Merrily We Roll Along Libretto

Libretto Vocal Book

NOTICE: DO NOT DEFACE! Should you find it necessary to markcues or cuts, use a soft black lead pencilonly.NOT FOR SALE This book is rented for the period specified in your contract. It remains theproperty of:

Music Theatre International421 West 54th StreetNew York, NY 10019(212) 541-4684www.MTIShows.com

Music and Lyrics by Stephen SondheimBook by George Furth

Based on the Original Play by George Kaufman and Moss Hart. Originally Directed on Broadway by Harold Prince. Originally Produced on Broadway by Lord Grade, Martin Starger, Robert Fryer and

Harold Prince in Association with Ruth Mitchell and Howard Haines.

Book Copyright 1994 by George Furth. Music and Lyrics Copyright 1981, 1987by Revelation Music Publishing Corp. and Rilting Music, Inc. All Rights Reserved.

Used by permission.

Table Of ContentsACT ONE

PROLOGUE..........................................................................................................................................1#1 Overture (Orchestra) ..........................................................................1#2 Merrily We Roll Along (Company) ..........................................................................2

SCENE ONE..........................................................................................................................................7#3 That Frank (Company) ..........................................................................7#3A Incidental (Onstage Piano)................................................................. 18#3B Incidental (Onstage Piano)................................................................. 23#3C Incidental

(Good Thing Going) (Onstage Piano)................................................................. 26#4 Transition 1 (Company) ........................................................................29

SCENE TWO........................................................................................................................................31#5 Old Friends Like It Was (Mary, Charley)................................................................. 33#6 Franklin Shepard, Inc. (Charley) ........................................................................... 41#6A Transition 2 (Company) ........................................................................48

SCENE THREE....................................................................................................................................50#7 Old Friends (Mary, Frank, Charley)......................................................55#7A Growing Up Part 1 (Franklin) ......................................................................... 67#7B Growing Up Part 2 (Gussie) ............................................................................. 69#7C Transition 3 (Company) ........................................................................70

SCENE FOUR ..................................................................................................................................... 71#8 Not A Day Goes By (Beth)................................................................................75#9 Now You Know (Scotty, Mary, Tyler, Charley, Frank, Joe, Jerome, K.T.,

Company) ......................................................................... 79

ACT TWO

#10 Entracte (Orchestra)........................................................................ 86

SCENE ONE........................................................................................................................................ 86#10A Act 2 Opening (Gussie) ............................................................................ 86#11 Its A Hit (Joe, Frank, Mary, Beth, Charley) ...................................... 90#11A Transition 4 (Company)........................................................................ 98

SCENE TWO ..................................................................................................................................... 100#12 The Blob Part 1 (Company)...................................................................... 100#12A The Blob Part 2 (Company, Gussie) .......................................................... 103#12B The Blob Part 2

(Underscore) (Onstage Piano) .............................................................. 106#12C Growing Up (Gussie) .......................................................................... 110#12D The Blob Part 3 (Company)...................................................................... 111#13 Good Thing Going (Charley, Frank) ............................................................. 114#13A The Blob Part 4 (Charley, Frank, Dory, Gussie, Joe, Guests) ....................... 115#13B Transition 5 (Company)...................................................................... 118

SCENE THREE ................................................................................................................................. 120#14 Bobby and Jackie and Jack (Charley, Frank, Beth, Pianist) ........................................ 120#14A Bobby and Jackie and Jack

Playoff (Onstage Piano) .............................................................. 126#15 Not A Day Goes By

Act 2 (Beth, Mary, Frank)........................................................ 133#15A Transition 6 (Tyler, Dory)................................................................... 135

SCENE FOUR ................................................................................................................................... 136#16 Opening Doors (Charley, Frank, Mary, Joe, 1st Girl, Beth)....................... 136#16A Transition 7 (Beth, Frank Jr., Mrs. Spencer) ........................................ 152

SCENE FIVE ..................................................................................................................................... 153#17 Our Time Part 1 (Frank, Charley) ............................................................. 154#17A Our Time Part 2 (Frank, Charley) ............................................................. 156#17B Our Time Part 3 (Company)...................................................................... 160#18 Bows (Orchestra, Company)...................................................... 162#19 Exit Music (Orchestra)...................................................................... 162#19A Exit Music (Orchestra)...................................................................... 162

