Chess - Revised Broadway Script - Thomas Hartwell

Music by

Benny Andersson

Björn Ulvaeus

Lyrics

Tim Rice

Based on an Idea by

Tim Rice Book by

Richard Nelson Revised by

Thomas Hartwell David H. Thomas Hartwell [email protected]

With revisions by Bell and Wayne

S. Rossi

CHARACTERS FLORENCE ANATOLY FREDDIE MOLOKOV WALTER SVETLANA ARBITER ENSEMBLE

SETTING The action takes place in and around the 1988 World Chess Championship in Bangkok, Thailand, and two months later in Budapest, Hungary, near the end of the Cold War.

LEAD CHARACTER BREAKDOWN Florence: Strong belt voice (to E). Mid-thirties. Born in Hungary; has been brought up in America since 1956. She is clever, theatrical, touching, vivacious, volatile. Frederick’s chess “second”. Anatoly: Baritone (to G sharp). Early forties. A Russian chess champion. Unexpectedly charming. An intelligent, feeling, passionate man, with a certain sarcastic wit to his humour. Freddie: Rock tenor (to C sharp). Late twenties. An American chess champion. A cross between Bobby Fisher and John McEnroe. Arrogant and temperamental, but a genius; his chess playing is revolutionary. Molokov: Bass (down to F sharp). Fifties. Anatoly’s chess “second” and a Russian spy. Not a fake, comic, stage Russian. Intellectually formidable. Also a father figure to Florence. Walter: Baritone (up to A). Thirties. A marketing agent, and a CIA agent. Seemingly respectable, substantial, trustworthy. Svetlana: Strong belt voice (up to E). Late thirties. Anatoly’s estranged wife. Domestic, wholesome, shy. A dramatic contrast to Florence—not a contemporary cosmopolitan woman. Arbiter: Rock high baritone (up to A). Thirty to early forties. International businessman. Easily flustered and temperamental, grows to be very a formidable figure.

ENSEMBLE BREAKDOWN Gregor Vassy: Forties/Fifties. Florence’s father, leader of student rebellion. Young Florence: Between five and ten. May appear as a Hungarian child in II – 1 if desired. Maria: Florence’s nursemaid; non-speaking role. May double as Southern Reporter. Rebels: 1-4. 1 and 4 are male, 2 and 3 are female.. Reporters: Australian, French, American, English, German, Russian, Southern, Female. In addition to the Female Reporter in II – 8, French, German, and Southern Reporters are female. Accents are optional except for Southern Reporter in II – 2. Nikolai: Twenties. Molokov’s assistant. Assistant: May double as Rebel 2 in I – Prologue. Ben: Twenties. Walter’s CIA apprentice and later Anatoly’s bodyguard. Russian Man: May also double as Russian Reporter. Pete: Ben’s assistant. May double as Rebel 1. Josef and Kristina: Married friends of Anatoly. May double as Rebels 3 and 4. Merchandisers, Delegates, Assistants, Hungarian Choir, Fans , Photographers, and other members of the Chorus: Ensemble singers. May double as above roles, except for Gregor, Reporters, Nikolai and Ben.

MUSICAL NUMBERS ACT I PROLOGUE.....................................................BUDAPEST, HUNGARY, 1956 The Story of Chess.....................................................................................Gregor Lullaby...........................................................................................Gregor, Rebels BANGKOK, THAILAND, 1988 Freddie’s Entrance.....................................................................................Freddie Press Conference....................................................................Florence, Reporters Where I Want to Be..................................................................................Anatoly How Many Women....................................................................Florence, Freddie Merchandisers....................................................................Walter, Merchandisers U.S. vs. U.S.S.R........................................................Molokov, Walter, Delegates Quartet........................................................Molokov, Florence, Arbiter, Anatoly American and Florence............................................Florence, Freddie, Company Someone Else’s Story..............................................................................Florence Mountain Duet..........................................................................Florence, Anatoly One Night in Bangkok........................................................Freddie and Company Story of Chess (Reprise)………………………………………………….Arbiter Florence Quits............................................................................Freddie, Florence Nobody’s Side........................................................................Florence, Company Anatoly and the Press.............................................................................Reporters Anthem......................................................................................................Anatoly INTERMISSION ACT II PROLOGUE............................KENNEDY AIRPORT, NY, 8 WEEKS LATER Arbiter’s Song.....................................................................Arbiter and Company BUDAPEST, HUNGARY Hungarian Folk Song..............................................................................Company Heaven Help My Heart............................................................................Florence Winning........................................................................................Walter, Freddie You and I...................................................................Florence, Anatoly, Svetlana Freddie Goes Metal....................................................................................Freddie Arbiter’s Song (Reprise)………………………………….Arbiter and Company Let’s Work Together..................................................................Molokov, Walter I Know Him So Well................................................................Florence, Svetlana Reconciliation............................................Freddie, Florence, Anatoly, Company Pity the Child.............................................................................................Freddie Lullaby........................................................................................Gregor, Florence Endgame.................................................................................................Company You and I (Reprise)...................................................................Anatoly, Florence Finale.........................................................................Walter, Florence, Company

SCENE BREAKDOWN ACT I

1 2 3

Gregor Vassy’s Home in Budapest “Overture (Instrumental)” “The Story of Chess” “Lullaby”

4 5

Lobby of the Bangkok Hilton Hotel “Freddie’s Entrance” “Press Conference”

6

Anatoly’s Hotel Suite “Where I Want to Be”

7

Freddie’s Suite “How Many Women”

8 9

The Chess Arena “Merchandisers” “U.S. vs. U.S.S.R.”

10 11

The Arena “Chess No. 1 (Instrumental)” “Quartet”

12 13

Freddie’s Suite “The American and Florence” “Someone Else’s Story”

14

The Golden Mountain Cafe “Mountain Duet”

15

Streets of Bangkok and the Arena “One Night in Bangkok”

16 17 18 19

The Arena and a Bangkok Nightclub “Story of Chess (Reprise)” “Chess No. 2 (Instrumental)” “Florence Quits” “Nobody’s Side”

20

Underground Parking Square “Defection (Instrumental)”

21 22

Bangkok Airport “Anatoly and the Press” “Anthem”

Prologue:

Scene 1:

Scene 2: Scene 3: Scene 4:

Scene 5:

Scene 6:

Scene 7: Scene 8: Scene 9:

Scene 10: Scene 11:

ACT II Prologue: 23

Kennedy Airport, New York “The Arbiter’s Song”

24 25

A Budapest Cathedral “Hungarian Folk Song” “Heaven Help My Heart”

26

Freddie’s Suite “Winning”

27

A picnic by the Danube “You and I”

Scene 1:

Scene 2:

Scene 3:

Molokov’s hotel room

Scene 4: Scene 5: 28

Outside the Arena “Freddie Goes Metal”

29 30

Lobby of the Arena “The Arbiter’s Song (Reprise)” “Let’s Work Together”

31

An elegant restaurant “I Know Him So Well”

32 33

Lobby of the hotel “Reconciliation” “Pity the Child”

34 35

The meadow by the Danube “Budapest Streets (Instrumental)” “Lullaby”

36

The Arena “Endgame”

37 38

Outside the Budapest Airport “You and I (Reprise)” “Finale”

Scene 6:

Scene 7:

Scene 8:

Scene 9:

Scene 10:

Scene 11:

Introduction After the success of Chess’s engagement in London, creators Tim Rice, Benny Andersson, and Björn Ulvaeus and director Trevor Nunn moved to import the musical to Broadway, revising the script along the way. Recognizing the flawed nature of the original production, Nunn took creative control over these revisions, cutting much of the score and hiring playwright Richard Nelson to provide a new book. Unfortunately, this new version of the show flopped massively on Broadway, playing only 68 performances to savage reviews before closing. To make matters worse, contractual obligations made it so that the only version of Chess that could be licensed to American productions would be the Broadway version. Thus began over two decades of revised productions and altered scripts, all in the name of creating a workable version of the troubled Broadway production. And though licenses have since been lifted, allowing the UK production to be performed in the states as well, I have endeavored to create yet another revision of the script, in the hopes of finding that workable version. As with my previous London revisions, the aim of this script is to create a functional revision of the show without straying too far from the base core of the original. Therefore, while there are many trims and altered lines and lyrics (and one additional number), the overall structure and form remains the Broadway script. As before, this script is in no way official—this is merely a fan’s project created for the purposes of studying an endlessly fascinating show, and it should not in any way be used in a production without the express permission of Samuel French, Inc. Much thanks has to go out to the many talented people who have attempted this before me—the Broadway script has invited much tinkering and revising over the years, and, as indicated in the credit, much was culled from the revisions of David H. Bell and Wayne S. Rossi in the development of this iteration of the script. And, of course, thanks and gratitude go out to Benny Andersson, Björn Ulvaeus, and Tim Rice for giving us the gift that is Chess, and particular thanks to Richard Nelson—for many reasons his book’s caught much ire and scrutiny over the years, but in the course of studying and revising the script I’ve come to appreciate its many strengths, even in the face of its admitted weaknesses. I believe despite the flaws that the Nelson script provides a very workable foundation for the endless puzzle that is Chess, and it is my hope that this revision helps to bring the strengths of this one of countless variations to light. With regards, —Thomas Hartwell

I – Prologue – 1 ACT I PROLOGUE (MUSIC #1: “Overture (Instrumental)”) (Budapest, Hungary, 1956. A small crowded room in the home of GREGOR VASSY, leader of a student rebellion; sparsely furnished except for a couple bunks and several chairs. Numerous rebels and refugees under blankets sleeping, others smoking, reading the paper or simply staring into space; all are waiting. In the center of this, FLORENCE VASSY, GREGOR’s four-year-old daughter, sits playing a game of chess with a young rebel, MARIA. Outside one hears the occasional GUNSHOT. GREGOR enters, accompanied by two rebels, all with guns. FLORENCE turns to them. GREGOR sees her.) GREGOR Florence… (He gestures the other two to go back out, rests his gun against a wall and moves over to his daughter. He is clearly distressed.) GREGOR Florence, I need to tell you something— YOUNG FLORENCE Storytime, papa! Storytime! (GREGOR chuckles slightly and decides a momentary distraction would be okay. He picks FLORENCE up and rests her in his lap and starts to pack away the chess set.) (MUSIC #2: “The Story of Chess”) GREGOR EACH GAME OF CHESS MEANS THERE’S ONE LESS VARIATION LEFT TO BE PLAYED. EACH DAY GOT THROUGH MEANS ONE OR TWO LESS MISTAKES REMAIN TO BE MADE. NOT MUCH IS KNOWN OF EARLY DAYS OF CHESS BEYOND A FAIRLY VAGUE REPORT THAT FIFTEEN HUNDRED YEARS AGO TWO PRINCES FOUGHT,

I – Prologue – 2 TOUGH BROTHERS, FOR A HINDU THRONE. THEIR MOTHER CRIED, FOR NO-ONE REALLY LIKES THEIR OFFSPRING FIGHTING TO THE DEATH. SHE BEGGED THEM, “STOP THE SLAUGHTER” WITH HER EVERY BREATH, BUT SURE ENOUGH, ONE BROTHER DIED. SAD BEYOND BELIEF, SHE TOLD HER WINNING SON “YOU HAVE CAUSED SUCH GRIEF— I CAN’T FORGIVE THIS EVIL THING YOU’VE DONE!” HE TRIED TO EXPLAIN HOW THINGS HAD REALLY BEEN, BUT HE TRIED IN VAIN. NO WORDS OF HIS COULD MOLLIFY THE QUEEN. AND SO HE ASKED THE WISEST MEN HE KNEW THE WAY TO LESSEN HER DISTRESS. THEY TOLD HIM HE’D BE PRETTY CERTAIN TO IMPRESS BY USING MODEL SOLDIERS ON A CHECQUERED BOARD TO SHOW IT WAS HIS BROTHER’S FAULT: THEY THUS INVENTED CHESS. (The chess set packed, he slips it into FLORENCE’s bag and lifts FLORENCE to carry her to one of the bunks in the room.) (MUSIC #3: “Lullaby”) GREGOR Florence, I have to leave you now. It isn’t safe for you here, and I can’t risk… (a pause as FLORENCE stares at him. He starts to tuck her into bed.) Maria will take you to the airport soon, and you’ll be on your way to America. I have a friend there who’ll take care of you. (another pause.) I’ll come and see you again. Once this is over, we’ll see each other again. I promise. (another pause; FLORENCE continues to stare.) Florence, please…you must try and rest. You’ve got a long journey ahead of you. GREGOR ALUDJ KICSI LÁNYKÁM, HUNYD BE SZEMECSKÉDET, (Slowly the others join him in the lullaby.)

I – Prologue – 3 GREGOR & CHORUS ÁLMOD ÉDES SZÁRNYÁN SUHANJ KÖNNYEDÉN, APUKÁD ERŐS KEZÉN. (FLORENCE drifts to sleep. The others continue to sing, some reverentially, some longingly.) CHORUS ELALUDT A PÁRNÁD, KIALSZIK A FÉNY. SUHANJ KICSI LÁNYKÁM ÁLMOD KÉK EGÉN, APUKÁD ERŐS KEZ— (They are suddenly interrupted by the sound of explosions. Some REBELS hurry in.) REBEL 2 Tanks—the Russians are moving into Prodgsy Street. REBEL 1 Let’s go. Hurry! (As the PEOPLE in the room start to go, a small contingent of REBELS, MARIA and FLORENCE among them, start to move out a back entrance. FLORENCE sees her father and starts to pull away.) GREGOR Go with them, Florence. Please go! YOUNG FLORENCE Papa— (GREGOR grabs her bag with the chess set and places it in FLORENCE’s hands.) GREGOR Go! (The contingent makes their way out. The last rebel turns and salutes.) REBEL 1 Good luck, Gregor Vassy. (And exits. GREGOR and a handful of REBELS remains.)

I – Prologue – 4

REBEL 2 Ferenc says that if they move across the river, we move back to the wall. REBEL 3 And if they stay at the wall? REBEL 4 We move to the Margaret Bridge. GREGOR (laughs slightly) We move, they move. (Serious again) Let’s go. (He picks up his gun and they follow him out.) END OF PROLOGUE

I–1–5 Scene 1 (Bangkok, 1988. The lobby of the Bangkok Hilton Hotel. A large banner behind reads: THE HILTON WELCOMES THE WORLD CHESS CHAMPIONSHIP. As the scene begins members of the press, FLORENCE, now in her thirties, and the ARBITER of the match are waiting for an important arrival.) (MUSIC #4: “Freddie’s Entrance”) ARBITER (checking his watch; to the press) Ladies and Gentlemen, welcome to the 1988 World Chess Championship. Mr. Trumper appears to be running late, so you may address the challenger— (Never missing a moment, FREDDIE TRUMPER comes down the hallway, followed by a crowd.) FREDDIE WHAT A SCENE! WHAT A JOY! WHAT A LOVELY SIGHT— WHEN MY GAME IS THE BIG SENSATION! HAS THE MOB’S SPORTING TASTE ALTERED OVERNIGHT? HAVE THEY FOUND NEW SOPHISTICATION? NOT YET! THEY JUST WANNA SEE IF THE NICE GUY BEATS THE BUM! IF IT’S EAST-WEST— AND THE MONEY’S SKY-HIGH! FREDDIE & CHORUS THEY ALL COME… (As they enter the meeting room there is pandemonium. Also at the table are ANATOLY and MOLOKOV.) ARBITER Well, the champion has seen fit to join us. How lovely. Now— (but he is overrun by anxious REPORTERS) AUSTRALIAN REPORTER Mr. Trumper, do you think chess should be an Olympic sport?

I–1–6 FREDDIE What, and do it for free? YOU CAN RAISE ALL YOU WANT IF YOU RAISE THE ROOF! SCREAM AND SHOUT, AND THE GATE INCREASES! BREAK THE RULES, BREAK THE BANK— I’M THE LIVING PROOF, THEY DON’T CARE HOW I MOVE MY PIECES! I KNOW I’M THE BEST THERE IS, BUT ALL THEY WANT IS A SHOW! WELL, THAT’S ALLRIGHT— I’LL BE GLAD TO OBLIGE! FREDDIE & CHORUS S.R.O., S.R.O.! ARBITER (yelling over the crowd) Ladies and gentlemen, please! (once they quiet down) Now, you may address your questions to Freddie Trumper, the World Chess champion, and Mr. Anatoly Sergievsky, the challenger. (No surprise who they pick) REPORTERS Freddie!!!! FREDDIE You! FRENCH REPORTER (In French: “Mr. Trumper, what is your—) Monsieur Trumper, quelle est votre— FREDDIE Next question! AMERICAN REPORTER What are your impressions of Bangkok so far, Freddie? FREDDIE Well, geez—I’m staying right here at the Hilton. Right down the block’s a McDonald’s and a Burger King. Seems like Cleveland to me.

I–1–7

(laughter) ENGLISH REPORTER In Budapest you’re scheduled at the same time as the— FREDDIE If we make it to Budapest. Hey, I could win them all here. He could just give up. (FLORENCE gives him a look at this) ARBITER Now, some questions for Mr. Sergievsky. GERMAN REPORTER Mr. Sergievsky, this is only the second time that a match has been divided between two sites, Bangkok and Budapest in this case. Is there a— MOLOKOV I shall speak to that. Mr. Sergievsky plays where the World Chess Federation tells him to play. The match sites are not under our control. AUSTRALIAN REPORTER Bangkok’s got a reputation for a rather rich night life. (some laughter) Either of you planning to partake while—? FREDDIE Hey, I’m in training. Maybe next time. AMERICAN REPORTER You probably brought all you need with you, anyway. (laughter) FREDDIE (smiling) What’s that supposed to mean? AMERICAN REPORTER Well, Miss Vassy’s not an unattractive woman, Freddie. FREDDIE Florence is my chess second—what are you implying?

I–1–8 AMERICAN REPORTER Forget it. FREDDIE No, I want to know— FLORENCE (trying to stop this) Freddie… FREDDIE (ignoring her, to REPORTER) Come here. (awkward pause) C’mere! AMERICAN REPORTER (as he approaches FREDDIE) Look, it was a joke, okay? (suddenly FREDDIE punches the REPORTER hard in the face and hurries out. There is chaos; REPORTERS yelling questions.) (MUSIC #5: “Press Conference”) REPORTERS WELL, WHAT DID I SAY? HE'S OUT OF HIS TREE, HE'S FINALLY FLIPPED— AND BETWEEN YOU AND ME, THOUGH HE SWEARS THE AMERICAN DREAM IS CLEARLY THE BEST HE’S NO ADVERTISEMENT FOR LIFE AND TIMES IN THE WEST! (FLORENCE storms in, dominating their words with a powerful outburst:) FLORENCE SMILE, YOU’VE GOT YOUR FIRST FLORENCE EXCLUSIVE STORY! NOW YOU

REPORTERS WELL, WHAT DID I SAY? HE'S OUT OF HIS TREE, HE'S FINALLY FLIPPED— AND BETWEEN YOU AND ME,

I–1–9 CAN BASK IN HIS REFLECTED GLORY! “NAKED, UNPROVOKED YANKEE AGRESSION!” OH, WHAT A CREDIT TO YOUR GREAT PROFESSION!

HE'S NO HOPE OF RETAINING HIS CROWN IN HIS FRAME OF MIND— IN FACT, HE SHOULDN'T HAVE COME HERE, HE SHOULD HAVE RESIGNED! IN THIS FRAME OF MIND, HE SHOULDN’T COME, HE SHOULD RESIGN WHEN HE IS IN THIS FRAME OF MIND, HE SHOULDN’T COME, HE SHOULD RESIGN WHEN HE IS IN THIS FRAME OF MIND, HE SHOULDN’T COME, HE SHOULD RESIGN!

(FLORENCE exits. The scene changes during the REPORTERS’ final words) REPORTERS MUCH BETTER TO QUIT WHILE STILL NUMBER ONE THAN CRASH TO DEFEAT, REPUTATION UNDONE! THOUGH HE'S PROVED TO HIMSELF IT'S A COMMUNIST PLOT, IF YOU ASK ME, IT'S MONEY THAT DID IT AND STARTED THE ROT! IT'S SAD THAT THE BEST HIS COUNTRY'S PRODUCED IS CRUMBLING IN FRONT OF OUR EYES AND REDUCED TO A MINDLESS ABUSE AND ASSAULT ON ALL OF MANKIND— IN FACT, HE SHOULDN'T HAVE COME HERE, HE SHOULD HAVE RESIGNED! End of Scene

I – 2 – 10 Scene 2 (ANATOLY’s hotel suite. ANATOLY SERGIEVSKY, the Russian World Chess Champion, and his second, IVAN MOLOKOV, enter the suite. ANATOLY sits by a chess board and starts to practice) ANATOLY It’s all a performance—it has to be. MOLOKOV Even I know his reputation. ANATOLY But to see it there in front of you— MOLOKOV Yes, very amusing. (NIKOLAI, MOLOKOV’s assistant, enters with files in hand.) NIKOLAI Molokov, you have telephone messages. (He hands them to MOLOKOV, who looks through them. To ANATOLY.) Good luck, Sergievsky. The American is just a child. MOLOKOV (Handing ANATOLY a phone message) From your wife. She called from home. ANATOLY When will you learn—when I’m in a match I have neither a wife nor a— MOLOKOV A home? (Beat. Continues to look through messages.) When you are home I understand you don’t call your wife either. But this is none of my business. ANATOLY I’m here to play chess. MOLOKOV And I’m here to help you play chess. (to NIKOLAI) What else did you bring?

I – 2 – 11 NIKOLAI (Handing file.) The woman with Trumper. Florence Vassy. ANATOLY (without looking up) An experienced second. She’s well-known. (beat) You could have just asked me. MOLOKOV (reading the file) Hungarian refugee. Left Budapest as a child. 1956. (to himself) They’re not going to let her… (he disregards it. To NIKOLAI) Do they sleep together? NIKOLAI Rumor is they don’t. She has her own room here. But we’re checking this out ourselves. ANATOLY (over chess board) He needs only an answer, Nikolai, not a videotape. MOLOKOV Speak for yourself! (He laughs. ANATOLY doesn’t. To NIKOLAI) Hungarian women. I had a crush on one in Moscow. But just because I was Russian… ANATOLY The sacrifices we Russian men have had to make for the cause of world peace. (MOLOKOV nods and NIKOLAI exits. The phone rings; MOLOKOV goes to answer it.) MOLOKOV (Into phone) Hello? I’ll be right down. (hangs up. As he goes to door) Our ambassador has arrived. ANATOLY Our ambassador? (MUSIC #6: “Where I Want to Be”)

I – 2 – 12

MOLOKOV Didn’t I tell you? He’s asked to play a single game against a Soviet champion. ANATOLY Tonight? No, Molokov— MOLOKOV (at the door) He went to university with Gorbachev. ANATOLY What does that have to do with— MOLOKOV You have no choice. (He exits. ANATOLY looks over the chess board.) ANATOLY WHO NEEDS A DREAM? WHO NEEDS AMBITION? WHO’D BE THE FOOL IN MY POSITION? ONE, I HAD DREAMS— NOW THEY’RE OBSESSIONS. HOPES BECAME NEEDS, LOVERS POSSESSIONS. THEN THEY MOVE IN— OH, SO DISCREETLY. SLOWLY AT FIRST, SMILING TOO SWEETLY. I OPENED DOORS— THEY WALKED RIGHT THROUGH THEM. CALLED ME THEIR FRIEND— I HARDLY KNEW THEM. NOW I’M ANATOLY & CHORUS WHERE I WANT TO BE AND WHO I WANT TO BE AND DOING WHAT I ALWAYS SAID I WOULD, AND YET I FEEL I HAVEN’T WON AT ALL! RUNNING FOR MY LIFE AND NEVER LOOKING BACK IN CASE THERE’S SOMEONE RIGHT BEHIND TO SHOOT ME DOWN

I – 2 – 13 AND SAY HE ALWAYS KNEW I’D FALL! ANATOLY WHEN THE CRAZY WHEEL SLOWS DOWN, WHERE WILL I BE? BACK WHERE I STARTED. DON’T GET ME WRONG— I’M NOT COMPLAINING. TIMES HAVE BEEN GOOD, FAST, ENTERTAINING. BUT WHAT’S THE POINT IF I’M CONCEALING NOT ONLY LOVE, ALL OTHER FEELINGS? NOW I’M ANATOLY & CHORUS WHERE I WANT TO BE AND WHO I WANT TO BE AND DOING WHAT I ALWAYS SAID I WOULD, AND YET I FEEL I HAVEN’T WON AT ALL! RUNNING FOR MY LIFE AND NEVER LOOKING BACK IN CASE THERE’S SOMEONE RIGHT BEHIND TO SHOOT ME DOWN AND SAY HE ALWAYS KNEW I’D FALL! ANATOLY WHEN THE CRAZY WHEEL SLOWS DOWN, WHERE WILL I BE? BACK WHERE I STARTED. (blackout) End of Scene

I – 3 – 14 Scene 3 (FREDDIE’s suite. FLORENCE and FREDDIE are practicing chess. WALTER ANDERSON, FREDDIE’s agent, is on the phone.) WALTER (Into phone) Thirty thousand. He won’t take a penny less. (calls) Will you, Freddie? (no response; into phone) He’s adamant. It’s thirty or nothing. (beat) No, thirty. (beat) It’s a deal. Twenty-five. (he hangs up and moves to FREDDIE) Twenty five grand and it doesn’t even have to be your foot in the picture! FREDDIE It doesn’t? WALTER They can use any old foot they want. They put your signature across it, see. One ad. They don’t even need to photograph you. FLORENCE Freddie, please. Concentrate. WALTER (starts to leave) A photo session, I told them, was gonna cost real money. Excuse me, I’m already late—the trade show’s just beginning. (WALTER exits) FLORENCE (Mimicking) “A photo session was going to cost real money”—where did you find that guy, selling watches on Broadway? FREDDIE Ah, you just hate the idea of making money. FLORENCE I hate the idea of always talking about it.

