PARIS IS BURNING: The True Story of Paris and Helena

Paris is Burning:
The True Story of Paris and Helena

By Patricia J. Sohn
Libretto and Songs Below
First Copyright © 2014,
Copyright © 2019 by Patricia J. Sohn
All Rights Reserved.



The play is a rock opera, meaning that there is no dialogue, only song and dance.  It could be played with an exceptional jazz (e.g., Cotton Club) band, carrying the music spontaneously (e.g., extemporaneously) from song to song; or it could have an original classical or rock/jazz score.  The play needs an original choreographer.  Every scene should be enacted in dance.  For more information, please contact me.


The performances in the linked songs are for demonstration purposes only. Performances are rough cuts, live, single track, and do not include harmonies; some harmonies are available if interested.  Performances are: electric piano and vocals by Patricia Sohn.  The musical is available for original direction, choreography, and complete score.  

A few of the songs intentionally have at least a bit of the sound of hymns in terms of phrasing.


Synopsis:  Helena, a daughter of the Tribe of Reuben and High Priestess of the Temple, is abducted by the Tribe of Naphtali from the Temple of Jerusalem, circa 6000 B.C.E.  Paris — her husband, the High Priest, also from the Tribe of Reuben, and one of the faces of God on earth — is angry.


Helena   She is mixed-race, perhaps reflecting Eur-Asian, Eur-African, or Eur-Asian-African looks.  She could be thin or slightly heavy.  She should have long hair.  She might look Phoenician or Central Asian.  Her hair bronzes in the Sun.  She is a Mezzo or Alto.  Helena is from the Tribe of Reuben.

Paris  Should have black hair.  He could have Nubian heritage, among others.  He should look Nubian or North African.  He is a baritone.  Paris is from the Tribe of Reuben.

Helena’s Father  Should be tall and somewhat lean, dark hair.  He is a baritone.  He should be 25 years her senior.  He lives among the Israelites at the Temple in Jerusalem.

Naphtali  Should be medium height.  He is a tenor.  He should be younger than both Paris and Helena.

Erebus  is Naphtali’s father.

Chorus (family of Paris and Helena; the court at the Tribe of Naphtali; and community around the Temple in Jerusalem: Dancing and Singing)  Should represent races/ethnicities from Africa, North Africa, Central Asia, Eastern Europe, South and Southeast Asia.  The choir should reflect all vocal ranges.

Narrator  The narrator should read aloud to the audience the opening setting, and the setting for each scene in turn as it is being enacted.

Song List.  (All songs are original by Patricia Sohn, Copyright © 2019 by Patricia Sohn; all songs originally copyright 2014.)

1.    “Paris is Burning”
2.    “Killing Cain”
3.    “Leave It To Me”
4.   Time Was”
5.    “Take Me To Your Heart”
6.    “King for a Day (One Time around the Maypole)”
7.    “Hearts Fly”
8.    “Where Are the Rose Gardens?”
9.   “Beside Me”
10. “You Don’t Know The Kind of Man I Am”
11. “One Day in June”


Setting:  Helena, High Priestess of the Temple in Jerusalem, has been abducted by the leader of the Tribe of Naphtali, who wish to rule the Israelites and circumvent or replace the Priests of the Temple.  They wish to control the Temple.  Helena's husband, Paris, is the High Priest of the Temple.  He is a member of the Tribe of Reuben.  The Tribe of Naphtali were expelled from the Israelite Tribes and from the Holy Land for corrupt and unholy behavior; they now live in Eastern Europe.  They have stormed the Holy Temple and abducted Helena, who is also a member of the Tribe of Reuben.  They have brought Helena to Eastern Europe to marry Naphtali, King of the Tribe of Naphtali.  The story would later become the source of the Greek myth with different names, except Paris and Helena, which remain constant [fictional].

The scene opens as Helena is being dragged forcibly from the Temple at sword and knife point.  It is approximately 6000 B.C. [fictional].  The Israelites have not yet been split between Jacob and Esaw.  Egypt and Israel are one and the same.  The Temple has been in place for 30,000 years of peace.  The Tribe of Naphtali was excommunicated thousands of years ago and have lived a separate, not parallel, existence in Europe.  The Israelites, meanwhile, have resided across the Middle East, North Africa, and all the way to India with peace, prosperity, and technology that the Tribe of Naphtali wish to appropriate for themselves.