Characters

FRANKLIN SHEPARDCHARLEY KRINGASMARY FLYNNTYLERTERRYSCOTTYDORYRUJEROMEK.T.MEG KINCAIDBUNKERGUSSIE CARNEGIETV NEWSMANTV NEWSWOMANMAKE-UP ARTISTSTAGE MANAGERJOE JOSEPHSONFRANK JR.JUDGEPHOTOGRAPHERBETHMR. SPENCERPIANISTMRS. SPENCER1ST GIRLGUESTSCROWD

Songs By Character

Beth #8 Not A Day Goes By....................................................... 75#11 Its A Hit ................................................................... 90#14 Bobby and Jackie and Jack ........................................120#15 Not A Day Goes By Act 2..................................... 133#16A Transition 7........................................................... 152#16 Opening Doors ......................................................... 136

Charley #5 Old Friends Like It Was........................................... 33#6 Franklin Shepard, Inc...................................................41#7 Old Friends ..................................................................55#9 Now You Know............................................................79#11 Its A Hit ................................................................... 90#13 Good Thing Going ................................................... 114#13A The Blob Part 4 ................................................115#14 Bobby and Jackie and Jack ........................................120#16 Opening Doors ......................................................... 136#17 Our Time Part 1................................................. 154#17A Our Time Part 2............................................... 156#17B Our Time Part 3............................................... 160

Company #2 Merrily We Roll Along ....................................................2#3 That Frank ....................................................................7#4 Transition 1................................................................. 29#6A Transition 2............................................................... 48#7C Transition 3 ..............................................................70#9 Now You Know............................................................79#11A Transition 4............................................................. 98#12 The Blob Part 1................................................... 100#12A The Blob Part 2 ................................................103#12D The Blob Part 3 ............................................... 111#13B Transition 5........................................................... 118#17B Our Time Part 3............................................... 160#18 Bows ........................................................................162

Dory #13A The Blob Part 4 ................................................115#15A Transition 6........................................................... 135

Frank #7 Old Friends ..................................................................55#7A Growing Up Part 1............................................... 67#9 Now You Know............................................................79#11 Its A Hit ................................................................... 90#13 Good Thing Going ................................................... 114#13A The Blob Part 4 ................................................115#14 Bobby and Jackie and Jack ........................................120

#15 Not A Day Goes By Act 2..................................... 133#16 Opening Doors ......................................................... 136#17 Our Time Part 1................................................. 154#17A Our Time Part 2............................................... 156#17B Our Time Part 3............................................... 160

Frank Jr. #16A Transition 7........................................................... 152

Guests #13A The Blob Part 4 ................................................115

Gussie #7B Growing Up Part 2 ............................................... 69#10A Act 2 Opening..................................................... 86#12A The Blob Part 2 ................................................103#12C Growing Up ..........................................................110#13A The Blob Part 4 ................................................115

Jerome #9 Now You Know............................................................79

Joe #9 Now You Know............................................................79#11 Its A Hit ................................................................... 90#13A The Blob Part 4 ................................................115#16 Opening Doors ......................................................... 136

K.T. #9 Now You Know............................................................79

Mary #5 Old Friends Like It Was........................................... 33#7 Old Friends ..................................................................55#9 Now You Know............................................................79#11 Its A Hit ................................................................... 90#15 Not A Day Goes By Act 2..................................... 133#16 Opening Doors ......................................................... 136#17B Our Time Part 3............................................... 160

Mrs. Spencer #16A Transition 7........................................................... 152

Pianist #14 Bobby and Jackie and Jack ........................................120

Scotty #9 Now You Know............................................................79

Tyler #9 Now You Know............................................................79#15A Transition 6........................................................... 135

1st Girl #16 Opening Doors ......................................................... 136

CHRONOLOGY

ACT ONE

SCENE ONE: Bel Air, California 1976 (Frank, Mary: 40 years old)

SCENE TWO: NBC Studio, New York City 1973 (Frank, Mary, Charley: 37)

SCENE THREE: Franks Apartment, New York City 1968 (Frank, Mary, Charley: 31)

SCENE FOUR: Manhattan Courthouse, New York City 1967 (Frank, Mary, Charley: 30)

