet Thomas. Thomas! | |
| COMPANY | |
| Thomas Jefferson’s coming home! | |
| Thomas Jefferson’s coming home! | |
| Thomas Jefferson’s coming home! | |
| Thomas Jefferson’s coming home! | |
| Thomas Jefferson’s coming home Lord he’s | |
| Been off in Paris for so long! | |
| Aaa-ooo! | |
| Aaa-ooo! | |
| JEFFERSON | |
| France is following us to revolution | |
| There is no more status quo | |
| But the sun comes up | |
| And the world still spins | |
| ENSEMBLE | |
| Aaa-ooo! | |
| JEFFERSON | |
| I helped Lafayette draft a declaration | |
| Then I said, ‘I gotta go | |
| I gotta be in Monticello.’ | |
| Now the work at home begins… | |
| ENSEMBLE | |
| Aaa-ooo! | |
| JEFFERSON | |
| So what’d I miss? | |
| What’d I miss? | |
| Virginia, my home sweet home, I wanna give you a kiss | |
| I’ve been in Paris meeting lots of different ladies… | |
| I guess I basic’lly missed the late eighties… | |
| I traveled the wide, wide world and came back to this… | |
| ENSEMBLE | |
| Aaa-ooo! | |
| JEFFERSON | |
| There’s a letter on my desk from the President | |
| Haven’t even put my bags down yet | |
| Sally be a lamb, darlin’, won’tcha open it? | |
| It says the President’s assembling a cabinet | |
| And that I am to be the Secretary of State, great! | |
| And that I’m already Senate-approved… | |
| I just got home and now I’m headed up to New York | |
| ENSEMBLE | |
| Headin’ to New York! | |
| Headin’ to New York! | |
| JEFFERSON | |
| Lookin’ at the rolling fields | |
| I can’t believe that we are free | |
| Ready to face | |
| Whatever’s awaiting | |
| Me in N.Y.C. | |
| ENSEMBLE | |
| Believe that we are free | |
| Me in N.Y.C. | |
| JEFFERSON | |
| But who’s waitin’ for me when I step in the place? | |
| My friend James Madison, red in the face | |
| JEFFERSON | |
| He grabs my arm and | |
| I respond | |
| “What’s goin’ on?” | |
| ENSEMBLE | |
| Aaa-ooo! | |
| MADISON | |
| Thomas, we are engaged in a battle for our nation’s very soul | |
| Can you get us out of the mess we’re in? | |
| ENSEMBLE | |
| Aaa-ooo! | |
| MADISON | |
| Hamilton’s new financial plan is nothing less | |
| Than government control | |
| I’ve been fighting for the South alone | |
| Where have you been? | |
| ENSEMBLE | |
| Aaa-ooo! JEFFERSON | |
| Uh…France. | |
| MADISON | |
| We have to win | |
| JEFFERSON | |
| What’d I miss? | |
| What’d I miss? | |
| Headfirst into a political abyss! | |
| I have my first cabinet meeting today | |
| I guess I better think of something to say | |
| I’m already on my way | |
| Let’s get to the bottom of this… | |
| ENSEMBLE | |
| Wha? Wha? What’d I miss? | |
| I’ve come home to this? | |
| Headfirst, into the abyss! | |
| Chik-a-pow! | |
| On my way | |
| What did I miss? | |
| Ahhh ah! | |
| WASHINGTON | |
| Mr. Jefferson, welcome home | |
| HAMILTON | |
| Mr. Jefferson? Alexander Hamilton | |
| WASHINGTON AND ENSEMBLE | |
| Mr. Jefferson, welcome home | |
| COMPANY | |
| Mr. Jefferson, welcome home | |
| Sir, you’ve been off in Paris for so long! | |
| JEFFERSON | |
| So what did I miss? | |
| WASHINGTON | |
| Ladies and gentlemen, you coulda been anywhere in the world tonight, but you’re here with us in New York City. Are you ready for a cabinet meeting??? | |
| The issue on the table: Secretary Hamilton’s plan to assume state debt and establish a national bank. Secretary Jefferson, you have the floor, sir | |
| JEFFERSON | |
| ‘Life, liberty and the pursuit of happiness.’ | |
| We fought for these ideals; we shouldn’t settle for less | |
| These are wise words, enterprising men quote ‘em | |
| Don’t act surprised, you guys, cuz I wrote ‘em | |
| JEFFERSON/MADISON | |
| Oww | |
| JEFFERSON | |
| But Hamilton forgets | |
| His plan would have the government assume state’s debts | |
| Now, place your bets as to who that benefits: | |
| The very seat of government where Hamilton sits | |
| HAMILTON | |
| Not true! | |
| JEFFERSON | |
| Ooh, if the shoe fits, wear it | |
| If New York’s in debt— | |
| Why should Virginia bear it? Uh! Our debts are paid, I’m afraid | |
| Don’t tax the South cuz we got it made in the shade | |
| In Virginia, we plant seeds in the ground | |
| We create. You just wanna move our money around | |
| This financial plan is an outrageous demand | |
| And it’s too many damn pages for any man to understand | |
| Stand with me in the land of the free | |
| And pray to God we never see Hamilton’s candidacy | |
| Look, when Britain taxed our tea, we got frisky | |
| Imagine what gon’ happen when you try to tax our whisky | |
| CROWD (reacting) | |
| That's my alcohol! | |
| WASHINGTON | |
| Thank you, Secretary Jefferson | |
| Secretary Hamilton, your response | |
| HAMILTON | |
| Thomas. That was a real nice declaration | |
| Welcome to the present, we’re running a real nation | |
| Would you like to join us, or stay mellow | |
| Doin’ whatever the hell it is you do in Monticello? | |
| If we assume the debts, the union gets | |
| A new line of credit, a financial diuretic | |
| How do you not get it? If we’re aggressive and competitive | |
| The union gets a boost. You’d rather give it a sedative? | |
| A civics lesson from a slaver. Hey neighbor | |
| Your debts are paid cuz you don’t pay for labor | |
| “We plant seeds in the South. We create.” | |
| Yeah, keep ranting | |
| We know who’s really doing the planting | |
| And another thing, Mr. Age of Enlightenment | |
| Don’t lecture me about the war, you didn’t fight in it | |
| You think I’m frightened of you, man? | |
| We almost died in a trench | |
| While you were off getting high with the French | |
| Thomas Jefferson, always hesitant with the President | |
| Reticent—there isn’t a plan he doesn’t jettison | |
| Madison, you’re mad as a hatter, son, take your medicine | |
| Damn, you’re in worse shape than the national debt is in | |
| Sittin’ there useless as two shits | |
| Hey, turn around, bend over, I’ll show you | |
| Where my shoe fits | |
| WASHINGTON | |
| Excuse me? Madison, Jefferson, take a walk! Hamilton, take a walk! We’ll reconvene after a brief recess. Hamilton! | |
| HAMILTON | |
| Sir! | |
| WASHINGTON | |
| A word | |
| MADISON | |
| You don’t have the votes | |
| JEFFERSON/MADISON | |
| You don’t have the votes | |
| JEFFERSON | |
| Aha-ha-ha ha! | |
| JEFFERSON/MADISON | |
| You’re gonna need congressional approval and you don’t have the votes | |
| JEFFERSON | |
| Such a blunder sometimes it makes me wonder why I even bring the thunder | |
| MADISON | |
| Why he even brings the thunder… | |
| WASHINGTON | |
| You wanna pull yourself together? | |
| HAMILTON | |
| I’m sorry, these Virginians are birds of a feather | |
| WASHINGTON | |
| Young man, I’m from Virginia, so watch your mouth | |
| HAMILTON | |
| So we let Congress get held hostage by the South? | |
| WASHINGTON | |
| You need the votes | |
| HAMILTON | |
| No, we need bold strokes. We need this plan | |
| WASHINGTON | |
| No, you need to convince more folks | |
| HAMILTON | |
| James Madison won’t talk to me, that’s a nonstarter | |
| WASHINGTON | |
| Winning was easy, young man. Governing’s harder | |
| HAMILTON | |
| They’re being intransigent | |
| WASHINGTON | |
| You have to find a compromise | |
| HAMILTON | |
| But they don’t have a plan, they just hate mine! | |
| WASHINGTON | |
| Convince them otherwise | |
| HAMILTON | |
| What happens if I don’t get congressional approval? | |
| WASHINGTON | |
| I imagine they’ll call for your removal | |
| HAMILTON | |
| Sir— | |
| WASHINGTON | |
| Figure it out, Alexander. That’s an order from your commander | |
| ELIZA | |
| Un deux trois quatre | |
| Cinq six sept huit neuf | |
| Good! Un deux trois quatre | |
| Cinq six sept huit neuf | |
| Sept huit neuf— | |
| Sept huit neuf— | |
| PHILIP | |
| Un deux trois quatre | |
| Cinq six sept huit neuf | |
| Un deux trois quatre | |
| Cinq six sept huit neuf | |
| Sept huit neuf— | |
| Sept huit neuf— | |
| ELIZA AND PHILIP | |
| One two three four five six seven eight nine! | |
| HAMILTON | |
| My dearest, Angelica | |
| “Tomorrow and tomorrow and tomorrow | |
| Creeps in this petty pace from day to day” | |
| I trust you’ll understand the reference to | |
| Another Scottish tragedy without my having to name the play | |
| They think me Macbeth, and ambition is my folly | |
| I’m a polymath, a pain in the ass, a massive pain | |
| Madison is Banquo, Jefferson’s Macduff | |
| And Birnam Wood is Congress on its way to Dunsinane | |
| HAMILTON/ANGELICA | |
| And there you are, an ocean away | |
| Do you have to live an ocean away? | |
| Thoughts of you subside | |
| Then I get another letter | |
| I cannot put the notion away… | |
| ELIZA | |
| Take a break | |
| HAMILTON | |
| I am on my way | |
| ELIZA | |
| There’s a little surprise before supper | |
| And it cannot wait | |
| HAMILTON | |
| I’ll be there in just a minute, save my plate | |
| ELIZA | |
| Alexander— | |
| HAMILTON | |
| Okay, okay— | |
| ELIZA | |
| Your son is nine years old today | |
| And he has something that he’d like to say | |
| He’s been practicing all day | |
| Philip, take it away— | |
| PHILIP | |
| Daddy, daddy, look— | |
| My name is Philip | |
| I am a poet | |
| I wrote this poem just | |
| To show it | |
| And I just turned nine | |
| You can write rhymes | |
| But you can’t write mine | |
| I practice French | |
| And play piano with my mother | |
| I have a sister, but I want a little brother | |
| My daddy’s trying to start America’s bank | |
| Un deux trois quatre cinq! | |
| HAMILTON | |
| What! | |
| Uh-huh! | |
| Okay! | |
| Bravo! | |
