Reid THE SHELL TRIAL (Vocal Score) by ScoresOnDemand

Ellen Reid

The Shell Trial

An opera in three acts with a libretto by

Roxie Perkins (2023)

Piano-Vocal Score

November 2023 Edition

Chester Music

Commissioned by Dutch National Opera.

Music by Ellen Reid

ISSUU version for perusal only

Libretto by Roxie Perkins

Co-adapted by Gable Roelofsen & Romy Roelofsen

First performed on 16th March 2024 at the Dutch National Opera, Amsterdam, The Netherlands, conducted and directed by Manoj Kamps.

Durations:

c. 30 minutes [Act One]

c. 35 minutes [Act Two]

c. 25 minutes [Act Three]

Total: c. 90 minutes

Order No. CH88353-01 EAN 5020679007716

Published by

Chester Music Limited

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Tel. +44 (0)20 7612 7400

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No part of this publication may be copied or reproduced in any form or by any means without the prior permission of Chester Music Limited

ISSUU version for perusal only

PARTS

THE PLAYERS

THE LAW / THE ARTIST (PoC, Soprano)

THE CEO (white, Bass)

THE GOVERNMENT (white, Mezzo)

THE PEOPLE

THE CONSUMER (PoC, Tenor)

THE ACTIVIST (white, Soprano)

THE FOSSIL FUEL LABORER (PoC, Bass)

THE PILOT (white, Bass)

THE HISTORIAN (PoC, Mezzo)

THE CLIMATE REFUGEE (PoC, Mezzo)

THE FIELD WORKER (PoC, Tenor)

THE ELEMENTARY SCHOOL TEACHER (white, Soprano)

THE WEATHERMAN (white, Tenor)

THE PAST

—A large, diverse children’s choir representing those killed by Shell’s colonial past and climate disasters throughout time.

—When characters die, they are brought into this chorus by the DANCER.

THE FUTURE

—A diverse chorus of twelve children that represent THE FUTURE PLAYERS and THE FUTURE PEOPLE. Including:

THE FUTURE CEO: any race, gender. This is the only kid who should not be part of the chorus of THE PAST and should only appear at the end of the show.

—The rest of the chorus of THE FUTURE should include: two kids who will play the other FUTURE PLAYERS, and nine kids that will play THE FUTURE PEOPLE.

—These kids can be a separate choir from THE PAST, or they could transform out of the chorus of THE PAST into a vision of the future.

—Out of THE FUTURE PEOPLE, two children should be designated as THE LAST FUTURE PEOPLE who will survive the game.

ISSUU version for perusal only

THE EARTH

Voiced by the orchestra. An elderly, female or nonbinary DANCER is the physical representation of this wordless choir.

SPACE

There is a machine-like wheel on stage.

NOTES

—All PEOPLE and PLAYERS carry an object with them that represents their role.

—The most important relationship in Act 1 is between the PLAYERS and the AUDIENCE. All usage of “you”, refers to the AUDIENCE.

—The most important relationship in Act 2 is between the PEOPLE and the PLAYERS. Most usage of “you” refers to the PLAYERS.

—The most important relationship in Act 3 is between the PAST, the FUTURE, and the AUDIENCE. Usage of “you” refers to the AUDIENCE.

GAME ADDENDUM

The game played at the end of the show is real. Here are the rules:

—There will be 3 rounds of the game in total, however the final round has pre-orchestrated components. The game is an adjusted version of musical chairs.

—The rules of the game are different for the different groups.

—FUTURE PLAYERS walk and repeat their song, in unison with each other, around the chairs in the center of the stage. They do not carry any objects. When they stop singing, everyone must freeze.

—FUTURE PEOPLE must walk around the middle of the stage in unison with the FUTURE PLAYERS. They don’t sing/speak. They can’t drop their objects. They must freeze at the same time as the FUTURE PLAYERS.

—The DANCER and the dead are in their own, separate ring on the outer edge of the stage. Whenever any of the FUTURE PEOPLE get out of the game, they join the dead in the outer ring.

ISSUU version for perusal only

—When the FUTURE PLAYERS yell “BEST” everyone must try to find a chair. THE FUTURE PLAYERS will always get a chair. THE FUTURE PEOPLE must race each other for the chairs that are left. The dead do not participate in this race.

