--DORIAN--
So, I’ve spared your life, Henry. As it should be. You are the past. You are already dead to me. I am indeed the future—and now, with Love at my side, the future will be different. Everything has changed--

(Glancing in the painting’s direction.)

Yes—surely everything has changed.

I REALLY DON’T KNOW
WHAT GOD HAS INTENDED
OR IF THERE’S A HEAVEN
FROM WHERE HE DESCENDED
BUT THERE’S A HELL
I KNOW TOO WELL
BUT NOW, I HAVE BROKEN THE SPELL
--LOVE--
SUCH A SIMPLE SOLUTION
IF I HAVE A SOUL
IT WILL HAVE ABSOLUTION

NOW MY ELEGANT UGLY FRIEND
ON YOU I DEPEND
TO SHOW ME
THE NEW MISTER GRAY
I’VE BECOME TODAY

I’VE BEEN 20
20 YEARS
AND THOUGHT
TO STAY THAT AGE FOREVER

POWER
AND MY GLORY
SEARED MY LIFE
WITH FLAME
BUT SIMPLE MORTAL LIFE I’LL
RECLAIM
NO LONGER LIVE IN SHAME

NOW THE SUN RISES AGAIN
LIGHTING THE BRIEF LIVES OF MEN
THIS IS THE WAY IT SHOULD BE
IN EACH MOMENT
TRUE INFINITY

(A distant tower bell interrupts his reverie, and HE suddenly remembers...)

Midnight...Lily...!

(Lights down on DORIAN as he exits and LILY is discovered half in shadow.)

--LILY--
I’LL STEP INTO THE LIGHT
SO HE CAN SEE ME
STAND IN THE LIGHT
IN THIS COLD NIGHT
HE WILL FIND MY WARM EMBRACE

JUST ONE STEP
I’M OUT OF SHADOWS
MAY HE TAKE THAT STEP WITH ME
FOR WHERE HE’S BEEN
I DOUBT IF HE EVEN KNOWS

BUT IN THIS GOLDEN LIGHT
HE’LL FEEL MY LOVE LIKE SUNSHINE ON HIS FACE

(DORIAN runs up, flushed with emotion as HE embraces LILY.)

--DORIAN--
I WANT TO BE LOVED FOR ME
NOT JUST WHAT PEOPLE SEE
BUT WHAT I SECRETLY
KNOW I EVENTUALLY
CAN TRULY BE

(Calming and slowing down.)

UNDER THE SURFACE OF SKIN
THERE IS A LITTLE BOY WITHIN
FRIGHTENED AND SMALL
NOT KNOWING SIN
ASKING YOU
DOES LOVE NOW BEGIN?

--LILY--
HUSH
NO MORE MIDNIGHT MEETINGS
HUSH
NO LONGER ONLY DREAMING
OF THE LIFE WE’RE REACHING FOR
HUSH
NO MORE FURTIVE GREETINGS
LET’S BANISH ALL THE WISHFUL THINKING
WE MUST TURN THE KEY
STEP THROUGH ONE FINAL DOOR

--DORIAN--
THERE IS A DOOR
THERE IS A SECRET
AND I MUST SHARE IT
WE MUST FACE IT
HELP ME STARE IT DOWN
THERE IS A SECRET
MAYBE WITH YOU
I’LL DESTROY IT
HELP ME TEAR IT DOWN

--LILY--
SWEET TORTURED MAN
BELIEVE ME IF YOU CAN
I’LL NEVER LEAVE YOU
I CAN FACE WHATEVER IS TRUE
LEAD ME WHERE YOU NEED TO LEAD ME
SHOW ME WHAT YOU NEED TO HAVE ME SEE
SWEET TORTURED MAN
BELIEVE ME
I BELIEVE YOU CAN

(Steadied and reassured by LILY, DORIAN takes her arm and THEY begin to walk.)

--DORIAN--
I’VE HAD A PLEASANT LIFE
IT’S BEEN MY TREASURE
BUT WITH THE YEARS CAME MADNESS
I WANTED
MORE AND MORE

NOW SHARP AS A KNIFE
WHAT USED TO BE PLEASURE
CUTS ME AND TAUNTS ME
MERCILESSLY
HORROR NOW HAUNTS ME
I’VE BEEN LOST ON THAT SHORE

(The figures of ALAN CAMPBELL, then JAMES VANE, SIBYL VANE, and finally, BASIL HALLWARD, emerge from the shadows and calmly follow in step behind DORIAN and LILY. The ghostly figures are dressed in gauzy shrouds stained with large patches of blood.)

