Wednesday, December 26, 2012

Mattoon Opera excerpt, Flashback to France


Here is a bit of the "opera" version of the Mattoon story that I worked on for many years.

In trying to find a solution to where the Gas came from, I created a backstory for The gas, in the form of Flashback to France.



Narrator: A French farmhouse, forty miles
from the beaches of Normandy,
a lone German soldier sits. 
He contemplates the war and his part in it,
from his vantage point amid stacks and stacks
of Gas bombs.
German:   Halt!  Who goes there? 
Halt!  Or I'll shoot! 
Who goes there or I'll shoot! 

My English is not so bad. 
Two days of drilling. 
Friend or foe?  Halt! 
What is the password! 
Halt! 
Who won the nineteen-forty-two world series? 
The Boston Yankees! 
Halt! 

I have been left for rear-guard action--
to guard some bombs. 
The war is turning against Germany
since the allies landed at Normandy. 
Halt!  Who goes there? 
I am part of the large German war machine,
and they invent engines of death every day--
like these new bombs. 
What is so new about these bombs? 
They can kill like a soldier,
but can they think like a soldier? 
When they invent a bomb
as smart as I am, then I shall worry. 
Halt! 

I wish I had a cigarette. 
Bombs don't smoke cigarettes,
that's another reason why soldiers
are better than bombs. 
Bombs only smoke cigarettes
when they are fuses. 
They smoke one little cigarette,
and then all hell breaks loose. 
I could smoke a whole pack of cigarettes. 
A soldier needs a cigarette. 
A thousand bombs and not one cigarette. 
A fighting man like me
could do more destruction
with one bomb and a thousand cigarettes. 
Or just one Mauser. 
I'd trade all these bombs
for one cigarette. 
When the war is over,
there will be lots of cigarettes. 
American cigarettes
and English cigarettes. 
The others have told me of English cigarettes.  Seventeen summers I spent before I smoked. 
Besides the chance to
gloriously serve the Fatherland,
the army has given me
the habit of smoking. 
As a boy, before I was drafted into the army, cigarettes were scarce,
and those that were available,
were reserved for the soldiers of the Reich.  Smoking was a rite of manhood. 
Smoking was a badge of honor. 
I haven't smoked a cigarette
in over two months. 
Honor, we find in short supply
inside the army. 
Honor and cigarettes. 
But not bombs. 
Bombs we got!
Narrator: At the sound of a jeep approaching,
the German soldier grabs his gun
and takes up a position
where he can observe
from a protected hiding spot. 

Chemical warfare specialist,
SGT. BEN CHARTERS, 28,
and a FAT PRIVATE pull up
in their jeep and get out
with their gas masks and weapons.
Private:  A real French chatty-oh. 
It was a terrible struggle--
hand-to-mouth combat
through three miles of rugged vineyards. 
We waded through the wine country. 
Burgundy, champagne, Crackling Rose. 
At times, it was so bad,
I could barely bend an elbow. 
Eight months of the horrors of war,
capped off by...
The Battle of Chatty-oh ...de Neuf.
Charters: And I say, "de Neuf" is enough.
Narrator: A paper notice with the word "Verboten"
in large letters is tacked to the door. 
The Private pulls down the sign.
Private:  We ripped through their defenses,
and prepared for the final onslaught. 
In a few short hours, the battle is over,
the wine of victory is ours.
Narrator: The two soldiers put on their gas masks
and walk through the open door.
Charters: The war is turning in our favor. 
The Third Army pushes the Germans from France,
and soon will reach the Rhine,
and contain the German terror. 
The war will be over by Christmas. 
The Germans are in full-flight. 
They leave in a hurry,
and their weapons of destruction
remain unattended.
Narrator: Charters shines his flashlight around the dark house. 
Gas shells are stacked everywhere. 
Charters and the fat private wind their way through
the serpentine pathways between shells.
Private:  Hail the Conquering Hero! 
What a welcome I'll get when I come back. 
It'll be bring the fatted calf
and open the best bottle of scotch. 
And all day long, I'll regale them
with the stories of my war-time exploits. 
Who knows?  I may parlay this
into some political office. 
War heroes are always popular
come election day. 
Look at Grant.
Charters: When I go home, it's to relax. 
My home town is south of Chicago,
in central Illinois, a quiet city,
you've probably never heard of. 
The best thing for me,
after seeing the horrors that war brings,
will be to see the normalcy
of everyday life. 
I want post-war life
to be no-war life.
Private:  Sure, Sarge, sure.  You think
I ever want to do this again? 
Not me.  Not ever. 
In fact, after we wrap things up here,
I'm headed state-side. 
My hitch is up and I'm due
to be shipped home.
Charters: It looks as if
Germany had enough gas bombs
to pummel England into submission. 
There must be a thousand tons
of bombs in this chateau. 
We've got to secure this place. 
Why would they leave
all these bombs unguarded?
Private:  They was in a hurry,
on account of they heard
we was coming.
Charters: One of these bombs is enough
to wipe out one whole division of men. 
Six of these bombs
would wipe out my home town. 
It is a monstrous conceit
when man plays god.
Narrator: The two soldiers climb down the stairs to the cellar,
and on every side are stacked gas-filled artillery shells.
Charters: Oh, orderly German mind
that would stack
the instruments of death
like so much fine, rare wine. 
Blue cross gas, as fine
as the finest burgundy. 
PS gas, the Port Sunny chloropicrin
that closes the throat,
as deadly as a good port is smooth. 
Mustard gas, a good year,
better than the Mouton. 
Green cross gas, stockpiled,
laid in like a vintage Grenoble white. 