—When a FUTURE PERSON can’t find a chair, they must drop their object and sink to the ground. Then the DANCER will then lead them into the outer ring. Whichever FUTURE PERSON (that’s still in the game) is closest to the dropped object must pick it up and carry it with them in the next round.

—The ADULT PLAYERS only role in the game is moving the chairs away during the rounds. They don’t play or sing, they are the game makers.

NOTES PER ROUND

—In the first round there are ten chairs and twelve kids (three FUTURE PLAYERS, nine FUTURE PEOPLE). Two FUTURE PEOPLE get out. Afterwards, the PLAYERS remove five chairs.

—In the second round there are five chairs and ten kids (three FUTURE PLAYERS, seven FUTURE PEOPLE). Five FUTURE PEOPLE get out. Afterwards, the PLAYERS remove one chair.

—In the third round there are four chairs and five kids (three FUTURE PLAYERS, two FUTURE PEOPLE). The two FUTURE PEOPLE that make it to this round should be pre-determined. This round of the game is not completed.

LIBRETTO ADJUSTMENTS PER PRODUCTION

This piece has four text components that need to evolve per production. Text that should be adjusted per production is listed here as well as specially notated in the libretto.

1.) PRONOUNS

All roles in this piece are denoted by voice type, not gender. Pronouns (based on the original cast) that are in the sung text can be adjusted per production to reflect the current singers. Throughout the libretto these pronouns have a + sign next to them. Otherwise, characters are referred to in gender neutral pronouns in the stage directions. Per production the artistic team should adjust the pronouns to suit their cast. The only part that is gender specific is the DANCER.

2.) THE ARTISTS’ OPENING MONOLOGUE

There are 3 different options for the ARTISTS’ opening monologue. The artistic team per production should choose the option which reflects the present status of the real Shell trial, and use that monologue:

—OPTION A: if the appeal is ongoing and no verdict has been reached.

—OPTION B: if Shell wins the appeal.

ISSUU version for perusal only

—OPTION C: if Shell loses the appeal.

3.) THE ACTIVISTS’ ENTRANCE

On page 19 of the libretto: one of the ACTIVIST’s first lines should be tweaked per production to reflect specific climate/fossil fuel issues within the country the show is being staged. The line that can be replaced has ^ next to it in the libretto. In the score it has an asterisk.

For the premiere production the line is: ^REVOKE BIG OIL TAX CUTS!^. For future productions, the artistic team should engage with local activist communities to distill their concerns into a new sentence to take its place. The replacement line needs to have seven syllables to fit within the existing musical structure.

4.) THE DOOM SCROLLS

On pages 36-40 of the libretto: there are five “clouds” of doom scroll text from THE PEOPLE that should be updated per production. The lines that should be replaced per production have ~ next to them in the libretto. In the score there are asterisks. The text in all of these “doom scroll clouds” is spoken and does not need to fit rhythmically within the existing syllabic lines.

For each show, the artistic team should pull headlines and replace the text with news that’s occurred within the specific year that the production is taking place. Each cloud needs a slightly different focus of headlines to be inputted, detailed below:

DOOM SCROLL 1: BAD NEWS

The first cloud of headlines on pages 36-37 should be updated per production with negative headlines about recent climate disasters and oil spills around the world.

DOOM SCROLL 2: GOOD NEWS

The second cloud of headlines on paged 37-38 should be updated per production with positive headlines about recent climate lawsuits and global green initiatives.

DOOM SCROLL 3: BAD NEWS

The third cloud of headlines on page 38 should be updated per production with more negative headlines about recent climate disasters and oil spills around the world.

DOOM SCROLL 4: GOOD NEWS

The fourth cloud of headlines on page 39 should be updated per production with more positive headlines about recent climate lawsuits and global green initiatives.

DOOM SCROLL 5: SHELL NEWS

ISSUU version for perusal only

The fifth/final cloud of headlines on pages 39-40 should be updated per production with news about Royal Dutch Shell Oil Company, including: recent profits, oil spills, drilling projects, press announcements, and lawsuits. It can be good or bad news.