I – 3 – 15 (beat) Stick to the chess, Freddie—do what you’re good at. FREDDIE C’mon, Florence, get off me. FLORENCE (suddenly serious) Watch him. That is my advice. FREDDIE Sergievsky doesn’t know what the hell to make of me after this morning. FLORENCE The Russians aren’t as dumb as you think. I mean, granted, Sergievsky may not have just sold his toes for twenty-five grand, but we can still have some respect for him. (a pause) And I didn’t like that crack you made about Budapest. FREDDIE What—come on, it was a joke! FLORENCE Freddie, you know why I wanted us to do this— FREDDIE I thought it was just your unbridled confidence in my talents. (beat—she didn’t find that funny, either. Sincerely) We’ll get there. Okay? We’ll get to Budapest. I promise. (A pause. He takes her hand, she gives it a quick squeeze before going back to the board.) FLORENCE Here. A pawn down. (She takes off a pawn. FREDDIE stares at the board for a moment.) FREDDIE Okay…Bishop G-4. FLORENCE Knight C-7. (FREDDIE moves, then stops. He smiles, realizing defeat.)

I – 3 – 16 FREDDIE Okay. Very good. Where’d you pick that up—? FLORENCE A Sergievsky match in Volograd. (beat. She smiles) I’ve been saving it. FREDDIE (laughs) Okay, so—I won’t let myself get into a position like— FLORENCE Sergievsky wasn’t the one who made the move, Frederick. He was the one who got out of it. FREDDIE. (stunned) What? No. No, that’s not— (pause, he studies the board intently) No. That’s not possible. FLORENCE (teasing) Sergievsky found a way out… FREDDIE Well, you must have it wrong… (MUSIC #7: “How Many Women”) FLORENCE He got out! (laughing) It’s not gonna be as easy as you think, Mr. Trumper! (she gets up and moves around the suite, teasing FREDDIE as she goes. He stays relentlessly by the board.) HOW MANY WOMEN WOULD DRIVE THEMSELVES CRAZY BY ARGUING OVER A GAME OF CHESS? NOT VERY MANY—THE WAY THINGS ARE GOING, THERE’LL SOON BE ONE LESS! FREDDIE DON’T BELIEVE YOU, SWEETIE-PIE! FLORENCE (mock self-seriousness)

I – 3 – 17 LISTEN, FREDDIE—I TOO HAD AMBITIONS— HOW DID I GET WAYLAID? HOW CAN SUCH A FLOWER, A SENSITIVE SOUL—A DELICATE CHILD! WIND UP AS A NURSEMAID— RESPECTABLY SET FOR THE GLITTERING PRIZES, INSTEAD OF WHICH I LANDED YOU! FREDDIE YOU’LL GET YOUR PRIZES— I’M NINETY PERCENT OF THE WAY TO THE TOP OF THE HEAP! (FLORENCE is legitimately taken aback by this) FLORENCE Oh, thanks— TEN PERCENT—YOU GOT ME CHEAP! FREDDIE (realizing his mistake) No, no, Florence—I meant we are ninety percent of the way— (FLORENCE continues her teasing, but there’s a real edge to the complaints now. FREDDIE’s struck a nerve.) FLORENCE HOW MANY WOMEN—ARTICULATE WOMEN, WITH SOMETHING TO SHOUT ABOUT— SPEND THEIR TIME PLAYING A GAME IN WHICH SILENCE IS GOLDEN AND SPEAKING A CRIME? FREDDIE MAYBE IF HE MOVED HIS KING… FLORENCE ALL OF MY STRUGGLES FOR QUALIFICATION— MY NIGHTS WITH GOETHE AND PROUST— RECKLESSLY ABANDONED FOR YOU! WHO THINKS CHECKOV IS KING TO G3— AND JOYCE, MY COLLEGE ROOMMATE! BUT THEN WHEN I SHOW YOU A MOVE YOU CAN’T FATHOM— I HAVE TO ADMIT, IT FEELS GREAT! FREDDIE GREAT NEWS FOR CHESS FANS!

I – 3 – 18 (Making a triumphant move.) YEAH—THAT’S HOW HE DID IT! YES, THAT’S HOW THE COMMMUNIST PLAYS! FLORENCE MAYBE I DESERVE A RAISE! (A brief tense moment, then they both burst out laughing. FLORENCE looks at the board and nods to FREDDIE.) FLORENCE Nice. Maybe you are ready for the Russians. FREDDIE Yeah, but—are they ready for me? FLORENCE I think the more important question is—are they ready for Walter’s little trade show? End of Scene

I – 4 – 19 Scene 4 (The Chess arena, where a loud, garish mob of MERCHANDISERS are selling their wares in WALTER’s gargantuan trade show. WALTER enters, cane and Styrofoam hat in hand.) (MUSIC #8: “Merchandisers”) WALTER WHETHER YOU ARE PRO OR ANTI, OR COULD NOT CARE LESS— WALTER & CHORUS WE ARE HERE TO TELL YOU WE ARE HERE TO SELL YOU CHESS! NOT A CHANCE OF YOU ESCAPING FROM OUR WILES— WE’VE LOCKED THE DOORS, WE’VE BLOCKED THE AISLES! WE’VE A FRANCHISE WORTH EXPLOITING, AND WE WILL—YES, WE WILL! WHEN IT COMES TO MERCHANDISING, WE COULD KILL! WHEN YOU GET UP— WALTER WHEN YOU GET UP IN THE MORNING ‘TILL YOU CRASH AT NIGHT, YOU WILL FIND YOURSELF SURROUNDED BY OUR COPYRIGHT. BRUSH YOUR TEETH WITH CHECKERED TOOTHPASTE— WEAR OUR VESTS— CHORUS OUR KINGS AND QUEENS ON BOUNCING BREASTS! WALTER YOU COULD EVEN BUY A SET AND LEARN TO PLAY! WALTER & CHORUS WE DON’T MIND—WE’LL SELL YOU SOMETHING ANYWAY! WE'VE DONE ALL OUR MARKET RESEARCH, AND OUR FINDINGS SHOW THAT THIS GAME OF CHESS COULD BE AROUND A MONTH OR SO! MAYBE IT'S A BIT CONFUSING

I – 4 – 20 FOR A GAME, BUT RUBIK'S CUBES WERE MUCH THE SAME! WALTER IN THE END THE WHOLE WORLD BOUGHT ONE— ALL WERE GONE! WALTER & CHORUS BY WHICH TIME, WE MERCHANDISERS HAD MOVED ON! BY WHICH TIME, WE HAD MOVED ON! (Their show finished, they recede back to the sidelines. FLORENCE enters, across a disapproving MOLOKOV accompanied by ANATOLY. An ASSISTANT rises to make announcement) ASSISTANT Ladies and gentlemen—the Arbiter of this match, Mr. Constantine Stanos. (The ARBITER—a large, burly figure, enters. Applause from spectators and delegates) ARBITER Thank you—thank you very much. Respected guests, delegates, members of the press—and of course, our sponsors—welcome to this World Chess Championship. I understand many of you have come a long way to be here, so let me announce what I know you’ve all been waiting for— the sponsor’s lounge, with complimentary bar, is finally open. (much applause, spectators and reporters filter in and out. The ARBITER moves to FLORENCE and MOLOKOV) ARBITER Ah—Miss Vassy, good to see you. Have you met— FLORENCE —Mr. Molokov, yes. MOLOKOV Ah, you’ve learned my name. I’m flattered. (Beat. To ARBITER) Mr. Arbiter, I have just a couple of minor points before we begin the match—the twenty-fourhour time limit to a break; I’m worried now that this will especially penalize my player. FLORENCE He’ll be needing plenty of rest?

I – 4 – 21

ARBITER Yes, I’m sorry—break limits are final. MOLOKOV I see. (beat) And then there’s the chairs. FLORENCE We agreed on Swedish chairs—neutral chairs. ARBITER Indeed— MOLOKOV We brought with us two very comfortable Finnish chairs. (beat) Finland’s neutral. ARBITER Well, you see— FLORENCE But are the chairs? MOLOKOV What could one do with chairs? FLORENCE Oh, I’m all ears—tell me. ARBITER Excuse me! (beat, FLORENCE and MOLOKOV are quiet) Thank you. I’m sorry, but I don’t feel we’re making very meaningful progress here. Unless there are any serious objections…? (beat, no response) Good. Match begins in one hour. (he exits. MOLOKOV moves to WALTER at the side of the stage, FLORENCE moves towards a nearby ANATOLY, reading a book.) ANATOLY A shame about the rest days.

I – 4 – 22 FLORENCE Hm? ANATOLY Being limited to a day. I was hoping to enjoy a longer break. FLORENCE You get tired, do you? ANATOLY Hay fever. I can’t help it. FLORENCE (smiling) I should start wearing straw hats. (On the other side of the stage, MOLOKOV greets WALTER) MOLOKOV (extending a hand) Mr.—Andersson, is it? WALTER (shaking it) Mr. Molokov. MOLOKOV Quite a show. WALTER Thank you. Makes you feel very— MOLOKOV Proud to be an American? ANATOLY (to FLORENCE) You seem so distrustful—I hope you’re not one of those right-wing conservative Americans— FLORENCE Well, no. Not yet. But keep talking. (They laugh, and continue to talk. MOLOKOV watches them with interest. Delegates begin to gather around, including NIKOLAI and BEN) (MUSIC #9: “U.S. vs. U.S.S.R.”)

I – 4 – 23

WALTER What is it, Mr. Molokov? MOLOKOV Oh—a pleasure to see opposing sides getting along so well. BEN Times have moved on. NIKOLAI The world is changing. MOLOKOV NO ONE CAN DENY THESE ARE ENCOURAGING TIMES! CHORUS NO ONE CAN DENY THESE ARE ENCOURAGING TIMES! MOLOKOV IT’S THE U.S. VERSUS U.S.S.R., YET WE MORE OR LESS ARE— CHORUS NO ONE CAN DENY THESE ARE ENCOURAGING TIMES! MOLOKOV —TO OUR CREDIT, PUTTING ALL THAT ASIDE, WE HAVE SWALLOWED OUR PRIDE! CHORUS THESE ARE OPTIMISTIC AND ENCOURAGING TIMES! WALTER IT REALLY DOESN’T MATTER WHO COMES OUT ON TOP, WALTER & CHORUS WHO GETS THE CHOP— MOLOKOV NO-ONE’S WAY OF LIFE IS THREATENED BY A FLOP! AMERICAN CHORUS BUT WE’RE GONNA SMASH THEIR BASTARD! MAKE HIM WANNA CHANGE HIS NAME!

I – 4 – 24 TAKE HIM TO THE CLEANERS AND DEVASTATE HIM— WIPE HIM OUT, HUMILIATE HIM! RUSSIAN CHORUS WE DON’T WANT THE WHOLE WORLD SAYING “THEY CAN’T EVEN WIN A GAME!” WE HAVE NEVER RECKONED ON COMING SECOND— THERE’S NO USE IN LOSING! MOLOKOV IT’S THE RED FLAG UP AGAINST STARS AND STRIPES— WALTER BUT WE’RE PEACE-LOVING TYPES! CHORUS NO-ONE CAN DENY THESE ARE ENCOURAGING TIMES! BEN IT’S A SWEET HAIL-FELLOW-WELL-MET AFFAIR— NIKOLAI FOR BOTH EAGLE AND BEAR! CHORUS NO-ONE CAN DENY THESE ARE ENCOURAGING TIMES! MOLOKOV HOW GOOD TO FEEL THAT AS THIS GREAT EVENT BEGINS, IT UNDERPINS OUR QUEST FOR PEACE, THE BONDS OF COMMON INTEREST OF EAST AND WEST… CHORUS AS LONG AS OUR MAN WINS… ALL AS LONG AS OUR MAN WINS! End of Scene

I – 5 – 25 Scene 5 (MUSIC #10: “Chess No. 1 (Instrumental)”) (The Arena. During a brief fanfare, ANATOLY and FREDDIE approach the chessboard, sit, and begin to play. They play for quite a while, when FREDDIE looks up at ANATOLY, who is eating a cup of yogurt (he had eaten another cup at the start of play). FREDDIE looks at the yogurt, then back at ANATOLY.) FREDDIE What is that? ANATOLY (holding the spoon a few inches from his mouth) What? FREDDIE (points to the yogurt) That. ANATOLY This is yogurt. (beat) Would you like some? FREDDIE (Stands and yells.) Check it! I want someone checking that yogurt! (To ANATOLY.) Put it down! (A brief pause—no one knows what to do. The ARBITER finally moves to ANATOLY, then stops.) ARBITER Check it for what? FREDDIE Check it! ANATOLY This is crazy—why should I let you look at my yogurt? (The ARBITER is caught in the middle)

I – 5 – 26 FREDDIE It’s strawberry yogurt! ANATOLY This is true. FREDDIE (pleased) And before that it was blueberry! And before that, it was blueberry! (Short pause) ARBITER So? FREDDIE What are you, stupid? He’s getting signals with the choice of yogurt. He’s cheating! ARBITER Mr. Trumper— FREDDIE Don’t be so damn naïve! ANATOLY Is this a joke? FREDDIE Look, I demand he no longer be served yogurt—and I want an apology! ANATOLY (incredulous) What?! FLORENCE Freddie, what are you doing? FREDDIE Florence, look, I think I’m being very generous here. I could demand he be disqualified! (beat) Come on. (pause. To ARBITER) Well, call him on it, it’s your job! (No response) Okay, I get it. You’re working for him.

I – 5 – 27 ARBITER Mr. Trumper—! Would you please— FREDDIE Forget it. This match is history—it’s over! (FREDDIE storms out. The CROWD gasps. Then silence, as everyone stares at the ARBITER.) ARBITER (beat; claps his hands together) Break for lunch! (MUSIC #11: “Quartet”) (Chaos, REPORTERS run off after FREDDIE. The arena is slowly emptied except for ANATOLY, FLORENCE, MOLOKOV, and the ARBITER) ANATOLY (To FLORENCE) Pity, you cannot always choose who you work for. FLORENCE True. And I’ve noticed you seem to have the same problem. MOLOKOV WE WISH—NO, MUST MAKE OUR DISGUST FOR THIS ABUSE PERFECTLY CLEAR! WE’RE HERE FOR CHESS—ARE THE U.S.? IF SO, WHY FOUL THE ATMOSPHERE? FLORENCE I MUST PROTEST— OUR DELEGATION HAS A HOST OF VALID POINTS TO RAISE. OUR PLAYER’S SPORTING ATTITUDE’S BEYOND ALL PRAISE, AS ANY NEUTRAL WOULD ATTEST— (To ANATOLY) THOUGH WE CONCEDE THE FACT YOUR MASTERS BEND THE RULES IS MAYBE NOT YOUR FAULT! IF THEY WITHDRAW THEIR

MOLOKOV WE WISH— NO, MUST MAKE OUR DISGUST AT THIS ABUSE PERFECTLY CLEAR! WE’RE HERE FOR CHESS— ARE THE U.S.? HOW CAN

I – 5 – 28 PSYCHOLOGICAL ASSAULT, THEN UNDER PROTEST HE’LL PROCEED!

YOU MAKE SUCH A CLAIM?

MOLOKOV IF YOUR MAN’S SO SWEET, THEN WHY HIS FIGHTING TALK? IF HE SAYS WE CHEAT, THEN WHY ON EARTH DID HE GO TAKE A WALK?

ARBITER I CALL THIS TUNE, “NO ONE’S IMMUNE TO MY POWER IN THE HALL!”

FLORENCE I AM NOT SURPRISED HE WANTED FRESHER AIR ONCE HE REALIZED THERE WAS NO HOPE OF YOUR GUYS PLAYING FAIR!

MOLOKOV WHY LET HIM LOOSE? HE’LL SOON REDUCE THIS GREAT EVENT TO A BRAWL!

HOW SAD TO SEE WHAT USED TO BE

IT’S VERY SAD TO SEE THE ANCIENT AND DISTINGUISHED GAME THAT USED TO BE

FLORENCE & MOLOKOV A MODEL OF DECORUM AND TRANQUILITY BECOME LIKE ANY OTHER SPORT— A BATTLEGROUND FOR RIVAL IDEOLOGIES TO SLUG IT OUT WITH GLEE! ANATOLY I WOULD SAY WITH REGARD TO HIM, IT IS HARD TO REBUT EVERGROWING SUSPICIONS MY OPPOSITION’S A NUT.

MOLOKOV WE WISH, NO MUST MAKE OUR DISGUST AT THIS ABUSE PERFECTLY CLEAR! WE’RE HERE FOR CHESS— ARE THE U.S.? IF SO, WHY FOUL THE ATMOSPHERE?

FLORENCE I WOULD HAVE SAID YOU’D UNDERSTAND THE STRAIN AND PRESSURE GETTING

ARBITER I MUST INSIST THAT YOU

I – 5 – 29 WHERE HE’S GOT, FOR THEN YOU’D SIMPLY CALL HIM HIGHLY STRUNG AND NOT IMPLY THAT HE WAS OFF HIS HEAD!

DESIST, IF YOU VALUE YOUR LIVELIHOOD!

ANATOLY BUT HOW CAN YOU WORK FOR ONE WHO TREATS YOU LIKE DIRT? PAY MUST BE GOOD!

MOLOKOV IT SEEMS TO US THERE’S LITTLE POINT IN WAITING HERE ALL NIGHT FOR HIS RETURN. AND SINCE A PEACFUL MATCH IS OUR SOLE CONCERN WE WON’T MAKE AN OFFICIAL FUSS.

FLORENCE I’M NOT GETTING RICH! MY ONLY INTEREST IS IN SOMETHING WHICH GIVES ME A CHANCE OF WORKING WITH THE BEST!

IN SHORT, WE RISE ABOVE YOUR GUY’S TANTRUMS, DRAMAS, DIRTY TRICKS!

ANATOLY I CAN ONLY SAY, I HOPE YOUR DREAM COMES TRUE, TILL THAT FAR-OFF DAY, I HOPE YOU COPE WITH HELPING NUMBER TWO!

ARBITER GET THIS STRAIGHT—I WILL NOT STAND BY WHILE YOU PLAY AT POLITICS!

FLORENCE & ANATOLY

MOLOKOV & ARBITER IT’S VERY SAD TO SEE THE ANCIENT AND DISTINGUISHED GAME THAT USED TO BE

HOW SAD TO SEE ALL A MODEL OF DECORUM AND TRANQUILITY BECOME LIKE ANY OTHER SPORT— A BATTLEGROUND FOR RIVAL IDEOLOGIES TO SLUG IT OUT WITH GLEE! FLORENCE IT IS VERY

ARBITER IT’S SO SAD TO

ANATOLY SAD

MOLOKOV HOW SAD

I – 5 – 30 SAD TO SEE SAD TO SEE A GAME THAT ONCE USED TO BE A MODEL OF CALM AND TRANQUILITY

SAD WHEN IT BECOMES LIKE ANY

OTHER SPORT

SEE A GAME THAT REALLY SHOULD BE

LIKE A MODEL OF DECORUM BECOME

JUST LIKE ANY OTHER SPORT A BATTLEGROUND FOR RIVAL IDE-

IT IS VERY SAD TO SEE

TO SEE

THIS DISTINGUISHED AND OLD GAME THAT USED TO, THAT USED TO BE TRAN-

TINGUISHED

QUILITY

LIKE A

HAS BECOME

MODEL

OF DE-

IT IS VERY SAD TO SEE THE OLD DISTINGUISHED GAME THAT USED TO BE

JUST A BATTLEGROUND, A BATTLEGROUND FOR IDE-

OLOGIES TO SLUG SLUG IT OUT

OLOGIES

IT IS VERY

BATTLEGROUND SLUG IT OUT WITH GLEE ANY OTHER SPORT LIKE A BATTLEGROUND SAD TO SEE

IT’S VERY SAD TO SEE THE ANCIENT AND DISTINGUISHED GAME THAT USED TO BE A

SAD SO SAD TO SEE

SO SAD

IT’S A

TO

BATTLEGROUND FOR RIVAL IDE-

SEE A

MODEL OF DECORUM AND TRANQUILITY

SLUG IT OUT

OLOGIES

MODEL OF DECORUM AND TRANQUILITY

A DIS-

GAME THAT ALWAYS USED TO BE

CORUM AND OF PURE TRAN-

QUILITY

MODEL OF TRANQUILITY

I – 5 – 31 BECOME LIKE ANY OTHER SPORT

IT BECOMES

A BATTLEGROUD FOR IDEOLOGIES A BATTLEGROUND

LIKE A BATTLEGROUND FOR RIVAL IDEOLOGIES

IT’S VERY SAD

JUST LIKE ANY OTHER SPORT HOW SAD

WHEN IT BE-

TO SEE HOW THE GAME THAT USED TO BE

GROUND THEN IT IS VERY

IT’S VERY SAD

TO SEE A GAME

TRANQUILITY

SO SAD TO SEE

A BATTLEGROUND

A BATTLEGROUND

COMES A BATTLE-

SAD, IT’S VERY SAD WHEN THIS ANCIENT GAME BECOMES A BATTLEGROUND

ALL A PLACE TO SLUG IT OUT WITH GLEE! ARBITER (wearily) Mr. Sergievsky, you wouldn’t by any chance consider abstaining from yogurt— MOLOKOV Are you suggesting—? ARBITER I’m not suggesting anything—except that we continue on with this match. ANATOLY I will be in my room—packing. (Turns to FLORENCE, shakes his head) Such a waste. (He leaves. The ARBITER turns to MOLOKOV) ARBITER People have invested millions of dollars in us, Mr. Molokov. In chess. MOLOKOV This is not my problem—

I – 5 – 32 ARBITER It bloody well is! (to the both of them) So what do you suggest we do? Let it all collapse in just one day? Let selfishness dictate to us? Not while I’m the Arbiter of this match! (beat) This is the message I want you to get across. Tomorrow morning, I expect to see two smiling players at the table. (he starts to leave, then stops.) I’ll amend that. I don’t give a shit if they’re smiling. (yells) I don’t care if they’re bleeding—two warm bodies are what’s required! That’s all! (He exits. MOLOKOV and FLORENCE alone. Pause) MOLOKOV (Shakes his head, laughs slightly) Yogurt…it would be funny if it weren’t so serious. (beat) It is serious? FLORENCE I can’t imagine Freddie playing without an apology. MOLOKOV But if Trumper leaves, what does that get him? He won’t get a second chance. FLORENCE Freddie walks now, he says he caught the commie cheating. Who won’t believe him? He’ll be a hero—he could probably run for office. MOLOKOV But you—you would be unable to attend the match site in Budapest. (beat) I am correct in presuming that’s why you’ve joined the tournament? FLORENCE That’s my own business, Mr. Molokov, thank you. MOLOKOV And as I understand it, they are already electing to bar you from the site, so surely Trumper’s behavior— FLORENCE Excuse me—they’re barring me from Budapest? (beat)

I – 5 – 33 What did you do? MOLOKOV Me? I’m a chess second. FLORENCE Bullshit. Don’t you think we know who you work for, Mr. Molokov? The State Department briefed us before we came here. MOLOKOV My purpose here is the game of chess. FLORENCE I’ll bet you love all kinds of games. MOLOKOV Florence Vassy. Left Hungary 1956. Mother dead, Father lost, presumed dead. Brought up by a Lawrence Osborne, professor of ancient history, Yale University. We have been briefed about you as well. (pause) Miss Vassy, you must believe I had nothing to do with this. When I learned of your involvement I made a few calls and discovered the Federation was looking to halt your entry to Budapest. I was told it was someone in your delegation who elected the change. FLORENCE (to herself) Walter… MOLOKOV I’m sorry? FLORENCE Nothing. (beat, she gets up) Well, Mr. Molokov, it seems we have work to do. MOLOKOV So this business with Mr. Trumper…? FLORENCE A meeting. Between the two players. (beat) Tonight? MOLOKOV Must this meeting be in public?