In this wine-cellar of death,
there are three doors. 
Behind any of these
could lurk a German with a Sten gun. 
You take the first door
and I will cover you.
Private:  Nothing. 
Spiders, but no rats. 
Door number two,
I'll cover you.
Charters: It's locked. 
It's nothing
but an old cistern. 
What is behind door number three?
Private:  It's too dark to see. 
Nothing but a crawlspace.
Charters: We'd better check it out.
Private:  This round peg
won't fit in that square hole.
Charters: Hold my gun and give me a boost. 
You keep a watch on the roost.
Private:  Smoke 'em if you got 'em. 
And brother, do I got 'em.
Charters: This is the life of a soldier. 
Moving in the dark,
never knowing what is ahead of you. 
The darkness is enveloping,
the smell of wet earth. 
This is what death must be like. 
There is nothing here,
ten feet of coffin,
a trench dug in the rocky soil. 
There is nothing here, but wait. 
Up ahead, something I cannot make out. 
This is an ignominious end for a G.I.,
an earthworm with dirt down his neck. 
They say an army travels on its stomach,
but--this-- 
A few feet more--
it is just a french postcard,
a poor joke on me. 
Now, I must back out. 
Soldiers aren't made to crawl,
especially backwards. 
I must be stuck on a root
or something.
Narrator: The German watches the Fat Private smoke a cigarette.
German:   A cigarette. 
I have not seen
a cigarette in months. 
The smoke of battle
is a poor substitute
for the demon tobacco. 
For his cigarette alone,
I would kill him. 
Has it come to this? 
A cigarette means more to me
than the Fatherland? 
I can do both! 
I'll kill him
for the Fatherland,
and take his cigarette. 
Like this!
Narrator: Charters, in the crawlspace, calls to the Fat Private.
Charters: Hey, grab my feet and pull.
Private:  His master's voice.
Narrator: The private sets down his rifle
and grabs Charters by the feet. 
The German soldier sneaks up
behind the Fat Private and slits his throat. 
Before the body can hit the floor,
the German takes the cigarette
from the Private's mouth,
and inhales deeply. 