PERFORMANCE INSTRUCTIONS

Passages that are unpitched are generally indicated with a one-line staff.

Spoken or shouted text is indicated with X-noteheads.

Lines of text connected by elision markers are to be spoken or sung quickly (as marked) and repeated for the duration indicated.

A thick horizontal line above a vocal staff indicates to sing in a straight tone for the duration indicated.

Throughout, many cast members will sing or speak through a bullhorn; these passages are marked with the indication “bullhorn,” ending with the marking “open” or “(open, no bullhorn).”

ISSUU version for perusal only

Headless stems indicate a general contour and pitch area. Follow the direction of the lines, staying in the relative range indicated.

Glissandi should last the entire duration of the first note the glissando line is connected to.

Solid stemless noteheads are of a shorter duration than hollow stemless noteheads.

Boxed Notation / Out of Time Sections

Boxed material should be repeated for the duration of the arrow. Follow indicated instructions for the duration of the arrow. If multiple musicians have the same notation, it should not be together.

Libretto by Roxie Perkins

ISSUU version for perusal only

SPIRAL 1: THE ARTIST*

THE SHELL TRIAL

an opera in three acts Adapted from the play “The Shell Trial: Rehearsals for Reality” by Anoek Nuyens and Rebekka de Wit

ACT 1

The ARTIST talks to the AUDIENCE. Spoken. Like a Greek statue, they are carrying an object that relates to their part.

THE ARTIST (OPTION A, if the appeal is ongoing)

Music by Ellen Reid

Welcome. My name is _____* (Insert name of performer). I’ll be performing tonight, but I want to give some context. Right now, there is a revolutionary court case in the Netherlands where the oil company Shell is being sued by citizens and NGOs. Shell is often sued, but these citizens don’t want an apology or money; they want Shell to stop causing climate damage. Against all odds, they won. In 2021 a judge ruled that Shell needed to make a radical change and cut 40% emissions by 2030. Was Shell shocked by this? No. They had been preparing for this guilty verdict for twenty years. You see, in addition to a media army, Shell has a Scenario Department that rehearses scenarios they might face because: the future belongs to those who play their part the best. And in 1998 they predicted that around now climate change would worsen, and a major case would be brought against them. They were right. So, Shell made the move they’d been preparing for years and appealed the verdict. The appeal trial starts in ___* days (Or: if the appeal trial has already started: “a verdict will be reached in ___* days.”). And as we wait, all I can think is… What are we going to say when our kids ask: what did you do? I could answer that it isn’t my role to save the world… But I’m not sure what my role is. I don’t think you’re sure what yours is, either. So, tonight I’d like to treat this stage as our Scenario Department where we can figure out the responsibilities of all the moving parts. And it is hard to know what can change but I believe it is possible—if you play. So… Let’s play.

THE ARTIST (OPTION B, if Shell wins the appeal) Welcome. My name is _____* (Insert name of performer). I’ll be performing tonight, but I want to give some context. ______* (Depending on the length of time since the appeal closed, insert either: “Recently” or “Some time ago”), there was a revolutionary court case in the Netherlands where the oil company Shell was sued by citizens and NGOs. Shell is often sued, but these citizens didn’t want an apology or money; they wanted Shell to stop causing climate damage. Against all odds, they won. In 2021 a judge ruled that Shell needed to make a radical change and cut 40% emissions by 2030. Was Shell shocked by this? No. They had been preparing for this guilty verdict for twenty years. You see, in addition to a media army, Shell has a Scenario Department that rehearses scenarios they might face because: the future belongs to those who play their part the best. And in 1998 they predicted that around now climate change would worsen, and a major case would be brought against them. They were right. So, Shell made the move they’d been preparing for years and appealed the verdict. In _____* (Insert the year that Shell won the appeal. If Shell has won multiple appeals, then list all the years they won their cases.) Shell won the appeal* (Or: “appeals” if there have been multiple cases.), washing themselves of their guilty verdict. But it’s still not over. And as we wait to see when the citizens and NGO’s will appeal and sue Shell again... All I can think is… What are we going to say when our kids ask: what did you do? I could answer that it isn’t my role to save the world… But I’m not sure what my role is. I don’t think you’re sure what yours is, either. So, tonight I’d like to treat this stage as our Scenario Department where we can figure out the responsibilities of all the moving parts. And it is hard to know what can change but I believe it is possible—if you play. So… Let’s play.