I – 5 – 34

(FLORENCE considers this) FLORENCE I see no need for more publicity. MOLOKOV (Quickly) Well, then I suggest our hotel room. FLORENCE (laughing) Oh, very funny! MOLOKOV I know a private place. A restaurant. FLORENCE Yeah, I know restaurants as well. MOLOKOV Let us choose at random, then. I have a Bangkok food guide. (He takes it out of his pocket) FLORENCE I have the very same one— (She takes hers out of her purse) We’ll use mine. MOLOKOV They’re the same. FLORENCE So there’s no problem with using mine. (beat) MOLOKOV I open, you point. FLORENCE Agreed. (He opens. She points, but before they look:)

I – 5 – 35 MOLOKOV Let’s make it the third below the one you’ve touched. FLORENCE The fourth— BOTH The second! (beat) FLORENCE Okay.

MOLOKOV Agreed. MOLOKOV

(Reads) “The Golden Mountain Cafe”. FLORENCE There are mountains in Bangkok? MOLOKOV It would appear they found one. FLORENCE Sounds ideal. (She gets up and gathers her things.) I’ll see you tonight. MOLOKOV Yes. And Miss Vassy— (she turns) 1956 was a long time ago. FLORENCE Not to me. (she exits) End of Scene

I – 6 – 36 Scene 6 (FREDDIE’s suite. WALTER is on the phone) WALTER (into phone) A lot of nerve those guys have; yogurt, think of it! Nothing’s sacred. I tell you, they can’t play without cheating. It’s their nature. (beat) Freddie’s completely disillusioned—he came here to play chess! FLORENCE (entering from the hall) Where’s Freddie? WALTER Shh! (into phone) Right. I think that’s the point. (FLORENCE searches the room) That’s what I’m saying—if you can’t trust the Russians over chess, how the hell are you gonna trust them with, say, an arms control deal? I mean, that’s basic common sense right there. But then what do I know? FLORENCE (very frustrated) Where is he? WALTER (covering the speaker) Shut up. (FLORENCE backs off, but as WALTER returns to the phone she moves to the telephone and innocently leans down on the buttons, disconnecting the call) WALTER (into the phone) I mean it, what do I know. I used to be a liberal myself, but that was back in the Sixties— (the call is disconnected. yells) What the hell are you doing—that was the L.A. Times! FLORENCE Where did he go?

I – 6 – 37 WALTER (starting to dial again) It took me twenty minutes to make that connection! FLORENCE God dammit, Walter, just tell me! (short pause. WALTER hangs up the phone and moves away) WALTER How the hell should I know where Freddie is? You’re the nursemaid, I thought. Maybe he got tired of being treated like he didn’t know anything— FLORENCE Who are you? WALTER (taken aback) What? FLORENCE Who are you? What do you want with Freddie? WALTER I want him to be rich. To recognize his potential. (putting on an air) Chess games come and chess games go, but money— FLORENCE Why do I not believe this? (beat) Whatever, I don’t have to put up with this. If Freddie shows up, tell him I’ll be at the Arbiter’s quarters— WALTER What the hell will you— (realization) Oh, the Budapest thing. FLORENCE (sharply) Right. “The Budapest thing”. WALTER Hey, don’t look at me like that—I think it’s a shame you’re not going.

I – 6 – 38 FLORENCE Spare me the niceties. WALTER What—you don’t think I had anything to do with this? FLORENCE You follow the slime, you find the slug. (FREDDIE coughs. He is standing at the door, holding up brochures) FREDDIE (dryly) Wouldn’t want to go home without seeing some of the sights. (reads) Sugar Shack. Girls Girls Girls. Ever been there, Walter? WALTER Well, that’s not something you confess in front of a lady. FREDDIE. True. Get out of here. WALTER (to FLORENCE as he leaves) See. He’s the boss. I’ll be in my room. (He exits. A brief, tense pause.) FREDDIE What if I told you…today was all my idea? FLORENCE Then I’d say it was the first time you pulled something like that without talking it over with me. FREDDIE What if I said I did it spontaneously? FLORENCE Only bad chess players move spontaneously, Freddie, and that’s one thing you’re not. FREDDIE I think making the point about Russians cheating is worthwhile in itself. FLORENCE Since when?

I – 6 – 39 (pause. She hands him a piece of paper) Here, we’re meeting Sergievsky at this restaurant at ten o’clock. FREDDIE And he’ll apologize? FLORENCE He’ll meet us. That’s enough. FREDDIE Not for me! FLORENCE What are you doing? This isn’t the Freddie Trumper who lived just to play chess! FREDDIE (turns on her, speaking over part of her line) Who was happy in ten-dollar shirts and playing chess games for the thrill of it? You’re right. FLORENCE Freddie, if you don’t go to this meeting, I might not get to go to Budapest. Look— FREDDIE Enough about Budapest! What about now? FLORENCE This meeting is important to me! FREDDIE (raising his voice) Well, this game is important to me! I want to fulfill my potential! FLORENCE Oh, grow up! FREDDIE (yells) You work for me! (MUSIC #12: “The American and Florence”) FLORENCE (screams at him in anger) YOU WANT TO LOSE YOUR ONLY FRIEND? WELL, KEEP IT UP—YOU’RE DOING FINE! WHY THIS HUMILIATION?

I – 6 – 40 WHY TREAT ME LIKE A FOOL? I’VE TAKEN SHIT FOR SEVEN YEARS, AND I WON’T TAKE IT ANY MORE! FREDDIE I’M ONLY TEASING SOVIETS WITH GENTLE BONHOMIE— AND YOU’VE A BETTER REASON TO BE ANTI-THEM THAN ME! FLORENCE THERE’S A TIME AND THERE’S A PLACE! FREDDIE Well, how about here and now? Are you for me or for them? FLORENCE THERE’S A TIME AND THERE’S A PLACE! (FLORENCE breaks away and moves to the bed, clearly very shaken by the argument. FREDDIE moves to her slowly, and the CHORUS echoes his words from the wings.) FREDDIE & CHORUS 1956: BUDAPEST IS RISING. 1956: BUDAPEST IS RISING. (FLORENCE is transfixed by the words, almost paralyzed. She sits still on the bed as FREDDIE approaches her) FREDDIE I’D HAVE THOUGHT YOU’D SUPPORT ANY ATTACK ON THESE PEOPLE! CHORUS 1956: BUDAPEST IS RISING. FREDDIE ON THE PEOPLE WHO RAN MINDLESSLY OVER YOUR CHILDHOOD! DON’T LET THEM FOOL YOU—FOR THIRTY YEARS ON THEY’RE THE SAME! FLORENCE & CHORUS 1956: BUDAPEST IS FIGHTING. 1956: BUDAPEST IS FALLING…

I – 6 – 41

FREDDIE THEY SEE CHESS AS A WAR— PLAYING WITH PAWNS JUST LIKE POLAND! FLORENCE 1956…BUDAPEST IS DYING… FREDDIE IF YOU WALK OUT ON ME, THEY WILL HAVE WON THE FIRST BATTLE! WOULDN’T YOUR FATHER HAVE BEGGED YOU TO STAY IN THE GAME? (This snaps her out of it. She rises and advances on FREDDIE) FLORENCE HE WOULD—BUT HE DIDN’T KNOW YOU! HE’D LOATHE YOUR BEHAVIOR, AND SO DO I! WHY’D YOU HAVE TO DO THIS TO ME? (She pushes FREDDIE out of the apartment and slams the door. Alone, she slumps to the floor and cries.) (MUSIC #13: “Someone Else’s Story”) FLORENCE LONG AGO, IN SOMEONE ELSE’S LIFETIME, SOMEONE WITH MY NAME, WHO LOOKED A LOT LIKE ME, CAME TO KNOW A MAN AND MADE A PROMISE— HE ONLY HAD TO SAY, AND THAT’S WHERE SHE WOULD BE. LATELY, ALTHOUGH THE FEELINGS RUN JUST AS DEEP, THE PROMISE SHE MADE HAS GROWN IMPOSSIBLE TO KEEP, AND YET, I WISH IT WASN’T SO. WILL HE MISS ME IF I GO? (she gets up and moves through the suite) IN A WAY, IT’S SOMEONE ELSE’S STORY. I DON’T SEE MYSELF

I – 6 – 42 AS TAKING PART AT ALL. YESTERDAY, A GIRL THAT I WAS FOND OF FINALLY COULD SEE THE WRITING ON THE WALL. SADLY, THE WORDS DESCRIBED AN EMPTY AFFAIR, AND SADDER THAN THAT, SHE KNEW HE WOULDN’T EVEN CARE. AND THOUGH THERE’S NOTHING LEFT TO SAY, WOULD HE LISTEN IF I STAY? IT’S ALL VERY WELL TO SAY “YOU FOOL—IT’S NOW OR NEVER!” I COULD BE CHOOSING NO CHOICES WHATSOEVER… I COULD BE IN SOMEONE ELSE’S STORY IN SOMEONE ELSE’S LIFE AND HE COULD BE IN MINE! I DON’T SEE A REASON TO BE LONELY— I COULD TAKE MY CHANCES FURTHER DOWN THE LINE. AND IF THAT GIRL I KNEW SHOULD ASK MY ADVICE, OH, I WOULDN’T HESISTATE, SHE NEEDN’T ASK ME TWICE— “GO NOW!” I’D TELL HER THAT FOR FREE. TROUBLE IS, THE GIRL IS ME. THE STORY IS, THE GIRL IS ME. End of Scene

I – 7 – 43 Scene 7 (The Golden Mountain Cafe. MOLOKOV is seated at a table while ANATOLY paces the restaurant impatiently. He walks to another table, and sees a RUSSIAN MAN seated, eating inconspicuously. ANATOLY smiles and moves back to MOLOKOV. Finally:) MOLOKOV Golden temples and artificial mountains… I’m relieved this chess match has not been the boring assignment I had feared. ANATOLY This is ridiculous—how long must we wait for this apology? MOLOKOV Be patient, Anatoly—they will come, and then we can get on with— ANATOLY With what? You have yet another petty bureaucrat for me to play against this evening? MOLOKOV Those ‘petty bureaucrats’ give you the chance to play! ANATOLY They give me nothing. MOLOKOV Careful what you say, Anatoly—especially in a public place like this. (FLORENCE enters. MOLOKOV sees her) Here they are—Miss Vassy! (FLORENCE sees them and moves to the table, pretending to be surprised.) FLORENCE Oh, hello! What a surprise—we must have the same Good Food Guide. MOLOKOV Of course you know— FLORENCE Yes, hello. MOLOKOV (to ANATOLY) Do you mind if she joins us?

I – 7 – 44

FLORENCE Oh, I wouldn’t want to intrude— ANATOLY Where’s Trumper? (beat) Molokov told me why we’re here. FLORENCE I…don’t know where he is. MOLOKOV Why not? FLORENCE He’s probably out with his agent. MOLOKOV Anderson. Yes, yes, I know him. FLORENCE How do you know him? MOLOKOV Our paths keep crossing. ANATOLY (to FLORENCE) I told Molokov he wouldn’t apologize. MOLOKOV Maybe I can trace him. I shall need to make a call or two—if you would excuse me. (He gets up and leaves. FLORENCE seats herself at the table) FLORENCE (as MOLOKOV exits) How can you—? (beat. To ANATOLY) Do you have someone following Freddie? ANATOLY I don’t. (beat) Don’t you have someone who follows me?

I – 7 – 45

FLORENCE (shocked) What—no, of course not! You don’t think I’m— ANATOLY No, of course not. (awkward pause) Are you going to order something? FLORENCE I—I don’t know what’s good. ANATOLY Let me ask. (to the RUSSIAN MAN at the other table, in Russian: “How’s the fish?”) Cock REE-bah? RUSSIAN MAN (in Russian: “Excellent”) Ot-LEECH-nai-yah. FLORENCE He’s with you? ANATOLY (shrugs) I guess so. FLORENCE Then why is he sitting—? (she stops herself) ANATOLY You cannot always choose— BOTH Who you work for. FLORENCE Yeah, well, I can. (she grabs the bottle of wine) Do you mind if I—? ANATOLY Oh—let me.

I – 7 – 46 (pours her a small glass of wine.) So, you’re leaving Trumper? FLORENCE (grabs the bottle herself and keeps pouring) I didn’t say that. I shouldn’t have said anything. ANATOLY Well, you know, someone like you—You could do better. FLORENCE Someone…like me? How do you know what I’m like? (beat) I’m sorry. I’m a little on edge tonight. Let’s not argue. ANATOLY Allright. (awkward pause) So…are you enjoying the mountain? FLORENCE (distracted) Such as it is, yes. ANATOLY I can’t help but notice your attention seems to be focused…elsewhere. (beat) Miss Vassy, I don’t mean to pry— FLORENCE Oh, no—you’re fine… (beat) You know what—Florence. Call me Florence. (beat) This whole match has been “Miss Vassy” this and “Miss Vassy” that. It’d be nice for someone to call me by my actual name for once. ANATOLY As you wish, Mi—Florence. (indicating himself) Anatoly. FLORENCE Anatoly.

I – 7 – 47 ANATOLY So, Florence, if I might ask—about what has put you “on edge” this evening…? FLORENCE (pause. She debates whether to tell him) I…I was born in Budapest, Anatoly. ANATOLY Oh. FLORENCE I lived there when I was very young. Then the uprising happened, and my father smuggled me out to America. I haven’t seen him or my home since then. ANATOLY I’m…I’m very sorry. FLORENCE No, it’s—it’s been thirty years. I’ve had some time to process it. (they laugh slightly) But, when I found out the sites for the tournament would be split, and one of the sites was Budapest, I…I had to go. And I found out today they’re not going to let me in. ANATOLY What—why? FLORENCE Something to do with the Summit. Apparently the American delegation is trying to appease the Russian delegation, and…I’m not allowed to go. ANATOLY I see. (beat) Terrible, when politics interferes with chess. FLORENCE And people. ANATOLY Yes. (beat) And if the Russian delegation had no reason to be involved with the match, no doubt you would be allowed to go. FLORENCE What?

I – 7 – 48

ANATOLY Nothing. Nothing at all. (beat) So your desire to go to Budapest— FLORENCE I’m—I’m sorry, can we talk about something else? ANATOLY Oh—by all means. If you like. FLORENCE It’s just—it’s been a very stressful day, and— ANATOLY No, no—I understand—it’s perfectly allright— FLORENCE My gosh, we’re arguing again, aren’t we? (she laughs) I don’t want that. ANATOLY (quickly) Oh, neither do I. (another awkward pause) FLORENCE So…are you married? ANATOLY Uh, in a manner of speaking. FLORENCE Oh, I see. ANATOLY I doubt that you do— FLORENCE (quickly) Oh, no—I didn’t mean to suggest—

I – 7 – 49 ANATOLY (teasing) I thought you said we weren’t going to argue. FLORENCE That’s true. (laughs) So—we won’t argue. (the MAN from the other table calls to ANATOLY) RUSSIAN MAN (in Russian: “Do you have any salt”) Ooh vas YEST soil? FLORENCE What—what did he say? ANATOLY (quickly) He said you have very lovely eyes. FLORENCE He said that? (blushes) He—he can’t even see my eyes. RUSSIAN MAN (repeats, in Russian: “Do you have any salt”) Ooh vas YEST soil? ANATOLY He’s very insistent about it. (frustrated, the MAN storms to the table, grabs the salt, and heads back. FLORENCE looks at ANATOLY with a knowing expression) FLORENCE So…he asked for the salt? (A sheepish grin escapes from ANATOLY’s face, and they both burst out laughing. They stare at each other for some time, then FLORENCE stands up hurriedly) (MUSIC #14: “Mountain Duet”)

I – 7 – 50 FLORENCE Maybe Freddie’s on the terrace. I’ll go check. (She goes out onto the terrace. ANATOLY takes his drink and moves to a higher level of the terrace. On opposite sides of the stage, they are lost in their own worlds) FLORENCE THIS IS THE ONE SITUATION I WANTED MOST TO AVOID… NOTHING I SAY WILL CONVINCE HIM THIS ISN’T A TRICK! ANATOLY A DRINK ON A CLEAR MOONLIT NIGHT— I RELAX, SHE SMILES— THERE’S SOMETHING PECULIAR GOING ON… FLORENCE SO, WITH IMMACULATE TIMING, I’M LEFT TO CARRY THE CAN— EMBARRASSED, DESERTED, MAROONED. ANATOLY NOW SHE CAN’T BE WORKING FOR THEM— I MEAN, US. SHE SEEMS SO VERY STRAIGHTFORWARD— BUT WHERE IS HE? FLORENCE HE HAS TO SHOW UP— IT CAN’T COME TO NOTHING— PERHAPS IT CAN… ANATOLY MAYBE HE’S SCARED— JUST AS SCARED AS HE WAS IN THE GAME! FLORENCE OH, I JUST COULDN’T CARE LESS! HE CAN GO RIGHT AHEAD, GO AND WRECK HIS CAREER— I KNOW I’VE DONE MY BEST! ANATOLY WELL, AT LEAST SHE’S A GOOD-LOOKING SPY…

I – 7 – 51 FLORENCE WHAT IF MY RUSSIAN FRIEND THINKS THAT MY PLANS ARE MORE OF AN INTIMATE KIND— IF I DON’T SAY SOMETHING ELSE SOON, HE’LL GO—MAYBE I’M ON NOBODY’S SIDE! ANATOLY (for the first time addressing FLORENCE) LISTEN, I HATE TO BREAK UP THE MOOD— GET TO THE POINT, BEGIN THE BEGUINE! HAVEN’T YOU NOTICED WE’RE A PROTAGONIST SHORT IN THIS IDYLLIC, WELL-PRODUCED SCENE? FLORENCE HOW COULD I NOT, “MISS VASSY” REGRETS— ANYTHING GOES WITH YOUR OPPONENT. ANATOLY NEVER MIND HIM—I HAVEN’T MISSED HIM SO FAR! BOTH MAYBE IT WON’T DO ANY HARM TO STRUGGLE ON WITHOUT HIS CHARM! FUNNY HOW ALL AT ONCE I FEEL THAT HE CAN GO JUMP OFF THE MOUNTAIN—I WON’T CARE! (impulsively, FLORENCE grabs ANATOLY and kisses him. They remain embraced for a while, then FLORENCE pulls herself away) FLORENCE THIS IS THE ONE SITUATION I WANTED MOST TO AVOID… ANATOLY MY DEAR OPPONENT— I REALLY CAN’T IMAGINE WHY. FLORENCE YOU’LL THINK I’M THE DANGEROUS KIND— WELL, I AM! ANATOLY NO, YOU’RE NOT DANGEROUS— WHO COULD THINK THAT OF YOU?

I – 7 – 52 BOTH YOU—YOU ARE SO STRANGE— WHY CAN’T YOU BE WHAT YOU OUGHT TO BE? YOU SHOULD BE SCHEMING, INTRIGUING, TOO CLEVER BY HALF! ANATOLY I HAVE TO HAND IT TO YOU— FOR YOU’VE MANAGED TO MAKE ME FORGET WHY I EVER AGREED TO THIS FARCE. BOTH I DON’T KNOW WHY I CAN’T THINK OF ANYTHING I WOULD RATHER DO, THAN BE WASTING MY TIME ON MOUNTAINS WITH YOU! (they kiss again. FREDDIE enters and sees them) FREDDIE WHO’D EVER THINK IT? SUCH A VERY PRETTY SETTING— TELL ME, WHAT’S THE BETTING, VERY PRETTY PLOTTING, TOO? NO MATTER—I’VE DONE ALL YOUR WORK FOR YOU! (to FLORENCE) I asked you before—are you for me or for them? (FLORENCE starts to reply) No, no—don’t answer. I think I know. WHO’D EVER GUESS IT? DAUGHTER IN COLLABORATION WITH THE VERY NATION GAVE HER FATHER THIRD DEGREE! WHERE’S DADDY? DEAD OR IN THE K.G.B.! (Furious, FLORENCE slaps FREDDIE and moves away. Taken aback, FREDDIE starts to move towards her but is stopped by ANATOLY) ANATOLY Leave her alone, Trumper. (WALTER and MOLOKOV have by now entered the scene. MOLOKOV moves to ANATOLY.) MOLOKOV I will handle this.

I – 7 – 53 ANATOLY (pushing him away) No—Trumper, I understand you came here to accept my apology. MOLOKOV Your apology? ANATOLY In only a few minutes, Miss Vassy has made me realize how wrong I have been. What mistakes I have made. What I must change. FREDDIE Forget it, comrade. I don’t need anything from you now. Walter was just telling me a group of fans phoned up and offered me another hundred grand to keep playing. WALTER People love his style. FREDDIE Tell them I accept. For a hundred grand, I guess I can sit there and hold my nose. MOLOKOV (dryly) Wonderful, we’ve made up. (aside, to ANATOLY) You should get some sleep. WALTER (moves to FREDDIE) C’mon, Freddie, we won this round. You wanted groveling, you got groveling. MOLOKOV (quietly to ANATOLY) You can explain this when we get back. ANATOLY I have nothing to explain. FREDDIE (to FLORENCE) Hey—you coming? ANATOLY We could take you—

I – 7 – 54 FLORENCE (moving away from the two of them) No—both of you, go. You need your rest. End of Scene

I – 8 – 55 Scene 8 (The streets of Bangkok, and the chess arena. At the back of the stage, ANATOLY sits at the chessboard, but FREDDIE is nowhere to be seen. FLORENCE and MOLOKOV watch from a distance. The ARBITER stands at the board and makes an announcement) (MUSIC #15: “One Night in Bangkok”) ARBITER It seems the players have resolved their differences, so we resume play to the score of one point to zero in the favor of the champion, Mr. Freddie Trumper. (at the front of the stage, the Bangkok nightlife sparks to life: dancers, entertainers, and citizens crowd the stage, and soon FREDDIE pops out among them, drink in hand, enjoying the sights of the town.) FREDDIE BANGKOK! ORIENTAL SETTING, AND THE CITY DON’T KNOW WHAT THE CITY IS GETTING— THE CRÈME DE LA CRÈME OF THE CHESS WORLD IN A SHOW WITH EVERYTHING BUT YUL BRYNNER. BANGKOK—JUST ANOTHER STOP IN THE CHESS WORLD CIRCUS—MASTERS DROP IN, PLAY, CHECKMATE, CHECK OUT AND THEN YOU MOVE ON TO ANOTHER VENUE. LIKE ICELAND—OR THE PHILIPPINES—OR HASTINGS—OR— OR THIS PLACE! CHORUS ONE NIGHT IN BANGKOK, AND THE WORLD’S YOUR OYSTER! THE BARS ARE TEMPLES, BUT THE PEARLS AIN’T FREE! YOU’LL FIND A GOD IN EVERY GOLDEN CLOISTER— AND IF YOU’RE LUCKY, THEN THE GOD’S A SHE! I CAN FEEL AN ANGEL SLIDING UP TO ME! FREDDIE ONE TOWN’S VERY LIKE ANOTHER WHEN YOUR HEAD’S DOWN OVER YOUR PIECES, BROTHER! CHORUS IT’S A DRAG, IT’S A BORE, IT’S REALLY SUCH A PITY TO BE LOOKING AT THE BOARD, NOT LOOKING AT THE CITY!