The German Soldier straps on his gas mask
and unscrews the detonator
from one of the gas bombs. 
It leaks deadly gas.
German:   The sweet smoke billows up. 
I take it deep into my lungs,
and there is peace. 
A calmness and a quietness
unknown in war. 
It is not the peace
that this flabby American
now shares with the dirt. 
Two lives given
to the glorious Reich. 
Has he any more cigarettes? 
That would be an even greater contribution
to the Reich, right now.
Narrator: Charters, still trapped inside the crawlspace,
smells the gas, and struggles harder to get out.
Charters: Private?  Are you there? 
Can you reach my feet? 
I am stuck! 
Are you smoking out there? 
Give me a hand! 
I smell smoke...
and apple blossoms. 
Why would I smell
apple blossoms in August? 
It must be my imagination. 
No, it is apple blossoms I smell. 
It is a gas. 
What smells like apple blossoms? 
I remember garlic. 
I remember geraniums. 
I smell dirt, but damn! 
I smell apple blossoms.
The Gas:  Relax. 
Have no fear. 
Fear only prolongs
the agony. 
Accept the sweet sleep. 
Close your drowsy eyes
and breathe deeply
of the apple blossoms. 
When it is apple blossom time
in Indiana,
it is time for sleep
in German-occupied France...
Narrator: THE GAS seems to have a personality,
and engulfs Charters slowly, almost welcomingly. 
Fade to black.  

Monday, December 24, 2012

Mattoon Opera excerpt, Thatcher and the reporters

One of the mainstays of the opera is the Sextette (or quintet or octette, etc) where several characters sing together in often overlapping lines. To me, in this story, is Thatcher meeting with her fellow reporters, who are separate people but appear as one "character."


Narrator: Charters opens the door to his hotel room,
dog-tired and ready for sleep.
Charters: That bed looks so good.
Thatcher: Doesn't it though?
Charters: Forty winks sounds good.
Thatcher: You forget, roomie,
that we're on my shift now.
Charters: But, I just need a little sleep.
Thatcher: If you  didn't sleep last night
that's your problem. 
I was out all night
covering this gasser,
and I'll be asleep
as soon as I wire this story
to Chicago. 
Didn't you hear
all the commotion
last night?
Charters: No, it was a little quiet
where I was. 
I was locked up in jail.
Thatcher: That's right. 
I forgot. 
You don't need sleep,
you need a stiff drink. 
Come with me.
Narrator: Harry's Bar is the reporter's hangout. 
Half a dozen newsmen monopolize
the tables near the door.
Rep #1:   My editor called and he wants more facts.
Rep #2:   My editor called and he wants more photos.
Rep #3:   My editor said he needs more quotes.
Rep #4:   My editor said he needs something for the roto.
Thatcher: My editor called and he wants more bicarbonate.
Rep #1:   Thatcher, you're a sight for sore eyes.
Rep #2:   Come over and sit down, Sister Rat.
Rep #3:   The paper's been put to bed.
Rep #4:   And we're getting ready to tuck it in.
Thatcher: You fellows look like
you've been tucking it in
for a couple of hours now.
Rep #1:   Thatcher, you've got us all wrong!
Rep #2:   We would never start festivities...
Rep #3:   Until the Her Royal Highness
has arrived.
Rep #4:   Gentlemen, please stand. 
I give you The Pulitzer Princess!
Rep #1:   The Hearst Heiress!
Rep #2:   The Five-Star Filly!
Rep #3:   The Blue-Streak Bathsheba!
Rep #4:   The Copyboy's Cleopatra!
Thatcher: All right.  I get the idea. 
You bums squeeze over. 
I'm trailing baggage today. 
Meet the soldier boy.
Rep #1:   Glad to meet you, soldier.
Rep #2:   Park it right there, Patton.
Rep #3:   Seen much action, soldier?