THE ARTIST (OPTION C, if Shell loses the appeal)

Welcome. My name is _____* (Insert name of performer). I’ll be performing tonight, but I want to give some context. ______* (Depending on the length of time since the appeal closed, insert either: “Recently” or “Some time ago”), there was a revolutionary court case in the Netherlands where the oil company Shell was sued by citizens and NGOs. Shell is often sued, but these citizens didn’t want an apology or money; they wanted Shell to stop causing climate damage. Against all odds, they won. In 2021 a judge ruled that Shell needed to make a radical change and cut 40% emissions by 2030. Was Shell shocked by this? No. They had been preparing for this guilty verdict for twenty years. You see, in addition to a media army, Shell has a Scenario Department that rehearses scenarios they might face because: the future belongs to those who play their part the best. And in 1998 they predicted that around now climate change would worsen, and a major case would be brought against them. They were right. So, Shell made the move they’d been preparing for years and appealed the verdict. In _____* (Insert the year that Shell lost the appeal. If Shell has lost multiple appeals, then list all the years they lost their cases.) Shell lost the appeal* (Or: “appeals” if there have been multiple cases.), confirming their guilty verdict. But it’s still not over. And as we wait to see if Shell will appeal, again… All I can think is… What are we going to say when our kids ask: what did you do? I could answer that it isn’t my role to save the world… But I’m not sure what my role is. I don’t think you’re sure what yours is, either. So, tonight I’d like to treat this stage as our Scenario Department where we can figure out the responsibilities of all the moving parts. And it is hard to know what can change but I believe it is possible—if you play. So… Let’s play.

*) There are 3 different options for the ARTISTS’ opening monologue. The artistic team per production should choose the option which reflects the present status of the real Shell trial, and use that monologue.

SPIRAL 2: THE LAW

The show starts. The ARTIST hides their object and transforms into the LAW—taking the spotlight. Sung.

The Law/ Artist

ISSUU version for perusal only

tam tam scrape with metal

Pno. 2

similar melodies lightly cascading through the orchestra

ISSUU version for perusal only

ISSUU version for perusal

ISSUU version for perusal only

Out of time

Law/ Artist

Iwillawait - theappeal, - Iwillplay my part,

Pno. 2

Out of time Law/ Artist

Pno. 2 whichisnottosavethe

In time q = 120

In time q

SPIRAL 3: THE CEO

The CEO takes the spotlight. They sound like shimmer hiding gray—a sugary show-off and an aggressive know-it-all.

Relaxed, like a dinner party

ture - reserve.

Me, p mywife,werethe

- au - dience. - So,wewentouttothe gar

den.- Servedthem

tea. Wemusedinthegarden

till dusk. Wehadthesame fears:

THE GOVERNMENT and THE LAW gang up on the CEO—acting like a conscience.

ISSUU version for perusal only

Beneath THE PLAYERS, a strange hum begins—like kindling sparking. The sound of the spark fades...

SPIRAL 4: THE GOVERNMENT

The GOVERNMENT takes the spotlight. They sound like muddy brown tea stains—hypnotic, overworked, and in control.

said thatgovern - ment- isin ca - pa- ble- ofmeaning - ful- change,

ISSUU version for perusal only

andit'salways - paid bythosewhocan'tafford - it.

ISSUU version for perusal only

THE PLAYERS unite into a shared refrain for the first time... Beneath, the sound of kindling turns to a low flame.

SPIRAL 5: THE CONSUMER

Suddenly the CONSUMER takes the spotlight—cutting off the PLAYERS and differentiating themself. The CONSUMER is carrying an object that relates to their part.

The Law/ Artist

ISSUU version for perusal only

The ripples shake faster, propelling the CONSUMER on—anxiety rising. The PLAYERS aren’t threatened by this interruption. Joining in, they dissuade the CONSUMERS’ sense of responsibility.

ISSUU version for perusal only

Ad p piling on, overwhelming after - ad,after - ad,after - ad,after - ad,afterq. = 130

Ad p after - ad,after - ad,after - ad,after - ad,afterAd p after - ad,after - ad,after - Adafter - ad,afterq. = 130

through the orchestra

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Pno. 2

ISSUU version for perusal only

accel.