I – 8 – 56 FREDDIE WHADDYA MEAN? YOU’VE SEEN ONE CROWDED, POLLUTED, STINKING TOWN— CHORUS TEA, GIRLS—WARM AND SWEET (WARM, SWEET)— SOME ARE SET UP IN THE SOMERSET MAUGHAN SUITE! FREDDIE GET ‘THAI’D’! YOU’RE TALKING TO A TOURIST WHOSE EVERY MOVE’S AMONG THE PUREST! I GET MY KICKS ABOVE THE WAISTLINE, SUNSHINE! CHORUS ONE NIGHT IN BANGKOK MAKES A HARD MAN HUMBLE! NOT MUCH BETWEEN DESPAIR AND ECSTASY. ONE NIGHT IN BANGKOK AND THE TOUGH GUYS TUMBLE! CAN’T BE TOO CAREFUL WITH YOUR COMPANY. I CAN FEEL THE DEVIL WALKING NEXT TO ME… (back in the arena, the ARBITER makes an announcement) ARBITER Freddie Trumper resigns the game—Mr. Sergievsky ties the tournament one point to one. (FREDDIE continues to enjoy himself in the Bangkok nightlife) FREDDIE SIAM’S GONNA BE THE WITNESS TO THE ULTIMATE TEST OF CEREBRAL FITNESS! THIS GRIPS ME MORE THAN WOULD A MUDDY OLD RIVER OR RECLINING BUDDAH! I DON’T SEE YOU GUYS RATING THE KIND OF MATE I’M CONTEMPLATING— I’D LET YOU WATCH, I WOULD INVITE YOU, BUT THE QUEENS WE USE WOULD NOT EXCITE YOU! SO YOU BETTER GO BACK TO YOUR BARS, YOUR TEMPLES— YOUR MASSAGE PARLOURS… CHORUS ONE NIGHT IN BANGKOK MAKES A HARD MAN HUMBLE! NOT MUCH BETWEEN DESPAIR AND ECSTASY.

I – 8 – 57 (at the arena, ANATOLY leaves the board in frustration. The ARBITER makes another announcement.) ARBITER Freddie Trumper fails to show up for a scheduled match, so the third game is forfeited. Mr. Sergievsky now leads two points to one. (He exits as well. FREDDIE and the dancers continue in full swing) FREDDIE AND CHORUS ONE NIGHT IN BANGKOK, AND THE WORLD’S YOUR OYSTER! THE BARS ARE TEMPLES, BUT THE PEARLS AIN’T FREE! YOU’LL FIND A GOD IN EVERY GOLDEN CLOISTER— AND IF YOU’RE LUCKY, THEN THE GOD’S A SHE! I CAN FEEL AN ANGEL SLIDING UP TO ME! (in the midst of things, FREDDIE stumbles away and almost passes out. WALTER enters and sees him, then hurries to help him up.) CHORUS ONE NIGHT IN BANGKOK MAKES A HARD MAN HUMBLE! NOT MUCH BETWEEN DESPAIR AND ECSTASY. ONE NIGHT IN BANGKOK AND THE TOUGH GUYS TUMBLE! CAN’T BE TOO CAREFUL WITH YOUR COMPANY. I CAN FEEL THE DEVIL WALKING NEXT TO ME! (WALTER exits with FREDDIE in tow) End of Scene

I – 9 – 58 Scene 9 (The arena, and later a Bangkok nightclub. The ARBITER enters the empty arena and makes an announcement) (MUSIC #16: “Story of Chess (Reprise)”) ARBITER EACH GAME OF CHESS MEANS THERE’S ONE LESS VARIATION LEFT TO BE PLAYED. EACH DAY GOT THROUGH MEANS ONE OR TWO LESS MISTAKES REMAIN TO BE MADE. Mr. Sergievsky and Mr. Trumper will resume the match this afternoon in the Grand Ballroom of the Bangkok Hilton. I CALL THIS TUNE: “NO ONE’S IMMUNE TO MY POWER ONCE IN THAT HALL!” (MUSIC #17: “Chess No. 2 (Instrumental)”) (FREDDIE and ANATOLY, seated at the chessboard, resume play. Play is heated and tense, and finally FREDDIE concedes defeat. ANATOLY stands as the spectators applaud.) ARBITER Mr. Sergievsky now leads three points to one. We adjourn until 10 o’clock tomorrow morning, when we will resume with the final game of the Bangkok portion of the World Chess Championship. (Various friends congratulate ANATOLY in Russian, pat his back, etc. FREDDIE remains seated at the board dejected. The crowd in the arena filters out, leaving only FLORENCE. She slowly moves to FREDDIE.) (MUSIC #18: “Florence Quits”) FLORENCE (Trying to be friendly.) That was a pretty foolish move you made, Mr. Trumper. (beat) But we can all make foolish moves…at times? FREDDIE SO YOU GOT WHAT YOU WANT— WHAT A NASTY AMBITION! SET ME UP, PULL ME DOWN, THEN EXPLOIT MY CONDITION!

I – 9 – 59 I SHOULD HAVE GUESSED, WOMAN, THAT IF PRESSED, WOMAN, YOU’RE ON NOBODY’S SIDE BUT YOUR OWN, AND YOU’RE BEHAVING LIKE A MERE WOMAN! IT’S SO CLEAR, WOMAN— IT’S YOUR SEX! ONCE THEY START GETTING OLD AND GETTING WORRIED— THEY LET FLY, TAKE IT OUT ON THE ONE WHO SUPPORTS THEM— THAT’S YOU I’M TALKING ABOUT! FLORENCE & FREDDIE WHO’D EVER THINK IT? SUCH A SQUALID LITTLE ENDING: WATCHING YOU DESCENDING JUST AS FAR AS YOU CAN GO— I’M LEARNING THINGS I DIDN’T WANT TO KNOW! WHO’D EVER GUESS IT? THIS WOULD BE THE SITUATION— ONE MORE OBSERVATION— HOW’D WE EVER GET THIS FAR BEFORE YOU SHOWED ME WHAT YOU REALLY ARE? FLORENCE YOU’LL BE LOST WITHOUT ME TO ABUSE LIKE YOU’RE USED TO! (she exits the arena, moving downstage) FREDDIE GO AWAY! JUST GET OUT! BE SOMEONE ELSE’S PARASITE! (but FLORENCE has already gone. Alone, FREDDIE reflects bitterly) FREDDIE I’M NOT THE KIND TO BE VINDICTIVE— HOLDING SOME CHILDISH GRUDGE. HOW COULD I BE? I’M IN THE SPOTLIGHT, HALF OF THE WORLD MY JUDGE. ALL I DEMAND IS THOSE I WORK FOR— THOSE I GIVE ALL MY SKILLS, ALL MY TIME AND PAIN, THOSE THAT I ENTERTAIN,

I – 9 – 60 GIVE ME THE SAME COMPASSION IN RETURN. BUT THE FOOLS NEVER LEARN! (He exits. Scene transitions to a Bangkok nightclub under the song) (MUSIC #19: “Nobody’s Side”) FLORENCE WHAT’S GOING ON AROUND ME IS BARELY MAKING SENSE— I NEED SOME EXPLANATIONS FAST. I SEE MY PRESENT PARTNER IN THE IMPERFECT TENSE— AND I DON’T SEE HOW WE CAN LAST. I FEEL I NEED A CHANGE OF CAST— MAYBE I’M ON NOBODY’S SIDE! AND WHEN HE GIVES ME REASONS TO JUSTIFY EACH MOVE— THEY’RE GETTING HARDER TO BELIEVE. I KNOW THIS CAN’T CONTINUE, I’VE STILL A LOT TO PROVE. THERE MUST BE MORE I COULD ACHIEVE— BUT I DON’T HAVE THE NERVE TO LEAVE! FLORENCE & CHORUS EVERYBODY’S PLAYING THE GAME, BUT NOBODY’S RULES ARE THE SAME! NOBODY’S ON NOBODY’S SIDE! BETTER LEARN TO GO IT ALONE— RECOGNIZE YOU’RE OUT ON YOUR OWN! NOBODY’S ON NOBODY’S SIDE! (She arrives at the Bangkok bar—full of citizens and dancers. She moves to the bar and orders a drink.) FLORENCE THE ONE I SHOULD NOT THINK OF KEEPS ROLLING THROUGH MY MIND. AND I DON’T WANT TO LET THAT GO. NO LOVER’S EVER FAITHFUL, NO CONTRACT TRULY SIGNED. THERE’S NOTHING CERTAIN LEFT TO KNOW— AND HOW THE CRACKS BEGIN TO SHOW!

I – 9 – 61 (She moves out to the floor and begins to join the dancers in celebration. Exuberantly, she flits about the bar, dancing and flirting amongst the patrons) FLORENCE & CHORUS NEVER MAKE A PROMISE OR PLAN— TAKE A LITTLE LOVE WHERE YOU CAN! NOBODY’S ON NOBODY’S SIDE! NEVER STAY TOO LONG IN YOUR BED, NEVER LOSE YOUR HEART, USE YOUR HEAD! NOBODY’S ON NOBODY’S SIDE! (FLORENCE leads the dancers now in her celebration) FLORENCE NEVER TAKE A STRANGER’S ADVICE! NEVER LET A FRIEND FOOL YOU TWICE! FLORENCE & CHORUS NOBODY’S ON NOBODY’S SIDE! EVERYBODY’S PLAYING THE GAME, BUT NOBODY’S RULES ARE THE SAME! NOBODY’S ON NOBODY’S SIDE! NEVER LEAVE A MOMENT TOO SOON! NEVER WASTE A HOT AFTERNOON! NOBODY’S ON NOBODY’S SIDE! NEVER STAY A MINUTE TOO LONG— DON’T FORGET THE BEST WILL GO WRONG! NOBODY’S ON NOBODY’S SIDE! NEVER BE THE FIRST TO BELIEVE, NEVER BE THE LAST TO DECEIVE! NOBODY’S ON NOBODY’S SIDE! BETTER LEARN TO GO IT ALONE, RECOGNIZE YOU’RE OUT ON YOUR OWN— NOBODY’S ON NOBODY’S SIDE! End of Scene

I – 10 – 62 Scene 10 (MUSIC #20: “Defection (Instrumental)”) (Underground parking square below the arena. Sound of a car, lights sweep across the stage; sound of car doors. In the darkness, BEN steps out into the garage and scouts the area. He whistles for someone else to follow. Echoed footsteps and then another man, PETE, carrying a suitcase, enters with FLORENCE. PETE starts to leave with the luggage.) FLORENCE You going to take my luggage with you? My whole life’s in there. (sudden realization) God, that says something about me, doesn’t it. (PETE sets the suitcase down and exits. To BEN) What is this all about? (WALTER enters hurriedly, with an opened letter in hand) WALTER (To BEN) Took you long enough. BEN Pete just— WALTER I ran into him on the stairs. I’ll handle it. (BEN exits) FLORENCE I might have known you’d have something to do with this. WALTER Lucky for us your plane was delayed. You could have been on your way home. FLORENCE Who are you, Mr. Anderson? What do you want with me? WALTER You just missed the Bangkok closing ceremonies. (Hands her the letter) Read this. It was addressed to you. FLORENCE

I – 10 – 63 And you opened it. WALTER Your friend should be happy I did. (she reads) He played a beautiful game today. Seemed…inspired. Poor Freddie—it’s four to one now. (beat) Surprised? (She is stunned. In the background, there is the sound of another car, lights, etc. WALTER looks in that direction.) FLORENCE I guess I am. WALTER You had no idea? FLORENCE No. Of course not. (beat) I want to be with him. WALTER That can be arranged. FLORENCE When? WALTER Tonight. We need you to go— (A couple REPORTERS enter. WALTER stops talking and steps out of sight. One REPORTER passes them by and exits, but the other notices FLORENCE and hangs back.) AMERICAN REPORTER Excuse me, aren’t you with Mr. Trumper? FLORENCE I’ve been his second. AMERICAN REPORTER (walks to her, takes out pad and pencil) Couple of questions?

I – 10 – 64 WALTER (protecting her) What do you want? AMERICAN REPORTER (showing press pass) Associated Press. I just came from the airport, and there’s a rumour there that Anatoly Sergievsky’s about to defect— (in an instant WALTER pushes him against a wall) WALTER Listen don’t you say that to anyone! You understand? Do you understand?! (REPORTER nods) We’re talking about a man’s life here. (A car light sweeps the stage. WALTER moves to push FLORENCE away) WALTER Get out of the light—get out of the light! (A few AMERICANS, including BEN, hurry in and rush across the garage. Sound of cars being started, squeal of brakes, sweep of lights.) BEN (as lights sweep across) What the hell’s going on here—? WALTER (speaking over him) It’s us—it’s us! (Suddenly ANATOLY, surrounded by AMERICANS who are protecting him, is rushed across the garage.) FLORENCE Anatoly! ANATOLY Florence! (they embrace. WALTER moves to them quickly) WALTER Come on. I said, come on!

I – 10 – 65 (In a frenzy they all exit. REPORTER runs off in other direction. Squeal of brakes. Suddenly NIKOLAI and other RUSSIANS, followed by MOLOKOV, run in, hearing the sound of a car.) NIKOLAI Stop! Stop—Sergievsky! (The car squeals away as RUSSIANS run after it, to no avail) NIKOLAI They’re gone. MOLOKOV Walter, you bastard… (blackout) End of Scene

I – 11 – 66 Scene 11 (A small supply closet at the airport and later an airport terminal. ANATOLY and FLORENCE sit on separate trunks. They are watched by BEN) ANATOLY What’s the delay? BEN Five minutes—we’re trying to avoid the press. Relax. Walter’s having some food brought in. (pause) FLORENCE (to ANATOLY) You don’t have any children, do you? ANATOLY Just a wife. FLORENCE Oh, just a wife— ANATOLY No, no—she and I— FLORENCE Don’t tell me. ANATOLY No, please—this, it affects nothing. (beat) It had gone wrong between us a long time ago. FLORENCE So at least I’m not a homewrecker too—I mean, as well as being a traitor to the man I’ve been working with for seven years. ANATOLY Just working with? FLORENCE (imitating him) This, it affects nothing.

I – 11 – 67 (PETE enters with a pile of junk food from the vending machines) PETE (eating a Twinkie) Mr. Anderson said you were hungry. FLORENCE Thank you. PETE (to ANATOLY) Been to America before? ANATOLY No, no I haven’t. PETE I think you’ll like it. Most people do. (beat) Though if it were up to me, I’d say choose the East, not the West. (ANATOLY looks at him, astonished. FLORENCE glares) Oh—East Coast, East Coast! I’m from New York myself. (BEN looks at his watch.) BEN Pete. (They start to go) PETE Good luck! BEN Relax! (The two of them leave. ANATOLY and FLORENCE are left alone. A pause) FLORENCE Anatoly… (beat) You…you didn’t defect…for me, did you? (beat) Because of my situation with Budapest. Did…did you leave so I could get in?

I – 11 – 68 ANATOLY (Beat. Searching for the right answer) Well—I…You see…I… (finally) I had many reasons to leave Russia. FLORENCE Oh. (beat) I hope you find America all it’s cracked up to be. ANATOLY In the Soviet Union, it’s not cracked up to be all that much. FLORENCE (laughs) Yeah, I suppose so. I still don’t feel completely at home, and I came there when I was— ANATOLY Florence…please. (she turns to him) I’m scared. (FLORENCE suddenly realizes how frightened he must be.) FLORENCE Anatoly… (she holds him) I know…I know. ANATOLY What I’m doing—what I’m leaving behind...Russia is my home. What it is now is…unrecognizable, but it’s my home. I don’t know I’ll ever be able to leave that. FLORENCE I was taken from Hungary at such a young age…but even now it—it— ANATOLY It’s like I never left at all. FLORENCE Yeah. (beat) I haven’t been there since then. It’s probably so different now, but…

I – 11 – 69 ANATOLY We’ll be there soon, though? We’ll be there soon? FLORENCE (smiling) Yeah…Yeah. We will. (WALTER enters quickly) WALTER Allright let’s go—I think the reporters have filed out by now, so let’s hurry. Time is short. (MUSIC #21: “Anatoly and the Press”) (they hurry out the closet to the nearest terminal, but to no avail—lights come on to reveal REPORTERS waiting, bursting with questions) WALTER Dammit! GERMAN REPORTER Mr. Sergievsky—why now? Why under glasnost? ENGLISH REPORTER Are you part of a political dissident movement? WALTER Anatoly—don’t answer— AMERICAN REPORTER The American Embassy says you’ve applied for political asylum— AUSTRALIAN REPORTER Would you call yourself a political refugee? ANATOLY No, I am not a refugee—you don’t understand! ENGLISH REPORTER Anatoly, is this your way of denouncing the Gorbachev— ANATOLY I denounce nothing! Please understand this—I am not a politician— FLORENCE Anatoly!

I – 11 – 70

(ANATOLY tries desperately to escape from the REPORTERS, but they swarm him) REPORTERS HOW LONG WAS THIS PLANNED? WHAT MADE YOU DEFECT? DID ANYONE HELP YOU? AND DO YOU EXPECT TO BE JOINED IN YOUR EXILES BY LOVED ONES (E.G. YOUR WIFE), OR ARE YOU STARTING AGAIN IN ALL ASPECTS OF LIFE? ANATOLY You do not hear what I am saying—I do not leave! Please—stop— REPORTERS DO YOU STILL INTEND TO FINISH THE MATCH, OR HAVE YOU RESIGNED NOW, OR SHOULD WE ATTACH ANY SPECIAL SIGNIFICANCE TO YOUR PRETTY NEW FRIEND— AND COULD THIS GREAT DECISION BE A START OR AN END? (REPORTERS crowd ANATOLY, and finally he flings them away) ANATOLY (yells) Leave me alone! (Sudden silence. The REPORTERS back off. ANATOLY grabs his luggage, and he and FLORENCE move to the plane.) (MUSIC #22: “Anthem”) AMERICAN REPORTER Mr. Sergievsky—please. Why did you leave Russia? ANATOLY You don’t understand—I don’t leave anything. I would like to live in many places of the world. There I things I wish to do. Things I was not free to—but I do not leave. NO MAN, NO MADNESS, THOUGH THEIR SAD POWERS MAY PREVAIL, CAN POSSESS, CONQUER MY COUNTRY’S HEART— THEY RISE TO FAIL. SHE IS ETERNAL,

I – 11 – 71 LONG BEFORE NATIONS’ LINES WERE DRAWN— WHEN NO FLAGS FLEW, WHEN NO ARMIES STOOD, MY LAND WAS BORN. AND YOU ASK ME WHY I LOVE HER THROUGH WARS, DEATH, AND DESPAIR— SHE IS THE CONSTANT—WE WHO DON’T CARE! AND YOU WONDER, WILL I LEAVE HER? BUT HOW? I CROSS OVER BORDERS, BUT I’M STILL THERE NOW! HOW CAN I LEAVE HER? WHERE WOULD I START? LET MAN’S PETTY NATIONS TEAR THEMSELVES APART— MY LAND’S ONLY BORDERS LIE AROUND MY HEART! END OF ACT I

II – 1 – 72 ACT II PROLOGUE (Two months later, Kennedy Airport, New York. Pan Am Terminal. The ARBITER enters, surrounded by REPORTERS and his ASSISTANTS. There is luggage all around; flight announcements are heard in the background. The REPORTERS are shouting questions.) (MUSIC #23: “The Arbiter’s Song”) AUSTRALIAN REPORTER How can you guarantee the safety of a guy who’s defected? ENGLISH REPORTER Mr. Stanos, won’t the presence of the summit conference in Budapest re-politicize— RUSSIAN REPORTER Without the Russian Chess Federation’s support— GERMAN REPORTER One anti-Soviet speech by Sergievsky and the Hungarians— AUSTRALIAN REPORTER Do you really expect to keep control or are we now just riding this thing out? AMERICAN REPORTER This time, do you think you can control the player’s actions? (The ARBITER stops at this. There is a momentary pause) ARBITER The match will continue as planned, with no interruptions. And the first shit I hear from Mr. Trumper or Mr. Sergievsky—I say this to them! I’VE A DUTY AS THE REFEREE AS WE RESTART THE CLOCK OF REMINDING ALL AND SUNDRY I TOOK GRAVE OFFENSE AT EVENTS IN BANGKOK! I DON’T CARE IF YOU’RE A CHAMPION— NO ONE MESSES WITH ME! I AM RUTHLESS IN UPHOLDING WHAT I KNOW IS RIGHT, BLACK OR WHITE, AS YOU’LL SEE!

II – 1 – 73 I’M ON THE CASE— CAN’T BE FOOLED! ANY OBJECTION IS OVERRULED! YES, I’M THE ARBITER AND I KNOW BEST! CHORUS HE’S IMPARTIAL—DON’T PUSH HIM, HE’S UNIMPRESSED! ARBITER YOU GOT YOUR TRICKS? GOOD FOR YOU! BUT THERE’S NO GAMBIT I DON’T SEE THROUGH! OH, I’M THE ARBITER—I KNOW THE SCORE! ARBITER & CHORUS FROM SQUARE ONE, I’LL/HE’LL BE WATCHING ALL SIXTY-FOUR! ARBITER IF YOU’RE THINKING OF THE KIND OF THING THAT WE’VE SEEN IN THE PAST— CHANTING GURUS, WALKIE-TALKIES, WALKOUTS, HYPNOTISTS, TEMPERS, FISTS— NOT SO FAST! THIS IS NOT THE START OF WORLD WAR THREE— NO POLITICAL PLOYS! I THINK BOTH YOUR CONSTITUTIONS ARE TERRIFIC, SO NOW YOU KNOW: BE GOOD BOYS! I’M ON THE CASE! CAN’T BE FOOLED! ANY OBJECTION IS OVERRULED! YES, I’M THE ARBITER AND I KNOW BEST! CHORUS HE’S IMPARTIAL—DON’T PUSH HIM, HE’S UNIMPRESSED! ARBITER YOU GOT YOUR TRICKS? GOOD FOR YOU! BUT THERE’S NO GAMBIT I DON’T SEE THROUGH!