| ELIZA | |
| Take a break | |
| HAMILTON | |
| Hey, our kid is pretty great | |
| ELIZA | |
| Run away with us for the summer | |
| Let’s go upstate | |
| HAMILTON | |
| Eliza, I’ve got so much on my plate | |
| ELIZA | |
| We can all go stay with my father | |
| There’s a lake I know… | |
| HAMILTON | |
| I know | |
| ELIZA | |
| In a nearby park | |
| HAMILTON | |
| I’d love to go | |
| ELIZA | |
| You and I can go when the night gets dark… | |
| HAMILTON | |
| I will try to get away | |
| ANGELICA | |
| My dearest Alexander | |
| You must get through to Jefferson | |
| Sit down with him and compromise | |
| Don’t stop ‘til you agree | |
| Your fav’rite older sister | |
| Angelica, reminds you | |
| There’s someone in your corner all the way across the sea | |
| In a letter I received from you two weeks ago | |
| I noticed a comma in the middle of a phrase | |
| It changed the meaning. Did you intend this? | |
| One stroke and you’ve consumed my waking days | |
| It says: | |
| HAMILTON/ANGELICA | |
| “My dearest Angelica” | |
| ANGELICA | |
| With a comma after “dearest.” You’ve written | |
| HAMILTON AND ANGELICA | |
| “My dearest, Angelica.” | |
| ANGELICA | |
| Anyway, all this to say | |
| I’m coming home this summer | |
| At my sister’s invitation | |
| I’ll be there with your fam’ly | |
| If you make your way upstate | |
| I know you’re very busy | |
| I know your work’s important | |
| But I’m crossing the ocean and I just can’t wait | |
| HAMILTON AND ANGELICA | |
| You won’t be an ocean away | |
| You will only be a moment away… | |
| ELIZA | |
| Alexander, come downstairs. Angelica’s arriving today! | |
| ELIZA | |
| Angelica! | |
| ANGELICA | |
| Eliza! | |
| HAMILTON | |
| The Schuyler sisters! | |
| ANGELICA | |
| Alexander | |
| HAMILTON | |
| Hi | |
| ANGELICA | |
| It’s good to see your face | |
| ELIZA | |
| Angelica, tell this man John Adams spends the summer with his family | |
| HAMILTON | |
| Angelica, tell my wife John Adams doesn’t have a real job anyway | |
| ANGELICA | |
| …you’re not joining us? Wait | |
| HAMILTON | |
| I’m afraid I cannot join you upstate | |
| ANGELICA | |
| Alexander, I came all this way | |
| ELIZA | |
| She came all this way— | |
| ANGELICA | |
| All this way— | |
| ELIZA AND ANGELICA | |
| Take a break | |
| HAMILTON | |
| You know I have to get my plan through Congress | |
| ELIZA AND ANGELICA | |
| Run away with us for the summer | |
| Let’s go upstate | |
| HAMILTON | |
| I lose my job if I don’t get my plan through Congress | |
| ELIZA AND ANGELICA | |
| We can all go stay with our father | |
| ELIZA | |
| There’s a lake I know | |
| In a nearby park | |
| You and I can go | |
| Take a break and get away— | |
| Let’s go upstate | |
| Where we can stay | |
| Look around, look around | |
| At how lucky we are to be alive right now— | |
| We can go— | |
| When the night gets dark | |
| Take a break. | |
| ANGELICA | |
| I know I’ll miss your face— | |
| Screw your courage to the sticking place— | |
| Eliza’s right— | |
| Take a break | |
| Run away with us for the summer— | |
| Let’s go upstate | |
| We can all go stay with our father | |
| If you take your time— | |
| You will make your mark | |
| Close your eyes and dream— | |
| When the night gets dark | |
| Take a break. | |
| HAMILTON | |
| I have to get my plan through Congress | |
| I can’t stop until I get this plan through Congress | |
| BURR | |
| There’s nothing like summer in the city | |
| Someone under stress meets someone looking pretty | |
| There’s trouble in the air, you can smell it | |
| And Alexander’s by himself. I’ll let him tell it | |
| HAMILTON | |
| I hadn’t slept in a week | |
| I was weak, I was awake | |
| You never seen a bastard orphan | |
| More in need of a break | |
| Longing for Angelica | |
| Missing my wife | |
| That’s when Miss Maria Reynolds walked into my life, she said: | |
| MARIA | |
| I know you are a man of honor | |
| I’m so sorry to bother you at home | |
| But I don’t know where to go, and I came here all alone… | |
| HAMILTON | |
| She said: | |
| MARIA | |
| My husband’s doin’ me wrong | |
| Beatin’ me, cheatin’ me, mistreatin’ me… | |
| Suddenly he’s up and gone | |
| I don’t have the means to go on | |
| HAMILTON | |
| So I offered her a loan, I offered to walk her home, she said | |
| MARIA | |
| You’re too kind, sir | |
| HAMILTON | |
| I gave her thirty bucks that I had socked away | |
| She lived a block away, she said: | |
| MARIA | |
| This one’s mine, sir | |
| HAMILTON | |
| Then I said, “well, I should head back home,” | |
| She turned red, she led me to her bed | |
| Let her legs spread and said: | |
| MARIA | |
| Stay? | |
| HAMILTON | |
| Hey… | |
| MARIA | |
| Hey… | |
| HAMILTON | |
| That’s when I began to pray: | |
| Lord, show me how to | |
| Say no to this | |
| I don’t know how to | |
| Say no to this | |
| But my God, she looks so helpless | |
| And her body’s saying, “hell, yes” | |
| MARIA | |
| Whoa… | |
| HAMILTON | |
| Nooo, show me how to | |
| HAMILTON/ENSEMBLE | |
| Say no to this | |
| HAMILTON | |
| I don’t know how to | |
| HAMILTON/ENSEMBLE | |
| Say no to this | |
| HAMILTON | |
| In my mind, I’m tryin’ to go | |
| ENSEMBLE | |
| Go! Go! Go! | |
| HAMILTON | |
| Then her mouth is on mine, and I don’t say… | |
| ENSEMBLE | |
| No! No! | |
| Say no to this! | |
| No! No! | |
| Say no to this! | |
| No! No! | |
| Say no to this! | |
| No! No! | |
| Say no to this! | |
| HAMILTON | |
| I wish I could say that was the last time | |
| I said that last time. It became a pastime | |
| A month into this endeavor I received a letter | |
| From a Mr. James Reynolds, even better, it said: | |
| JAMES | |
| Dear Sir, I hope this letter finds you in good health | |
| And in a prosperous enough position to put wealth | |
| In the pockets of people like me: down on their luck | |
| You see, that was my wife who you decided to | |
| HAMILTON | |
| Fuuuu— | |
| JAMES | |
| Uh-oh! You made the wrong sucker a cuckold | |
| So time to pay the piper for the pants you unbuckled | |
| And hey, you can keep seein’ my whore wife | |
| If the price is right: if not I’m telling your wife | |
| HAMILTON | |
| I hid the letter and I raced to her place | |
| Screamed “How could you?!” in her face | |
| She said: | |
| MARIA | |
| No, sir! | |
| HAMILTON | |
| Half dressed, apologetic. A mess, she looked | |
| Pathetic, she cried: | |
| MARIA | |
| Please don’t go, sir! | |
| HAMILTON | |
| So was your whole story a setup? | |
| MARIA | |
| I don’t know about any letter! | |
| HAMILTON | |
| Stop crying | |
| Goddamnit, get up! | |
| MARIA | |
| I didn’t know any better | |
| HAMILTON | |
| I am ruined… | |
| MARIA | |
| Please don’t leave me with him helpless | |
| Just give him what he wants and you can have me | |
| Whatever you want, | |
| HAMILTON | |
| I am helpless—how could I do this? | |
| I don’t want you | |
| I don’t want you | |
| MARIA | |
| If you pay | |
| You can stay | |
| Tonight | |
| Helpless | |
| Whoa! | |
| How can you | |
| Say no to this? | |
| HAMILTON | |
| Yes | |
| Yes | |
| Yes | |
| Yes. HAMILTON | |
| I don’t… | |
| Lord, show me how to | |
| Say no to this | |
| I don’t know how to | |
| Say no to this | |
| Cuz the situation’s helpless | |
| And her body’s screaming, “Hell, yes” | |
| No, show me how to | |
| Say no to this | |
| How can I | |
| Say no to this? | |
| There is nowhere I can go | |
| When her body’s on mine I do not say… | |
| MARIA | |
| Yes! | |
| Yes! | |
| Yes! | |
| Yes! | |
| ENSEMBLE | |
| Say no to this! | |
| Say no to this! | |
| Say no to this! | |
| Say no to this! | |
| Go! Go! Go! | |
| No! | |
| ENSEMBLE | |
| Say no to this! | |
| No! | |
| Say no to this! | |
| No! | |
| Say no to this! | |
| No! | |
| Say no to this! | |
| HAMILTON | |
| Say no to this… | |
| I don’t say no to this | |
| There is nowhere I can go. | |
| MARIA | |
| Don’t say no to this | |
| ENSEMBLE | |
| Go go go… | |
| JAMES | |
| So? | |
| HAMILTON | |
| Nobody needs to know | |
| BURR | |
| Ah, Mister Secretary | |
| HAMILTON | |
| Mister Burr, sir | |
| BURR | |
| Didja hear the news about good old General Mercer? | |
| HAMILTON | |
| No | |
| BURR | |
| You know Clermont Street? | |
| HAMILTON | |
| Yeah | |
| BURR | |
| They renamed it after him. The Mercer legacy is secure | |
| HAMILTON | |
| Sure | |
| BURR | |
| And all he had to do was die | |
| HAMILTON | |
| That’s a lot less work | |
| BURR | |
| We oughta give it a try | |
| HAMILTON | |
| Ha | |
| BURR | |
| Now how’re you gonna get your debt plan through? | |
| HAMILTON | |
| I guess I’m gonna fin’ly have to listen to you | |
| BURR | |
| Really? | |
| HAMILTON | |
| “Talk less. Smile more.” | |
| BURR | |
| Ha | |
| HAMILTON | |
| Do whatever it takes to get my plan on the Congress floor | |
| BURR | |
| Now, Madison and Jefferson are merciless. | |
| HAMILTON | |
| Well, hate the sin, love the sinner | |
| MADISON | |
| Hamilton! | |
| HAMILTON | |
| I’m sorry Burr, I’ve gotta go | |
| BURR | |
| But— | |
| HAMILTON | |
| Decisions are happening over dinner | |
| BURR | |
| Two Virginians and an immigrant walk into a room | |
| BURR AND ENSEMBLE | |
| Diametric’ly opposed, foes | |
| BURR | |
| They emerge with a compromise, having opened doors that were | |
| BURR AND ENSEMBLE | |
| Previously closed | |
| ENSEMBLE | |
| Bros | |
| BURR | |
| The immigrant emerges with unprecedented financial power | |
| A system he can shape however he wants | |
| The Virginians emerge with the nation’s capital | |
| And here’s the pièce de résistance: | |