Helena is forcibly dragged from the Temple at sword and knife point.  She has no dagger of her own, as she is on sacred ground.  If she had her dagger, she would have used it!  The Tribe of Naphtali is desecrating the Temple by bringing weapons to it.  The scene shows her forcibly dragged across the stage to Eastern Europe.  Paris stands firm.  He will not draw a blade on the sacred ground of the Holy Temple in Jerusalem.

The abductors and Helena have now arrived to the village of the Temple of Naphtali. The outside is moderately impressive; but, the inside is empty and devoid of content.

Everyone knows that Paris is one of the faces of God.  He has many siblings and cousins, and he is one of the eldest.  He has magical powers.  He is Helena’s devoted husband, but he can be frightening when angered.  Helena has limited magical powers.  She refuses to use them when living among the Tribe of Naphtali.  She can use them to protect her own life, or that of her family.  She is gentle; however, when she is angered she can also be frightening.  Lore says that if she comes to Earth as an animal, it is as a Dragon.  She prays to China every day, even from the Holy Temple in Jerusalem.  Upon arriving to the Tribe of Naphtali’s village, Helena sings to Naphtali.  Naphtali’s people do not understand how Helena can love Paris, because his skin and hair are different from theirs, and from Helena's.  Paris looks like a Nubian King, and Helena looks like the Sun shone Gold on all of Asia.  They are of the same bloodline, as they both belong to the Tribe of Reuben. The Tribe of Reuben is a healthy melting pot of all the races into one People.  Helena is defiant:


“Paris is Burning”
Helena:  Is this the little girl?
Is this the night or day?
Is this the way we speak?
Is this the nightingale?

And I [gesturing to the Sky, singing to Paris, who is at the Holy Temple] want to wrap my arms around you
And speak in tongues
You’re the only language
I have ever found

Want to wrap myself around you
And live in Peace
But you won’t come

[To Naphtali, who is standing near]  You say that I won’t Love
You say I’m Overdue
You say come take me here
You say take me with you

But I, I will wrap my arms around him
And speak in tongues
He’s the only language
I have ever found

I will wrap my arms around him
And live in Peace

You take me prisoner
You say that I can’t leave
You say that I’m your wife
You say, by your leave

Paris is burning!
Paris is burning!

Just as you desecrate
With your knives of steel
Our only Holy place
You say that I’m your meal

Paris is burning!
Paris is burning!

You can speak as you wish
I will never be your wife
You take me by force
And you will feel my knife

And I, I will wrap my arms around him
And speak in tongues
He’s the only language
I have ever found

Want to wrap myself around him
And life in Peace

Paris is burning!
Paris is burning!
Paris is burning!



Helena is thrown in a cage out of doors because she refuses to marry Naphtali.  She is told she will have no food or water until she marries him.  She is told she will die in less than a week out in the elements without food or water, so she should make her choice soon.  It is a choice with no choice.  But they call it a “choice”.  She sits in the cage for a month without dying.  People walk by, looking at her in fear as the days go by and it becomes clear that she will not die.  Meanwhile, she busies herself singing to Paris.  For them, Peace is to be found together in the Temple.  Anything else is war.  Helena sings to Paris, who is far away in the Temple.  She is half-mourning and half-joy at thinking of him.  The choir joins her in song.



“Killing Cain”

Baby, I love your songs
I keep singing along
I keep singing along

Baby, I’m over here
But I’m half-way there
Yes, I’m half-way there

And I,
Oh, Merciful Child
My heart’s going wild
My heart’s going wild

And you say,
Take me to that special place
Until I can come home
‘Cause I’m killing Cain

Take me, take me there again
Until I can come home
‘Cause I’m killing Cain

And I,
Oh, out on the streets
It’s a beautiful beat
And you keep me dancing

Take me to that special place
Until I can come home
‘Cause I’m killing Cain

Take me, take me there again
Until I can come home
‘Cause I’m killing Cain

And Oh,
Out on the streets
It’s a beautiful beat
And you keep me dancing, dancing

Baby, I love your songs
I keep singing along
I keep singing along

Baby, I’m over here
But I’m half-way there
Yes, I’m half-way there

And Oh,
Oh, Merciful Child
My heart’s going wild
My heart’s going wild

And you say,
Take me to that special place
Until I can come home
Cause I’m killing Cain