Avibra - ting- platethathelpsyouloseweightandit'smadeofre

accel.

Pno. 1

ISSUU version for perusal only

pid, - useless, - weightloss plate.

ISSUU version for perusal only

Suddenly a warm honeysuckle breeze floats in... It lifts the CONSUMER out of themselves—letting them see themselves from afar.

ISSUU version for perusal only

Like a spell, the PLAYERS urge the CONSUMER to repeat this vow back to them and let go of their guilt.

The f The f Falling under the PLAYERS' spell, forgiving their own inaction The f f

SPIRAL 6: THE ACTIVIST ACT II

Suddenly someone in the AUDIENCE steals the spotlight: THE ACTIVIST. They interrupt with an object that relates to their part… A BULLHORN. Beneath, fire slowly grows. Beneath, fire slowly grows.

Pno. 2 longs

- tothosewho whoplay their

ISSUU version for perusal only

longs- tothosewho whoplay their longs- tothosewho whoplay their

q = 130

hold until you run out of breath

part...

hold until you run out of breath

seizing control of the space, urgent

unpitched percussion accents over bed of sibilant percussion, scratch tones and overpressured strings q = 130

[LAW, GOV'T, CEO, CONS. stop here if still singing]

*) The line "STOP BIG OIL TAX CUTS" should be tweaked per production to reflect specific climate/fossil fuel issues within the country the show is being staged. The artistic team should engage with local activist communities to distill their concerns into a new sentence to take its place. The replacement line needs to have six syllables and a rhythm that fits within the existing musical structure.

Pno. 1

SPIRAL 7: THE FOSSIL FUEL LABORER and THE PILOT Like a burst dam, water shoves THE FOSSIL FUEL LABORER and THE PILOT out of the audience. They both carry an object that relates to their parts.

The Activist

The Pilot

The Fossil Fuel Laborer

f churning, sung, defensive, angry, to the ACTIVIST

Brash, bold, the LABORER and PILOT take the spotlight as the ACTIVIST flees out of the theatre.

Pno. 2

While mf mocking, calling out the AUDIENCE/ACTIVIST's hypocrisy you "care," leaving - usyour mess.

Pno. 1

As though falling off a waterfall, suddenly the PILOT and LABORER freefall into a crisis of their own guilt.

Pno. 1

ISSUU version for perusal only

Pno. 2 Eve mf panicked, overwhelmed ry- shiftIsee... Grassburnashe+lies... 1026 Ask mf to the audience, about the CEO, passing blame him,+ask. Does ill, fatigued he+knowthesmell? That

Snapping back to focus, they beg the AUDIENCE to understand their paralysis.

Laborer

Pno. 1

Pno. 2

Ifthisappeal - fails... Wewillsuf fer. - Not p him,+not 1032 hauntsmydreams? f Ifyouboycott - Shell... Not p to the CEO him,+not p p

Pno. 1

Pno. 2 him,+ not mp him,+not him+, not mf you, to the AUDIENCE, calling out their power who they'vesold 1037 him,+ not mp him,+not him+, not mf you, p

ISSUU version for perusal only

The PLAYERS seize the PILOT/LABORER’S despair as an opportunity to calm them. The CEO steps forward on his own—taking the spotlight and appealing to them as though they were all equals.

f appealing to them as equals, condescending, soothing

ISSUU version for perusal only

Eager to quell this intrusion, the PLAYERS unite—offering the LABORER/PILOT a life raft out of their despair.

When p stopping the intrusion with a healing balm

Like a spell, the PLAYERS urge the LABORER/PILOT to repeat the vow back to them and let go of their guilt. Slowly, the LABORER/PILOT join their chorus and release their sense of responsibility.

SPIRAL 8: THE HISTORIAN

Suddenly THE HISTORIAN interrupts from the AUDIENCE, taking the spotlight. They are carrying an object that relates to their part. Weighed down.