| BURR | |
| No one else was in | |
| The room where it happened | |
| The room where it happened | |
| The room where it happened | |
| No one else was in | |
| The room where it happened | |
| The room where it happened | |
| The room where it happened | |
| No one really knows how the game is played | |
| The art of the trade | |
| How the sausage gets made | |
| We just assume that it happens | |
| But no one else is in | |
| The room where it happens. | |
| ENSEMBLE | |
| The room where it happened | |
| The room where it happened | |
| How the sausage gets made | |
| Assume that it happens | |
| The room where it happens. | |
| BURR AND COMPANY | |
| Thomas claims— | |
| JEFFERSON | |
| Alexander was on Washington’s doorstep one day | |
| In distress ‘n disarray | |
| BURR AND COMPANY | |
| Thomas claims— | |
| JEFFERSON | |
| Alexander said— | |
| HAMILTON | |
| I’ve nowhere else to turn! | |
| JEFFERSON | |
| And basic’ly begged me to join the fray | |
| BURR AND COMPANY | |
| Thomas claims— | |
| JEFFERSON | |
| I approached Madison and said— | |
| “I know you hate ‘im, but let’s hear what he has to say.” | |
| BURR AND COMPANY | |
| Thomas claims— | |
| JEFFERSON | |
| Well, I arranged the meeting | |
| I arranged the menu, the venue, the seating | |
| BURR | |
| But! | |
| No one else was in— | |
| BURR AND COMPANY | |
| The room where it happened | |
| The room where it happened | |
| The room where it happened | |
| BURR | |
| No one else was in— | |
| BURR AND COMPANY | |
| The room where it happened | |
| The room where it happened | |
| The room where it happened | |
| BURR | |
| No one really knows how the | |
| Parties get to yesssss | |
| The pieces that are sacrificed in | |
| Ev’ry game of chesssss | |
| We just assume that it happens | |
| But no one else is in | |
| The room where it happens. | |
| COMPANY | |
| Parties get to yesssss | |
| Ev’ry game of chesssss | |
| Assume that it happens | |
| The room where it happens. | |
| BURR AND COMPANY | |
| Meanwhile— | |
| BURR | |
| Madison is grappling with the fact that not ev’ry issue can be settled by committee | |
| COMPANY | |
| Meanwhile— | |
| BURR | |
| Congress is fighting over where to put the capital— | |
| Company screams in chaos | |
| BURR | |
| It isn’t pretty | |
| Then Jefferson approaches with a dinner and invite | |
| And Madison responds with Virginian insight: | |
| MADISON | |
| Maybe we can solve one problem with another and win a victory for the Southerners, in other words— | |
| JEFFERSON | |
| Oh-ho! | |
| MADISON | |
| A quid pro quo | |
| JEFFERSON | |
| I suppose | |
| MADISON | |
| Wouldn’t you like to work a little closer to home? | |
| JEFFERSON | |
| Actually, I would | |
| MADISON | |
| Well, I propose the Potomac | |
| JEFFERSON | |
| And you’ll provide him his votes? | |
| MADISON | |
| Well, we’ll see how it goes | |
| JEFFERSON | |
| Let’s go | |
| BURR | |
| No! | |
| COMPANY | |
| —one else was in | |
| The room where it happened | |
| BURR AND COMPANY | |
| The room where it happened | |
| The room where it happened | |
| No one else was in | |
| The room where it happened | |
| The room where it happened | |
| The room where it happened | |
| BURR | |
| My God! | |
| BURR AND COMPANY | |
| In God we trust | |
| But we’ll never really know what got discussed | |
| Click-boom then it happened | |
| BURR | |
| And no one else was in the room where it happened | |
| COMPANY | |
| Alexander Hamilton! | |
| BURR | |
| What did they say to you to get you to sell New York City down the river? | |
| COMPANY | |
| Alexander Hamilton! | |
| BURR | |
| Did Washington know about the dinner? | |
| Was there Presidential pressure to deliver? | |
| COMPANY | |
| Alexander Hamilton! | |
| BURR | |
| Or did you know, even then, it doesn’t matter | |
| Where you put the U.S. Capital? | |
| HAMILTON | |
| Cuz we’ll have the banks | |
| We’re in the same spot | |
| BURR | |
| You got more than you gave | |
| HAMILTON | |
| And I wanted what I got | |
| When you got skin in the game, you stay in the game | |
| But you don’t get a win unless you play in the game | |
| Oh, you get love for it. You get hate for it | |
| You get nothing if you… | |
| HAMILTON AND COMPANY | |
| Wait for it, wait for it, wait! | |
| HAMILTON | |
| God help and forgive me | |
| I wanna build | |
| Something that’s gonna | |
| Outlive me | |
| HAMILTON/JEFFERSON/ | |
| MADISON/WASHINGTON | |
| What do you want, Burr? | |
| What do you want, Burr? | |
| If you stand for nothing | |
| Burr, then what do you fall for? | |
| COMPANY | |
| What do you want, Burr? | |
| What do you want, Burr? | |
| What do you want, Burr? | |
| What do you want? | |
| BURR | |
| I | |
| Wanna be in | |
| The room where it happens | |
| The room where it happens | |
| I | |
| Wanna be in | |
| The room where it happens | |
| The room where it happens | |
| BURR | |
| I | |
| Wanna be | |
| In the room where it happens | |
| I | |
| I wanna be in the room… | |
| Oh | |
| Oh | |
| I wanna be | |
| I wanna be | |
| I’ve got to be | |
| I’ve got to be | |
| In that room | |
| In that big ol’ room COMPANY | |
| I wanna be in | |
| The room where it happens | |
| The room where it happens | |
| The room where it happens | |
| I wanna be in the room | |
| Where it happens | |
| The room where it happens | |
| The room where it happens | |
| I wanna be in | |
| The room where it happens | |
| The room where it happens | |
| The room where it happens | |
| I wanna be in | |
| The room where it happens | |
| The room where it happens | |
| The room where it happens. | |
| COMPANY | |
| The art of the compromise— | |
| BURR | |
| Hold your nose and close your eyes | |
| COMPANY | |
| We want our leaders to save the day— | |
| BURR | |
| But we don’t get a say in what they trade away | |
| COMPANY | |
| We dream of a brand new start— | |
| BURR | |
| But we dream in the dark for the most part | |
| BURR AND COMPANY | |
| Dark as a tomb where it happens | |
| BURR | |
| I’ve got to be in | |
| The room… | |
| I’ve got to be… | |
| I’ve got to be… | |
| Oh, I’ve got to be in | |
| The room where it happens… | |
| I’ve got to be, I’ve gotta be, I’ve gotta be… | |
| In the room! | |
| Click-boom! | |
| COMPANY | |
| The room where it happens | |
| The room where it happens | |
| The room where it happens | |
| The room where it happens | |
| The room where it happens | |
| I wanna be in the room | |
| Where it happens! | |
| Click-boom! | |
| PHILIP | |
| Look! | |
| Grandpa’s in the paper! | |
| “War hero Philip Schuyler loses senate seat to young upstart Aaron Burr” | |
| Grandpa just lost his seat in the senate | |
| ELIZA | |
| Sometimes that’s how it goes | |
| PHILIP | |
| Daddy’s gonna find out any minute | |
| ELIZA | |
| I’m sure he already knows | |
| PHILIP | |
| Further down | |
| PHILIP & ELIZA | |
| Further down | |
| PHILIP | |
| Let’s meet the newest senator from New York | |
| ELIZA | |
| New York | |
| PHILIP & ELIZA | |
| Our senator | |
| HAMILTON | |
| Burr? | |
| Since when are you a Democratic-Republican? | |
| BURR | |
| Since being one put me on the up and up again | |
| HAMILTON | |
| No one knows who you are or what you do | |
| BURR | |
| They don’t need to know me | |
| They don’t like you | |
| HAMILTON | |
| Excuse me? | |
| BURR | |
| Oh, Wall Street thinks you’re great | |
| You’ll always be adored by the things you create | |
| But upstate— | |
| HAMILTON | |
| Wait | |
| BURR | |
| —people think you’re crooked | |
| Schuyler’s seat was up for grabs so I took it | |
| HAMILTON | |
| I’ve always considered you a friend | |
| BURR | |
| I don’t see why that has to end | |
| HAMILTON | |
| You changed parties to run against my father-in-law | |
| BURR | |
| I changed parties to seize the opportunity I saw | |
| I swear your pride will be the death of us all | |
| Beware, it goeth before the fall | |
| WASHINGTON | |
| The issue on the table: France is on the verge of war with England, and do we provide aid and our troops to our French allies or do we stay out of it? Remember, my decision on this matter is not subject to congressional approval. The only person you have to convince is me. Secretary Jefferson, you have the floor, sir | |
| JEFFERSON | |
| When we were on death’s door, when we were needy | |
| We made a promise, we signed a treaty | |
| We needed money and guns and half a chance | |
| Who provided those funds? | |
| MADISON | |
| France | |
| JEFFERSON | |
| In return, they didn’t ask for land | |
| Only a promise that we’d lend a hand | |
| And stand with them if they fought against oppressors | |
| And revolution is messy but now is the time to stand | |
| Stand with our brothers as they fight against tyranny | |
| I know that Alexander Hamilton is here and he | |
| Would rather not have this debate | |
| I’ll remind you that he is not Secretary of State | |
| He knows nothing of loyalty | |
| Smells like new money, dresses like fake royalty | |
| Desperate to rise above his station | |
| Everything he does betrays the ideals of our nation | |
| ENSEMBLE | |
| Ooh!! | |
| JEFFERSON | |
| Hey, and if ya don’t know, now ya know, Mr. President | |
| WASHINGTON | |
| Thank you, Secretary Jefferson. Secretary Hamilton, your response | |
| HAMILTON | |
| You must be out of your Goddamn mind if you think | |
| The President is gonna bring the nation to the brink | |
| Of meddling in the middle of a military mess | |
| A game of chess, where France is Queen and Kingless | |
| We signed a treaty with a King whose head is now in a basket | |