ACT TWO

SCENE ONE: Alvin Theatre, New York City 1964 (Frank, Mary, Charley: 27)

SCENE TWO: Gussie and Joes Brownstone, New York City 1962(Frank, Mary, Charley: 25)

SCENE THREE: The Downtown Club, New York City 1960 (Frank, Mary, Charley: 23)

SCENE FOUR: New York City 1957-1959 (Frank, Mary, Charley: 20-22)

SCENE FIVE: A Rooftop On 110th Street, New York City 1957(Frank, Mary, Charley: 20)

To Dennis Aspland and Sarah Douglas

Merrily We Roll Along Page 1

ACT ONE

PROLOGUE

#1 Overture (Orchestra)

(The stage is in darkness, covered in front by a scrim. The ORCHESTRAstarts to play the overture. When Good Thing Going begins, a LIGHTcomes up on FRANKLIN SHEPARD, seated at a piano behind thescrim, DOWNSTAGE LEFT. HE is a handsome, self-possessed man ofabout forty, dressed in an elegant tuxedo. He plays along with theORCHESTRA, but it is clear that he is playing for himself. It is also clearthat he is an extremely accomplished and deeply expressive player.

The ORCHESTRA segues into the vamp of Merrily We Roll Along",and as the COMPANY ENTERS, FRANKLIN stops playing, looks athis hands, then stares ruminatively into the middle distance.

As the number (Merrily We Roll Along) progresses, we see slidesprojected onto the scrim, slides which tell us the story we are about to see:photos of FRANKLIN SHEPARD, MARY FLYNN and CHARLEYKRINGAS each at the age of eight, then at their individual high schoolsand colleges, followed by a variety of things such as: the three of themposing for humorous pictures in amusement-palace booths; their initialsuccesses as writers; FRANKLINS marriage and divorce; reviews, Varietyarticles, gossip columns, the newspaper accounts of the breakup ofFRANKLINS and CHARLEYS partnership; FRANKLINS moviecareer; CHARLEYS Pulitzer Prize; etc., leading finally to a huge slide ofa formal invitation which coincides with the end of the number andwhich reads:

YOU ARE CORDIALLY INVITEDTO A PARTY AT THE HOME OF

FRANKLIN SHEPARDTO CELEBRATE THE PREMIERE

OF HIS LATEST MOTION PICTUREDARKNESS BEFORE DAWN

1740 BELLAGIO DRIVEBEL AIR, CALIFORNIA

OCTOBER 4, 1976

Act I Prologue

During the course of the show, we will see these slides again, projectedduring the transitions between scenes, matching and illustrating eachappropriate time and event.

MUSIC continues underneath)

#2 Merrily We Roll Along (Company)

COMPANY (EXCEPT FRANK)(Variously)

YESTERDAY IS DONE.SEE THE PRETTY COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,BURSTING WITH DREAMS.

TRAVELLINGS THE FUN,FLASHING BY THE COUNTRYSIDE,EVERYBODY MERRILY, MERRILYCATCHING AT DREAMS,ROLLING ALONGROLLING ALONGROLLING ALONG

GROUP IDREAMS DONT DIE,SO KEEP AN EYE ON YOUR DREAM,

GROUP IIAND BEFORE YOU KNOW WHERE YOU ARE,THERE YOU ARE.

GROUP ITIME GOES BYAND HOPES GO DRY,BUT YOU STILL CAN TRY FOR YOUR DREAM.

GROUP ITEND YOUR DREAM

GROUP II(Overlapping)

HOW DOES IT HAPPEN?

GROUP IDREAMS TAKE TIME



ONCE IT WAS ALL SO CLEAR.

GROUP ITIME GOES BY


HOW CAN YOU GET SO FAR OFF THE TRACK?WHY DON'T YOU TURN AROUND AND GO BACK?

GROUP IBEND YOUR DREAM


HOW DOES IT HAPPEN?WHERE IS THE MOMENT?

GROUP IWITH THE ROAD


HOW CAN YOU MISS IT?ISN'T IT CLEAR?HOW CAN YOU LET IT SLIP OUT OF GEAR?

ALLHOW DID YOU EVER GET THERE FROM HERE?