Take me, take me there again
Until I can come
Cause I’m killing Cain

Take me to that special place
Until I can come home
Cause I’m killing Cain

Take me, take me there again
Until I can come
Cause I’m killing Cain

And I,
Oh, out on the streets
It’s a beautiful beat
And you keep me dancing, dancing

Take me to that special place
Until I can come home
Cause I’m killing Cain

Take me, take me there again
Until I can come home
Cause I’m killing Cain

Take me to that special place
Until I can come home
‘Cause I’m killing Cain

Take me, take me there again
Until I can come home
Cause I’m killing Cain



A hundred years has gone by.  Helena is no longer living in the cage outdoors.  Her cage is bigger now.  She is living in the village under the watchful eye of Guard of the Tribe of Naphtali.  She is not allowed to leave by foot.  She is threatened with war against the Holy Temple in Jerusalem if she should choose to use magic against them, or to enable her to escape.  She and Paris agreed long ago that he would allow her to take care of this “problem” of the Tribe of Naphtali if and when they should attack the Temple.  But she misses him terribly, and he misses her. 

Back at the Temple, Paris is regretting his decision to allow Helena to take care of this mess.  He wishes he had not allowed her to be taken.  Maybe he should have lifted swords in the Temple, despite the desecration.  But that would have caused a ripple of changes in the magic that holds the Earth together, sets of changes that are difficult to explain or predict.  His heart is torn, and he is missing her very badly.  He sings to himself as he is engaged in his daily activities at home in Jerusalem:



“Leave It To Me”

Paris:  Leave it to me
To put all of my cards on the table for you
Leave it to me
To put all of my cards on a table for two

And I can’t tell where I’m going
And I can’t tell where you’ve been
But I have to see your face again

Leave it to me
To tell all of the guys that I’m over you
Leave it to me
To rip your heart out a time or two

Leave it to me
To always say what I mean, except to you
Leave it to me
To break my heart on an anvil every time I see you

And I can’t tell why you’re singing
And I, I can’t tell if you care
But I, I have to see you there

Leave it to you
To make Peace with the whole damned planet
Leave it to me
Just when I’m trying to jam it

Leave it to me
To give my heart out to everyone but you
And I turn around
And it’s always only you

Leave it to you
To grab my heart when it’s most un-expecting
Leave it to you
To make me feel unprotected

Leave it to you
To rip my heart out right through my soul
Leave it to you
You do not know the power you hold

And I don’t know where I’m going
And I don’t know where you’ve been
But I have to see you again

And, can you tell me that you care
And can you tell me that you’d die?
Can you tell me you think I’m worth a try?

Leave it to me
To put all of my cards on the table for you
Leave it to me
To put all of my cards on a table for two

And I can’t tell where I’m going
And I don’t know where you’ve been
But I, I have to see you again

Can you tell me that you care, and
Can you tell me that you’d die?
Can you tell me you think I’m worth a try?

‘Cause you could
Leave it for me
That heart that you carry right with you

Leave it for me



Another fifty years has gone by.  Periodically, Naphtali comes to Helena and rails at her, usually demanding that she marry him so that he can have magic in his family line.  He wants to use her as a baby-maker, so that he can have “talent.”  She tells him in no uncertain terms that she is not interested in the ostensibly noble pursuit of creating a blood line for him out of her own body.  She is unhappily in thought as she busies herself in her daily activities.  She sings to herself, to Paris, and to Naphtali all at the same time.



Time Was”

Time was
Off to the races
And time was
Singing in the wind

And,
Time was
Putting on pretty faces
And time was beautiful

And that’s how Time was
For a very long time
And now you’re calling me to join the races
Only I don’t want to fly
‘Cause I don’t like my feet up in the Sky

[To Paris, far away]: Time was
Singing with you in the winter
And Time was
Sleeping on the beach

[To Paris, far away]: And,
Time was
Running around to see all the places
Within her reach

And that’s how Time was
For a very long time
And now you’re calling me to join the races
Only I don’t want to fly
‘Cause I don’t like my feet up in the Sky

I don’t want to sing about this anymore
I don’t want to break down your door
As you’re calling me in
And, Time was everything
It was everything
And it will be that way again, and

Time—
It was everything
It was everything

Time—
I was everything

And Time,
It was everything
It was everything



Back at the Temple, Paris is feeling more hopeful.  He is having a second wind.  He feels that he can sustain this time without his wife and that everything will be Ok.  He will satisfy himself that he can have her in his dreams.  He is cheerier.  The chorus sings with him in a happy sort of dance.