| Would you like to take it out and ask it? | |
| “Should we honor our treaty, King Louis’ head?” | |
| “Uh… do whatever you want, I’m super dead.” | |
| WASHINGTON | |
| Enough. Hamilton is right | |
| JEFFERSON | |
| Mr. President— | |
| WASHINGTON | |
| We’re too fragile to start another fight | |
| JEFFERSON | |
| But sir, do we not fight for freedom? | |
| WASHINGTON | |
| Sure, when the French figure out who’s gonna lead ‘em | |
| JEFFERSON | |
| The people are leading— | |
| WASHINGTON | |
| The people are rioting | |
| There’s a difference. Frankly, it’s a little disquieting you would let your ideals blind you to reality | |
| Hamilton | |
| HAMILTON | |
| Sir | |
| WASHINGTON | |
| Draft a statement of neutrality | |
| JEFFERSON | |
| Did you forget Lafayette? | |
| HAMILTON | |
| What? | |
| JEFFERSON | |
| Have you an ounce of regret? | |
| You accumulate debt, you accumulate power | |
| Yet in their hour of need, you forget | |
| HAMILTON | |
| Lafayette’s a smart man, he’ll be fine | |
| And before he was your friend, he was mine | |
| If we try to fight in every revolution in the world, we never stop | |
| Where do we draw the line? | |
| JEFFERSON | |
| So quick-witted | |
| HAMILTON | |
| Alas, I admit it | |
| JEFFERSON | |
| I bet you were quite a lawyer | |
| HAMILTON | |
| My defendants got acquitted | |
| JEFFERSON | |
| Yeah. Well, someone oughta remind you | |
| HAMILTON | |
| What? | |
| JEFFERSON | |
| You’re nothing without Washington behind you | |
| WASHINGTON | |
| Hamilton! | |
| JEFFERSON | |
| Daddy’s calling! | |
| BURR | |
| It must be nice, it must be nice to have | |
| Washington on your side | |
| It must be nice, it must be nice to have | |
| Washington on your side | |
| JEFFERSON | |
| Ev’ry action has its equal, opposite reactions | |
| Thanks to Hamilton, our cab’net’s fractured into factions | |
| Try not to crack under the stress, we’re breaking down like fractions | |
| We smack each other in the press, and we don’t print retractions | |
| I get no satisfaction witnessing his fits of passion | |
| The way he primps and preens and dresses like the pits of fashion | |
| Our poorest citizens, our farmers, live ration to ration | |
| As Wall Street robs ‘em blind in search of chips to cash in | |
| This prick is askin’ for someone to bring him to task | |
| Somebody gimme some dirt on this vacuous mass so we can at last unmask him | |
| I’ll pull the trigger on him, someone load the gun and cock it | |
| While we were all watching, he got Washington in his pocket | |
| JEFFERSON AND BURR | |
| It must be nice, it must be nice to have | |
| Washington on your side | |
| It must be nice, it must be nice to have | |
| Washington on your side | |
| Look back at the Bill of Rights | |
| MADISON | |
| Which I wrote | |
| JEFFERSON/MADISON/BURR | |
| The ink hasn’t dried | |
| It must be nice, it must be nice to have | |
| Washington on your side | |
| MADISON | |
| So he’s doubled the size of the government | |
| Wasn’t the trouble with much of our previous government size? | |
| BURR | |
| Look in his eyes! | |
| JEFFERSON | |
| See how he lies | |
| MADISON | |
| Follow the scent of his enterprise | |
| JEFFERSON | |
| Centralizing national credit | |
| And making American credit competitive | |
| MADISON | |
| If we don’t stop it we aid and abet it | |
| JEFFERSON | |
| I have to resign | |
| MADISON | |
| Somebody has to stand up for the South! | |
| BURR | |
| Somebody has to stand up to his mouth! | |
| JEFFERSON | |
| If there’s a fire you’re trying to douse | |
| MADISON AND JEFFERSON | |
| You can’t put it out from inside the house | |
| JEFFERSON | |
| I’m in the cabinet. I am complicit in | |
| Watching him grabbin’ at power and kiss it | |
| If Washington isn’t gon’ listen | |
| To disciplined dissidents, this is the difference: | |
| This kid is out! | |
| MADISON/BURR/JEFFERSON | |
| Oh! | |
| This immigrant isn’t somebody we chose | |
| Oh! | |
| This immigrant’s keeping us all on our toes | |
| Oh! | |
| Let’s show these Federalists who they’re up against! | |
| Oh! | |
| JEFFERSON/MADISON | |
| Southern motherfuckin’— | |
| JEFFERSON/MADISON/BURR | |
| Democratic-Republicans! | |
| JEFFERSON/MADISON/BURR/ENSEMBLE | |
| Oh! | |
| JEFFERSON/MADISON/BURR | |
| Let’s follow the money and see where it goes | |
| ENSEMBLE | |
| Oh! | |
| JEFFERSON/MADISON/BURR | |
| Because every second the Treasury grows | |
| ENSEMBLE | |
| Oh! | |
| JEFFERSON/MADISON/BURR | |
| If we follow the money and see where it leads | |
| Get in the weeds, look for the seeds of | |
| Hamilton’s misdeeds | |
| JEFFERSON/MADISON/BURR | |
| It must be nice. It must be nice | |
| MADISON | |
| Follow the money and see where it goes | |
| JEFFERSON/MADISON/BURR | |
| It must be nice. It must be nice | |
| JEFFERSON | |
| The emperor has no clothes | |
| JEFFERSON/MADISON/BURR | |
| We won’t be invisible. We won’t be denied | |
| Still | |
| It must be nice, it must be nice to have | |
| Washington on your side | |
| HAMILTON | |
| Mr. President, you asked to see me? | |
| WASHINGTON | |
| I know you’re busy | |
| HAMILTON | |
| What do you need, sir? Sir? | |
| WASHINGTON | |
| I wanna give you a word of warning | |
| HAMILTON | |
| Sir, I don’t know what you heard | |
| But whatever it is, Jefferson started it | |
| WASHINGTON | |
| Thomas Jefferson resigned this morning | |
| HAMILTON | |
| You’re kidding | |
| WASHINGTON | |
| I need a favor | |
| HAMILTON | |
| Whatever you say, sir, Jefferson will pay for his behavior | |
| WASHINGTON | |
| Shh. Talk less | |
| HAMILTON | |
| I’ll use the press | |
| I’ll write under a pseudonym, you’ll see what I can do to him— | |
| WASHINGTON | |
| I need you to draft an address | |
| HAMILTON | |
| Yes! He resigned. You can finally speak your mind— | |
| WASHINGTON | |
| No, he’s stepping down so he can run for President | |
| HAMILTON | |
| Ha. Good luck defeating you, sir | |
| WASHINGTON | |
| I’m stepping down. I’m not running for President | |
| HAMILTON | |
| I’m sorry, what? | |
| WASHINGTON | |
| One last time | |
| Relax, have a drink with me | |
| One last time | |
| Let’s take a break tonight | |
| And then we’ll teach them how to say goodbye | |
| To say goodbye | |
| You and I | |
| HAMILTON | |
| No, sir, why? | |
| WASHINGTON | |
| I wanna talk about neutrality | |
| HAMILTON | |
| Sir, with Britain and France on the verge of war, is this the best time— | |
| WASHINGTON | |
| I want to warn against partisan fighting | |
| HAMILTON | |
| But— | |
| WASHINGTON | |
| Pick up a pen, start writing | |
| I wanna talk about what I have learned | |
| The hard-won wisdom I have earned | |
| HAMILTON | |
| As far as the people are concerned | |
| You have to serve, you could continue to serve— | |
| WASHINGTON | |
| No! One last time | |
| The people will hear from me | |
| One last time | |
| And if we get this right | |
| We’re gonna teach ‘em how to say | |
| Goodbye | |
| You and I— | |
| HAMILTON | |
| Mr. President, they will say you’re weak | |
| WASHINGTON | |
| No, they will see we’re strong | |
| HAMILTON | |
| Your position is so unique | |
| WASHINGTON | |
| So I’ll use it to move them along | |
| HAMILTON | |
| Why do you have to say goodbye? | |
| WASHINGTON | |
| If I say goodbye, the nation learns to move on | |
| It outlives me when I’m gone | |
| Like the scripture says: | |
| “Everyone shall sit under their own vine and fig tree | |
| And no one shall make them afraid.” | |
| They’ll be safe in the nation we’ve made | |
| I wanna sit under my own vine and fig tree | |
| A moment alone in the shade | |
| At home in this nation we’ve made | |
| One last time | |
| HAMILTON | |
| One last time | |
| HAMILTON | |
| Though, in reviewing the incidents of my administration, I am unconscious of intentional error, I am nevertheless too sensible of my defects not to think it probable that I may have committed many errors. I shall also carry with me | |
| HAMILTON | |
| The hope | |
| That my country will | |
| View them with indulgence; | |
| And that | |
| After forty-five years of my life dedicated to its service with an upright zeal | |
| The faults of incompetent abilities will be | |
| Consigned to oblivion, as I myself must soon be to the mansions of rest | |
| I anticipate with pleasing expectation that retreat in which I promise myself to realize the sweet enjoyment of partaking, in the midst of my fellow-citizens, the benign influence of good laws | |
| Under a free government, the ever-favorite object of my heart, and the happy reward, as I trust | |
| Of our mutual cares, labors, and dangers. WASHINGTON | |
| The hope | |
| View them with indulgence | |
| After forty-five years of my life dedicated to its service with an upright zeal | |
| Consigned to oblivion, as I myself must soon be to the mansions of rest | |
| I anticipate with pleasing expectation that retreat in which I promise myself to realize the sweet enjoyment of partaking, in the midst of my fellow-citizens, the benign influence of good laws | |
| Under a free government, the ever-favorite object of my heart, and the happy reward, as I trust | |
| Of our mutual cares, labors, and dangers. | |
| WASHINGTON | |
| One last time | |
| ALL WOMEN | |
| George Washington’s going home! | |
| HAMILTON | |
| Teach ‘em how to say goodbye | |
| WASHINGTON | |
| You and I | |
| Going home | |
| History has its eyes on you | |
| We’re gonna teach ‘em how to | |
| Say goodbye! | |
| Teach ‘em how to | |
| Say goodbye! | |