II – 1 – 74 OH, I’M THE ARBITER—I KNOW THE SCORE! ARBITER & CHORUS FROM SQUARE ONE, I’LL/HE’LL BE WATCHING ALL SIXTY-FOUR! ARBITER AS YOU SETTLE DOWN BEHIND YOUR PAWNS— POWER PASSES TO ME! YOU MAY PLAY LIKE FISCHER, CAPABLANCA, TAL COMBINED, I DON’T MIND— PLEASE FEEL FREE! THEY ALL THOUGHT THEY WERE THE BIG FROMAGE, BUT THEY DON’T HAVE MY CLOUT! I CONTROL THE MATCH, I START IT, I CAN CALL IT OFF— KASPAROV FOUND THAT OUT! I’M ON THE CASE! CAN’T BE FOOLED! ANY OBJECTION IS OVERRULED! YES, I’M THE ARBITER AND I KNOW BEST! CHORUS HE’S IMPARTIAL—DON’T PUSH HIM, HE’S UNIMPRESSED! ARBITER YOU GOT YOUR TRICKS? GOOD FOR YOU! BUT THERE’S NO GAMBIT I DON’T SEE THROUGH! OH, I’M THE ARBITER—I KNOW THE SCORE! ARBITER & CHORUS FROM SQUARE ONE, I’LL/HE’LL BE WATCHING ALL SIXTY-FOUR! ARBITER YES, I’M THE ARBITER—I KNOW THE SCORE! ARBITER & CHORUS FROM SQUARE ONE, I’LL/HE’LL BE WATCHING ALL SIXTY-FOUR! END OF PROLOGUE

II – 1 – 75 Scene 1 (The chapel of a large Budapest cathedral, later that night. Rose of candles adorn the walls. A CHOIR sings a Hungarian Folk Song as FLORENCE and ANATOLY enter with BEN, who is now ANATOLY’s bodygaurd) (MUSIC #24: “Hungarian Folk Song”) CHOIR MINDEN VÁGYAM VISSZASZÁLL ODA, HOL AZ ÉDES HAZÁM VÁR. ZÖLD ERDŐ, VIRÁGOS RÉT, S ÁLL A RÉGI HÁZAM MÉG. TUDOM, EGYSZER VISSZATÉREK ÉN, VISSZA MÉG, VISSZA MÉG, VISSZA MÉG, VISSZA MÉG. BUJDOSÁSOM VÉGET ÉR, S ITT VAGYOK ÚJRA SZÉP HAZÁMBAN ÉN. (The CHOIR ends their song; the CONDUCTOR talks to individual members, giving them direction. FLORENCE claps.) HUNGARIAN WOMAN (to FLORENCE, in Hungarian: “Have you heard them sing in church?”) Hallotiad oket epy templomban enokelai? FLORENCE I don’t—I— (she turns to ANATOLY) ANATOLY I’m not the Hungarian. FLORENCE (to the WOMAN) I am sorry—I don’t understand. I’m very sorry. (WOMAN walks off, WALTER hurries in, smiling) WALTER There you two are—welcome to Budapest! Forgive me for not meeting you myself. How do you like the hotel, quaint, isn’t it?

II – 1 – 76 FLORENCE It’s very sweet, thank you. WALTER (not listening, to BEN) Any problems with customs? BEN No, they went right through. WALTER I tell you, the world’s awash with peace all of a sudden. ANATOLY I thought that— WALTER What, that someone would walk by and stab you with a poisoned umbrella tip? (he jabs his finger into ANATOLY’s stomach) Look out! (laughs, puts his arm around ANATOLY) Anatoly, relax—no one’s gonna hurt you here. Now, forgive me again, but I’ve promised to have a word with some people from State. You know, having the Summit and the tournament in the same city is really keeping me busy. And I’m sure there’ll be some fine mucky-mucks who’ll want to meet you later in the week. Now you two have fun— (jabs his finger towards ANATOLY again, laughs) Whoah! See you later. (he exits. Pause) FLORENCE I promise you that Walter does not represent the average American you’ll meet on the street. ANATOLY That is the nicest thing you ever said to me. BEN By the way, (nods toward the choir) They were rehearsing for the Summit, not for your benefit. ANATOLY Oh, I didn’t think— BEN Trumper did, didn’t he? Trumper thinks everything’s for him.

II – 1 – 77

(A Russian man, JOSEF, enters, and suddenly runs toward ANATOLY) JOSEF Tolya Sergievsky! ANATOLY Josef! (to BEN, calming him) He is an old friend—from my town! (to JOSEF, in Russian: “This is a great surprise”) Ka-KOY s'yurPREES! JOSEF (in Russian: “We were hoping we’d run into you, Anatoly. You haven’t changed!”) Mwee TOCK oe DOO-mah-lee shte FSTRAY-tim ti-BYAH. Tee sef-S'YEM nee eez-men-N' EELs'ye! ANATOLY (in Russian: “Which hotel are you in?”) Fka-KOY vivee gahSTEEN-it-s'yah? (BEN and FLORENCE exchange glances during their conversation. BEN taps ANATOLY’s shoulder) BEN Ask him what he’s doing here. ANATOLY (to JOSEF, in Russian: “What are you doing here?”) Shtaw vivee toot D' Y ALE-ae-a-tyeh? JOSEF (laughs, to BEN) My wife—Kristina—and I have tickets to see the match. (BEN moves away and the two continue to converse. Soon JOSEF starts to leave and gestures for ANATOLY to come with him) ANATOLY (to FLORENCE and BEN) They want to have dinner with me. Do you—? (BEN nods okay. ANATOLY gestures for FLORENCE to come with them)

II – 1 – 78 FLORENCE No, you go on—have a nice visit with your friends. I want to walk around this neighborhood. See if I remember anything. ANATOLY When I get back to the hotel, I’ll pack a picnic lunch for us to meet this afternoon. FLORENCE Oh, that sounds wonderful. (she kisses him goodbye) Be careful. ANATOLY What—why? FLORENCE Why would they give three old friends of a defector permission to come to Hungary all of a sudden? ANATOLY (teasing) You have a suspicious mind! FLORENCE Yes, and that’s one of the things you love about me. (they both laugh, and ANATOLY starts to leave. JOSEF pulls him aside and speaks under his breath.) JOSEF Svetlana is in Budapest. (They exit, followed at a distance by BEN. The CHOIR starts again as FLORENCE gazes around at the cathedral.) CHOIR NEM CSÁBÍT A MESSZESÉG, NEM CSÁBÍT A NAGYVILÁG, ELMÚLT MINDEN KÍSÉRTÉSEM MÁR. TUDOM, ITTHON VAGYOK VÉGRE MÁR, VÉRGE MÁR. BUJDOSÁSOM VÉGET ÉRT, S ITT VAGYOK VÉRGE SZÉP HAZÁMBAN ÉN.

II – 1 – 79 (From the shadows a figure appears; it is MOLOKOV) MOLOKOV Here to pray for victory, Miss Vassy? Or just sightseeing? FLORENCE Molokov? (beat) Are you following me now? MOLOKOV A coincidence. I love cathedrals. I love this cathedral. (he takes a candle) Who shall I pray for to win? The old American…or the new one? (lights the candle) I think I shall pray that my wife stays faithful. FLORENCE What do you want, Molokov? MOLOKOV I am here for the chess. I have nothing else to do here. Mr. Sergievsky has seen to that. FLORENCE It had nothing to do with you. MOLOKOV Miss Vassy, why did I not just say that to my superiors when I got home from Bangkok? “Sirs, this defection—It had nothing to do with me.” (Pause. He sighs) You have a beautiful country here. FLORENCE (quiet) This isn’t my country. MOLOKOV No? FLORENCE I don’t even speak the language. I’m a stranger. I have no memories of anything. MOLOKOV For that I am sorry. (she turns to him, surprised by this remark)

II – 1 – 80

MOLOKOV It’s a charming city. My own honeymoon was here. FLORENCE I couldn’t even find Prodgsy street where I was born. It’s very near here, I know. (Turns to him) I thought maybe there’d be neighbors who would’ve remembered something. MOLOKOV Perhaps they changed the street names. (beat) I could ask. I speak some Hungarian. FLORENCE I wouldn’t want you to go to any trouble— MOLOKOV It would be no trouble at all. (he starts to go) By the way, I’m told Anatoly seems very happy. No doubt because of you. Feel complimented by that. (beat) My wife would. She would be very pleased to have that said about me. I’ve been a stupid husband, Florence. So much time away. She kept saying, if I loved her...But I was young. (he laughs and exits. FLORENCE stays, reflective) (MUSIC #25: “Heaven Help My Heart”) FLORENCE IF IT WERE LOVE, I SHOULD GIVE THAT LOVE EVERY SECOND I HAD— AND I DO… DID I KNOW WHERE HE’D LEAD ME TO? DID I PLAN DOING ALL OF THIS WITH THE LOVE OF A MAN? WELL, I LET IT HAPPEN, ANYHOW, AND WHAT I’M FEELING NOW HAS NO EASY EXPLANATION— REASON PLAYS NO PART. HEAVEN HELP MY HEART, I LOVE HIM TOO MUCH. WHAT IF HE SAW MY WHOLE EXISTENCE TURNING AROUND A WORD, A SMILE, A TOUCH?

II – 1 – 81 ONE OF THESE DAYS, AND IT WON’T BE LONG, HE’LL KNOW MORE ABOUT ME THAN HE SHOULD. ALL MY DREAMS WILL BE UNDERSTOOD. NO SURPRISE, NOTHING MORE TO LEARN FROM THE LOOK IN MY EYES. THOUGH I KNOW THAT TIME IS NOT MY FRIEND, I’LL FIGHT IT TO THE END. HOPING TO KEEP THIS BEST OF MOMENTS WHEN THE PASSIONS START. HEAVEN HELP MY HEART, THE DAY THAT I FIND SUDDENLY I’VE RUN OUT OF SECRETS, SUDDENLY I’M NOT ALWAYS ON HIS MIND. MAYBE IT’S BEST TO LOVE A STRANGER… WELL, THAT’S WHAT I’VE DONE— HEAVEN HELP MY HEART. HEAVEN HELP MY HEART… End of Scene

II – 2 – 82 Scene 2 (FREDDIE’s suite. FREDDIE is in a chair across from a female SOUTHERN REPORTER, who sits on the couch, notebook in her lap.) SOUTHERN REPORTER What a beautiful suite! What do you think of Budapest so far, Mr. Trumper? FREDDIE Freddie. Anyone with legs like that can call me Freddie. (beat) What, not even a smile? C’mon, give me a break, I’m just trying to keep my good humour. See what Communism does to a person? (she smiles) Now there’s a smile. So, what was the question? Oh, yeah, Budapest. It stinks. You been outside? I have. Once. The goddamn Danube isn’t even blue. (she laughs. FREDDIE shifts uncomfortably) No—I—I shouldn’t have said that. Don’t—don’t write that down. SOUTHERN REPORTER (scratching out the remark) And Mr. Sergievsky? Have you seen him yet? FREDDIE I see him in my dreams, honey. SOUTHERN REPORTER I mean in person. He’s staying in the hotel. (short pause) FREDDIE That, I wasn’t told. (WALTER enters) WALTER Freddie, excuse me, the Secretary of State— FREDDIE Screw the Secretary of State, Walter, you’re interrupting. This young woman from…? SOUTHERN REPORTER Tennessee.

II – 2 – 83 FREDDIE Tennessee. She’s been drawing me out, Walter. She’s getting me to reveal things about myself I never even knew. WALTER Good for her, but— FREDDIE And she’s been telling me things I was never told before. Like—Sergievsky’s in this hotel. WALTER (pause) That’s true. There’s only one deluxe— FREDDIE Is Florence with him? (WALTER crosses to the REPORTER) WALTER Okay, if you’d excuse us, please— SOUTHERN REPORTER We haven’t finished— WALTER Just call and we’ll arrange another time. SOUTHERN REPORTER Vanity Fair needs the story in— WALTER I said just call. (He leads her out the door and turns back to FREDDIE. Short pause.) Florence is here. Yes. FREDDIE Good. Maybe she’ll exhaust him. WALTER Freddie, the Secretary of State wants to come and watch a game. While he’s here at— FREDDIE No, I don’t need that kind of distraction.

II – 2 – 84 WALTER He’d come with what? Five, six others. I’ll keep it down. It’d be no big thing. (beat) If I hadn’t told you— FREDDIE (yells) ASKED me. You ask me, remember? (beat) I tell you. (beat) This Summit’s caused me enough trouble already without messing up the match. Look at the room I get. WALTER It is the best hotel room in Budapest—the president of the United States doesn’t get a room as good. FREDDIE Yeah? Is it the best room in this hotel, Walter? WALTER It’s the best room on the goddamn earth! (beat) Freddie, the Secretary comes to the match, gets his picture taken shaking hands with an authentic American genius. What’s the big deal? FREDDIE I don’t let myself be used like that. WALTER You’ve been used like that a hundred times! (they are both yelling now) FREDDIE I haven’t, Walter! I’ve been very careful—I’ve been my own man! WALTER What’s one goddamn picture? FREDDIE You tell the Secretary of State that I am very busy and he can kiss my ass! WALTER Okay, I’ll tell him!

II – 2 – 85 (beat) Maybe not in those exact words— FREDDIE And you can tell those two commies in heat that we may be in the same hotel but they better stay out of my way. If I’d known, I’d have asked for someplace a little less polluted—like the gutter! (MUSIC #26: “Winning”) WALTER YOU TAKE CARE YOU DON’T LET THEIR SHENANIGANS BLIND YOU! AND YOU’RE WRONG TO FORGET YOU’VE GOT YOUR COUNTRY BEHIND YOU! FREDDIE YOU’RE A FOOL IF YOU THINK YOU CAN WAVE A FLAG AND INSPIRE SOME DRAMATIC ACTION! IF I WANT BAD ENOUGH, THEN IT’S IN THE BAG— IF I DON’T, YOU’RE A MERE DISTRACTION! WALTER YOU TAUGHT ME, BABY, HOW THE FEW WHO WIN ACQUIRE WHAT THEIR HEARTS DESIRE— IT AIN’T PRACTICE, IT AIN’T SKILL— THEY’LL HELP, BUT NOT AS MUCH AS WANTING WILL! FREDDIE NO CONTEST, BABY, PAY NO MIND TO REPUTATION! YOU WANT CONCENTRATION? WHEN THEY PICK HIM OFF THE FLOOR, IT’S ‘CAUSE I WANTED IT A LITTLE MORE! WALTER YOU CAN WIN, YOU CAN LOSE— TAKE OR BE A POSSESSION. YOU TAUGHT ME HOW TO CHOOSE— AND THE KEY IS OBSESSION! FREDDIE SEE MY EYES, ARE THEY SAFE, ARE THEY EVEN SANE? ARE THEY WARM WHEN THEY SEEM TO GREET YOU? YOU DON’T KNOW, YOU CAN’T TELL—BUT IT SHOULD BE PLAIN— THESE ARE EYES THAT ARE GONNA BEAT YOU!

II – 2 – 86

DON’T EVER TELL ME I DON’T KNOW THE WAY TO PLAY IT— DO I HAVE TO SAY IT? DOESN’T MATTER WHAT HE TRIES, I HAVE HIM—YOU CAN SEE IT IN THE EYES! BOTH NO CONTEST, BABY, BARELY ANY POINT IN PLAYIN’ WHEN IT’S JUST DELAYIN’ WHAT WE BOTH ALREADY KNOW— HE LOST IT A WOMAN AND A HALF AGO! WALTER (chanting) Win! FREDDIE Win! BOTH Win! Win! Win! HE LOST IT A WOMAN AND A HALF AGO! End of Scene

II – 3 – 87 Scene 3 (A picnic set out on a meadow along the Danube. ANATOLY, FLORENCE, and JOSEF and KRISTINA have just finished dinner, and are saying goodbye) JOSEF Seriously, you’ve never played better.

KRISTINA (in Russian: “You’re in good form, no worse than in Bangkok”) Tee FFORM-ya, nee KHOO-zhe chem v Ban-COCK-ya. ANATOLY (to FLORENCE) She says that I’ve lost nothing since Bangkok. JOSEF It’s only a matter of days before you finish with the American. ANATOLY We can hope. KRISTINA (Rises; to FLORENCE) Thank you. (they shake hands) FLORENCE It was a pleasure. (JOSEF and KRISTINA exchange goodbyes and walk off in one direction. FLORENCE and ANATOLY look over the river.) FLORENCE They’re very nice. ANATOLY I’m sorry we talked so much in Russian. FLORENCE Please. I understand. They’re your friends. ANATOLY Kristina barely speaks a word of English.

II – 3 – 88

FLORENCE It was nice to see you enjoying yourself. ANATOLY Since Bangkok when have you not seen me enjoying myself? FLORENCE (smiles) I meant—with others. With friends. ANATOLY Ah. FLORENCE There was someone you all kept talking about, a “Svetlana”. (beat) I think Svetlana—Kristina kept mentioning her; I didn’t understand what she was saying. “Svetlana” something, “Svetlana” something else—didn’t you tell me your wife’s name was Svetlana? ANATOLY Florence— FLORENCE Is that who you were talking about—your wife? ANATOLY (sighs) Yes. (beat) She’s here. In Budapest. FLORENCE (taken aback) Oh. ANATOLY Molokov, no doubt. FLORENCE Yes, no doubt. ANATOLY Florence, you have to understand—we’ve been separated for months. Things went wrong between us, and—

II – 3 – 89

FLORENCE Are you going to see her? (a pause. ANATOLY considers this) ANATOLY Should I? FLORENCE This is your move, Anatoly, not mine. ANATOLY We aren’t playing a— FLORENCE Move. ANATOLY If you don’t want me to see her… FLORENCE What I want can have nothing to do with this. If I say no… (beat) I don’t want you to resent me either. (MUSIC #27: “You and I”) ANATOLY I don’t love her. FLORENCE You married her. ANATOLY Years ago. FLORENCE And years ago, you loved her. (beat) THIS IS AN ALL-TOO-FAMILIAR SCENE— ANATOLY LIFE IMPERCEPTIBLY COMING BETWEEN…

II – 3 – 90 FLORENCE THOSE WHOSE LOVE IS AS STRONG AS IT COULD, OR SHOULD BE… ANATOLY NOTHING HAS ALTERED— FLORENCE —YET EVERYTHING’S CHANGED. ANATOLY NO ONE STANDS STILL— BOTH STILL, I LOVE YOU COMPLETELY, AND HOPE I ALWAYS WILL. ANATOLY WHY DO WE NEED TO PUT LOVE INTO WORDS, CAUSING CONFUSION? WE PROTEST, EXPLAIN, REASSURE IN VAIN, COME TO NO CONCLUSION. FLORENCE I’D GIVE THE WORLD TO STAY JUST AS WE ARE— IT’S BETTER BY FAR. NOT TO BE TOO WISE, NOT TO REALIZE BOTH WHERE THERE’S TRUTH, THERE WILL BE LIES. FLORENCE YOU AND I, WE’VE SEEN IT ALL, CHASING OUR HEART’S DESIRE. BOTH YET WE GO ON BELIEVING NOTHING CAN HARM US, THIS IS FOREVER! (Music swells as scene changes to SVETLANA’s hotel room.) End of Scene

II – 4 – 91 Scene 4 (MOLOKOV’s hotel room. MOLOKOV is seated with NIKOLAI by his side. Across from him sits ANATOLY, with SVETLANA standing behind him) SVETLANA YOU KNEW BETTER THAN ME WHERE YOUR AMBITIONS WOULD TAKE US. I KNEW SOONER THAN YOU THAT THOSE AMBITIONS WOULD BREAK US. YOU WOULD NOT BELIEVE ME— WHY SHOULD YOU BELIEVE ME? I HELD YOU BACK— YOU AND YOUR DREAMS! WHO NEEDS A DREAM? WHO NEEDS AMBITION? WHO’D BE THE FOOL IN MY POSITION? YEAR AFTER YEAR, I’M STILL DENYING ANYTHING’S CHANGED, ANYTHING’S DYING… BUT, THEN— SVETLANA & ANATOLY YOU AND I, WE’VE SEEN IT ALL, BEEN DOWN THIS ROAD BEFORE, SVETLANA BUT I GO ON PRETENDING STORIES LIKE OURS HAVE HAPPY ENDINGS. (a pause as ANATOLY and SVETLANA look at each other. ANATOLY turns away.) ANATOLY What is left to say? SVETLANA We’ve said everything. (beat)

II – 4 – 92 Over the years—we’ve said everything to each other. Haven’t we? ANATOLY I never lied to you, Svetlana. SVETLANA Is she beautiful? (beat, no response from ANATOLY) Is she rich? (still no response) But she dresses well. ANATOLY Is that a question? SVETLANA No. (short pause) Are you happy? Is she? ANATOLY Svetlana, I love her. SVETLANA (turning on ANATOLY suddenly, yells) That wasn’t what I asked! That wasn’t what I wanted to know… (she is in tears now.) Good to see you again. It is always a pleasure to see my husband. ANATOLY Svetlana— (she exits. A short pause, then MOLOKOV speaks quietly) MOLOKOV It’s been hard on her. It’s a pity how the innocent suffer. (beat) She of course has no apartment now—she stays with friends. ANATOLY She said nothing…but it doesn’t surprise me. (beat) I should go. It’s late. Thank you for arranging this. (he pulls out money and hands it to MOLOKOV) Here. I doubt if she would take money from me.

II – 4 – 93 MOLOKOV Why don’t you ask her yourself? She will be here for the rest of the match. ANATOLY (taken aback) I don’t think that would be a good idea— MOLOKOV (suddenly rises and yells at him) No one cares what you think anymore! (ANATOLY is stunned) Not your wife, not your brother— ANATOLY My brother? MOLOKOV There is a housing shortage in Rybinsk. He and his wife have had to find a smaller apartment. ANATOLY Because I left? MOLOKOV Did Svetlana tell you about her brother? Suddenly there is no room for him at the medical school. ANATOLY She didn’t— MOLOKOV And then there’s me! Someone had to be held accountable for your selfishness, Anatoly! ANATOLY Do not blame me! MOLOKOV You see how one little move, it affects many people’s lives. Hurts so many people— ANATOLY I don’t consider myself responsible for— MOLOKOV (yells) We do! (pause. MOLOKOV moves back to his seat.)

II – 4 – 94

NIKOLAI (quietly) Your brother’s son is how old? Five, isn’t he? ANATOLY Are you threatening—? MOLOKOV In what world do you live? What did you think you were doing, Anatoly? (beat) Now get out of my sight. You disgust me. End of Scene

II – 5 – 95 Scene 5 (Outside the Arena. The ARBITER makes an announcement) ARBITER Ladies and gentlemen, game three goes to Mr. Trumper. Mr. Sergievsky holds the lead five points to three. (FREDDIE enters with REPORTERS and FANS, signing autographs) (MUSIC #28: “Freddie Goes Metal”) FREDDIE Five-three, ladies and gentleman! That’s two in a row—and I’m just hitting my stride! WHAT’D I SAY? TELL ME! MAKE MY DAY—TELL ME! YOU GOT IT WRONG—HE’S WASHED UP, AND IT’S ME IN POLE POSITION! SPREAD THE NEWS—TELL THEM IT’S A CRUISE—TELL THEM I’M ON A ROLL, FLYING HIGH, WORKING ON HIS DEMOLITION! I KNOW THAT I’VE GOT HIM NOW, AND IT’S ALL DOWN TO THE DAY WHEN I TOLD HER TO GET OUT MY LIFE! WHAT A MOVE! WHAT’D I SAY? THAT’S THE REAL STORY— YOU CAN REVEAL, ON MY OWN, IT’S BECOME A WHOLE NEW BOARD GAME! I TELL YOU, PEOPLE, YOU’VE JUST SEEN A WHOLE NEW BOARD GAME! BEN Miss Vassy, your car is coming. (FREDDIE stops. Silence. He turns and the CROWD parts. There is FLORENCE.) FLORENCE Congratulations. Nice game.

II – 5 – 96 FREDDIE Pretty dumb move he made. FLORENCE But we all make foolish moves? FREDDIE Not me. Not me. (He exits to his car, REPORTERS following. ANATOLY enters from the Arena, flustered.) ANATOLY I need a fan in there—or are they trying to torture me! (NIKOLAI passes by and hands ANATOLY his coat) NIKOLAI You left this in the arena. (as he hands the coat, in Russian: “Greeting from your brother”) Ti-BYEN pree-UYET ot BRAH-to. (he exits. FLORENCE turns to ANATOLY) FLORENCE What did he say? ANATOLY He said my brother sends regards. (beat) Florence…they want me back. FLORENCE What? (beat) Is it your wife? ANATOLY I don’t know if I can take this. FLORENCE Take what? ANATOLY You’ve never been to Russia?