“Take Me To Your Heart”

You keep asking where I am, Baby
And I won’t lie
You keep asking where I’ve been, Baby
Making me cry for you
‘Cause there’s nothing else to do

So, sing me a song
It always makes me strong
And sing it again
So, I can sing along

And take me to your heart
Take me to your dreams
Take me to you
So, I can have you here with me

Take me to your heart
So, we’ll never part
And take me again
Down to that stairwell where I waited for you

The first time that we met
The first time that we dreamed
The first time that we spoke
The first time you were here with me

The first time I saw your face
The first time I saw your smile
The first time I saw you
From about a mile

The first time I got it in my head
That you could be mine
The first time we spoke
And you were just fine

And now you’re here with me
Only too far away
And now I see you smile
And now I see you wake

And now I feel your dreams
Dreaming of me
And I just want to say
You have always been right her with me

Right here in my heart
And right here in my soul
Right here in the night
Waiting to hold
I’m still waiting to hold you again

Do you care if I go on?
For another song
‘Cause I could sing along
About another million years
About another million years or two

Take me to your heart
So, we’ll never part
And say you’ll be mine again
We can go to that stairwell where I spent the night alone

The first time that we met
The first time that we dreamed
The first time that I knew
That you’d be here with me

And have I said enough?
Or maybe not too much
You keep asking where I am
Baby, I’m right in front of you everywhere you go

Have I said enough?
To let you know that you’re mine
Baby, come home
Until the end of time

And every time that you dream
And every time in my heart
Baby, take me to you
I never want to part again

A little is enough
A little of your dreams
A little of your lips
If you are beside me

Take me to your heart
So we will never part
Take me to your heart
Take me to your heart

You keep asking where I am, Baby
And I won’t lie
You keep asking where I’ve been, Baby
Making me cry for you
‘Cause there’s nothing else to do



Another 150 years has passed.  At the Temple, Paris has grown a beard.  He is feeling wearied.  He is tired of his wife being gone.  He is contemplating war.  He is feeling old.  The Temple goes on as usual.  People walk by on errands or to come and pray.  Paris welcomes them as always.  But he is getting melancholy now.



“King for a Day (One Time around the Maypole)”

Once, I lay dreaming
Once, in your arms
One time around the Maypole

Once, I lay scheming
Once, in your arms
One time around the Maypole

[Musical interlude of medieval madrigal sound]

And sometimes I want to tell you
Everything in my heart
Sometimes I want to tell you
It’s true

Sometimes I want to tell you
Everything in my soul
Sometimes I want to tell you
It’s you

[Musical interlude of modern rock music]

Sometimes you make me feel like
I’m King for just a day
Sometimes you make me feel like
It’s true

Sometimes I want to tell you
Everything in my dreams
Sometimes I want to tell you
It’s you

[Musical interlude of modern rock music]

[Musical interlude of medieval madrigal sound]



Paris and Helena are both frustrated now.  In Europe, Helena sings to Paris.  He sings back from the Temple, almost as though they can hear one another from afar.  There are no radios in this day and age. 



“Hearts Fly”


Helena:  Hearts fly
And a Steamroller
Trying to get to you

Paris:  Words break
And Hearts scream
Out your name for you

Helena:  Baby, I can’t take this one second longer
Paris:  Tell me, tell me you’re feeling stronger

Helena:  I cry every time I hear your voice
But the tears won’t fall

Helena: My heart beats every time I hear your name
Beats against a wall
Of this cage I’m in

Paris: Baby, don’t tell me maybe
Just come home

Helena: I keep trying to reach you on the phone
But you’re not there

Helena: Baby, I’m dying for you
I can see your face

Paris: Baby, tell me you’ll leave this place

Helena: Your heart, your heart
Is the Temple of my Dreams

Paris:  Baby, your body is all I’ll ever need
So, please come Home

[Alternately, could be: “Baby, you’re all I’ll ever need, so please come home”]