| To say goodbye! | |
| Say goodbye! | |
| One last time! COMPANY | |
| George Washington’s going home | |
| George Washington’s going home | |
| George Washington’s going home | |
| George Washington’s going home | |
| Teach ‘em how to say goodbye! | |
| Teach ‘em how! | |
| Say goodbye! | |
| Say goodbye! | |
| One last time! | |
| KING GEORGE | |
| They say | |
| George Washington’s yielding his power and stepping away | |
| ‘Zat true? | |
| I wasn’t aware that was something a person could do | |
| I’m perplexed | |
| Are they gonna keep on replacing whoever’s in charge? | |
| If so, who’s next? | |
| There’s nobody else in their country who looms quite as large… | |
| A sentinel whispers in King George’s ear | |
| John Adams?! | |
| I know him | |
| That can’t be | |
| That’s that little guy who spoke to me | |
| All those years ago | |
| What was it, eighty-five? | |
| That poor man, they’re gonna eat him alive! | |
| Oceans rise | |
| Empires fall | |
| Next to Washington, they all look small | |
| All alone | |
| Watch them run | |
| They will tear each other into pieces | |
| Jesus Christ, this will be fun! | |
| Da da da dat da dat da da da da ya da | |
| Da da da dat dat da ya daaaaa! | |
| “President John Adams” | |
| Good Luck | |
| BURR | |
| How does Hamilton the short-tempered | |
| Protean creator of the Coast Guard | |
| Founder of the New York Post | |
| Ardently abuse his cab’net post | |
| Destroy his reputation? | |
| Welcome, folks, to | |
| BURR/COMPANY | |
| The Adams administration! | |
| BURR | |
| Jefferson’s the runner-up, which makes him the Vice President | |
| JEFFERSON | |
| Washington can’t help you now, no more mister nice President | |
| BURR | |
| Adams fires Hamilton | |
| Privately calls him “creole bastard” in his taunts | |
| JEFFERSON | |
| Say what?! | |
| BURR | |
| Hamilton publishes his response | |
| HAMILTON | |
| Sit down, John, you fat mother—BLEEP | |
| BURR | |
| Hamilton is out of control | |
| MADISON | |
| This is great! He’s out of power. He holds no office. And he just destroyed President John Adams, the only other significant member of his party | |
| JEFFERSON | |
| Hamilton’s a host unto himself. As long as he can hold a pen, he’s a threat. Let’s let him know what we know | |
| HAMILTON | |
| Mr. Vice President | |
| Mr. Madison | |
| Senator Burr | |
| What is this? | |
| JEFFERSON | |
| We have the check stubs. From separate accounts… | |
| MADISON | |
| Almost a thousand dollars, paid in different amounts… | |
| BURR | |
| To a Mr. James Reynolds way back in | |
| Seventeen ninety-one | |
| HAMILTON | |
| Is that what you have? Are you done? | |
| MADISON | |
| You are uniquely situated by virtue of your position— | |
| JEFFERSON | |
| Though ‘virtue’ is not a word I’d apply to this situation— | |
| MADISON | |
| To seek financial gain, to stray from your sacred mission— | |
| JEFFERSON | |
| And the evidence suggests you’ve engaged in speculation— | |
| BURR | |
| An immigrant embezzling our government funds— | |
| JEFFERSON/MADISON | |
| I can almost see the headline, your career is done | |
| BURR | |
| I hope you saved some money for your daughter and sons | |
| BURR/JEFFERSON/MADISON | |
| Ya best g'wan run back where ya come from! | |
| HAMILTON | |
| Ha! You don’t even know what you’re asking me to confess | |
| JEFFERSON/MADISON/BURR | |
| Confess | |
| HAMILTON | |
| You have nothing. I don’t have to tell you anything at all | |
| Unless | |
| JEFFERSON/MADISON/BURR | |
| Unless | |
| HAMILTON | |
| If I can prove that I never broke the law | |
| Do you promise not to tell another soul what you saw? | |
| BURR | |
| No one else was in the room where it happened | |
| HAMILTON | |
| Is that a yes? | |
| JEFFERSON/MADISON/BURR | |
| Um, yes | |
| BURR | |
| “Dear Sir, I hope this letter finds you in good health | |
| And in a prosperous enough position to put wealth | |
| In the pockets of people like me: down on their luck | |
| You see, it was my wife who you decided to—” | |
| JEFFERSON | |
| Whaaaat— | |
| HAMILTON | |
| She courted me | |
| Escorted me to bed and when she had me in a corner | |
| That’s when Reynolds extorted me | |
| For a sordid fee | |
| I paid him quarterly | |
| I may have mortally wounded my prospects | |
| But my papers are orderly! | |
| As you can see I kept a record of every check in my checkered | |
| History. Check it again against your list n’ see consistency | |
| I never spent a cent that wasn’t mine | |
| You sent the dogs after my scent, that’s fine | |
| Yes, I have reasons for shame | |
| But I have not committed treason and sullied my good name | |
| As you can see I have done nothing to provoke legal action | |
| Are my answers to your satisfaction? | |
| JEFFERSON | |
| My God | |
| MADISON | |
| Gentlemen, let’s go | |
| HAMILTON | |
| So? | |
| JEFFERSON AND MADISON | |
| The people won't know what we know | |
| HAMILTON | |
| Burr! | |
| How do I know you won’t use this against me | |
| The next time we go toe to toe? | |
| BURR | |
| Alexander, rumors only grow. And we both | |
| Know what we know | |
| HAMILTON | |
| In the eye of a hurricane | |
| There is quiet | |
| For just a moment | |
| A yellow sky | |
| When I was seventeen a hurricane | |
| Destroyed my town | |
| I didn’t drown | |
| I couldn’t seem to die | |
| I wrote my way out | |
| Wrote everything down far as I could see | |
| I wrote my way out | |
| I looked up and the town had its eyes on me | |
| They passed a plate around | |
| Total strangers | |
| Moved to kindness by my story | |
| Raised enough for me to book passage on a | |
| Ship that was New York bound… | |
| I wrote my way out of hell | |
| I wrote my way to revolution | |
| I was louder than the crack in the bell | |
| I wrote Eliza love letters until she fell | |
| I wrote about The Constitution and defended it well | |
| And in the face of ignorance and resistance | |
| I wrote financial systems into existence | |
| And when my prayers to God were met with indifference | |
| I picked up a pen, I wrote my own deliverance | |
| In the eye of a hurricane | |
| There is quiet | |
| For just a moment | |
| A yellow sky | |
| I was twelve when my mother died | |
| She was holding me | |
| We were sick and she was holding me | |
| I couldn’t seem to die | |
| BURR | |
| Wait for it, wait for it, wait for it… | |
| BURR AND ENSEMBLE | |
| Wait for it, wait for it, wait for it… | |
| Wait for it, wait for it, wait for it, wait… | |
| HAMILTON | |
| I’ll write my way out… | |
| Write ev’rything down, far as I can see… | |
| I’ll write my way out… | |
| Overwhelm them with honesty. | |
| WASHINTON/ | |
| ELIZA/ANGELICA/ | |
| MARIA | |
| History has its eyes on you | |
| HAMILTON | |
| This is the eye of the hurricane, this is the only | |
| Way I can protect my legacy… | |
| COMPANY (EXCEPT HAMILTON) | |
| Wait for it, wait for it, wait for it, wait… | |
| HAMILTON | |
| The Reynolds Pamphlet | |
| FULL COMPANY | |
| The Reynolds Pamphlet | |
| JEFFERSON/MADISON/ANGELICA | |
| Have you read this? | |
| BURR/JEFFERSON/MADISON | |
| Alexander Hamilton had a torrid affair | |
| And he wrote it down right there | |
| MADISON | |
| Highlights! | |
| HAMILTON/JEFFERSON | |
| “The charge against me | |
| Is a connection with one | |
| James Reynolds! | |
| For purposes of | |
| Improper speculation | |
| My real crime is an | |
| Amorous connection with his wife | |
| For a considerable time | |
| With his knowing consent | |
| JAMES | |
| James Reynolds! | |
| BURR | |
| My real crime is an | |
| Amorous connection with his wife | |
| MADISON/BURR/JEFFERSON | |
| Damn! | |
| HAMILTON/JEFFERSON/MADISON | |
| “I had frequent meetings with her | |
| Most of them at my own house.” | |
| BURR | |
| At his own house! | |
| MADISON | |
| At his own house! | |
| DEEP VOICE | |
| Damn! | |
| HAMILTON/JEFFERSON | |
| “Mrs. Hamilton with our children being absent | |
| On a visit to her father.” | |
| MADISON/BURR | |
| No… | |
| COMPANY | |
| Boooo! | |
| MADISON/BURR | |
| Have you read this? | |
| JEFFERSON | |
| Well, he’s never gon’ be President now | |
| MADISON/BURR | |
| Never gon’ be President now | |
| JEFFERSON | |
| Well, he’s never gon’ be President now | |
| MADISON/BURR | |
| Never gon’ be President now | |
| JEFFERSON | |
| He’s never gon’ be President now | |
| MADISON/BURR | |
| Never gon’ be President now | |
| JEFFERSON | |
| That’s one less thing to worry about | |
| JEFFERSON/MADISON/BURR | |
| That’s one less thing to worry about! | |
| ANGELICA | |
| I came as soon as I heard | |
| JEFFERSON | |
| What?! | |
| HAMILTON | |
| Angelica— | |
| COMPANY | |
| All the way from London?! | |
| Damn | |
| HAMILTON | |
| Angelica, thank God | |
| Someone who understands what I’m | |
| Struggling here to do | |
| ANGELICA | |
| I’m not here for you | |
| ENSEMBLE | |
| Oooooh! | |
| ANGELICA | |
| I know my sister like I know my own mind | |
| You will never find anyone as trusting or as kind | |
| I love my sister more than anything in this life | |
| I will choose her happiness over mine every time | |
| Put what we had aside | |
| I’m standing at her side | |
| You could never be satisfied | |
| God, I hope you’re satisfied | |
| JEFFERSON/MADISON/BURR | |
| Well, he’s never gon’ be President now | |
| Well, he’s never gon’ be President now | |
| Well, he’s never gon’ be President now | |
| That’s one less thing to worry about. | |
| ENSEMBLE MEN | |
| Never gon’ be President now | |
| Never gon’ be President now | |
| Never gon’ be President now | |