ISSUU version for perusal only

harsh, piercing, calling out the lies, interrupting the spell

Sixteen - thirty - fourCura - çao,- twothousand - eightNiger - i- a, - ninteen - eighty - eight- Cali - for- nia,p

In Time q = 140 immediately after "California" q = 80

You mp play f

Silencing the PLAYERS, cutting through like a hot knife

Pno. 1 Pno. 2

All f thatmatters - isShell being - heldrespon - si- ble- for

ISSUU version for perusal only

Pno. 2 alltheblood

thathasbeenshed. gliss.

gliss.

Pno. 1

Pno. 2

needmystudents - tounder - stand, - thisgoesbackfurther - thanShell

Pno. 1 Pno. 2 admits. - Oh I breathless, overwhelmed tellmystudents - allthat's beenbrushedo ver, -

Opening a door to the past, demainding that the AUDIENCE sees.

ISSUU version for perusal only

The LAW steps out, soothing the HISTORIAN and pretending to be on their side.

The PLAYERS unite, offering the HISTORIAN a life raft out of their guilt.

Pno. 2

1186

urging the HISTORIAN to let go of their responsibilities You

urging the HISTORIAN to let go of their responsibilities

= 90

Unlike the CONSUMER/PILOT/LABORER, the HISTORIAN refuses to repeat back the vow. Instead, they interrupt—rejecting the PLAYERS.

play your part

urging the HISTORIAN to let go of their responsibilities

Pno. 2

1189

refusing to fall under their spell, standing up to them

p as if breaking, the weight of their families' past colliding against their present

Pno. 2

How f many - ivo - ry- to wers - I climb p eachday are q = 60 1229 q = 60

Hist.

Pno. 2 madeofstone stripped fromfar shores whereIwouldhavegrownup pp 1233

Clim. Ref. Hist.

Pno. 1

Pno. 2

Everysecond, urgent, determed,pp running out of time q = 150 1238 if ppp every - thingwasdifferent? - oh ppp q = 150 ppp pp

Suddenly, the sound of EARTH roars forth like a branch snapping back. The spotlight hits the CLIMATE REFUGEE as they run in from outside, carrying an object that relates to their part.

Clim. Ref.

Pno. 1

Pno. 2 gliss. ev mp 'ry- second, - tick,ano - ther- tick,ano - ther,gliss.

Pno. 1

The icy wind sharpens, pushing the REFUGEE on. The PLAYERS are not threatened by this new intruder. They watch, choosing their best approach.

The ACTIVIST runs back in, backing up the CLIMATE REFUGEE and HISTORIAN.

To the AUDIENCE, trying to get them to understand that time is running out

ISSUU version for perusal only

SPIRAL 9: THE CLIMATE REFUGEE

Before the PLAYERS can respond, the CLIMATE REFUGEE takes the spotlight—desperate to be heard by the AUDIENCE.

The Activist

The Climate Refugee The Historian

No mp lights, noroads, staring - upwhen halftheskywas 1366

Pno. 1

Pno. 2

The HISTORIAN and THE ACTIVIST encourage the REFUGEE onwards.

p filled with wonder and terror o poco accel. 1371 black, mf halfthesky wasblue... o blue... p filled with wonder and terror o poco accel.

Pno. 1

Pno. 2

Pno. 1

Suddenly the air condenses into a claustrophobic tunnel. Dizzy, the REFUGEE plummets down as their frustrations explode.

lines. There'sso f muchtolearn about - how mp little - they

for perusal only

gliss.

Clim. Ref. Pno. 2

Because - deep p down ppp rit.

Clim. Ref.

Pno. 2 youwerefine with rubato withmyskybeiing - black, q=110 1553 q=110 Clim. Ref.

clinging to a memory of a better day

Pno. 1

SPIRAL 10: EVERYONE

Before the PLAYERS can regain the spotlight, a floodgate of rage and fear opens… Sycamore scorching, ash flying, desert sun beating—CRACK. CRACK. CRACK. Light hits three people in the AUDIENCE: THE FIELD WORKER, THE ELEMENTARY SCHOOL TEACHER, and THE WEATHERMAN. They each carry an object that relates to their part.