II – 5 – 97 FLORENCE You know I haven’t. (realization) You want to go back. Christ, you want to go back— ANATOLY I did not say that— (FLORENCE hugs ANATOLY) FLORENCE I know it can’t have been easy— ANATOLY No—no, Florence, with you everything has been very good. I just— (beat) I can’t seem to focus anymore. On the game, on you—I…I don’t know who I am anymore. (FLORENCE pulls away, with tears in her eyes) FLORENCE I’ve been walking through Budapest more and more. Just…looking through the streets, trying to remember something. All my life I thought this was my home…Christ, if it isn’t, who am I? What am I doing here? (ANATOLY embraces FLORENCE. They remain together for a while) ANATOLY Florence, I love you. FLORENCE This I know. I do. End of Scene

II – 6 – 98 Scene 6 (Lobby of the Arena, as the match continues. The ARBITER stands, surrounded by reporters) (MUSIC #29: “The Arbiter’s Song (Reprise)”) ARBITER I’M ON THE CASE! CAN’T BE FOOLED! ANY OBJECTION IS OVERRULED! YOU’VE GOT YOUR TRICKS? GOOD FOR YOU! BUT THERE’S NO GAMBIT THAT I DON’T SEE THROUGH! I’M THE ARBITER—I KNOW THE SCORE! (an ASSISTANT hands him a note. He reads) Freddie Trumper wins three games in a row, leaving the score four games to Mr. Sergievsky’s five. ARBITER & CHORUS FROM SQUARE ONE, I’LL/HE’LL BE WATCHING ALL SIXTY-FOUR! (He exits back into the arena, followed by REPORTERS. Crowd filters out to leave WALTER and BEN exchanging files. MOLOKOV comes out; BEN exits) MOLOKOV Not to let us smoke in there, it isn’t civilized. WALTER Ivan! I heard you were here. I was going to give you a call, but—you know how things are, never a minute to myself. MOLOKOV You’ve been promoted. WALTER Is that the gossip? (laughs. Short pause) MOLOKOV Not like Anatoly to seem so edgy. Perhaps it is the presence today of your Secretary of State that makes him nervous. WALTER Our Secretary of State makes no one nervous, Ivan—that’s our problem.

II – 6 – 99 MOLOKOV (hands him an envelope) Here. Read this. WALTER (putting it in his pocket) I’ll save it for— MOLOKOV Read. (MUSIC #30: “Let’s Work Together”) MOLOKOV I want Anatoly back, Walter. WALTER I know, Ivan. I know. And Florence? You going to shoot her with a poison dart? MOLOKOV NOW, YOU AND I, WE’VE BEEN AROUND— WE’VE SEEN THEM ALL COME AND GO. WE DON’T NEED TO PUT EACH OTHER DOWN. WALTER THIS IS NOT WHAT I WANTED TO HEAR— TOO SINCERE, I DON’T WANNA KNOW! MOLOKOV DON’T BE TOO QUICK TO CONDEMN! AND DON’T ASSUME YOU’RE ON TOP— WALTER C’MON, IVAN, YOU CAN’T WIN ‘EM ALL! MOLOKOV AND WHY NOT? OR AT LEAST, WE CAN GO FOR A DRAW. WALTER (has just taken a peek at the letter) TELL ME MORE… MOLOKOV ONLY TALKING SHOP!

II – 6 – 100 (WALTER continues to read) THERE COMES A TIME WHEN WE SHOULD POOL RESOURCES— COULD BE THE ANSWER TO OUR NATIONS’ PRAYERS! LET’S WORK TOGETHER, FOR THE ONLY COURSE IS TO MIX OUR LAISSEZ WITH OUR SAVOIR FAIRES! WE DO OUR BEST WORK WHEN WE HUNT IN PAIRS. WALTER Bravo, very nice. So Florence’s father is alive. MOLOKOV Yes, Gregor Vassy is alive. He’s been away. WALTER “Away”. (laughs) And of course he won’t be allowed to come to her—not while she’s with a defector. (beat) I could try to prevent this, Ivan. Or do you have a poison dart for me? MOLOKOV If you’re not interested in working something out— WALTER I HOPE YOU DON’T MISUNDERSTAND— FOR I DON’T WANT TO CLOSE DOORS! WE’RE COMMUNICATORS, AFTER ALL! MOLOKOV WELL, WE ALL HAVE OUR OWN POINT OF VIEW— MAYBE YOU OUGHT TO STICK TO YOURS. WALTER I LIKE TO BE MY OWN MAN, BUT IN THE LIGHT OF YOUR WORDS— MOLOKOV NO—THE LIGHT WAS IN THE ENVELOPE! WALTER VERY GOOD! BUT IT’S TIME TO PUT RANCOR ASIDE— PETTY PRIDE—

II – 6 – 101 MOLOKOV STRICTLY FOR THE BIRDS! WALTER THERE COMES A TIME WHEN WE SHOULD POOL RESOURCES— COULD BE THE ANSWER TO OUR NATIONS’ PRAYERS! LET’S WORK TOGETHER, FOR THE ONLY COURSE IS TO MIX OUR LAISSEZ AND OUR SAVOIR FAIRES! YOU KNOW HOW MUCH THAT HELPS THE GUYS UPSTAIRS. ARBITER (over a speaker) Mr. Trumper has won the nineteenth game. The score is now Mr. Sergievsky five, Mr. Trumper five. MOLOKOV Poor Anatoly—that’s four losses in a row. What he must be feeling… WALTER Hey—it’s only a game! BOTH LET’S WORK TOGETHER, AND THE WORLD IS SAFER— THE BERLIN WALL BECOMES A BACKYARD FENCE! AND OUR CO-OPERATION PAVES THE WAY FOR OUR PRIME-TIME LEADERS AND THE MAIN EVENTS! BEHIND THE SCENES WE SHOW SOME COMMON SENSE, A LITTLE MUTUAL CONVIENIENCE. LET’S WORK TOGETHER— WALTER Comrade! MOLOKOV Buddy! BOTH IT’S OUR BEST DEFENSE! End of Scene

II – 7 – 102 Scene 7 (An elegant restaurant. FLORENCE and WALTER are seated at a table. At some distance away are NIKOLAI and SVETLANA at a table. FLORENCE watches them curiously throughout the scene) WALTER (to FLORENCE) You got the envelope? (she nods) You’d said nothing. I wondered—is it at least possible that your father’s alive? Or are we talking about a hoax here? FLORENCE Yes, it’s possible. I think it’s possible. WALTER I hesitated before—I didn’t want to open a wound if— FLORENCE Can I see this man? I’d like to meet him. WALTER We’d have to wait to be contacted. (a short pause. FLORENCE returns to looking at SVETLANA) FLORENCE She’s quite attractive, isn’t she? WALTER Anatoly has good taste. (pause) You know, if you want to leave… FLORENCE That might be for the best. (she gets up to leave) And—don’t tell Anatoly about this, please. About my father. (FLORENCE starts to go to the terrace; SVETLANA suddenly stands and calls) SVETLANA Miss Vassy?

II – 7 – 103 FLORENCE Mrs. Sergievsky. SVETLANA When I met with Anatoly, he— (a pause. She glances at NIKOLAI, then back to FLORENCE) You are going out to the terrace? May I join you? NIKOLAI What? SVETLANA May I join you? FLORENCE If—if you wish. (they go out onto the terrace. Pause. They look out on Budapest) SVETLANA Enjoying Budapest? You’ve been here before? FLORENCE (smiles) A long time ago, yes. SVETLANA Things change, though, don’t they? FLORENCE Don’t they. SVETLANA Florence—when I met with Anatoly, he told me he loved you. I—I am glad of that. (FLORENCE looks at her) Once, Anatoly and I loved each other very much. But we wanted different things out of life. Different dreams. In the end, I left him. It was so long ago…but these things never truly leave you, do they? There still remain…echoes. FLORENCE He misses you. He doesn’t say so, but I can see it. He misses his home. SVETLANA And you? What of your home? (beat) Molokov told me of your desire to come to Budapest.

II – 7 – 104

FLORENCE It’s a lovely city. SVETLANA But it is not yours. FLORENCE Every now and then I think I remember something—a glimpse of a street, a flash of a building… (beat) But then it disappears. I don’t know what to do anymore. Walter tells me they have a lead on where my father might be—he disappeared when I left Hungary, and now they might have found him. SVETLANA Have you told Anatoly? FLORENCE (shakes her head) He doesn’t need the distraction. Hell, I don’t need it. (she is tearing up now) I’ve been so worried about Budapest and the matches, and now to have this brought back as well…I didn’t plan on this. (MUSIC #31: “I Know Him So Well”) FLORENCE I didn’t plan on any of this. I just wanted to go home…And now Anatoly and I are falling apart. SVETLANA I—I don’t understand. FLORENCE (crying) He wants to go back home. And I’m…too lost to know what to do. NOTHING IS SO GOOD IT LASTS ETERNALLY. PERFECT SITUATIONS MUST GO WRONG… BUT THIS HAS NEVER YET PREVENTED ME WANTING FAR TOO MUCH FOR FAR TOO LONG. LOOKING BACK, I COULD HAVE PLAYED IT DIFFERENTLY. LEARNED A LITTLE MORE BEFORE I FELL. BUT IT TOOK TIME TO UNDERSTAND THE MAN— NOW, AT LEAST, I KNOW I KNOW HIM WELL. WASN’T IT GOOD?

II – 7 – 105

SVETLANA (moving to console FLORENCE) OH, SO GOOD… FLORENCE WASN’T IT FINE? SVETLANA OH, SO FINE.. FLORENCE ISN’T IT MADNESS— BOTH HE CAN’T BE MINE? FLORENCE BUT IN THE END, HE NEEDS A LITTLE BIT MORE THAN ME— MORE SECURITY! SVETLANA HE NEEDS HIS FANTASY AND FREEDOM, FLORENCE I KNOW HIM SO WELL! SVETLANA NO ONE IN YOUR LIFE IS WITH YOU CONSTANTLY. NO ONE IS COMPLETELY ON YOUR SIDE. AND THOUGH I MOVE MY WORLD TO BE WITH HIM— STILL THE GAP BETWEEN US IS TOO WIDE. SVETLANA LOOKING BACK, I COULD HAVE PLAYED THINGS DIFFERENTLY. WON A FEW MORE MOMENTS, WHO CAN TELL? BUT I WAS EVER SO MUCH YOUNGER THEN— NOW, AT LEAST,

FLORENCE LOOKING BACK, I COULD HAVE PLAYED THINGS SOME OTHER WAY. I WAS JUST A LITTLE CARELESS— MAYBE, BUT NOW, AT LEAST, I KNOW HIM WELL.

II – 7 – 106 BOTH I KNOW I KNOW HIM WELL! SVETLANA WASN’T IT GOOD? FLORENCE OH, SO GOOD! SVETLANA WASN’T IT FINE? FLORENCE OH, SO FINE! SVETLANA ISN’T IT MADNESS— BOTH HE WON’T BE MINE? DIDN’T I KNOW HOW IT WOULD GO— IF I KNEW FROM THE START, WHY AM I FALLING APART? SVETLANA WASN’T IT GOOD? WASN’T IT FINE? FLORENCE ISN’T IT MADNESS— BOTH HE WON’T BE MINE? FLORENCE BUT IN THE END, HE NEEDS A LITTLE BIT MORE THAN ME— MORE SECURITY! SVETLANA HE NEEDS HIS FANTASY AND FREEDOM, FLORENCE I KNOW HIM SO WELL!

II – 7 – 107 SVETLANA IT TOOK TIME TO UDERSTAND HIM… BOTH I KNOW HIM SO WELL. (SVETLANA embraces FLORENCE. They remain together for a while. ANATOLY enters.) ANATOLY Walter told me I could find you here. (SVETLANA starts to leave) FLORENCE No—please stay. (she does so. ANATOLY looks at her) ANATOLY Svetlana. (beat. To FLORENCE) Florence—Walter told me about your father. FLORENCE What? Goddamn him, he knew I didn’t want you to— ANATOLY They’ll never let him leave while you’re with me. FLORENCE Are—are you looking for an excuse? ANATOLY No—no. (he moves away) I’m sorry. To the both of you, I’m sorry. I should never have let either of you get caught up in this. I’ve been—selfish. Inconsiderate. And now this defection is hurting the ones I love. (beat) I’m so sorry. This is all my fault. FLORENCE Anatoly, let’s go back to the hotel. The final game’s tomorrow.

II – 7 – 108 ANATOLY I can’t think about chess. I can’t think about anything right now—how am I supposed to play chess if I can’t think? SVETLANA You don’t have to play. (beat) You can ask the Arbiter for a postponement? A week, maybe? FLORENCE A week—you’ll never get a week. The rules you agreed to— ANATOLY No, she’s right. I need a week. Maybe then I can figure out what to do. FLORENCE Okay. I’ll see what can be done. (she starts to leave) But it’s not just the Arbiter who needs to agree. End of Scene

II – 8 – 109 Scene 8 (The lobby of the hotel. FREDDIE enters, walking with a FEMALE REPORTER and a couple photographers.) FEMALE REPORTER So you don’t know why you started playing chess? FREDDIE Did Mozart know why he heard tunes in his head? FEMALE REPORTER Then do you remember when you began to play? FREDDIE What does it matter? I’m playing now—that’s what counts, right? FEMALE REPORTER Of course. FREDDIE So let’s talk about now. (FLORENCE enters the lobby behind FREDDIE and the reporters) FEMALE REPORTER I was only hoping to begin with a little background… FLORENCE Freddie. (FREDDIE slows, gives a slight turn, and continues with the REPORTER) FREDDIE Yeah, well, I don’t do the whole ‘background’ thing, so let’s just move on— FLORENCE Freddie, it’s Anatoly— (FREDDIE stops) FREDDIE Anatoly who? FLORENCE Your opponent?

II – 8 – 110

FREDDIE Oh, right. And how do you know him? FEMALE REPORTER (to FLORENCE) Maybe you’d like us to— FREDDIE No, no—there’s nothing private going on here. FLORENCE (to FEMALE REPORTER) Yes, please leave. (they do so) Thank you. (once they’ve left) Freddie, Anatoly needs a break. Five days might be enough. FREDDIE Why should I? You know me, Florence, rules are rules. FLORENCE He needs to rest! FREDDIE You mean I broke him! He’s beaten, Florence, and you know it! FLORENCE Maybe he is, but not for reasons that have anything to do with chess. You of all people should understand that. (FREDDIE stops and thinks about this.) FREDDIE Five days? (FLORENCE nods. He smiles) I’m starting to think you’re just a bit of a bad luck charm. (FLORENCE smiles gently at this) (MUSIC #32: “Reconciliation”) FREDDIE Listen, Florence…I’ve changed. I’ve grown up. Just…come back to me, and it can be like it was—we can be like we were.

II – 8 – 111

FLORENCE Freddie, no— FREDDIE (indicating himself) SILLY BOY, (indicating FLORENCE) WOMAN WHO I SHOULD NOT HAVE LET WALK OUT: THERE'S NO HITCH THAT WE TWO CAN'T UNTANGLE OR TALK OUT. AND IF WE DO, PARTNER, THEN WE TWO, PARTNER, HAVE THE WORLD AT OUR FEET— WE'LL BRING BACK THE GOLDEN ERA! STICK WITH ME, FLORENCE! BELIEVE IN ME, FLORENCE! I CAN WIN, YOU CAN WIN— EVERY GAME I'M GETTING NEARER! (In an instant, he embraces and kisses her. FLORENCE pulls away, disgusted) FLORENCE ARE YOU SICK? ARE YOU MAD? YOU STILL DON’T UNDERSTAND WHY I LOATHE YOU— WHY I LEFT YOU! FREDDIE I understand a lot more now than when— FLORENCE Freddie, don’t you get it? Chess has nothing to do with this—I don’t want the winner of a game. You never cared about what it was I wanted—you never cared about Budapest, you never cared about my father, and—and… (beat) Forget it. You’re gone, Freddie. And who knows, maybe you always were. I’m sorry to have bothered you. (She leaves.) CHORUS WHO’D EVER THINK IT? SUCH A SQUALID LITTLE ENDING!

II – 8 – 112 WATCHING HIM DESCENDING JUST AS FAR AS HE CAN GO— I’M LEARNING THINGS I DIDN’T WANT TO KNOW! WHO’D EVER GUESS IT— THIS WOULD BE THE SITUATION? ONE MORE COMPLICATION SHOULD BE NEITHER HERE NOR THERE— I WISH I HAD IT IN ME NOT TO CARE! (ANATOLY and FLORENCE stand some distance away) ANATOLY LET HIM SPILL OUT HIS HATE ‘TILL HE KNOWS HE’S DESERTED! ANATOLY & FLORENCE THERE’S NO POINT WASTING TIME PREACHING TO THE PERVERTED! (FREDDIE is alone.) (MUSIC #33: “Pity the Child”) FREDDIE WHEN I WAS NINE, I LEARNED SURVIVAL— TAUGHT MYSELF NOT TO CARE. I WAS MY SINGLE GOOD COMPANION, TAKING MY COMFORT THERE. UP IN MY ROOM, I PLANNED MY CONQUESTS, ON MY OWN—NEVER ASKED FOR A HELPING HAND. NO ONE WOULD UNDERSTAND. I NEVER ASKED THE PAIR WHO FOUGHT BELOW, JUST IN CASE THEY SAID “NO”. PITY THE CHILD WHO HAS AMBITION, KNOWS WHAT HE WANTS TO DO. KNOWS THAT HE’LL NEVER FIT THE SYSTEM OTHERS EXPECT HIM TO. PITY THE CHILD WHO KNEW HIS PARENTS— SAW THEIR FAULTS, SAW THEIR LOVE DIE BEFORE HIS EYES… PITY A CHILD THAT WISE. HE NEVER ASKED: “DID I CAUSE YOUR DISTRESS?” JUST IN CASE THEY SAID “YES”.

II – 8 – 113 WHEN I WAS TWELVE, MY FATHER MOVED OUT! LEFT WITH A WHIMPER—NOT WITH A SHOUT! I DIDN’T MISS HIM—HE MADE IT PERFECTLY CLEAR: I WAS A FOOL, AND PROBABLY QUEER. FOOL THAT I WAS, I THOUGHT THIS WOULD BRING THOSE HE HAD LEFT CLOSER TOGETHER. SHE MADE HER MOVE THE MOMENT HE CRAWLED AWAY! I WAS THE LAST THE WOMAN TOLD— SHE NEVER LET HER BED GET COLD! SOMEONE MOVED IN—I SHUT MY DOOR. SOMEONE TO TREAT HER JUST THE SAME WAY AS BEFORE! I TOOK THE ROAD OF LEAST RESISTANCE— I HAD MY KINGS TO PLAY! I HAD THE SKILL, AND MORE—THE HUNGER— EASY TO GET AWAY! PITY THE CHILD WITH NO SUCH WEAPONS— NO DEFENSE, NO ESCAPE FROM THE TIES THAT BIND! ALWAYS A STEP BEHIND! I NEVER CALLED TO TELL HER ALL I’D DONE! I WAS ONLY HER SON! PITY THE CHILD, BUT NOT FOREVER, NOT IF HE STAYS THAT WAY. HE CAN GET ALL HE EVER WANTED, IF HE’S PREPARED TO PAY— PITY INSTEAD THE CARELESS MOTHER— WHAT SHE MISSED, WHAT SHE LOST WHEN SHE LET ME GO! AND I WONDER, DOES SHE KNOW? I WOULDN’T CALL—A CRAZY THING TO DO— JUST IN CASE SHE SAID “WHO?” End of Scene

II – 9 – 114 Scene 9 (The meadow by the Danube, night. FLORENCE sits alone on a bench. A FIGURE appears in the shows; it is MOLOKOV) (MUSIC #34: “Budapest Streets (Instrumental)”) MOLOKOV Miss Vassy? FLORENCE (turns, stunned) What? What do you want— MOLOKOV Please—follow me. We don’t have much time. (They hurry off, and wander through a nightmarish journey through Budapest which ends in a small room. FLORENCE looks around at the room) MOLOKOV I did a little bit of searching—it appears the names of the streets have been changed since 1956. And a little asking around led me to this address. (beat) It is, isn’t it— FLORENCE It’s my home. (beat. She is overwhelmed) It’s—it’s the house I grew up in. How—how did you— MOLOKOV The people around here have great respect for Gregor Vassy—many of them were his students years ago. They told me the house was kept empty out of respect. FLORENCE (walking around the room) That—that’s the bed I slept in in the corner. And this is the table where … (she reaches into her purse and pulls out the chess set given to her in the prologue, and sets it on the table) He loved chess. We played it together almost every day. MOLOKOV Would you like to be left alone?

II – 9 – 115 (she nods. MOLOKOV moves to exit) FLORENCE Mr. Molokov—thank you. I…I don’t know how to— MOLOKOV Please. It is my pleasure, Miss Vassy— FLORENCE Florence. MOLOKOV Florence. Good evening. (MUSIC #35: “Lullaby”) (MOLOKOV exits. FLORENCE continues to look around the house, stunned. Slowly, a light comes on in the corner and we see GREGOR singing a YOUNG FLORENCE to sleep, as in the Prologue. FLORENCE watches, full of emotion) GREGOR ALUDJ KICSI LÁNYKÁM, HUNYD BE SZEMECSKÉDET, ÁLMOD ÉDES SZÁRNYÁN SUHANJ KÖNNYEDÉN, APUKÁD ERŐS KEZÉN. (Slowly, FLORENCE realizes she recognizes the song. She starts to hum along, then joins in a word, a phrase.) GREGOR & FLORENCE ELALUDT A PÁRNÁD, KIALSZIK A FÉNY. SUHANJ KICSI LÁNYKÁM ÁLMOD KÉK EGÉN, APUKÁD ERŐS KEZÉN. FLORENCE Father? GREGOR (turning to look at FLORENCE) Apukád. FLORENCE

II – 9 – 116 Apukád…that—that means “Father” doesn’t it? (sudden, indescribable joy) I—I remember! Apukád! I remember! GREGOR Florence… BOTH JÁTÉKAID ÁRVÁN VÁRNAK SZERTESZÉT. EGYETLEN BOGÁRKÁM, ALUDJ KÖNNYEDÉN, APUKÁD ERŐS KEZÉN. (in a rush of emotion, GREGOR and FLORENCE rush to embrace each other, but as they near, the light dims out and GREGOR has vanished. WALTER is at the door of the room.) WALTER Florence! FLORENCE (stunned at his presence) Walter! Have—have you been following me? WALTER I saw Molokov lead you away. I wanted to make sure you weren’t going to see Anatoly. FLORENCE And if we were? WALTER (dodging the question) You heard the Arbiter nixed his request for a postponement? FLORENCE (nods) I don’t suppose he could appeal— WALTER To the Russian Chess Federation? (beat) We’ve talked it out with Anatoly, though. FLORENCE We—?

II – 9 – 117

WALTER He’s going to lose the match. FLORENCE What?! Why—what for? WALTER We figured Anatoly could stay where he wants if he lost. The Russians can dress up his loss any way they like, and meanwhile— FLORENCE What? WALTER We’ve arranged to get some people of our own back. FLORENCE Like my father? WALTER (beat. He sighs) Florence, I didn’t want to have to tell you this— (she turns away) The leads they had on your father…they were wrong. I’m sorry. Most likely your father died just like you thought. FLORENCE You’re lying. Why are you lying? WALTER There was no proof. They said, nothing checked out. FLORENCE Then who are you getting back? WALTER They’re releasing an imprisoned agent of ours. One of my people. FLORENCE (outraged) You’re trading Anatoly for one of your agents?

II – 9 – 118 WALTER Well, no—Anatoly gets to stay put if he loses. He can live with you wherever, and all that’s lost is a little public image on his part. He won’t be able to play chess again—at least not professionally—but, hey, the two of you will be happy, won’t you? FLORENCE (disgusted, quietly) Playing games…using people… WALTER (suddenly turns to her) For Christ sake, I’m doing a goddamn job and I think I’m doing it well! (beat) The people of State told me they were happy with the outcome. I was taken aside and told this! What we’re accomplishing—who knows, it could make a big difference at the summit. This is how things happen, Florence. We move, they move. Some trust gets built up. (beat) Right now, it looks like Anatoly’s only got two moves left to make. He loses, and he can stay with you, we get our man, Russia gets their image, everybody’s happy. He wins, and then what? Personal glory? FLORENCE He has one other move he could make. WALTER What’s that? FLORENCE He could choose not to play. End of Scene

II – 10 – 119 Scene 10 (MUSIC #36: “Endgame”) (The Arena. The crowds are gathering to watch the match) CHORUS TAL, TAL, LASKER. STEINITZ, STEINITZ, ALEKHINE. BOTVINNIK, SMYSLOV, SPASSKY, EUWE. KARPOV, FISCHER PETROSIAN, ANDERSON— CAPABLANCA! CAPABLANCA! MORPHY, MORPHY. (CAPABLANCA.) (REPORTERS, ASSISTANTS, DELEGATES, etc. all attended. WALTER and MOLOKOV are seated together with the DELEGATES, while SVETLANA and FLORENCE are seated together in the crowd. The ARBITER stands over the board, with FREDDIE seated at one end. The other chair, however, is conspicuously empty.) ARBITER (checking his watch) Welcome to the final game of the 1988 World Chess Championship. With all scores level, Mr. Sergievsky needs a win to claim the championship, but more importantly, Mr. Sergievsky needs to turn up. He has five minutes in which to do so. CHORUS EIGHTEEN SIXTY-SIX: WILHELM STEINITZ. EIGHTEEN NINETY-FOUR: EMMANUEL LASKER. ARBITER HOW STRAIGHTFORWARD THE GAME, WHEN ALL ITS RULES ARE RESPECTED! CHORUS NINETEEN TWENTY-ONE: JOSE CAPABLANCA.