GROUP IYOU ROLL.


HOW DOES IT HAPPEN?

GROUP IIIHOW DOES IT HAPPEN?

GROUP IYOU JUST ROLL.

Act I Prologue


ONCE IT WAS ALL SO CLEAR.

GROUP III(Overlapping)

ISNT IT ALWAYS CLEAR?

GROUP IEVERYBODY ROLL,

GROUP IIHOW DOES IT START TO GO?

GROUPS II, IIIDOES IT SLIP AWAY SLOW

ALLSO YOU NEVER EVEN NOTICE ITS HAPPENING?

CHARLEYHOW DID YOU GET TO BE HERE?

ALL EXCEPT CHARLEYWHAT WAS THE MOMENT?

MARYHOW DID YOU GET TO BE HERE?

MARY, CHARLEYPICK YOURSELF A ROAD.GET TO KNOW THE COUNTRYSIDE.SOON ENOUGH YOURE MERRILY,

ALLMERRILYPRACTICING DREAMS.

DREAMS THAT WILL EXPLODE,WAKING UP THE COUNTRYSIDE,MAKING YOU FEEL MERRILY,MERRILY,WHAT CAN GO WRONGROLLING ALONG?


SOME ROADS ARE SOFTAND SOME ARE BUMPY.SOME ROADS YOU REALLY FLY.SOME RIDES ARE ROUGHAND LEAVE YOU JUMPY.WHY MAKE IT TOUGHBY GETTING GRUMPY?PLENTY OF ROADS TO TRY.

GROUP I GROUP IIONE TRIP. SOME ROADS ARE SOFTALL YOU GET AND SOME ARE BUMPY.IS ONE QUICK RIDE. SOME ROADS YOU REALLY FLY.LOOK AROUND A BIT SOME RIDES ARE ROUGHONE QUICK RIDE AND LEAVE YOU JUMPY.THROUGH THE COUNTRYSIDE. WHY MAKE IT TOUGHSTAY ON THE TRACK. BY GETTING GRUMPY?

PLENTY OF ROADS TO TRY.NEVER LOOK BACK. SOME ROADS YOU REALLY FLY.NEVER LOOK BACK.NEVER LOOK BACK.NEVER LOOK BACK.NEVER LOOK BACK.NEVER LOOK

ALLHOW DID YOU GET TO BE HERE?WHAT WAS THE MOMENT?

HOW DID YOU GET TO BE HERE?

BENDING WITH THE ROAD,GLIDING THROUGH THE COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,CATCHING AT DREAMS.DREAMS THAT WILL EXPLODE,WAKING UP THE COUNTRYSIDE,EVERYBODY MERRILY, MERRILY,SING EM YOUR SONG,ROLLING ALONG!ROLLING ALONG!ROLLING ALONG!ROLLING A

Act I Prologue

END OF PROLOGUE


SCENE ONE

(The MUSIC becomes loud and lively.

FRANKLIN, shaken out of his reverie, rises and climbs a staircase to alanding where he stands in the shadows and watches, whilesimultaneously the members of the COMPANY turn to each other andbegin chatting animatedly THEY are now FRIENDS and GUESTSat a party in FRANKS BEL AIR HOME.

DOWNSTAGE is a patio with bar and, just OFFSTAGE, a swimmingpool. UPSTAGE under the balcony are French doors leading to the insideof the house, through which we can see some of the GUESTS drinkingand dancing. The rest are DOWNSTAGE on the patio. THEY are all intheir thirties and forties, rich, successful and happy.

MARY FLYNN, a fat, disheveled, once-pretty 40-year old woman sits atthe bar, drunk and getting drunker.

During the course of the play SHE will become ten pounds thinner ineach successive scene. A slide over the proscenium reads: BEL AIR,CALIFORNIA 1976)

#3 That Frank (Company)

GUEST (TYLER)(To another GUEST)

I SAID, FRANK, THIS PICTURE IS A WATERSHED

GUEST (TERRY)(To another GUEST)

I SAID, FRANK, ONE DAY YOULL RUN MY STUDIO

GUEST (SCOTTY)(To DORY)

I SAID, FRANK, WILL YOU LISTEN TO THAT RESPONSE?

GUEST (DORY)I SAID, FRANK REALLY KNOWS WHAT THE PUBLIC WANTS.