| That’s one less thing to worry about. | |
| JEFFERSON/MADISON | |
| Hey! | |
| At least he was honest with our money! | |
| Hey! | |
| At least he was honest with our money! | |
| HAMILTON | |
| Hey! | |
| At least I was honest with our money! | |
| Hey! | |
| At least he was honest with our money! ENSEMBLE WOMEN | |
| Well he’s never gon’ be President now | |
| Well he’s never gon’ be President now | |
| Well he’s never gon’ be President now | |
| That’s one less thing to worry about. | |
| ENSEMBLE MEN | |
| Well he’s never gon’ be President now | |
| Well he’s never gon’ be President now | |
| Well he’s never gon’ be President now. | |
| FULL COMPANY | |
| That’s one less thing to worry about! | |
| The Reynolds Pamphlet | |
| JEFFERSON/MADISON/BURR | |
| Have you read this? | |
| You ever see somebody ruin their own life? | |
| COMPANY (EXCEPT HAMILTON/ELIZA) | |
| His poor wife | |
| ELIZA | |
| I saved every letter you wrote me | |
| From the moment I read them | |
| I knew you were mine | |
| You said you were mine | |
| I thought you were mine | |
| Do you know what Angelica said | |
| When we saw your first letter arrive? | |
| She said | |
| “Be careful with that one, love | |
| He will do what it takes to survive.” | |
| You and your words flooded my senses | |
| Your sentences left me defenseless | |
| You built me palaces out of paragraphs | |
| You built cathedrals | |
| I’m re-reading the letters you wrote me | |
| I’m searching and scanning for answers | |
| In every line | |
| For some kind of sign | |
| And when you were mine | |
| The world seemed to | |
| Burn | |
| Burn | |
| You published the letters she wrote you | |
| You told the whole world how you brought | |
| This girl into our bed | |
| In clearing your name, you have ruined our lives | |
| Do you know what Angelica said | |
| When she read what you’d done? | |
| She said | |
| “You have married an Icarus | |
| He has flown too close to the sun.” | |
| You and your words, obsessed with your legacy… | |
| Your sentences border on senseless | |
| And you are paranoid in every paragraph | |
| How they perceive you | |
| You, you, you… | |
| I’m erasing myself from the narrative | |
| Let future historians wonder how Eliza | |
| Reacted when you broke her heart | |
| You have torn it all apart | |
| I am watching it | |
| Burn | |
| Watching it burn | |
| The world has no right to my heart | |
| The world has no place in our bed | |
| They don’t get to know what I said | |
| I’m burning the memories | |
| Burning the letters that might have redeemed you | |
| You forfeit all rights to my heart | |
| You forfeit the place in our bed | |
| You sleep in your office instead | |
| With only the memories | |
| Of when you were mine | |
| I hope that you burn | |
| PHILIP | |
| Meet the latest graduate of King’s College! | |
| I prob’ly shouldn’t brag, but, dag, I amaze and astonish! | |
| The scholars say I got the same virtuosity and brains as my pops! | |
| The ladies say my brain’s not where the resemblance stops! | |
| I’m only nineteen but my mind is older | |
| Gotta be my own man, like my father, but bolder | |
| I shoulder his legacy with pride | |
| I used to hear him say | |
| That someday | |
| I would— | |
| ENSEMBLE | |
| Blow us all away | |
| PHILIP | |
| Ladies, I’m lookin for a Mr. George Eacker | |
| Made a speech last week, our Fourth of July speaker | |
| He disparaged my father’s legacy in front of a crowd | |
| I can’t have that, I’m making my father proud | |
| MARTHA | |
| I saw him just up Broadway a couple of blocks | |
| He was goin’ to see a play | |
| PHILIP | |
| Well, I’ll go visit his box | |
| DOLLY | |
| God, you’re a fox | |
| PHILIP | |
| And y’all look pretty good in ya’ frocks | |
| How ‘bout when I get back, we all strip down to our socks? | |
| BOTH | |
| Ok! | |
| COMPANY | |
| Blow us all away! | |
| PHILIP | |
| George! | |
| GEORGE | |
| Shh | |
| PHILIP | |
| George! | |
| GEORGE | |
| Shh! I’m tryin’ to watch the show! | |
| PHILIP | |
| Ya’ shoulda watched your mouth before you | |
| Talked about my father though! | |
| GEORGE | |
| I didn’t say anything that wasn’t true | |
| Your father’s a scoundrel, and so, it seems, are you | |
| ENSEMBLE | |
| Ooooooooooh! | |
| PHILIP | |
| It’s like that? | |
| GEORGE | |
| Yeah, I don’t fool around | |
| I’m not your little schoolboy friends | |
| PHILIP | |
| See you on the dueling ground | |
| That is, unless you wanna step outside and go now | |
| GEORGE | |
| I know where to find you, piss off | |
| I’m watchin’ this show now | |
| PHILIP | |
| Pops, if you had only heard the shit he said about you | |
| I doubt you would have let it slide and I was not about to— | |
| HAMILTON | |
| Slow down | |
| PHILIP | |
| I came to ask you for advice. This is my very first duel | |
| They don’t exactly cover this subject in boarding school | |
| HAMILTON | |
| Did your friends attempt to negotiate a peace? | |
| PHILIP | |
| He refused to apologize, we had to let the peace talks cease | |
| HAMILTON | |
| Where is this happening? | |
| PHILIP | |
| Across the river, in Jersey | |
| HAMILTON/PHILIP | |
| Everything is legal in New Jersey… | |
| HAMILTON | |
| Alright. So this is what you’re gonna do: | |
| Stand there like a man until Eacker is in front of you | |
| When the time comes, fire your weapon in the air | |
| This will put an end to the whole affair | |
| PHILIP | |
| But what if he decides to shoot? Then I’m a goner | |
| HAMILTON | |
| No. He’ll follow suit if he’s truly a man of honor | |
| To take someone’s life, that is something you can’t shake | |
| Philip, your mother can’t take another heartbreak | |
| PHILIP | |
| Father— | |
| HAMILTON | |
| Promise me. You don’t want this | |
| Young man’s blood on your conscience | |
| PHILIP | |
| Okay, I promise | |
| HAMILTON | |
| Come back home when you’re done | |
| Take my guns. Be smart. Make me proud, son | |
| PHILIP | |
| My name is Philip | |
| I am a poet | |
| I’m a little nervous, but I can’t show it | |
| I’m sorry, I’m a Hamilton with pride | |
| You talk about my father, I cannot let it slide | |
| Mister Eacker! How was the rest of your show? | |
| GEORGE | |
| I’d rather skip the pleasantries | |
| Let’s go | |
| Grab your pistol | |
| PHILIP | |
| Confer with your men | |
| The duel will commence after we count to ten | |
| ENSEMBLE | |
| Count to ten! | |
| PHILIP | |
| Look ‘em in the eye, aim no higher | |
| Summon all the courage you require | |
| Then slowly and clearly aim your gun towards the sky— | |
| MALE ENSEMBLE | |
| One two three four | |
| FULL ENSEMBLE | |
| Five six seven— | |
| ENSEMBLE WOMEN | |
| Stay alive… | |
| Stay alive… | |
| Stay alive… | |
| HAMILTON | |
| Where’s my son? | |
| Is he alive? | |
| DOCTOR | |
| Mr. Hamilton, come in. They brought him in a half an hour ago. He lost a lot of blood on the way over. | |
| DOCTOR | |
| Yes. But you have to understand | |
| The bullet entered just above his hip and | |
| Lodged in his right arm | |
| HAMILTON | |
| Can I see him please? | |
| DOCTOR | |
| I’m doing ev’rything I can, but the wound was | |
| Already infected when he arrived— | |
| HAMILTON | |
| Philip | |
| PHILIP | |
| Pa | |
| I did exactly as you said, Pa | |
| I held my head up high | |
| HAMILTON | |
| I know, I know. Shh | |
| I know, I know | |
| Shh. I know you did | |
| Ev’rything just right | |
| Shh | |
| I know, I know | |
| I know, I know | |
| I know | |
| Save your strength and | |
| Stay alive… | |
| PHILIP | |
| High | |
| Even before we got to ten— | |
| I was aiming for the sky | |
| I was aiming for the sky | |
| ENSEMBLE MEN | |
| Stay alive… | |
| ELIZA | |
| No! | |
| HAMILTON | |
| Eliza | |
| ELIZA | |
| Is he breathing? Is he going to survive this? ENSEMBLE MEN | |
| Stay alive… | |
| ELIZA | |
| Who did this, Alexander, did you know? | |
| PHILIP | |
| Mom, I’m so sorry for forgetting what you taught me | |
| ELIZA | |
| My son— | |
| PHILIP | |
| We played piano | |
| ELIZA | |
| I taught you piano | |
| PHILIP | |
| You would put your hands on mine | |
| ELIZA | |
| You changed the melody every time | |
| PHILIP | |
| Ha. I would always change the line | |
| ELIZA | |
| Shh. I know, I know | |
| PHILIP | |
| I would always change the line | |
| ELIZA | |
| I know, I know | |
| ELIZA | |
| Un deux trois quatre | |
| Cinq six sept huit neuf | |
| Good | |
| Un deux trois quatre | |
| Cinq six sept | |
| Huit neuf | |
| Sept huit neuf— | |
| Sept huit… | |
| PHILIP | |
| Un deux trois quatre | |
| Cinq six sept huit neuf | |
| PHILIP | |
| Un deux trois… | |
| ANGELICA | |
| There are moments that the words don’t reach | |
| There is suffering too terrible to name | |
| You hold your child as tight as you can | |
| And push away the unimaginable | |
| The moments when you’re in so deep | |
| It feels easier to just swim down | |
| ANGELICA/ENSEMBLE | |
| The Hamiltons move uptown | |
| And learn to live with the unimaginable | |
| HAMILTON | |
| I spend hours in the garden | |
| I walk alone to the store | |
| And it’s quiet uptown | |
| I never liked the quiet before | |
| I take the children to church on Sunday | |
| A sign of the cross at the door | |
| And I pray | |
| That never used to happen before | |
| ANGELICA AND WOMEN | |
| If you see him in the street, walking by | |
| Himself, talking to himself, have pity | |
| HAMILTON | |
| Philip, you would like it uptown | |
| It’s quiet uptown | |
| ANGELICA AND WOMEN | |
| He is working through the unimaginable | |
| ALL MEN (EXCEPT HAMILTON) | |