Rep #4:   He means over in the European Theatre.
Charters: I didn't think he meant in the Bijou.
Thatcher: Leave him be, boys,
or we're gonna send him back
to the front with a case of
battle fatigue.
Rep #1:   The best thing in the world
for a case of battle fatigue...
Rep #2:   Is a case of Kentucky bourbon.
Rep #3:   To Patton and the First Army.
Rep #4:   Patton is with the Third Army?
Rep #3:   He is?  Well, who's on First?
Thatcher: Did you boys all file your stories?
Rep #1:   You mean Ramona Driskell on Winnetka Ave?
Rep #2:   Filed.  Hours ago.
Rep #3:   Filed and forgotten.
Rep #4:   "Phantom makes Big Noise on Winnetka."
Rep #1:   Nice,  But, of course,
your editor will kill it.
Rep #4:   You can't be talking about my editor.
Rep #3:   Yeah.  You must mean some other
illiterate son-of-a-bitch
with the personality of
a bowl of stewed prunes.
Rep #2:   Before they made him,
they broke the mold.
Rep #1:   Reminds me of an editor
I worked for in St. Louis. 
He ran the Hindenberg story
in the obits because he thought
it was the German Chancellor.
Rep #2:   My editor was so dumb...
Rep #3:   My editor was so dumb...
Rep #4:   My editor was so dumb,
he listened to the publisher!
Rep #1:   So what's the latest on the great man-hunt?
Rep #2:   I hear the chief is holding a secret suspect.
Rep #3:   I hear the chief is holding a secret bottle.
Rep #4:   Bottom right drawer,
right next to his good conduct medal.
Rep #2:   Any ideas about that, Thatcher?
Thatcher: I don't know anything about good conduct, boys.
Rep #1:   Now, what's the line on this phantom? 
I'm doing an opinion piece
for the Sunday edition.
Rep #3:   Smart money says it's somebody
with a knack for chemistry
and a grudge against this town.
Rep #4:   I heard the chief rousted
the whole high school chemistry class.
Rep #3:   There's one fella from
a socially prominent family.  
Rep #2:   A chemistry whiz who's gone round the bend.  
Rep #3:   Mixes up helium high balls
in his basement laboratory.
Thatcher: Do you know who they're talking about?
Charters: Sounds like Arnold Sweetland. 
Brilliant, but a little unbalanced. 
The richest family in town.
Rep #4:   Fear mongers say it's an escaped German POW.
Rep #2:   The paranoid element
believes it's a new
secret government experiment
that they don't want
to tell us about.
Rep #3:   Long money says it's Mussolini hisself.
Rep #4:   Around the barber shop,
the feeling is it's
the mayor's brother-in-law. 
Up from Missouri.
Rep #1:   Which is a good place to be up from. 
Okay fellas, give me a quote.
Rep #2:   We have nothing to fear, but fear itself.
Rep #3:   You can't cheat an honest man.
Rep #4:   It never rains but it pours.
Rep #1:   The mayor, reached at
his campaign headquarters said...
Rep #2:   A vote for me is a vote for graft!
Rep #3:   Honest, she told me she was eighteen!
Rep #4:   If Hearst can't take a joke
he can kiss my hairy butt!
Rep #1:   Okay.  That's good for the city edition. 
Now, how about the blue streak?
Thatcher: That does it for me, gentlemen,
and I use the term loosely.
Rep #2:   No news out there Thatcher. 
This phantom is strictly
a nocturnal creature.
Rep #3:   You want to be careful. 
You don't want to mix
with the natives unless
you've had all your shots.
Rep #4:   We don't want to be
seeing your name in the papers.
Rep #1:   Not even your byline.
Charters: Goodbye, gentlemen.
Rep #2:   So long, general. 
It's been nice chatting.
Rep #3:   We'll meet back here
under the clock when
the war's over.
Rep #4:   Smoke 'em if you've got 'em,
general.
SFX:   Thatcher and Charters leave the bar.