I THOUGHT THERE WAS
SOMEWHERE IN-BETWEEN
WHERE DARK AND LIGHT
CAN BOTH BE SEEN

I THOUGHT THERE WAS SOMEWHERE I
CAN BE
WHERE DARKNESS ISN’T TAUNTING ME
AND LIGHT IS SHINING NOT SO BRIGHTLY
SO I MIGHT BE
FINDING MY OWN IN-BETWEEN

BEYOND WRONG AND RIGHT
IN-BETWEEN DAY AND NIGHT
I THOUGHT THAT I MIGHT
FIND THE PLACE INBETWEEN
DARK AND LIGHT

--LILY--
(In counterpoint to DORIAN.)
THERE MAY BE SOMEWHERE
DARKNESS ISN’T TAUNTING
AND LIGHT IS SHINING
MAYBE SOMEWHERE
IN-BETWEEN
LOOK AT ME
FORGET THE REST
WE HAVE A CHANCE
WE HAVE BEEN BLESSED
STAND BEFORE ME
FROM ALL FEAR UNDRESSED

(THEY have entered the attic.

BASIL, SIBYL, JAMES and ALAN calmly enter the attic also, and focus intently on DORIAN from a shadowy corner.

An intense atmosphere of uncertainty dominates as LILY looks about the room in perplexity.

DORIAN moves to the curtains hiding the painting.)

--DORIAN--
It’s me. It’s what I could be, what I should be. But up until tonight it was worse. Much worse. Now, with us, with our love, it will become new again. It will change back to what Basil painted and what I once more can be—what I am becoming.

(HE sweeps the curtain aside. The image is demonic, crawling with decay. LILY is riveted in shock to her place close to the attic door.)

Hypocrite! Self deluding hypocrite! There you see the true color of this marvelous new leaf you’ve turned. God! It’s worse than ever.

I CAN’T BELIEVE IT
I HAD NO DOUBT I’D SEE A CHANGE
AT LEAST THE SMALLEST CHANGE
FOR THE BETTER
BUT NOTHING
NO NOTHING
IT’S ONLY GROWN WORSE

YOU HAVE DONE NOTHING
BUT MOCK ME
FOR YEARS AND YEARS AND YEARS
YOU GAVE ME SLEEPLESS NIGHTS
YOU GAVE ME CONSTANT DREAD
WHY HAVE I KEPT YOU THIS LONG?
I DON’T NEED YOU
ALWAYS LAUGHING AT ME
YOU’RE ALWAYS LAUGHING AT ME
I’LL DO WHAT I SHOULD HAVE LONG AGO

(HE takes the knife from the desk.)

I don’t need you. The knife that killed Basil will also kill Basil’s infernal masterpiece: The
Picture of Dorian Gray. Then, I’ll be free.

--LILY--
YOU CAN DO THE TASK
RIP OFF THE MASK

--CHORUS OF GHOSTS--
TIME TIME TIME
TIME TIME TIME

(THE GHOST OF SIBYL steps forward and DORIAN sees her. Time slows down until the picture is stabbed.)

--LILY--
(As SIBYL and DORIAN slowly waltz – a stark contrast to Act One.)
BEWARE THE DREAMS
THAT CALL YOU YONDER
THEY CAN LEAD TO ROCKY SHORES
WHERE MOURNFUL SEAGULLS CRY FOR YOU
AND WATERS ARE A DEEPER BLUE
THAN ANY SORROWS THAT WERE YOURS
BEFORE YOU CHOSE TO WANDER
FOLLOWING DREAMS
THAT CALL YOU YONDER

(SIBYL guides DORIAN’S hand slowly to the painting’s heart.)

LOVE IS SO MAGNIFICENT
LOVE IS SO MAGNIFICENT

(DORIAN stabs the picture.

Time speeds up and returns to normal. Music explodes as the lights shift and start sweeping in dizzying patterns over the stage.

The picture’s image writhes in pain, then flickers briefly into its previous states before turning black.

DORIAN drops the knife, clutches his chest and sways unsteadily. The other-worldly wind has intensified and rips through the attic. The loud ticking of a clock is heard.

DORIAN leans into the wind in order to
stay on his feet, and LILY is knocked to the floor.
THE GHOSTS keep their vigil, fiercely focused on Dorian.)

--LILY--
Dorian! Oh my God!

--DORIAN--
I see –

--LILY--
What do you see?

--DORIAN--
I see –

--LILY--
Tell me what you see!

(DORIAN slowly turns out and the gale subsides into a gentle breeze.

The lovers are riveted to their places, and THE GHOSTS are more calm as they watch from their shadowy stations.

The picture remains in black.)

--DORIAN--
SUDDEN SUNSHINE
WERE YOU ALWAYS
SHINING BRIGHT
THIS WAY
OR DID YOU ONLY COME TODAY?

(Twinkling illumination is fading up from behind the picture frame.)