The Teacher The Climate Refugee

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Weatherman

Pno. 2

ISSUU version for perusal only

Pno. 1

Pno. 2 Thir brash, proud ty- years,every - day,Igotowork, Ireport - thefucking - weather. - Drought,

Pno. 1

Pno. 2

Outnumbered, the PLAYERS finally feel threatened. They try to quiet the unrest.

last defiant, pushing back against censorship

They've ranting, bitter, belligerent firedme. "Toomuchclimate - talk."

threatening the PLAYERS, factual, unafraid

Field W. Pno. 1

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Field W.

to the PLAYERS, threatening, growing stronger

Pno. 1

ISSUU version for perusal only

Like a howl, something electric ZAPS the stage. Suddenly the ACTIVIST shoots forth with a megaphone, fed up with the bullshit.

I protest on Fridays at the CEOS.

He+ called the cops on me last week!

He+ sits in his garden, smiling, hiding from the truth! He+ drinks tea in his lawn chair while our throats go hoarse from screaming!

He+ passes biscuits to us through the wrought iron fence, like party favors for a party none of us fucking wanted to go to!

He+ waves from the porch of his+ two-million-dollar home while telling you that he’s+ the one that wants dialogue, he’s+ the one who wants change, he’s+ the one- he+- he+-

He+ called the cops on me last week, and the week before that, and the week before-

THE ACTIVIST gives out MEGAPHONES to everyone—uniting all the PEOPLE into a riot.

Realizing they’ve been manipulated by THE PLAYERS; THE CONSUMER, PILOT, and LABORER join the revolt. Led by the ACTIVIST, uniting aginst the PLAYERS.

fff through bullhorn

ISSUU version for perusal only

Burn

Burn fff through bullhorn

through bullhorn

burnburnburnburnburnburnburnburnburnburn

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Burn

fff yelled through bullhorn

Have _you_ seen _ dirt _ starve?

fff yelled through bullhorn

Burn ALLPARTSAREN'TEQUAL

Burn

fff yelled through bullhorn Burn

Istheworldendingnow?Soon?When?

fff yelled through bullhorn

Rest _ assured _ the _ law _ cannot _ save _you

high pitches in this contour (not falsetto)

(not falsetto)

yelled through bullhorn Burn

high pitches in this contour (not falsetto)

Burn

fff yelled through bullhorn

Half _ the _sky_ was _ black _ half _ the _sky_ was _ blue

fff yelled through bullhorn

Thefuturebelongstothosewhoplaytheirpartthebest

fff yelled through bullhorn

Shiftallsinsontome

Infighting begins as the collective grows overwhelmed. They start to fight over objects—wanting to be free of each other’s burdens. CRACK. Suddenly a wave lifts the ACTIVIST above the melee. The RIOT freezes—silent. Tired, THE ACTIVIST sings.

Tick _ another _ tick _ another _ burn

Whocares?Icare

The _ future _belongs_ to _ those _ who _play_ their _parts_ the _ best

Now!Fast!Now!

Shell _ wants _you_ to _forget

Restassuredthelawcannotsaveyou

Ibegyoucherishslowness

_ the _sky_ was _ black _ half _ the _sky_ was _ blue

sibilant percussion

breaking free of the riot, optimistic, determined

CRACK. From afar, an ELDERLY DANCER approaches the edge of the stage—STOMPING…. Revealing that the “cracks” of Earth we’ve been hearing all along are really the dead trying to reach the living…

Suddenly the RIOT takes over again—swallowing the ACTIVIST in the mayhem. The PEOPLE’s collective fractures. Thrown into chaos, it feels like each one is trapped in their own endless doom scroll of climate news. The ACTIVIST tries to stay optimistic amidst the chaos but it’s hard.

The _ future _ is _ uncertain _ and _ that's _hopeful

Deadly_flooding_wipes_ out _ entire _neighborhoods_ in _Libya* fff

Summer _ of _ 2023 _ was _ Northern _Hemisphere's_ hottest _ in _ recorded _history*

200 _ barrels _ of _ oil _spilled_ in _ the _ UK*

RecordheatsparksoneofthedeadliestwildfiresinChile'shistory*

CycloneMochadevastatesMyanmar*

South _ Sudan _ and _ Rwanda _experience_ worst _flooding_ in _years*

Weather-relateddisastersledtoforty-threepointonemilliondisplacementsofchildreninforty-fourcountries*

WildfiresblazeacrossCanada*

hope, resolute

Thefutureisuncertainandthat'shopeful.

trying to stay positive, verging on manic

BritishdesignedsolarspacefarmcouldbeorbitingEarthby2035*

ArcticminingsiteinNorwayreturnedtonatureinoneofthebiggesteverrestorationprojects*

Stockholmbanspetrolanddieselcarsnextyeartolowerpollution*

CaliforniasuesShellExxonandotheroilcompaniesoverclimatedeception*

*) Asterisked text should be replaced per production with good news about climate lawsuits and global, green initiatives.