II – 10 – 120 ARBITER AND THESE RULES ARE THE SAME FOR A CHAMPION, OR FOR A NOVICE— NO SHOW, NO DICE, NO APPEAL, NO EXCEPTIONS—NO WAY! CHORUS NINETEEN TWENTY-SEVEN: ALEX ALEKHINE. BEN (to WALTER) THOUGH IT GIVES ME NO JOY— CHORUS NINETEEN THIRTY-FIVE: EUWE. BEN —ADDING TO YOUR SATISFACTION, CHORUS NINETEEN FORTY-EIGHT: MIKHAIL BOTVINNIK. BEN WE CAN SAFELY ASSUME OUR LATE, UNLAMENTED EMPLOYEE KNOWS IF HE WINS, THEN THE ONLY THING WON IS THE CHESS. CHORUS NINETEEN FIFTY-SEVEN: VASILY SMYSLOV. NIKOLAI IT’S THE WEAK WHO EXTOL— CHORUS NINETEEN SIXTY: TAL. NIKOLAI —TAWDRY UNTRUTHS ABOUT FREEDOM! CHORUS NINETEEN SIXTY-THREE: TIGRAN PETROSIAN.

II – 10 – 121 NIKOLAI PROSTITUTING THE SOUL, CHASING A SPURIOUS STARLIGHT— TRINKETS IN AIRPORTS, SUFFICIENT TO LEAD THEM ASTRAY! CHORUS NINETEEN SIXTY-NINE: BORIS SPASSKY. SVETLANA DOES THE PLAYER EXIST IN ANY HUMAN ENDEAVOR?

CHORUS NINETEEN SEVENTY-TWO: BOBBY FISCHER! CHORUS

NINETEEN SEVENTY-FIVE: ANATOLY KARPOV. SVETLANA WHO'S BEEN KNOWN TO RESIST SIRENS OF FAME AND POSSESSIONS?

CHORUS NINETEEN EIGHTY-FIVE: KASPAROV!

SVETLANA THEY WILL DESTROY YOU, NOT RIVALS, NOT AGE, NOT SUCCESS! (ANATOLY enters at the last possible moment. As CROWD sees him, they whisper and point. PHOTOGRAPHERS take flash pictures. ANATOLY sits. Play begins.) ANATOLY THEY ALL THINK THEY SEE A MAN WHO DOESN’T KNOW WHICH MOVE TO MAKE, WHICH WAY TO GO. WHOSE PRIVATE LIFE CAUSED HIS DECLINE— WRECKED HIS GRAND DESIGN— SOME ARE VICIOUS, SOME ARE FOOLS, AND OTHERS BLIND TO SEE IN ME ONE OF THEIR KIND… FREDDIE SO HE HASN'T CRACKED! HE STILL CAN CUT IT! MAYBE IT'S AN ACT— IT MUST BE! BUT IT'S

II – 10 – 122 STRANGE HOW HE'S SO COOL AND I'M THE ONE WHO'S BREAKING! I DON'T FEEL THAT HE'S THE ONE I'M PLAYING— FLORENCE, FLORENCE, PLEASE— MY GOD! I'M SAYING YOU STILL SCREW ME UP ON EVERY MOVE I'M MAKING! FLORENCE & SVETLANA HERE WE SEE TWO MEN CARING ABOUT A MINOR SPORTING TRIUMPH, SHARING A SHOW WITH ESOTERICS, PARANOIDS, HYSTERICS, WHO DON’T PAY ATTENTION TO WHAT GOES ON AROUND THEM— THEY LEAVE THE ONES THEY LOVE THE WAY THEY FOUND THEM! A NORMAL PERSON MUST DISMISS YOU WITH DISGUST AND WEEP FOR THOSE WHO TRUSTED YOU! ANATOLY NOTHING YOU HAVE SAID IS REVELATION! TAKE MY BLUES AS READ, MY CONSOLATION— FINDING OUT AT LAST MY ONE TRUE OBLIGATION! CHORUS (MOLOKOV and the RUSSIAN CHORUS start) WE ALL KNOW OF FAME AND REPUTATION, BUT ONE LOSING GAME IS CONDEMNATION OF A MAN WHO BLEW IT, SKUTTLED WITH DISHONOR! (WALTER and the AMERICAN CHORUS join in) NO ONE GIVES A DAMN FOR HIS DILEMMA— JUST ANOTHER SCAM! WE’RE SICK OF THEM, A LOT OF JOBS AT STAKE WITH RUSSIA’S PRIMA DONNA! (The ARBITER and his ASSISTANTS join in)

II – 10 – 123 WE CAN HARDLY BEGIN TO IMAGINE WHY HE’D RISK ALL HE’S PUT INTO— HIS CALLING THROUGH THE YEARS, THE BLOOD, THE SWEAT, THE TEARS, THE LATE, LATE NIGHTS, THE EARLY STARTS! (REPORTERS join in) OF COURSE, THE EFFECT IS EXACTLY WHAT OBSERVERS WILL EXPECT, VIZ— THE WORLD IS SET TO CHEER THE ONE WHO’S REALLY HERE— THE BAD GUY’S GONE AND WON THEIR HEARTS! (The entire CHORUS sings now, led by FLORENCE and SVETLANA) THERE THEY GO AGAIN! YOUR DEEDS INFLAME THEM— DRIVE THEM WILD, BUT THEN, WHO WANTS TO TAME THEM? IF THEY WANT A PART OF YOU, WHO’D REALLY BLAME THEM? ANATOLY AND SO, YOU'RE LETTING ME KNOW— FLORENCE FOR YOU'RE THE ONLY ONE WHO'S NEVER SUFFERED ANYTHING AT ALL! ANATOLY —HOW YOU'VE HATED MY SUCCESS! SVETLANA WELL, I WON'T CRAWL— AND YOU CAN SLINK BACK TO YOUR PAWNS AND TO YOUR TARTS! ANATOLY AND EVERY POISONED WORD SHOWS THAT YOU NEVER UNDERSTOOD! SVETLANA Liar! FREDDIE & CHORUS Check! ANATOLY NEVER!

II – 10 – 124 FLORENCE Liar! FREDDIE & CHORUS Check! ANATOLY NEVER! SVETLANA Liar! FREDDIE & CHORUS Check! ANATOLY NEVER! SVETLANA & FLORENCE Liar!! FREDDIE & CHORUS Check! ANATOLY NEVER! ANATOLY NEVER!

SVETLANA & FLORENCE LIAR! ALL

NOTHING YOU HAVE SAID IS REVELATION! TAKE MY BLUES AS READ! MY CONSOLATION— FLORENCE & SVETLANA FINDING OUT THAT I'M MY ONLY OBLIGATION! ANATOLY IS THERE NO-ONE IN MY LIFE WHO WILL NOT CLAIM THE RIGHT TO STEAL MY WORK, MY NAME, MY SUCCESS, MY FAME, AND MY FREEDOM?

II – 10 – 125

(checkmate. The game is over) ARBITER Anatoly Sergievsky is the winner. (Pandemonium. Much cheering and commotion from the crowd. WALTER and the Americans are left dumbstruck.) End of Scene

II – 11 – 126 Scene 11 (Outside the Budapest airport. SVETLANA and ANATOLY sit on their luggage, accompanied by MOLOKOV. FLORENCE enters and moves to them slowly.) FLORENCE Anatoly… (no response. SVETLANA finally speaks) SVETLANA Florence—are you leaving, too? FLORENCE No—I’m staying, actually. Here in Budapest. SVETLANA Oh? You have found a home? FLORENCE (smiles) Yes. I managed to find a house here to stay in. MOLOKOV A lovely house. SVETLANA I hope you will be happy. (NIKOLAI enters) NIKOLAI (to MOLOKOV) We can board now; they said it won’t be long. SVETLANA I think I shall go sit on the plane and wait. MOLOKOV I will join you. (SVETLANA rises and moves to FLORENCE) SVETLANA Florence…

II – 11 – 127 (they hug goodbye) We do have an apartment again in Moscow. If you ever… (beat) You could stay with us. It is a large apartment. FLORENCE Thank you. But I don’t— SVETLANA I understand. Farewell. (she exits. MOLOKOV moves to leave as well, then stops to shake FLORENCE’s hand) MOLOKOV Florence… (quietly) You were such a beautiful couple. Reminded me of my wife and I thirty years ago. If you do ever desire an apartment in Moscow, I’m sure I should be able to arrange something. (she smiles and embraces him. After pulling away) It has been a genuine pleasure. (he exits. ANATOLY and FLORENCE are left alone) FLORENCE So you’re going back to Russia. ANATOLY I had to. I don’t know what would happen if I didn’t return. (beat) I’m sorry, Florence. FLORENCE For what? ANATOLY For winning. FLORENCE (laughs) That’s nothing to be sorry for. ANATOLY I was supposed to lose.

II – 11 – 128 FLORENCE Well, I think it was worth it just to see the look on Walter’s face when you didn’t. (they both laugh at this) And…you’re going back home. Like you wanted. (MUSIC #37: “You and I (Reprise)”) ANATOLY Will I ever see you again? (pause) FLORENCE No. ANATOLY I’m sorry…I was selfish, I— FLORENCE We were both selfish. ANATOLY You—you wanted your father, I just wanted— FLORENCE We both wanted a home. ANATOLY KNOWING I WANT YOU, KNOWING I LOVE YOU, I CAN’T EXPLAIN WHY I REMAIN CARELESS ABOUT YOU— FLORENCE I’VE BEEN A FOOL TO ALLOW DREAMS TO BECOME GREAT EXPECTATIONS! ANATOLY HOW CAN I LOVE YOU SO MUCH, YET MAKE NO MOVE? BOTH I PRAY THE DAYS AND NIGHTS, IN THEIR ENDLESS, WEARY PROCESSION

II – 11 – 129 SOON OVERWHELM MY SAD OBSESSION— YOU AND I, WE’VE SEEN IT ALL, CHASING OUR HEARTS’ DESIRE. BUT WE GO ON PRETENDING STORIES LIKE OURS HAVE HAPPY ENDINGS. ANATOLY YOU COULD NOT GIVE ME MORE THAN YOU GAVE ME— WHY SHOULD THERE BE SOMETHING IN ME STILL DISCONTENTED? FLORENCE I WON’T LOOK BACK ANYMORE— AND IF I DO—JUST FOR A MOMENT! ANATOLY I’LL SOON BE HAPPY TO SAY: “I KNEW HER WELL!” BOTH BUT IF YOU HEAR TODAY I’M NO LONGER QUITE SO DEVOTED TO THIS AFFAIR—I’VE BEEN MISQUOTED! YOU AND I, WE’VE SEEN IT ALL, CHASING OUR HEARTS’ DESIRE. BUT WE GO ON PRETENDING STORIES LIKE OURS HAVE HAPPY ENDINGS! (As the song ends, they kiss. ANATOLY finally pulls away and exits. After a moment, WALTER enters and approaches FLORENCE.) (MUSIC #38: “Finale”) WALTER SO IN THE END, OUR HERO WON— Brilliantly! SURPRISED US ALL— HE PLAYED AS WELL AS HE HAS EVER DONE.

II – 11 – 130

FLORENCE NO SURPRISE. WALTER (laughing slightly) Well, SINCE HE’S ANNOUNCED HE’S GOING BACK To the Soviet Union, HE SEEMS UNABLE TO WIN WITHOUT THE ADDED THRILL OF CHANGING SIDES… (pause; no response from FLORENCE) DON’T YOU HAVE A SINGLE WORD TO SAY? FLORENCE No— NO, YOU WOULDN’T LISTEN, ANYHOW— AND WHAT I’M FEELING NOW HAS NO EASY EXPLANATION— HASN’T THIS BEEN A GREAT ACHIEVEMENT? LOSING YOUR MAN, AND NOTHING IN RETURN! WALTER Well, not my man—your man. Though, if I may say, Anatoly’s return to the Soviet bosom was a very decent gesture— FLORENCE Oh, I’m sure. WALTER The Russian Federation’s been so pleased with the outcome—a new Soviet World Champion to parade about—they’re agreed to release our agents. And he’s virtually guaranteed us— guaranteed you—your father. FLORENCE If he’s still alive. WALTER Of course he’s still alive! (FLORENCE gives him a look) Alright, we can’t be sure he’s alive, but the way I see it, you couldn’t be sure he was dead, so you’re no worse off. (she doesn’t laugh) Look, Florence, I—

II – 11 – 131 FLORENCE (weary) No, Walter, please, just…shut up. I don’t want to hear your speeches about what a great political gain this is for you, or what this means for the summit, or—whatever else. Do me a favor and just shut up. (beat; WALTER is speechless) If you do find my father, come and let me know. You’ll know where to find me. WALTER And where would that be? FLORENCE (smiles) Home. (WALTER exits. FLORENCE hangs back and looks around her. She smiles broadly. She is home.) CHORUS HOW COULD I LEAVE HER? WHERE WOULD I START? LET MAN’S PETTY NATIONS TEAR THEMSELVES APART— MY LAND’S ONLY BORDERS LIE AROUND MY HEART! End of Play

Appendix A – 1 APPENDIX A CATALOGUE OF CHANGED AND ALTERNATE LYRICS As Chess has seen many different versions over the years, many alternate lyrics are available for various songs. Throughout the course of these revisions, I have culled lyrics from several different versions, most prominently the 1984 Concept Album. These changes are listed below, and compared with the lyrics as printed in the officially licensed script from Samuel French, Inc. Additionally, there were times when it felt necessary to adjust the penned lyric, often for clarity but occasionally for preference. Though I have endeavored to keep the changes as small as possible, in the name of artistic honesty I have elected to list the changed lyrics here, so that any reader wishing to utilize the Rice lyrics only may do so. ALTERNATE LYRICS Act I, Prologue — “The Story of Chess” I – Prologue – 2: “I can’t forgive this evil thing you’ve done!” Original Line: “I can’t believe this evil thing you’ve done” Revised Line From: 1984 Concept Album I – Prologue – 2: “No words of his could mollify the queen.” Original Line: “No words of his could satisfy the queen” Revised Line From: 1984 Concept Album Act I, Scene 1 — “Freddie’s Entrance” I – 1 – 5: “Have they found new sophistication?/Not yet! They just wanna see” Original Line: “Have you found new sophistication?/Not yet! You just want to see” Revised Line From: 1984 Concept Album I – 1 – 5: “They all come…” Original Line: “You all come, you all come” Revised Line From: 1984 Concept Album Act I, Scene 1 — “Press Conference” I – 1 – 9: “It’s sad that the best/His country’s produced” Original Line: “How sad that the best his country’s produced” Revised Line From: 1986 London Script I – 1 – 9: “To a mindless abuse and assault on all of mankind—/ In fact, he shouldn’t have come here,/He should have resigned!” Original Line: “To a mindless abuse/When he should be grateful instead/ Remember we made him famous without us he’s dead.” Revised Line From: 1986 London Script

Appendix A – 2 Act I, Scene 2 — “Where I Want to Be” I – 2 – 13: “If I’m concealing/Not only love,/All other feelings?” Original Line: “If I’m concealing/Most of my thoughts/All of my feeling” Revised Line From: 1984 Concept Album Act I, Scene 4 — “U.S. vs. U.S.S.R.” I – 4 – 24: “But we’re gonna smash their bastard!/Make him wanna change his name!/ Take him to the cleaneras and devastate him—/Wipe him out, Humiliate him! Original Line: “What a load of whining peasants!/Thinking they can win—they can’t/ What and exhibition of self-delusion/This one’s a foregone conclusion Revised Line From: 1984 Concept Album Act I, Scene 5 — “Quartet” I – 5 – 28: “Our player’s sporting attitude’s beyond all praise” Original Line: “It’s not just black and white if I may coin a phrase” Revised Line From: 1984 Concept Album Act I, Scene 6 — “The American and Florence” I – 6 – 42: “If you walk out on me,/They will have won the first battle!/ Wouldn’t your father/Have begged you to stay in the game?” Original Line: “If you walk out on me/You’re really betraying your father/ Were he alive now/He’d surely be dying of shame” Revised Line From: 1984 Concept Album I – 6 – 42: “He would—but he didn’t know you!/ He’d loathe your behavior, and so do I!” Original Line: “You know that there’s nothing I’ve done/ That he’d be ashamed of in my whole life” Revised Line From: 1984 Concept Album Act I, Scene 6 — “Someone Else’s Story” I – 6 – 43: “Lately, although the feelings run just as deep” Original Line: “Lately although her feelings run just as deep” Revised Line From: 1990 Sydney Production I – 6 – 43: “Sadly,/The words described an empty affair,/ And sadder than that, she knew he wouldn’t even care.” Original Line: “Sadly/She realized she’d left him behind And sadder than that she knew he wouldn’t even mind” Revised Line From: 1990 Sydney Production Act I, Scene 7 — “Mountain Duet” All changes culled from the 1984 Concept Album. I – 7 – 52: “So with immaculate timing, I’m left to carry the can” Original Line: “So, through no fault of my own, I’m in it way over my head.”

Appendix A – 3

I – 7 – 52: “She seems so very straightforward” Original Line: “She seems to know what she’s doing” I – 7 – 52: “Maybe he’s scared—/Just as scared as he was in the game!” Original Line: “Maybe he’s scared—/But he didn’t seem scared in the game I – 7 – 53: “What if my Russian friend/Thinks that my plans are more of an intimate kind—/ If I don’t say something else soon,” Original Line: “What if my Russian friend/Thinks that my plans have nothing to do with the chess./If I don’t say something and soon” I – 7 – 53: “Get to the point, begin the beguine!/ Haven’t you noticed we’re a protagonist short” Original Line: “How do you say, begin the beguine/ Haven’t you noticed we’re still one character short” I – 7 – 53: “Funny how all at once I feel/That he can go jump off the mountain—I won’t care!” Original Line: “Funny how all at once I feel/Nothing about that meeting matters anymore” I -7 – 54: “Than be wasting my time on mountains with you!” Original Line: “Than be wasting my time with someone like you.” Act I, Scene 9 — “Florence Quits” I – 9 – 62: “But the fools never learn!” Original Line: “But your kind never learn!” Revised Line From: 1984 Concept Album Act I, Scene 11 — “Anatoly and the Press” I – 11 – 72: “To be joined in your exile by loved ones (E.G. your wife),” Original Line: “To be joined in your exile by loved ones such as your wife” Act II, Prologue — “The Arbiter’s Song” II – Prologue – 74: “I don’t care if you’re a champion—/No one messes with me!/ I am ruthless in upholding what I know is right,/ Black or white,/As you’ll see!” Original Line: “Just a hint of trouble this time round/And I’ll be on your back/ I will jump on all offenders from a massive height/ Don’t invite/Any flak” Revised Line From: 1984 Concept Album

Appendix A – 4 II – Prologue – 75: “This is not the start of World War Three—/No political ploys!/ I think both your constitutions are terrific,/ So now you know:/Be good boys!” Original Line: “I don’t care if you’re a champion/No one messes with me/ I am ruthless in upholding what I know is right/ Black or white/As you’ll see” Revised Line From: 1984 Concept Album Act II, Scene 10 — “Endgame” Note: The chorus’s background lyrics in the first half of the song were changed substantially throughout the scene, and have been reprinted in the alternate “Endgame” in Appendix E. They have been as such left unlisted here. Additionally, the second half of “Endgame” as presented in this script preserves the London structuring of the song, and as it is thus lyrically almost an entirely different number, it has been omitted from the listings here. II – 10 – 122: “Though it gives me no joy/Adding to your satisfaction,/ We can safely assume/Our late, unlamented employee/ Knows if he wins, then the only thing won is the chess.” Original Lyric: “Does the player exist/In any human endeavor/ Who’s been known to resist/Sirens of fame and possessions? Threaten to cut off supplies and he’ll come out to play” II – 10 – 123: “Does the player exist/In any human endeavor?/ Who’s been known to resist/Sirens of fame and possessions? They will destroy you, not rivals, not age, not success!” Original Lyric: “I’m no expert in chess/But hazard this prognostication/ That the late Mister “S”/Has better chances of winning/ The Kentucky Derby than keeping his title today” Act II, Scene 11 — “You and I (Reprise)” All changes culled from the 1984 Concept Album. II – 11 – 130: “I can’t explain/Why I remain/Careless about you—“ Original Lyric: “Cannot compare/With my despair/Knowing I’ve lost you” II – 11 – 130/131: “I pray the days and nights,/In their endless, weary procession/ Soon overwhelm/My sad obsession—“ Original Lyric: “There will be days and nights/Where I’ll want you more than I want to/ More than I should/Oh, how I want you” II – 11 – 131: “Why should there be/Something in me/Still discontented?” Original Lyric: “I don’t know why/I’m standing by/Watching this happen” II – 11 – 131: “I’ll soon be happy to say: “I knew her well!”” Original Lyric: “I can’t imagine a time when I won’t care”

Appendix A – 5 II – 11 – 131: “But if you hear today/I’m no longer quite so devoted/ To this affair—I’ve been misquoted!” Original Lyric: “But here we are today, And it’s over/Hold me and tell me/ We’ll meet again/Why is it over? Act II, Scene 11 — “Finale” II – 11 – 133: “How could I leave her?/Where would I start?” Original Lyric: “How can I live now?/Where do I start?” Revised Lyric From: “Anthem” lyrics CHANGED LYRICS Act I, Scene 7 — “Mountain Duet” I – 7 – 53: “No, you’re not dangerous—“ Rice Lyric: “You, you’re not dangerous—“ Act II, Scene 1 — “Heaven Help My Heart” II – 1 – 82: “Did I plan/Doing all of this with the love of a man?” Rice Lyric: “Did I plan/Doing all of this for the love of a man?” Act II, Scene 8 — “Pity the Child” II – 8 – 115: “I had my Kings to play!” Rice Lyric: “I had my game to play” Act II, Scene 10 — “Endgame” II – 10 – 122: “We can safely assume/Our late, unlamented employee” Rice Lyric: “You can safely assume/Your late, unlamented employee” II – 10 – 124: “We all know of fame/And reputation/But one losing game/Is condemnation” Rice Lyric: “We are all aware/Of reputation/But one empty chair/Is condemnation” II – 10 – 125: “The world is set to cheer/The one who’s really here—” Rice Lyric: “The world is set to cheer/The only one who’s here” Act II, Scene 11 — “You and I (Reprise)” II – 11 – 131: “I’ll soon be happy to say “I knew her well” Rice Lyric: “I’ll soon be happy to say I knew her when” Act II, Scene 11 — “Finale” II – 11 – 132: “Since he’s announced he’s going back” Rice Lyric: “He’s just announced he’s going back” Appendix C — “The Russian and Molokov Appendix C – 1: “Sergievsky, relax” Rice Lyric: “My friend please relax”

Appendix B – 1 APPENDIX B ALTERNATE ACT I, SCENE 1: “PRESS CONFERENCE” In the drafting process of these revisions, a longer Act I, Scene 1 was constructed around the extended London “Press Conference”, but was cut for reasons of flow. If desired, the scene (starting on I – 1 – 5) could be replaced with the following scene: (Bangkok, 1988. The lobby of the Bangkok Hilton Hotel. A large banner behind reads: THE HILTON WELCOMES THE WORLD CHESS CHAMPIONSHIP. As the scene begins members of the press, FLORENCE, now in her thirties, and the ARBITER of the match are waiting for an important arrival.) (MUSIC #4: “Freddie’s Entrance”) ARBITER (checking his watch; to the press) Ladies and Gentlemen, welcome to the 1988 World Chess Championship. Mr. Trumper appears to be running late, so you may address the challenger— (Never missing a moment, FREDDIE TRUMPER comes down the hallway, followed by a crowd.) FREDDIE WHAT A SCENE! WHAT A JOY! WHAT A LOVELY SIGHT— WHEN MY GAME IS THE BIG SENSATION! HAS THE MOB’S SPORTING TASTE ALTERED OVERNIGHT? HAVE THEY FOUND NEW SOPHISTICATION? NOT YET! THEY JUST WANNA SEE IF THE NICE GUY BEATS THE BUM! IF IT’S EAST-WEST— AND THE MONEY’S SKY-HIGH! FREDDIE & CHORUS THEY ALL COME… (As they enter the meeting room there is pandemonium. Also at the table are ANATOLY and MOLOKOV.) FREDDIE YOU CAN RAISE ALL YOU WANT IF YOU RAISE THE ROOF!