| His hair has gone grey. He passes every day | |
| They say he walks the length of the city | |
| HAMILTON | |
| You knock me out, I fall apart | |
| COMPANY (EXCEPT HAMILTON AND ELIZA) | |
| Can you imagine? | |
| HAMILTON | |
| Look at where we are | |
| Look at where we started | |
| I know I don’t deserve you, Eliza | |
| But hear me out. That would be enough | |
| If I could spare his life | |
| If I could trade his life for mine | |
| He’d be standing here right now | |
| And you would smile, and that would be enough | |
| I don’t pretend to know | |
| The challenges we’re facing | |
| I know there’s no replacing what we’ve lost | |
| And you need time | |
| But I’m not afraid | |
| I know who I married | |
| Just let me stay here by your side | |
| That would be enough | |
| COMPANY (EXCEPT HAMILTON AND ELIZA) | |
| If you see him in the street, walking by her | |
| Side, talking by her side, have pity | |
| HAMILTON | |
| Eliza, do you like it uptown? It’s quiet uptown | |
| COMPANY (EXCEPT HAMILTON AND ELIZA) | |
| He is trying to do the unimaginable | |
| See them walking in the park, long after dark | |
| Taking in the sights of the city | |
| HAMILTON | |
| Look around, look around, Eliza | |
| COMPANY (EXCEPT HAMILTON AND ELIZA) | |
| They are trying to do the unimaginable | |
| ANGELICA | |
| There are moments that the words don’t reach | |
| There is a grace too powerful to name | |
| We push away what we can never understand | |
| We push away the unimaginable | |
| They are standing in the garden | |
| Alexander by Eliza’s side | |
| She takes his hand | |
| ELIZA | |
| It’s quiet uptown | |
| COMPANY (EXCEPT HAMILTON AND ELIZA) | |
| Forgiveness. Can you imagine? | |
| Forgiveness. Can you imagine? | |
| If you see him in the street, walking by her | |
| Side, talking by her side, have pity | |
| They are going through the unimaginable | |
| FULL COMPANY | |
| The election of 1800 | |
| JEFFERSON | |
| Can we get back to politics? | |
| MADISON | |
| Please? | |
| JEFFERSON | |
| Yo. Ev’ry action has an equal, opposite reaction | |
| John Adams shat the bed. I love the guy, but he’s in traction | |
| Poor Alexander Hamilton? He is missing in action | |
| So now I’m facing— | |
| JEFFERSON AND MADISON | |
| Aaron Burr! | |
| JEFFERSON | |
| With his own faction | |
| MADISON | |
| He’s very attractive in the North. New Yorkers like his chances | |
| JEFFERSON | |
| He’s not very forthcoming on any particular stances | |
| MADISON | |
| Ask him a question: it glances off, he obfuscates, he dances | |
| JEFFERSON | |
| And they say I’m a Francophile: at least they know I know where France is! | |
| MADISON | |
| Thomas that’s the problem, see, they see Burr as a less extreme you | |
| JEFFERSON | |
| Ha! | |
| MADISON | |
| You need to change course, a key endorsement might redeem you | |
| JEFFERSON | |
| Who did you have in mind? | |
| MADISON | |
| Don’t laugh | |
| JEFFERSON | |
| Who is it? | |
| MADISON | |
| You used to work on the same staff | |
| JEFFERSON | |
| Whaaaat | |
| MADISON | |
| It might be nice, it might be nice | |
| To get Hamilton on your side | |
| JEFFERSON AND MADISON | |
| It might be nice, it might be nice | |
| To get Hamilton on your side | |
| BURR | |
| Talk less! | |
| Smile more! | |
| Don’t let ‘em know what you’re against or what you’re for! | |
| Shake hands with him! | |
| Charm her! | |
| It’s eighteen hundred, ladies, tell your husbands: vote for | |
| Burr! | |
| ENSEMBLE | |
| Burr! | |
| Burr! | |
| Burr! | |
| Burr! | |
| Burr! | |
| Burr! | |
| MALE VOTER | |
| I don’t like Adams | |
| FEMALE VOTER | |
| Well, he’s gonna lose, that’s just defeatist | |
| ANOTHER MALE VOTER | |
| And Jefferson— | |
| TWO MEN | |
| In love with France! | |
| ANOTHER FEMALE VOTER | |
| Yeah, he’s so elitist! | |
| TWO WOMEN | |
| I like that Aaron Burr! | |
| A WOMAN | |
| I can’t believe we’re here with him! | |
| A MAN | |
| He seems approachable…? | |
| ANOTHER MALE VOTER | |
| Like you could grab a beer with him! | |
| ENSEMBLE | |
| Dear Mr. Hamilton: your fellow Fed’ralists would like to know how you’ll be voting | |
| HAMILTON | |
| It’s quiet uptown | |
| ENSEMBLE | |
| Dear Mr. Hamilton: John Adams doesn’t stand a chance, so who are you promoting? | |
| HAMILTON | |
| It’s quiet uptown | |
| MEN | |
| Jefferson or Burr? | |
| We know it’s lose-lose | |
| Jefferson or Burr? | |
| But if you had to choose | |
| WOMEN | |
| Jefferson or Burr? | |
| We know it’s lose-lose | |
| Jefferson or Burr? | |
| But if you had to choose | |
| EVEN MORE VOTERS | |
| Dear Mr. Hamilton: | |
| John Adams doesn’t stand a chance so who are you promoting? | |
| But if you had to choose | |
| MEN | |
| Jefferson or Burr? | |
| We know it’s lose-lose | |
| Jefferson or Burr? | |
| But if you had to choose | |
| WOMEN | |
| Jefferson or Burr? | |
| We know it’s lose-lose | |
| Jefferson or Burr? | |
| But if you had to choose | |
| HAMILTON | |
| Well, if it isn’t Aaron Burr. Sir! | |
| BURR | |
| Alexander! | |
| HAMILTON | |
| You’ve created quite a stir, sir! | |
| BURR | |
| I’m going door to door! | |
| HAMILTON | |
| You’re openly campaigning? | |
| BURR | |
| Sure! | |
| HAMILTON | |
| That’s new | |
| BURR | |
| Honestly, it’s kind of draining | |
| HAMILTON | |
| Burr— | |
| BURR | |
| Sir! | |
| HAMILTON | |
| Is there anything you wouldn’t do? | |
| BURR | |
| No. I’m chasing what I want | |
| And you know what? | |
| HAMILTON | |
| What? | |
| BURR | |
| I learned that from you | |
| ENSEMBLE | |
| If you had to choose | |
| If you had to choose | |
| MADISON | |
| It’s a tie! | |
| ENSEMBLE | |
| If you had to choose | |
| If you had to choose | |
| JEFFERSON | |
| It’s up to the delegates! | |
| ENSEMBLE | |
| If you had to choose | |
| If you had to choose | |
| JEFFERSON/MADISON | |
| It’s up to Hamilton! | |
| VOTERS | |
| If you had to choose | |
| If you had to choose | |
| If you had to | |
| Choose | |
| Choose | |
| Choose! MADISON/ | |
| ENSEMBLE | |
| Jefferson or Burr? | |
| Choose | |
| Choose | |
| Choose! | |
| ENSEMBLE | |
| Jefferson or Burr? | |
| Choose | |
| Choose | |
| Choose! | |
| HAMILTON | |
| Yo | |
| ENSEMBLE | |
| Oh! | |
| HAMILTON | |
| The people are asking to hear my voice | |
| ENSEMBLE | |
| Oh! | |
| HAMILTON | |
| For the country is facing a difficult choice | |
| ENSEMBLE | |
| Oh! | |
| HAMILTON | |
| And if you were to ask me who I’d promote— | |
| ENSEMBLE | |
| Oh! | |
| HAMILTON | |
| —Jefferson has my vote | |
| JEFFERSON/MADISON/ENSEMBLE | |
| Oh! | |
| HAMILTON | |
| I have never agreed with Jefferson once | |
| JEFFERSON/MADISON/ENSEMBLE | |
| Oh! | |
| HAMILTON | |
| We have fought on like seventy-five diff’rent fronts | |
| JEFFERSON/MADISON/ENSEMBLE | |
| Oh! | |
| HAMILTON | |
| But when all is said and all is done | |
| Jefferson has beliefs. Burr has none | |
| ENSEMBLE | |
| Oooooooooooooh | |
| MADISON AND JEFFERSON | |
| Well, I’ll be damned | |
| Well, I’ll be damned | |
| MADISON | |
| Hamilton’s on your side | |
| ENSEMBLE | |
| Well, I’ll be damned | |
| Well, I’ll be damned | |
| JEFFERSON | |
| And? | |
| MADISON | |
| You won in a landslide | |
| BURR | |
| Congrats on a race well-run | |
| I did give you a fight | |
| JEFFERSON | |
| Uh-huh | |
| BURR | |
| I look forward to our partnership | |
| JEFFERSON | |
| Our partnership? | |
| BURR | |
| As your vice-President | |
| JEFFERSON | |
| Ha. Yeah, right | |
| You hear this guy? Man openly campaigns against me, talkin’ bout, “I look forward to our partnership.” | |
| MADISON | |
| It’s crazy that the guy who comes in second gets to be Vice President | |
| JEFFERSON | |
| Yeah, you know what? We can change that. You know why? | |
| MADISON | |
| Why? | |
| JEFFERSON | |
| ‘cuz I’m the President. Hey, Burr, when you see Hamilton, thank him for the endorsement | |
| BURR | |
| How does Hamilton | |
| An arrogant | |
| Immigrant, orphan | |
| Bastard, whoreson | |
| Somehow endorse | |
| Thomas Jefferson, his enemy | |
| A man he’s despised since the beginning | |
| Just to keep me from winning? | |
| I wanna be in the room where it happens— | |
| BURR AND COMPANY | |
| The room where it happens | |
| The room where it happens | |
| BURR | |
| You’ve kept me from— | |
| BURR AND COMPANY | |
| The room where it happens | |
| BURR | |
| For the last time | |
| Dear Alexander: | |
| I am slow to anger | |
| But I toe the line | |
| As I reckon with the effects | |
| Of your life on mine | |
| I look back on where I failed | |
| And in every place I checked | |
| The only common thread has been your disrespect | |
| Now you call me “amoral,” | |
| A “dangerous disgrace,” | |
| If you’ve got something to say | |
| Name a time and place | |
| Face to face | |
| I have the honor to be Your Obedient Servant | |
| A dot Burr | |
| HAMILTON | |
| Mr. Vice President: | |
| I am not the reason no one trusts you | |
| No one knows what you believe | |
| I will not equivocate on my opinion | |
| I have always worn it on my sleeve | |
| Even if I said what you think I said | |
| You would need to cite a more specific grievance | |
| Here’s an itemized list of thirty years of disagreements | |
| BURR | |
| Sweet Jesus | |
| HAMILTON | |
| Hey, I have not been shy | |
| I am just a guy in the public eye | |
| Tryin’ to do my best for our republic | |
| I don’t wanna fight | |
| But I won’t apologize for doing what’s right | |
| I have the honor to be Your Obedient Servant | |
| A dot Ham | |
| BURR | |
| Careful how you proceed, good man | |
| Intemperate indeed, good man | |