CRACK. The DANCER’s stomps grow—encouraging the uproar. DOOM SCROLL 3: BAD NEWS But the bad news steamrolls back in—flattening THE PEOPLE.

Thefutureisuncertainandthat'shopeful

800,000 _ liters _ of _ oil _spilled_ in _ the _Philippines*

Cyclone_Freddy_ravages_ Malawi _Mozambique_Madagascar_ and _ Zimbabwe*

DeadlyfireengulfsMauiHawaii*

OilspillinRussia'snorththreatensmajordamage*

Evacuations _ ordered _ after _ monsoon _flooding_ in _ India*

TropicalstormhitsJapanGuamthePhilippinesandTaiwan*

RecordrainleadstolandslidesinSãoPaulo*

HighstakesUNoperationunderwayinYementoavertcatastrophicoilspill*

The ACTIVIST emerges, dazed.

Pno. 1

Pno. 2

fu dazed, optimism wavering ture - isuncer - tain,- andthat's hope p ful, - I pp think.

Pno. 1

DOOM SCROLL 4: GOOD NEWS Suddenly good news floods back in—flooding THE PEOPLE with optimism.

The _ future _ is _ uncertain _ and _ that's _hopeful_ I _ think fff through bullhorn, clinging to hope

Brazil's _ Atlantic _ forest _undergoes_ restoration _project_recovering_ 500000 _ acres* fff desperate, hyper positive

Net-zero-emissions _ law _passed_ in _ Switzerland _ushering_ in _ new _path_ to _ climate _neutrality* fff

TheOceanCleanupProjectreportssignificantreductioninplasticwasteinthePacific*

SeveralmajorcitiesinSwedenpledgetoachievecarbonneutralityby2030*

Over50countriesestablishlargestmarineprotectedareaeverinAtlanticOcean*

A _ former _dumping_ground_ in _ Cleveland _ Ohio _ has _ been _ turned _ to _ sustainable _ farmland*

The _ electric _ vehicle _industry_experience_ a _ record _

Pno. 2

c. 3s

Pno. 2

CRACK. The DANCER’s stomps grow—whipping THE PEOPLE into a fury. DOOM SCROLL 5: SHELL NEWS

However, a flood of bad news crashes down on THE PEOPLE again—this time focusing on Shell itself… It unites the PEOPLE in a rage and draws their attention back to THE PLAYERS.

1809

Fed up, suddenly THE ACTIVIST and THE HISTORIAN shoot out of the riot—overwhelmed with collective memory of protests around the world. & (open, no bullhorn)

fff rage growing as the riot wears on

Thefutureisuncertainandthat'shopefulIthink

fff despair turning to anger

Shell _ intends _ new _drilling_campaign_ in _ Brazil*

∑ & (open, no bullhorn) ∑ & (through bullhorn)

Shell _ discovers _ eleven _ billion _ barrels _ of _ oil _ in _ Namibia*

Nigeria_investigates_ a _daylong_ oil _spill_ from _ Shell _pipeline* fff

3 & ‹ (open, no bullhorn)

ShelltobegindrillingoilinEgypt*

Shellconsiderssellinggreenenergystakeinshiftbacktooilandgas*

(open, no bullhorn)

- cops

(open, no bullhorn)

ShellwinsbrandoftheyearawardattheSEALoyaltyandEngagementawards*

? (open, no bullhorn)

(open, no bullhorn)

_ oil _spills_again

sibilant percussion

United into a revolting body, THE PEOPLE roar forth with violence—overcome with collective rage.

re-living collective memory of protests gone wrong per- spray, pushed down.