Appendix B – 2 SCREAM AND SHOUT, AND THE GATE INCREASES! BREAK THE RULES, BREAK THE BANK— I’M THE LIVING PROOF, THEY DON’T CARE HOW I MOVE MY PIECES! I KNOW I’M THE BEST THERE IS, BUT ALL THEY WANT IS A SHOW! WELL, THAT’S ALLRIGHT— I’LL BE GLAD TO OBLIGE! FREDDIE & CHORUS S.R.O., S.R.O.! ARBITER Well, the champion has seen fit to join us. How lovely. Now, you may address your questions to Freddie Trumper, the World Chess champion, and Mr. Anatoly Sergievsky, the challenger. (No surprise who they pick) REPORTERS Freddie!!!! FREDDIE You! FRENCH REPORTER (In French: “Mr. Trumper, what is your—) Monsieur Trumper, quelle est votre— FREDDIE Next question! AUSTRALIAN REPORTER Mr. Trumper, do you think chess should be an Olympic sport? FREDDIE What, and do it for free? AMERICAN REPORTER What are your impressions of Bangkok so far, Freddie? FREDDIE Well, geez—I’m staying right here at the Hilton. Right down the block’s a McDonald’s and a Burger King. Seems like Cleveland to me.

Appendix B – 3 (laughter) ENGLISH REPORTER In Budapest you’re scheduled at the same time as the— FREDDIE If we make it to Budapest. Hey, I could win them all here. He could just give up. (FLORENCE gives him a look at this) (MUSIC #5: “Press Conference”) ENGLISH REPORTER Yes, but do you think these series of summits have now depoliticized contests like these? FREDDIE If they had, would creeps like you be here? AUSTRALIAN REPORTER DOES YOUR OPPONENT DESERVE SUCH ABUSE? FREDDIE What? All Soviets deserve abuse. GERMAN REPORTER BUT EVEN YOU MUST CONCEDE HE CAN PLAY! FREDDIE Yeah, he's the best Red on the circuit, sure, I'll give him that— AMERICAN REPORTER HE HASN'T LOST FOR A LONG TIME, HE COULD BE A TOUGH NUT TO CRACK! FREDDIE Hey, if he gets one game off me—it's ‘cause I want to keep press interest going. REPORTERS WHY DO YOU PERSIST WITH VICIOUS ATTACKS, UNGRACIOUS REMARKS RE: OPPONENTS? IT SMACKS OF A LACK OF CONVICTION—ADMIT, YOU'RE UNDER DURESS AND THAT YOUR ONLY SKILL LEFT IS FOR MONEY, NOT CHESS.

Appendix B – 4

IF SOVIET LIFE'S AS GRIM AS YOU CLAIM, THEN HOW COME THEIR BOYS ARE SO GOOD AT THE GAME? THOUGH YOU SWEAR THE AMERICAN DREAM IS CLEARLY THE BEST, YOU'RE NO ADVERTISEMENT FOR LIFE AND TIMES IN THE WEST! ARBITER Now, some questions for Mr. Sergievsky. RUSSIAN REPORTER Mr. Sergievsky, this is only the second time that a match has been divided between two sites, Bangkok and Budapest in this case. Is there a— MOLOKOV I shall speak to that. Mr. Sergievsky plays where the World Chess Federation tells him to play. The match sites are not under our control. ENGLISH REPORTER Freddie— WHY DID YOU RISK THE WHOLE MATCH BREAKING DOWN? FREDDIE What’re you saying? What—what are you implying? FEMALE REPORTER ALL YOUR OUTRAGEOUS DEMANDS, SELF-CONCEIT— FREDDIE There’s nothing outrageous about demanding what I'm worth! GERMAN REPORTER THEY PAY YOU ALL THAT YOU ASK FOR, AND THEN YOU DEMAND EVEN MORE! FREDDIE I am the reason you're all here—who's ever heard of Sergievsky? REPORTERS IT'S HARD TO BELIEVE WHAT WE'RE REPORTING! WHY SO DISPARAGING? NOT VERY SPORTING.

Appendix B – 5 FREDDIE And the Communists are sporting—my God— REPORTERS TELL ALL THIS TO THE UNITED NATIONS! ARE YOU AN ASSET TO EAST-WEST RELATIONS? FREDDIE What is this—what have the Russians ever done for East-West relations? Do you guys have any serious questions? AUSTRALIAN REPORTER Bangkok’s got a reputation for a rather rich night life. (some laughter) Either of you planning to partake while—? FREDDIE Hey, I’m in training. Maybe next time. AMERICAN REPORTER You probably brought all you need with you, anyway. (laughter) FREDDIE (smiling) What’s that supposed to mean? AMERICAN REPORTER Well, Miss Vassy’s not an unattractive woman, Freddie. FREDDIE Florence is my chess second—what are you implying? AMERICAN REPORTER Forget it. FREDDIE No, I want to know— FLORENCE (trying to stop this) Freddie… AMERICAN REPORTER Look, it was a joke, okay?

Appendix B – 6

(suddenly FREDDIE punches the REPORTER hard in the face and hurries out. There is chaos; REPORTERS yelling questions.) REPORTERS WELL, WHAT DID I SAY? HE'S OUT OF HIS TREE, HE'S FINALLY FLIPPED— AND BETWEEN YOU AND ME, HE'S NO HOPE OF RETAINING HIS CROWN IN HIS FRAME OF MIND— IN FACT, HE SHOULDN'T HAVE COME HERE, HE SHOULD HAVE RESIGNED! (FLORENCE storms in, dominating their words with a powerful outburst:) FLORENCE SMILE, YOU’VE GOT YOUR FIRST FLORENCE EXCLUSIVE STORY! NOW YOU CAN BASK IN HIS REFLECTED GLORY! “NAKED, UNPROVOKED YANKEE AGRESSION!” OH, WHAT A CREDIT TO YOUR GREAT PROFESSION!

REPORTERS WELL, WHAT DID I SAY? HE'S OUT OF HIS TREE, HE'S FINALLY FLIPPED— AND BETWEEN YOU AND ME, HE'S NO HOPE OF RETAINING HIS CROWN IN HIS FRAME OF MIND— IN FACT, HE SHOULDN'T HAVE COME HERE, HE SHOULD HAVE RESIGNED! IN THIS FRAME OF MIND, HE SHOULDN’T COME, HE SHOULD RESIGN WHEN HE IS IN THIS FRAME OF MIND, HE SHOULDN’T COME, HE SHOULD RESIGN WHEN HE IS IN THIS FRAME OF MIND, HE SHOULDN’T COME, HE SHOULD RESIGN!

(FLORENCE exits. The scene changes during the REPORTERS’ final words) REPORTERS MUCH BETTER TO QUIT WHILE STILL NUMBER ONE

Appendix B – 7 THAN CRASH TO DEFEAT, REPUTATION UNDONE! THOUGH HE'S PROVED TO HIMSELF IT'S A COMMUNIST PLOT, IF YOU ASK ME, IT'S MONEY THAT DID IT AND STARTED THE ROT! IT'S SAD THAT THE BEST HIS COUNTRY'S PRODUCED IS CRUMBLING IN FRONT OF OUR EYES AND REDUCED TO A MINDLESS ABUSE AND ASSAULT ON ALL OF MANKIND— IN FACT, HE SHOULDN'T HAVE COME HERE, HE SHOULD HAVE RESIGNED! End of Scene

Appendix C – 1 APPENDIX C ALTERNATE ACT I, SCENE 2: “THE RUSSIAN AND MOLOKOV” Additionally in the drafting process, “The Russian and Molokov” from London was inserted to Act I, Scene 2, but later cut due to length. If desired, the song may be re-inserted into the scene (starting on I – 2 – 10), as follows: (ANATOLY’s hotel suite. ANATOLY SERGIEVSKY, the Russian World Chess Champion, his second, IVAN MOLOKOV, and MOLOKOV’s assistant, NIKOLAI, enter the suite. ANATOLY sits by a chess board and starts to practice) (MUSIC #6a: “The Russian and Molokov”) ANATOLY It’s all a performance—it has to be. MOLOKOV Even I know his reputation. ANATOLY But to see it there in front of you— MOLOKOV Yes, very amusing. NIKOLAI The American is just a child, Sergievsky. You’re playing a lunatic. MOLOKOV WHAT WE'VE JUST SEEN'S A PATHETIC DISPLAY FROM A MAN WHO'S BEGINNING TO CRACK! HE'S AFRAID—HE KNOWS HE ISN'T THE PLAYER HE WAS, AND HE WON'T GET IT BACK! ANATOLY NONSENSE! WHY DO MY SECONDS ALWAYS WANT TO BELIEVE THIRD-RATE PROPAGANDA— NIKOLAI SERGIEVSKY, RELAX, WE'RE ALL ON YOUR SIDE.

Appendix C – 2 MOLOKOV YOU KNOW HOW YOU NEED US— ANATOLY I DON'T NEED MY ARMY OF SO-CALLED 'ADVISORS' AND 'HELPERS' TO TELL ME THE MAN WHO'S REVITALISED CHESS—SINGLE-HANDED— IS MORE OR LESS OUT OF HIS BRAIN, WHEN IT'S VERY CLEAR HE'S SANE! NIKOLAI Molokov, you have telephone messages. (He hands them to MOLOKOV, who shuffles through them and hands one to ANATOLY.) MOLOKOV From your wife. She called from home. ANATOLY When will you learn—when I’m in a match I have neither a wife nor a— MOLOKOV A home? (Beat. Continues to look through messages.) When you are home I understand you don’t call your wife either. But this is none of my business. ANATOLY I’m here to play chess. MOLOKOV And I’m here to help you play chess. (to NIKOLAI) What else did you bring? NIKOLAI (Handing file.) The woman with Trumper. Florence Vassy. ANATOLY (without looking up) An experienced second. She’s well-known. (beat) You could have just asked me.

Appendix C – 3 MOLOKOV (reading the file) Hungarian refugee. Left Budapest as a child. 1956. (to himself) They’re not going to let her… (he disregards it. To NIKOLAI) Do they sleep together? NIKOLAI Rumor is they don’t. She has her own room here. But we’re checking this out ourselves. ANATOLY (over chess board) He needs only an answer, Nikolai, not a videotape. MOLOKOV Speak for yourself! (He laughs. ANATOLY doesn’t. To NIKOLAI) Hungarian women. I had a crush on one in Moscow. But just because I was Russian… ANATOLY The sacrifices we Russian men have had to make for the cause of world peace. (MOLOKOV nods and NIKOLAI exits. To ANATOLY) MOLOKOV LISTEN, WE DON'T UNDERESTIMATE ANYONE— WE WON'T GET CAUGHT IN THAT TRAP! AFTER ALL, WINNING OR LOSING REFLECTS ON US ALL— ANATOLY OH, DON'T GIVE ME THAT CRAP! I WIN—NO ONE ELSE DOES, AND I TAKE THE RAP IF I LOSE! MOLOKOV IT'S NOT QUITE THAT SIMPLE! THE WHOLE WORLD'S TUNED IN, WE'RE ALL ON DISPLAY! WE'RE NOT MERELY SPORTSMEN— (As ANATOLY retorts, the phone rings. MOLOKOV goes to answer it) ANATOLY OH, PLEASE DON'T START SPOUTING THAT OLD PARTY LINE! YES, I KNOW IT'S YOUR JOB, BUT

Appendix C – 4 JUST GET OUT, AND GET ME A CHESS-PLAYING SECOND— IN THIRTY-SIX HOURS WE BEGIN— THAT IS, IF YOU WANT TO WIN! (MOLOKOV hangs up. As he goes to door) (MUSIC #6b: “Where I Want to Be”) MOLOKOV Our ambassador has arrived. ANATOLY Our ambassador? Rest of scene continues as printed.

Appendix D – 1 APPENDIX D ALTERNATE “QUARTET” The “Quartet” as originally written was intended to be a round, and was written as such in this script. In the original Broadway script the round elements were removed (and the fugue appended at the end), and the song played out more straightforwardly. Though the round functions better as a piece of theatre, the non-round version of the song could be used if desired, and be incorporated on I – 5 – 28 as follows: ARBITER (beat; claps his hands together) Break for lunch! (MUSIC #11: “Quartet”) (Chaos, REPORTERS run off after FREDDIE. The arena is slowly emptied except for ANATOLY, FLORENCE, MOLOKOV, and the ARBITER) ANATOLY (To FLORENCE) Pity, you cannot always choose who you work for. FLORENCE True. And I’ve noticed you seem to have the same problem. MOLOKOV WE WISH—NO, MUST MAKE OUR DISGUST FOR THIS ABUSE PERFECTLY CLEAR! WE’RE HERE FOR CHESS—ARE THE U.S.? IF SO, WHY FOUL THE ATMOSPHERE? FLORENCE I MUST PROTEST—OUR DELEGATION HAS A HOST OF VALID POINTS TO RAISE. ARBITER IT’S NOT JUST BLACK AND WHITE— IF I MAY COIN A PHRASE— AS ANY NEUTRAL WOULD ATTEST! FLORENCE (To ANATOLY) THOUGH WE CONCEDE THE FACT YOUR MASTERS BEND THE RULES IS MAYBE NOT YOUR FAULT!

Appendix D – 2 IF THEY WITHDRAW THEIR PSYCHOLOGICAL ASSAULT, THEN UNDER PROTEST HE’LL PROCEED! MOLOKOV IF YOUR MAN’S SO SWEET, THEN WHY HIS FIGHTING TALK? IF HE SAYS WE CHEAT, THEN WHY ON EARTH DID HE GO TAKE A WALK? FLORENCE I AM NOT SURPRISED HE WANTED FRESHER AIR ONCE HE REALIZED THERE WAS NO HOPE OF YOUR GUYS PLAYING FAIR! FLORENCE HOW SAD TO SEE WHAT USED TO BE

MOLOKOV IT’S VERY SAD TO SEE THE ANCIENT AND DISTINGUISHED GAME THAT USED TO BE

FLORENCE & MOLOKOV A MODEL OF DECORUM AND TRANQUILITY BECOME LIKE ANY OTHER SPORT— A BATTLEGROUND FOR RIVAL IDEOLOGIES TO SLUG IT OUT WITH GLEE! ANATOLY I WOULD SAY WITH REGARD TO HIM, IT IS HARD TO REBUT EVER-GROWING SUSPICIONS MY OPPOSITION’S A NUT. FLORENCE I WOULD HAVE SAID YOU’D UNDERSTAND THE STRAIN AND PRESSURE GETTING WHERE HE’S GOT, FOR THEN YOU’D SIMPLY CALL HIM HIGHLY STRUNG AND NOT IMPLY THAT HE WAS OFF HIS HEAD! ANATOLY BUT HOW ON EARTH CAN SOMEONE EVEN HALF AS CIVILIZED AND NICE AS YOU BE PART OF SUCH A SELF-DESTRUCTIVE POINT OF VIEW?

Appendix D – 3 I HOPE HE PAYS YOU WHAT YOU’RE WORTH! (beat. FLORENCE is taken aback by this. The ARBITER seizes a chance to intervene) ARBITER I CALL THIS TUNE: “NO ONE’S IMMUNE TO MY POWER ONCE IN THAT HALL!” MOLOKOV IN THAT CASE I MUST ASK YOU WHY YOU NOW PRESIDE OVER A BRAWL! FLORENCE I’M NOT GETTING RICH! MY ONLY INTEREST IS IN SOMETHING WHICH GIVES ME A CHANCE OF WORKING WITH THE BEST! ANATOLY I CAN ONLY SAY, I HOPE YOUR DREAM COMES TRUE, TILL THAT FAR-OFF DAY, I HOPE YOU COPE WITH HELPING NUMBER TWO! FLORENCE & ANATOLY HOW SAD TO SEE ALL A MODEL OF DECORUM AND TRANQUILITY BECOME LIKE ANY OTHER SPORT— A BATTLEGROUND FOR RIVAL IDEOLOGIES TO SLUG IT OUT WITH GLEE! Rest of scene continues as printed.

MOLOKOV & ARBITER IT’S VERY SAD TO SEE THE ANCIENT AND DISTINGUISHED GAME THAT USED TO BE

Appendix E – 1 APPENDIX E ALTERNATE “ENDGAME” The chorus’s lines throughout the first half of “Endgame” differ substantially between the London and Broadway productions. This script utilized the London lyrics (reciting past World Chess Champions), and for the sake of completion the scene (starting on II – 10 – 121) has been reprinted here with the Broadway choral lyrics in place. ARBITER (checking his watch) Welcome to the final game of the 1988 World Chess Championship. With all scores level, Mr. Sergievsky needs a win to claim the championship, but more importantly, Mr. Sergievsky needs to turn up. He has five minutes in which to do so. ARBITER’S ASSISTANTS DID YOU MAKE IT CLEAR THAT HE HAS TO BE HERE? DOES HE UNDERSTAND HE WILL LOSE HIS TITLE? ARBITER HOW STRAIGHTFORWARD THE GAME, WHEN ALL ITS RULES ARE RESPECTED! ARBITER’S ASSISTANTS DID YOU MAKE IT CLEAR THERE ARE NO EXCEPTIONS? ARBITER AND THESE RULES ARE THE SAME FOR A CHAMPION, OR FOR A NOVICE— NO SHOW, NO DICE, NO APPEAL, NO EXCEPTIONS—NO WAY! MERCHANDISERS DO YOU THINK HE KNOWS WHAT IT’S GONNA COST HIM? BEN (to WALTER) THOUGH IT GIVES ME NO JOY ADDING TO YOUR SATISFACTION— MERCHANDISERS DO YOU THINK HE CARES WHAT IT’S GONNA COST HIM?

Appendix E – 2

BEN WE CAN SAFELY ASSUME OUR LATE, UNLAMENTED EMPLOYEE KNOWS IF HE WINS, THEN THE ONLY THING WON IS THE CHESS. RUSSIANS HE’S A BROKEN MAN— GOOD AS BACK IN MOSCOW! NIKOLAI IT’S THE WEAK WHO EXTOL TAWDRY UNTRUTHS ABOUT FREEDOM! RUSSIANS WHAT A WAY TO LEARN HOME IS WHERE THE HEART IS! NIKOLAI PROSTITUTING THE SOUL, CHASING A SPURIOUS STARLIGHT— TRINKETS IN AIRPORTS, SUFFICIENT TO LEAD THEM ASTRAY! C.I.A. MEN SELFISH LITTLE CREEP! EVERYBODY SUFFERS! SVETLANA DOES THE PLAYER EXIST IN ANY HUMAN ENDEAVOR? C.I.A. MEN WE DON’T SEE THE JERK EVEN COMING SECOND! SVETLANA WHO'S BEEN KNOWN TO RESIST SIRENS OF FAME AND POSSESSIONS? THEY WILL DESTROY YOU, NOT RIVALS, NOT AGE, NOT SUCCESS! (ANATOLY enters at the last possible moment. As CROWD sees him, they whisper and point. PHOTOGRAPHERS take flash pictures. ANATOLY sits. Play begins.) Rest of scene continues as printed.

Appendix F – 1 APPENDIX F ACT II, SCENE 11: “THE STORY OF CHESS” In the drafting process, the final scene of the show included a choral reprise of “The Story of Chess” inserted between “You and I (Reprise)” and “Finale”, akin to its placement in the 1984 Concept Album, but was cut due to length. If desired, it could be re-inserted into the scene at II – 11 – 131 as follows: FLORENCE & ANATOLY YOU AND I, WE’VE SEEN IT ALL, CHASING OUR HEARTS’ DESIRE. BUT WE GO ON PRETENDING STORIES LIKE OURS HAVE HAPPY ENDINGS! (As the song ends, they kiss. ANATOLY finally pulls away and exits. Scene fades out as the CHORUS enters from the wings.) (MUSIC #38a: “The Story of Chess (Reprise)”) CHORUS EACH GAME OF CHESS MEANS THERE'S ONE LESS VARIATION LEFT TO BE PLAYED. EACH DAY GOT THROUGH MEANS ONE OR TWO LESS MISTAKES REMAIN TO BE MADE. NOT MUCH IS KNOWN OF EARLY DAYS OF CHESS BEYOND A FAIRLY VAGUE REPORT THAT FIFTEEN HUNDRED YEARS AGO, TWO PRINCES FOUGHT— TOUGH BROTHERS, FOR A HINDU THRONE. THEIR MOTHER CRIED, FOR NO-ONE REALLY LIKES THEIR OFFSPRING FIGHTING TO THE DEATH. SHE BEGGED THEM, “STOP THE SLAUGHTER” WITH HER EVERY BREATH, BUT SURE ENOUGH, ONE BROTHER DIED. SAD BEYOND BELIEF, SHE TOLD HER WINNING SON, “YOU HAVE CAUSED SUCH GRIEF, I CAN'T FORGIVE THIS EVIL THING YOU'VE DONE!” HE TRIED TO EXPLAIN HOW THINGS HAD REALLY BEEN,

Appendix F – 2 BUT HE TRIED IN VAIN— NO WORDS OF HIS COULD MOLLIFY THE QUEEN. AND SO HE ASKED THE WISEST MEN HE KNEW THE WAY TO LESSEN HER DISTRESS. THEY TOLD HIM HE'D BE PRETTY CERTAIN TO IMPRESS BY USING MODEL SOLDIERS ON A CHEQUERED BOARD TO SHOW IT WAS HIS BROTHER'S FAULT— THEY THUS INVENTED CHESS. CHESS DISPLAYED NO INERTIA, SOON SPREAD TO PERSIA, THEN WEST. NEXT, THE ARABS REFINED IT, THUS REDESIGNED, IT PROGRESSED. STILL FURTHER YET, AND WHEN CONSTANTINOPLE FELL IN 1453, ONE WOULD HAVE NOTICED EVERY OTHER REFUGEE INCLUDED IN HIS BAGS A SET. ONCE IN THE HANDS AND IN THE MINDS OF LEADING FIGURES OF THE RENAISSANCE, THE SPIRIT AND THE SPEED OF CHESS MADE SWIFT ADVANCE THROUGH ALL OF EUROPE'S VITAL LANDS, WHERE, WE MUST RECORD, THE GAME WAS FURTHER CHANGED RIGHT ACROSS THE BOARD, THE WESTERN TOUCH UPON THE PIECES RANGED— KING, AND QUEEN AND ROOK, AND BISHOP, KNIGHT AND PAWN ALL TOOK ON THE LOOK WE KNOW TODAY— THE MODERN GAME WAS BORN! AND IN THE END, WE SEE A GAME THAT STARTED BY MISTAKE IN HINDUSTAN AND BOOSTED IN THE MAIN BY WHAT IS NOW IRAN BECOME THE SIMPLEST AND MOST COMPLICATED

Appendix F – 3 PLEASURE YET DEVISED FOR JUST THE KIND OF MIND WHO WOULD APPRECIATE THIS WELL-RESEARCHED AND FASCINATING YARN! (The CHORUS dissipates to the wings. FLORENCE is alone in the terminal. After a moment, WALTER enters and approaches FLORENCE.) (MUSIC #38b: “Finale”) Rest of scene continues as printed.