In Europe, Naphtali’s father, Erebus, comes into Helena’s room to try to impregnate her.  Erebus forces himself on her in her sleep.  She takes out one of her two-pronged hairpins and stabs him with it in the neck.  She takes another long, wooden hairpin and stabs him with it in the eye, gouging his eye out.  It is for that reason that Erebus is known, forever after, as Cyclops.  Naphtali, who has been chuckling outside the door, calls for servants to attend to Erebus’s wounds.  There is much commotion.  Everyone leaves the room except Helena.  A few hours later, Naphtali and some servants enter the room with large manacles and chains.  They chain Helena to the bed by her arms and legs.  Over the coming months, they send all the men of Naphtali’s family in to desecrate her.  Helena is neither naïve nor innocent; she knows what they are doing.  Using sex to brutalize and dehumanize a standing High Priestess of the Israelites is not a “normal” thing.  It is an act of violence and desecration, plain and simple.  She does not lose her head through their brutality.  She uses her breathing exercises from the Temple and knows that the only stain of these acts of betrayal and sacrilege are upon those doing the violence.  She knows they will pay.

Nonetheless, Naphtali has succeeded in making her his baby-machine at long last.  She is impregnated by one of the men of his family – no one knows which one.  Raising the child makes her his prisoner in a more brutal way now.  Violence and imprisonment is one thing.  The cage Naphtali has made for her now is more complex and devious.  She is enraged.  She could leave at any time.  She could transform into a Dragon.  But she will not use magic, because she wants to beat him on his own terms.  He is a pathetic, weak, unintelligent thing.  Her fury is beginning to come out.  She has lost patience with teaching these adults who she sees as nothing but errant children.  She wants to go home to Paris.  She misses her husband.  She has no interest in being used as a human reproduction machine.  She would just splat them if she were not so stubborn herself.  With her baby in cradle next to the bed and Helena still chained to the bed with only enough moving room to nurse and use a chamber pot, she often lays quietly in prayer and meditation.  She sings to Paris from afar: 



“Where Are the Rose Gardens?”


Helena [to Paris in the distance]: I sit down to write to you
There’s nothing I can say
“Hello” for tomorrow
“Hello” for today

I’m filled with your dreams, Baby,
They give me hope
While I’m surrounded by seven gates
And just enough rope to cage me

And I miss you, Baby,
All of the time
Sometimes the words won’t sing
And the songs won’t rhyme

And all of these games they play
Around you and me
It’s enough to send me packing
To low country

Can you tell me how it is for you?
‘Cause I don’t see rose gardens
I can’t see rose gardens
Where are the rose gardens?
And fountains and flutes?
And where are you?

[Where Are The Rose Gardens musical theme]

[Bridge:]
And when are you coming to take me home again
Where the ocean meets the sea
And when am I going to see your face again?
‘Cause it’s not soon enough for me

When am I going to feel your heart again
As it beats next to mine
‘Cause they’re just tearing us apart again
It is such a waste of time

[Denouement:]
‘Cause I could be in your arms
And we could be happy
Every breath is a waste
It’s a waste of fresh air

I could be next to you
Hearing your sweet song
Dancing with you
Without a care

Don’t you think it’s a shame
‘Cause we could be happy
Instead of all of this stupid pain
Baby, I just want to be home again



[Where Are The Rose Gardens musical theme]




At the end of the song, Helena sits up on the bed and unchains herself.  She is tired of the lie.  They cannot really keep her here.  She uses her magic enough to open the chains of her own free Will.  One of Helena’s sisters in marriage sneaks into her room with a large robe and scarf, which cover her entire head and body.  They smuggle her out of the palace.  Meanwhile, Paris hears Helena’s song from the Temple, and he knows that she has been freed and has gone into hiding.  He is enthralled.  He is delighted.  He is relieved and happy.  He is finally feeling sweet again, as though life could be good again after so many hundreds of years.  He sings.  The chorus joins him as they go about their daily activities at the Temple.  Paris is in love with his wife.  He sings:



“Beside Me”

[Verse:]
You always live so far away
You always make me want to stay with you
You’re always filling me with dreams
You always make me dream the wildest things

[Chorus:]
You make me dream of you
You make me dream of you
You make me dream of you

[Verse:]
You know, you stop and start my Heart
One look, one glance, or one stumbling part
You know, you’re filling up my dreams
Can’t stand one more day without you

[Chorus:]
Beside me
Beside me
Beside me

I look at you
I look at you
I look at you

I look at you
You
I look at you



It has been decided.  The Temple will make war on Naphtali.  Enough waiting for him to decide whether he will war on them.  They will make Peace their own way.  They will destroy Naphtali’s holdings right now, and they will get Helena back.  Peace can only come when Paris and Helena are together.  The men gather weapons outside the Temple gates.  The women gather other supplies for the journey.  The men and women sing together as they prepare for war:




“You Don’t Know The Kind of Man I Am”


Women [to Naphtali in the distance]:  We always start here with you
We go ‘round and ‘round about
Very slowly
We always get to the Truth
We go ‘round and ‘round about
Very slowly

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am

Women:  So, let’s get to the Truth
No more ‘round and ‘round about
Very slowly
We always get here with you
We go ‘round and ‘round about
Very slowly

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am

Men:  I’m a Lover
A fighter
A dream-maker
I’m sweet and I’m tender
A mean-maker

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am

Women [at octaves]:  Let’s start with the Truth
Let’s start with the Truth

Men:  I’m a Lover
A fighter
A dream-maker
Sweet and I’m tender
A mean-maker
Sick and I’m brutal
A Love maker
Gentle and sweet and
I’m dream-taker

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am

Women [at octaves]:  We always start here with you
We go ‘round and ‘round about
Very slowly
We always get to the Truth
We go ‘round and ‘round about
Very slowly

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am

Men:  I’m a Lover
A fighter
A dream-maker
Sweet and I’m tender
A mean-maker
Sick and I’m brutal
A Love maker
Gentle and sweet and
I’m dream-taker

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am

Women and men together:  Let’s start with the Truth
Let’s start with the Truth

Women:  So, let’s start with the Truth
No more ‘round and ‘round about
Very slowly
We always get here with you
We go ‘round and ‘round about
Very slowly

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am

Men:  I’m a Lover
A fighter
A dream-maker
Sweet and I’m tender
A mean-maker
Sick and I’m brutal
A Love maker
Gentle and sweet and
I’m dream-taker

Men:  You don’t know the kind of Man I am
You don’t know the kind of Man I am



In hiding in Europe, Helena hears of the preparations of the Temple.  She is all defiant joy in the face of her prison wardens, the Tribe of Naphtali.  She remembers her first warning to Naphtali.  Meanwhile, in the palace, Naphtali, too, has heard about the Temple rising.  He dismisses it out of hand.  At the Temple, Paris and the People sing.  Far away, on her side of the world, Helena joins them in singing:



“Paris is Burning”

Chorus of men:  Is this the little girl?
Chorus of women: Is this the night or day?
Chorus of men:  Is this the way we speak?
Is this the nightingale?

Chorus of women:  And want to wrap my arms around you
And speak in tongues
You’re the only language
I have ever found

Chorus of men:  Want to wrap myself around you
And live in Peace
But you won’t come

Chorus of women:  You say that I won’t Love
You say I’m Overdue
You say come take me here
You say take me with you

Chorus of men:  But I, I will wrap my arms around her
And speak in tongues
She’s the only language
I have ever found

Chorus of men:  I will wrap my arms around her
And live in Peace

Chorus of women:  You take me prisoner
You say that I can’t leave
You say that I’m your wife
You say, by your leave

All:  Paris is burning!
Paris is burning!

All:  Just as you desecrate
With your knives of steel
Our only Holy place
You say that I’m your meal

All:  Paris is burning!
Paris is burning!

Chorus of women:  You can speak as you wish
I will never be your wife
You take me by force
And you will feel my knife

Chorus of men:  And I, I will wrap my arms around her
And speak in tongues
She’s the only language
I have ever found

All:  Want to wrap myself around her/him
And life in Peace

All:  Paris is burning!
Paris is burning!
Paris is burning!



Naphtali has received his warning.  If he refuses to hear, all the better for Paris and herself.  Helena sings to herself to keep herself busy while she waits for Paris to arrive.  She is a little more hopeful this time, as she sings the words.  The chorus in both places join her in singing.

[The song is repeated as we move toward the finale.]



“Where Are the Rose Gardens?”


Helena [to Paris in the distance]: I sit down to write to you
There’s nothing I can say
“Hello” for tomorrow
“Hello” for today

I’m filled with your dreams, Baby,
They give me hope
While I’m surrounded by seven gates
And just enough rope to cage me

And I miss you, Baby,
All of the time
Sometimes the words won’t sing
And the songs won’t rhyme

And all of these games they play
Around you and me
It’s enough to send me packing
To low country

Can you tell me how it is for you?
‘Cause I don’t see rose gardens
I can’t see rose gardens
Where are the rose gardens?
And fountains and flutes?
And where are you?