SUDDEN DAYBREAK
ALL THE WORLD
IS BATHED IN LIGHT
A DOOR
IS OPEN
WHICH WAS CLOSED BEFORE
WHAT COMES MY WAY NOW?
I’VE HAD TOO MUCH NOW
OF ME
I’VE HAD FAR TOO MUCH
OF NO ONE BUT ME

SUDDEN SUNSHINE
TAKE ME INTO YOUR ARMS
AND MAKE ME A NEW MAN
FROM THIS OLD ONE
INTO YOUR ARMS
INTO YOUR ARMS

(THE GHOST OF BASIL has come forward and is slowly “painting” the picture with his hand.

Splashes of light appear where his hand touches the portrait’s eyes, now restored to their original state.)

--DORIAN--
AND MAKE ME A NEW MAN
FROM THIS OLD ONE
WHEN DAY IS DONE
I KNOW I WILL BE
A NEW
A NEW AND BETTER ME

--BASIL’S GHOST--
(In counterpoint to DORIAN.)
SUNLIGHT AND SHADOWS
ON THE FIGURE I AM PAINTING
I ALSO SEE
OUR SOULS
SET FREE

--BASIL AND THE GHOSTS--
(As they step forward and cover DORIAN.)
WE RELEASE YOU
WE FORGIVE YOU
NOW WE CEASE TO BE

(With relief, LILY moves towards DORIAN.

When THE GHOSTS step back and start their exit, in an instant we see that his face has become a duplicate of the painting in its last and most monstrous incarnation.

DORIAN is suddenly shaken with a tremendous tremor.)

--DORIAN--
GET AWAY
I’M DANGEROUS
THE DEMON WILL DEVOUR YOU

--LILY--
NO I’LL STAY
THERE’S TIME FOR US
OUR LOVE CAN STILL EMPOWER YOU

(DORIAN lunges and grabs LILY.)

--DORIAN--
MORE
BRING ME MORE
I WANT MORE!

(Suddenly HE quakes with another tremendous spasm and he loosens his grip. HE falls to his knees, and collapses with one final paroxysm of pain.

LILY unhesitatingly goes to hold DORIAN in her arms. Together on the floor at center stage, they look like a “Pieta” as Hironymous Bosch might have interpreted it – Mary cradling a monster instead of an infant.

DORIAN stares up unseeingly at LILY as his body suddenly relaxes in death.

LILY looks lovingly down at the thing’s face in her lap as if she’s seeing the young, innocent Dorian of 20 years before.

Behind them, lights have come up on the painting which is now completely restored to its original, pristine condition.

Lights fade on the attic as HENRY appears in a tight spot that snaps open at stage right. He’s dressed again as Harlequin, with domino mask.)

--HENRY--
ONE SHOULD ABSORB
THE COLORS OF LIFE
IGNORING ITS DETAILS
WHICH ALWAYS ARE RIFE
WITH VULGARITY

THERE’S A BEAUTY
SURROUNDING
THE LAD’S SHOCKING DEATH
JUST THINKING ABOUT IT
HAS TAKEN MY BREATH—

(With the sweep of his arm HENRY directs our attention to the stage as music sweeps in and LIGHTS BUMP UP.

The stage is dripping with vivid colors.
The ENTIRE COMPANY is suddenly seen, waltzing to “Fantastic Eyes.” They are expressionless, like animated corpses, and dressed in their Masquerade costumes.)

--HENRY--
THERE’S A BEAUTY
IN THIS TRAGEDY

--ALL--
A BEAUTY IN THIS TRAGEDY
A BEAUTY
A BEAUTY

--HENRY--
I SINCERELY BELIEVE
IN A PARTICULAR WAY
I’M GLAD THAT I KNEW
THE REMARKABLE MR. GRAY

--ALL--
HE’S GLAD THAT HE KNEW
THE REMARKABLE MR. GRAY

(The dance halts and THE COMPANY has formed a solid line stretching across the stage, facing the audience with an edge of tension and defiance.)

--HENRY--
OF COURSE I SHOULD ADD
THAT IT’S ALL VERY SAD

--ALL--
OF COURSE

--HENRY AND COMPANY--
IT’S ALL VERY SAD
TRAGEDY HAS A BEAUTY

(Lights abruptly shift to the ugly, stark footlight illumination, casting huge shadows of the company on the back wall.

LILY appears, isolated from the rest.

The restored picture is slowly rising in view from behind the company, bathed in dazzling light.

With the first beat of each measure, EVERYONE takes a heavy-footed step toward the audience, their feet providing a loud, booming pulse to the finale.)

--BASIL--
(with all THE GHOSTS, still in shrouds, flanking him.)
THERE’S A STORY IN

--BASIL, SIBYL, JAMES, ALAN--
THE TALE OF DORIAN GRAY

--ALL--
THERE’S SOMETHING GORY IN
THE TALE OF DORIAN GRAY
THERE’S A STORY IN
--LA LA LA LONDON--
THE TALE OF DORIAN
THERE’S A STORY IN
THE TALE OF DORIAN

(And with a menacing whisper--)

GRAAAAAAAAAAAAY

--LILY--
(running down to stand defiantly at down center.)
I REMEMBER!