| Answer for the accusations I lay at your feet or | |
| Prepare to bleed, good man | |
| HAMILTON | |
| Burr, your grievance is legitimate | |
| I stand by what I said, every bit of it | |
| You stand only for yourself | |
| It’s what you do | |
| I can’t apologize because it’s true | |
| BURR | |
| Then stand, Alexander | |
| Weehawken. Dawn | |
| Guns. Drawn | |
| HAMILTON | |
| You’re on | |
| BURR AND HAMILTON | |
| I have the honor to be Your Obedient Servant | |
| HAMILTON | |
| A dot Ham | |
| BURR | |
| A dot Burr | |
| ELIZA | |
| Alexander, come back to sleep | |
| HAMILTON | |
| I have an early meeting out of town | |
| ELIZA | |
| It’s still dark outside | |
| HAMILTON | |
| I know. I just need to write something down | |
| ELIZA | |
| Why do you write like you’re running out of time? | |
| HAMILTON | |
| Shhh | |
| ELIZA | |
| Come back to bed. That would be enough | |
| HAMILTON | |
| I’ll be back before you know I’m gone | |
| ELIZA | |
| Come back to sleep | |
| HAMILTON | |
| This meeting’s at dawn | |
| ELIZA | |
| Well, I’m going back to sleep | |
| HAMILTON | |
| Hey. Best of wives and best of women | |
| MALE COMPANY | |
| One two three four | |
| FULL COMPANY (EXCEPT HAMILTON AND BURR) | |
| Five six seven eight nine— | |
| BURR | |
| There are ten things you need to know | |
| COMPANY | |
| Number one! | |
| BURR | |
| We rowed across the Hudson at dawn | |
| My friend, William P. Van Ness signed on as my— | |
| BURR AND COMPANY | |
| Number two! | |
| BURR | |
| Hamilton arrived with his crew: | |
| Nathaniel Pendleton and a doctor that he knew | |
| COMPANY | |
| Number three! | |
| BURR | |
| I watched Hamilton examine the terrain | |
| I wish I could tell you what was happ’ning in his brain | |
| This man has poisoned my political pursuits! | |
| COMPANY | |
| Most disputes die and no one shoots! | |
| Number four! | |
| BURR | |
| Hamilton drew first position | |
| Looking, to the world, like a man on a mission | |
| This is a soldier with a marksman’s ability | |
| The doctor turned around so he could have deniability | |
| COMPANY | |
| Five! | |
| BURR | |
| Now I didn’t know this at the time | |
| But we were— | |
| BURR AND PHILIP | |
| Near the same spot | |
| Your son died, is that | |
| Why— HAMILTON | |
| Near the same spot | |
| My son died, is that | |
| Why— | |
| COMPANY | |
| Six! | |
| BURR | |
| He examined his gun with such rigor? | |
| I watched as he methodically fiddled with the trigger | |
| COMPANY | |
| Seven! | |
| BURR | |
| Confession time? Here’s what I got: | |
| My fellow soldiers’ll tell you I’m a terrible shot | |
| COMPANY | |
| Number eight! | |
| BURR/HAMILTON/ENSEMBLE MEN | |
| Your last chance to negotiate | |
| Send in your seconds, see if they can set the record straight | |
| BURR | |
| They won’t teach you this in your classes | |
| But look it up, Hamilton was wearing his glasses | |
| Why? If not to take deadly aim? | |
| It’s him or me, the world will never be the same | |
| I had only one thought before the slaughter: | |
| This man will not make an orphan of my daughter | |
| COMPANY | |
| Number nine! | |
| BURR | |
| Look him in the eye, aim no higher | |
| Summon all the courage you require | |
| Then count: | |
| COMPANY | |
| One two three four five six seven eight nine | |
| Number ten paces! Fire!— | |
| HAMILTON | |
| I imagine death so much it feels more like a memory | |
| Is this where it gets me, on my feet, sev’ral feet ahead of me? | |
| I see it coming, do I run or fire my gun or let it be? | |
| There is no beat, no melody | |
| Burr, my first friend, my enemy | |
| Maybe the last face I ever see | |
| If I throw away my shot, is this how you’ll remember me? | |
| What if this bullet is my legacy? | |
| Legacy. What is a legacy? | |
| It’s planting seeds in a garden you never get to see | |
| I wrote some notes at the beginning of a song someone will sing for me | |
| America, you great unfinished symphony, you sent for me | |
| You let me make a difference | |
| A place where even orphan immigrants | |
| Can leave their fingerprints and rise up | |
| I’m running out of time. I’m running, and my time’s up | |
| Wise up. Eyes up | |
| I catch a glimpse of the other side | |
| Laurens leads a soldiers’ chorus on the other side | |
| My son is on the other side | |
| He’s with my mother on the other side | |
| Washington is watching from the other side | |
| Teach me how to say goodbye | |
| Rise up, rise up, rise up | |
| Eliza | |
| My love, take your time | |
| I’ll see you on the other side | |
| Raise a glass to freedom… | |
| BURR AND COMPANY | |
| He aims his pistol at the sky— | |
| BURR | |
| Wait! | |
| BURR | |
| I strike him right between his ribs | |
| I walk towards him, but I am ushered away | |
| They row him back across the Hudson | |
| I get a drink | |
| COMPANY | |
| Aaaah | |
| Aaaah | |
| Aaaah | |
| BURR | |
| I hear wailing in the streets | |
| COMPANY | |
| Aaaah | |
| Aaaah | |
| Aaaah | |
| BURR | |
| Somebody tells me, “You’d better hide.” | |
| COMPANY | |
| Aaaah | |
| Aaaah | |
| Aaaah | |
| BURR | |
| They say | |
| BURR AND ANGELICA | |
| Angelica and Eliza— | |
| BURR | |
| Were both at his side when he died | |
| Death doesn’t discriminate | |
| Between the sinners and the saints | |
| It takes and it takes and it takes | |
| History obliterates | |
| In every picture it paints | |
| It paints me and all my mistakes | |
| When Alexander aimed | |
| At the sky | |
| He may have been the first one to die | |
| But I’m the one who paid for it | |
| I survived, but I paid for it | |
| Now I’m the villain in your history | |
| I was too young and blind to see… | |
| I should’ve known | |
| I should’ve known | |
| The world was wide enough for both Hamilton and me | |
| The world was wide enough for both Hamilton and me | |
| WASHINGTON | |
| Let me tell you what I wish I’d known | |
| When I was young and dreamed of glory | |
| You have no control: | |
| WASHINGTON AND COMPANY | |
| Who lives | |
| Who dies | |
| Who tells your story? | |
| BURR | |
| President Jefferson: | |
| JEFFERSON | |
| I’ll give him this: his financial system is a | |
| Work of genius. I couldn’t undo it if I tried | |
| And I tried | |
| WASHINGTON AND COMPANY | |
| Who lives | |
| Who dies | |
| Who tells your story? | |
| BURR | |
| President Madison: | |
| MADISON | |
| He took our country from bankruptcy to prosperity | |
| I hate to admit it, but he doesn’t get enough credit | |
| For all the credit he gave us | |
| WASHINGTON AND COMPANY | |
| Who lives | |
| Who dies | |
| Who tells your story? | |
| ANGELICA | |
| Every other founding father story gets told | |
| Every other founding father gets to grow old | |
| BURR | |
| But when you’re gone, who remembers your name? | |
| Who keeps your flame? | |
| BURR AND MEN | |
| Who tells your story? | |
| Who tells your story? | |
| ANGELICA AND WOMEN | |
| Who tells your story? | |
| Your story? | |
| WOMEN | |
| Eliza | |
| ELIZA | |
| I put myself back in the narrative | |
| WOMEN | |
| Eliza | |
| ELIZA | |
| I stop wasting time on tears | |
| I live another fifty years | |
| It’s not enough | |
| COMPANY | |
| Eliza | |
| ELIZA | |
| I interview every soldier who fought by your side | |
| MULLIGAN/LAFAYETTE/LAURENS | |
| She tells our story | |
| ELIZA | |
| I try to make sense of your thousands of pages of writings | |
| You really do write like you’re running out of— | |
| ELIZA AND COMPANY | |
| Time | |
| ELIZA | |
| I rely on— | |
| ELIZA AND ANGELICA | |
| Angelica | |
| ELIZA | |
| While she’s alive— | |
| ELIZA AND ANGELICA | |
| We tell your story | |
| ELIZA | |
| She is buried in Trinity Church | |
| ELIZA AND ANGELICA | |
| Near you | |
| ELIZA | |
| When I needed her most, she was right on— | |
| ELIZA AND COMPANY | |
| Time | |
| ELIZA | |
| And I’m still not through | |
| I ask myself, “What would you do if you had more—” | |
| ELIZA AND COMPANY | |
| Time | |
| ELIZA | |
| The Lord, in his kindness | |
| He gives me what you always wanted | |
| He gives me more— | |
| ELIZA AND COMPANY | |
| Time | |
| ELIZA | |
| I raise funds in D.C. for the Washington Monument | |
| WASHINGTON | |
| She tells my story | |
| ELIZA | |
| I speak out against slavery | |
| You could have done so much more if you only had— | |
| ELIZA AND COMPANY | |
| Time | |
| ELIZA | |
| And when my time is up, have I done enough? | |
| ELIZA | |
| Will they tell our story? COMPANY | |
| Will they tell your story? | |
| ELIZA | |
| Oh. Can I show you what I’m proudest of? | |
| COMPANY | |
| The orphanage | |
| ELIZA | |
| I established the first private orphanage in New York City | |
| COMPANY | |
| The orphanage | |
| ELIZA | |
| I help to raise hundreds of children | |
| I get to see them growing up | |
| COMPANY | |
| The orphanage | |
| ELIZA | |
| In their eyes I see you, Alexander | |
| I see you every— | |
| ELIZA AND COMPANY | |
| Time | |
| ELIZA | |
| And when my time is up | |
| Have I done enough? | |
| Will they tell my story? | |
| COMPANY | |
| Will they tell your story? | |
| ELIZA | |
| Oh, I can’t wait to see you again | |
| It’s only a matter of— | |
| ELIZA AND COMPANY | |
| Time | |
| COMPANY | |
| Will they tell your story? | |
| Who lives, who dies, who tells your story? | |
| Will they tell your story? | |
| Who lives, who dies— | |
| COMPANY | |
| Time… | |
| Time… | |
| Time… | |
| FULL COMPANY | |
| Who tells your story? |
Sign up for free
to join this conversation on GitHub.
Already have an account?
Sign in to comment