Sunday, December 23, 2012

Mattoon Opera excerpt, "Hotel" scene

Here is a bit of the "opera" version of the Mattoon story that I worked on for many years.

Gladys Thatcher, a female reporter from Chicago, has just arrived in Mattoon to cover the Mad Gasser story.


Narrator: Just arrived on the train from Chicago,
Gladys "Becky" Thatcher,
a hard-bitten newspaperwoman,
strides purposefully across
the lobby of the Grant Hotel.
Thatcher: One, get a room
at the best hotel in town. 
The best people
and the big wheels
go to the best hotels,
and they are the ones
who can comment on
the news of the day. 
Two, get a news round-up every day. 
Take the pulse of the town. 
How do they feel about the war,
about the president,
about the congress,
about rationing,
about taxes,
about marriage.

Find out how they feel about
marriage and the career woman. 
How do they feel about
families and the career woman. 
How do they feel about
dating a career woman. 
How does the career woman feel? 
Twenty-nine and still waiting
for my first by-line. 
How come all the men I meet
are either cops or criminals? 
How come I care? 
And why do I suddenly
come to this realization
in the middle of a war--
the biggest man shortage there is. 
If I join the service,
I could have a dating pool
of a million GIs. 
I could go for a man in uniform. 

How does the career woman
feel about our men in uniform? 
How does small-town Illinois
feel about men in uniform? 
How does small-town Illinois
feel about the war? 
How does small-town Illinois
feel about career women? 

List of important people. 
Portable typewriter. 
And flowers at the station
from my editor.  The tight-wad. 
List of city-desk phone numbers
of all Hearst newspapers. 
Spare typewriter ribbon.
Narrator: At the desk, she struggles with her suitcase
and portable typewriter, and gets them situated. 
She reaches out to ring the desk bell. 
Charters beats her to it.  They smile at each other. 
The Desk Clerk pops up from behind the desk
and catches their glances and smiles.
Thatcher: I'd like a room.
Charters: I'd like a room.
Clerk:   You're in luck.  Newlyweds?
Thatcher: No.
Clerk:   I just ask because most soldiers are newlyweds.
Charters: We're not married.
Clerk:   Well, then I can't rent you a room. 
Even though it's 1944, this is Mattoon and not Chicago.
Thatcher: No, you misunderstand. 
We're not together.
Clerk:   Then, what do you want
one room for?
Charters: We'd each like one room.
Clerk:   Oh, I see.  You both came up together, like. 
So, I thought you were together, like. 
But I can't rent you each a room.
Charters: Why not?
Clerk:   Because I only have one room left.
Charters: Let me sign the register.
Thatcher: A gentleman would let a lady
have the room.
Charters: I'll tell you what, I'll do even better. 
I'll put in a good word for you with Miss Smith. 
She has a room for rent that would be perfect for you. 
It's a very nice room.
Thatcher: But I need to have a room at the hotel. 
Why don't you take the room with Miss Smith?
Charters: Because she only rents to refined young ladies.
Thatcher: Well, that lets me out.  Good luck, soldier-boy.
Charters: Thanks.  For nothing.
Thatcher: You're welcome.

Narrator: After she checks in, Thatcher finds a dejected Charters in the hotel's tap room. 
She sits down next to him at the bar.
Thatcher: Hi.
Charters: Hello.
Thatcher: Fancy meeting you here.
Charters: What do you want?
Thatcher: I thought you might like to buy a girl a drink.
Charters: Ohh.  Is that why you needed a room at the hotel.
Thatcher: Calm down, soldier-boy. 
Is this your first time state-side? 
I was wondering if we could strike a deal?
Charters: What sort of deal?
Thatcher: I'm a reporter for a big Chicago daily.
Charters: You're a WOMAN reporter on a Chicago paper?
Thatcher: That's the war for you. 
Institutions crumbling right and left. 
Anyway, as I'm a reporter
covering the night beat,
I only need the room
in the daytime, to sleep. 
How about we go halvsies? 
I can't throw out a soldier-boy. 
It wouldn't be patriotic.
Charters: What do you mean, halvsies?
Thatcher: You have the room at night,
exclusively, and I have the room
in the day.  We share the room,
but we don't share the night,
together.  We will share a bed,
but not share a pillow.
Charters: I don't know, but I guess I'm desperate. 
It's a deal.  Half the room,
half the time, for half the rent. 
Half-heartedly.
Thatcher: Done.  Let's drink on it. 
Then I have to go to work.
Narrator: The police chief comes in and sits at the bar;
he's almost off duty, he rationalizes,
and he orders a drink.
Chief:   First of the day.
Narrator: He downs the drink in one gulp.