[Where Are The Rose Gardens musical theme]

[Bridge:]
And when are you coming to take me home again
Where the ocean meets the sea
And when am I going to see your face again?
‘Cause it’s not soon enough for me

When am I going to feel your heart again
As it beats next to mine
‘Cause they’re just tearing us apart again
It is such a waste of time

[Denouement:]
‘Cause I could be in your arms
And we could be happy
Every breath is a waste
It’s a waste of fresh air

I could be next to you
Hearing your sweet song
Dancing with you
Without a care

Don’t you think it’s a shame
‘Cause we could be happy
Instead of all of this stupid pain
Baby, I just want to be home again



[Where Are The Rose Gardens musical theme]



When Paris and his legions arrive, Naphtali challenges Paris to a duel.  Paris is the best swordsman in the world, however; so, Naphtali’s chances are not great.  Naphtali considers himself the king of music in his parts, so, instead, he decides to challenge Paris to a music performance duel.  He begins to prepare his attack, planning the most dramatic and love-longing, Romeo and Juliet type of song of which he can think.  Gallantly, he offers for Paris to go first.  Paris decides to be maximally dismissive and ingenious at the same time.  He goes for humor, together with a bit of buttering up his wife to make the trip home more pleasant.  He knows she will be sad, and perhaps a bit grumpy, after all of this time apart.  He reminds Naphtali that Helena is his wife.  He is reminding her, in a way, too, that they are still husband and wife even after all of this time.



“One Day in June”
https://youtu.be/Mu5npGJ-_hI

Paris [to Helena, who stands free]:  The first time I saw your face
You were 23 and full of grace
And that's the last time I saw another face in this world

The last time you let me in
I was 45 and full of chagrin
And that's the last time my heart beat since then

And I wonder why
I'm still breathing
Because my Heart
Stopped beating

And it's been some years
Without it beating
So, I wonder why
I'm breathing

There was once a day in June
When you carried me to the moon
And I said, that's the last trip I take with you

I guess that's the way with stars
And they all say that's how you are
But I say, we never went that far enough

And I wonder why
I'm still breathing
Because my heart
Stopped beating

And it's been some years
Without it beating
So, I wonder why
I'm breathing

There was once a day on the moon
When you made me swoon
And that day can't come soon enough

There was once a day in July
When you carried me to the sky
But I said,
You know,
That's a lie as far as I know

And I wonder why
I'm still breathing
Because my heart
Stopped beating

And it's been some years
Without it beating
So, I wonder why
I'm breathing

So, to answer queries from foes
I suggest you go pick your nose
Because she and I can do whatever the hell we want

And I wonder why
I'm still breathing
Because my heart
Stopped beating

And it's been some years
Without it beating
So, I wonder why
I'm breathing

And I wonder why
I'm still breathing
Because my Heart
Stopped beating

And there's not a cloud
I'm seeing
Even though my Heart
Stopped beating

And I said,
Just tell me it's true
And I will come right to you
And she said, "You know damned well it's true!"

And I wonder why
I'm breathing
Because right then my heart
Stopped beating

And there's not a cloud
I'm seeing
Even though my heart's
Not beating 'til I get to you



Naphtali’s face is falling all throughout the song.  He does not even try to reply with a song of his own.  The battle is over.  Paris releases Helena from her cage.  They embrace.  Paris’ legions begin the trip home with Helena as they sing [All Sing] in finale:



“Hearts Fly”


[All:]  Hearts fly
And a Steamroller
Trying to get to you

[All:]  Words break
And Hearts scream
Out your name for you

[Women:]  Baby, I can’t take this one second longer
[Men:]  Tell me, tell me you’re feeling stronger

[All:]  I cry every time I hear your voice
But the tears won’t fall

[All:]  My heart beats every time I hear your name
Beats against a wall
Of this cage I’m in

[Men:]  Baby, don’t tell me maybe
Just come home

[Women:]  I keep trying to reach you on the phone
But you’re not there

[Women:]  Baby, I’m dying for you
I can see your face

[Men:]  Baby, tell me you’ll leave this place

[All:]  Your heart, your heart
Is the Temple of my Dreams


[All:]  Baby, you’re all I’ll ever need
So, please come Home

The End.




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