Narrator: The late August night settles on the city, 
Narrator: Later that night, George Ryder,greets his wife at the door with a kiss as she returns from work.
Susan:   Hi.  Sorry, I'm late. 
You probably have to go.
Ryder:   Tough day?
Susan:   You don't know. 
The baby eat yet?
Ryder:   No.You know,
I don't like you working so hard.
Susan:   It's only for a little bit. 
The money's too good to pass up. 
It really helps.
Ryder:   I don't like you
making beds at the hotel. 
A lot of nuts
and guys from out of town.
Susan:   Let me tell you
about this guy. 
I'm making the bed in 318. 
Nice neat room,
just needs a little
straightening up. 
You can always tell
when a woman has been in a room--
she keeps it neat like her home. 
Now, a man--he's only there
for a night or two,
and men aren't as neat.
Ryder:   Is this about the laundry? 
I put all my dirty clothes
in the laundry hamper
and I even carried it downstairs.
Susan:   No, no. 
I'm dusting a room
obviously occupied by a woman. 
Plus it's registered
to a woman named Thatcher. 
I just made the bed
and in walks a man.
Ryder:   What did he want?
Susan:   That's what I ask him. 
He excuses himself. 
Only he says it's his room. 
So I give him the once over. 
You and your wife? I ask him. 
And, he says, no, just him. 
I ask him about the peign-noir
that's laid out on the bed? 
He says it's a present
for his sister. 
I'm not buying that. 
I ask him about the stockings
hanging in the bathroom--
they've obviously been worn. 
He says they're his.
Ryder:   Oh, jeez.
Susan:   He says he's had
bad circulation in his legs
and his doctor prescribed them. 
So, I ask him about
the lipstick and eyeshadow
and face powder in the bathroom? 
Are they his too? 
Did the doctor prescribe
them for a skin condition? 
He turns around and leaves.
Ryder:   I'll talk to the boss,
maybe there's a way
I can work some more overtime
so you won't have to work. 
Jeez, I gotta go
or I'll be late. 
Here's the baby. 
I'll see you
tomorrow morning.
Susan:   Good night, George. 
I love you. 
Do you have your lunch?
Narrator: She cleans the kitchen, while trying
to get her two-year-old to eat some dinner. 
He keeps throwing food on the floor--
it is a losing battle. 
After the two-year-old is in bed,
she returns to the cleaning. 
She starts anxiously at a sound outside,
but listens and hears nothing. 
She decides she will drown out the "night noises"
and turns on the radio--
to a classical broadcast by the Boston Symphony. 
As she sweeps in the corners,
the dust bunnies roll across the floor
caught in the draft from the open back door. 
She closes the door, but doesn't lock it.

Taking up her mending,
she settles in the living room
of her small cape cod. 
She is a little nervous...
until the music soothes her--
or is it the gas--
it makes her feel relaxed,
and peaceful,
then faint,
and then sick. 
She wakens with a start
and finds her legs are paralyzed. 
She drags herself to the phone
and dials operator. 
She tells her to call the police--
she has been gassed!

Thursday, December 20, 2012

I've wanted to tell this story for a long, long time. It has many fascinating aspects to it, the never-solved mystery of just what happened, the setting and time period (hometown America during World War II), and the excesses of the Chicago press coverage.

I began looking up and reading everything I could find on the subject. Looking up old Chicago newspapers, and even, on a trip through the midwest, taking a detour to Mattoon, a very trusting small town. I wanted to look at the back issues of the Mattoon Journal and stopped in at the office and asked if I could. They said they had back issues on microfilm, but no microfilm reader, but the library down the street had a reader. They handed me the microfilm reels and let me walk off with them. Naturally, I went to the library and read the microfilm (their reader did not have a printer attached, so I had to take notes) and returned the microfilm to the newspaper office.

I began to construct a story based on a returning GI from Mattoon, trying to string events together that would include the Phantom, the "deranged chemistry student," a female reporter who teams up with the GI. But, the "accepted" answer of mass hysteria did not work -- an unsatisfying climax unequal to the GI/Reporter duo.

I began to think of the Gas as a character in itself, separate from the Phantom; it was the Gas as an incarnation of Evil. The more I worked on this, it seemed too melodramatic, fantastic, even operatic. So I revised the story, adding a European prologue and a climactic fight between the GI and the Gas at the Atlas Diesel Works. Wow.

But, of course, it still didn't capture the true story or the human drama.

About this time, a new technology was being introduced -- the DVD. And, when it was first introduced, a lot of the hype about it was the ability to switch scenes or angles while you were watching the movie. You could, during a scene of a movie, press a button and see the same scene from another angle, or an alternate take of the scene. This ability to show alternate takes or parallel tracks of a movie fascinated me. I thought that you couldn't really tell the story of Mattoon within the frame work of one movie, so why not three movies, that would be constructed in parallel so you could switch from one film to another and still get the gist of the story.

The three movies would be a noir movie, a Big Hollywood film and a more "character-driven" drama.

More to come, later.