TYLER(To a different GUEST)

I SAID, FRANK, THIS PICTURE IS A WATERSHED

Act I Scene 1

MARY(At the bar, indicating her glass as she raises it to RU, a handsome youngman)

Know what Im having?

RUWhat?

MARYNot much fun.

FRANK(Stepping out of the shadows on the balcony, raising a glass, calling downto EVERYONE with exaggerated cheerfulness)

PARTY!

GROUP ITHAT FRANK

JEROMETHE GUY IS TOO MUCH

FRANKHey, the partys inside!

GROUP IITHAT FRANK

FRANKYou like the picture?

TERRYTHE PLATINUM TOUCH.

FRANKHow about more Champagne?

(EXITS to get Champagne)

SCOTTYHE HAS TASTE, HE HAS TALENT

TERRYIS HE THE BEST?


TYLERPLUS A FINE HEAD FOR BUSINESS.

K.T.THE MAN IS BLESSED.

ALLTHAT FRANK!

(FRANK RE-ENTERS, pouring Champagne.

MUSIC continues under)

RU(To MARY)

I wrote the screenplay for Franks movie.

MARYYour secrets safe with me.

(FRANK sees MEG hurrying toward him. Avoiding being alone withher, HE turns to pour for TYLERS group as she joins him)

FRANKOh Tyler, I want you to meet Meg, the star of my movie. My old friend Tyler here isthe man who invented the telephone answering machine.

TYLERAnd people are living in fear Ill invent something else.

(THEY shake hands; FRANK moves on to pour for the next group,leaving MEG talking to TYLER)

GROUP ITHAT FRANK

RU(To MARY)

So what do you do?

JEROMEHES FULL OF ADVICE.

MARYI drink.

Act I Scene 1

GROUP IITHAT FRANK

RUNo, what do you really do?

ALLAND GOD, IS HE NICE!

MARYI really drink.

K.T.WHAT A FRIEND

MEGWHAT A HOST

BUNKERAND HIS WORK IS GREAT!

TERRYHAS A WIFE WHO IS GORGEOUS

MENA SON WHOS STRAIGHT.

ALLHES THE TYPE YOU COULD EASILY LEARN TO HATE,THAT FRANK!

FRANK(To the GUESTS)

WHO SAYS, LONELY AT THE TOP?

(BABBLE up, then down)

I SAY, LET IT NEVER STOP!

(BABBLE again, up then down)

ITS OUR TIME COMING THROUGH,ALL OUR DREAMSCOMING TRUE.WORKING HARD,


GETTING RICH,BEING HAPPY THERES A SWITCH!

GROUP ITHAT SMILE

BUNKERDont you miss writing music?

GROUP IHES HOT BUT HES COOL.

FRANKThat was the old Frank Shepard.

GROUP IIWHAT STYLE

JEROMEThis guys the American dream!

MEG(Looking OFFSTAGE)

AND WHAT A GREAT POOL!

GROUP IIF YOU HAD NO IDEA WHATCHARISMA MEANT

GROUP IIAND YOU JUST CANT BE JEALOUS,HES SUCH A GENT

ALLHES THE KIND OF A MAN THATYOU CANT RESENT,THAT FRANK!

Act I Scene 1

(MUSIC out.

Under the following, snatches of LOW BABBLE and backgroundMUSIC or PIANO emanate from the slightly visible OFFSTAGE partyroom, from and into which GUESTS continue to ENTER and EXIT)

MEG(Approaching FRANK)

Franklin?

FRANK(Nervous; to avoid her, HE changes direction and crosses to MARY)

Oh, Meg, this is Mary Flynn.(Sincerely)

Mary is my deepest, closest, best friend in all the world. We go way back.

MARYBut seldom forward.

MEGActually, Franklin gave me the novel you wrote and I read it over and over.

MARYDidnt you get it the first time?

FRANK(Loudly, to the GUESTS)

Hey, gang, we got this orchestra and dancing inside.

(MUSIC resumes, as FRANK EXITS)

TYLERI SAID FRANK, YOURE COMING DOWN TO MEXICO

JEROMEI THINK FRANK IS MOVING BACK TO PARAMOUNT

MARY(To the AUDIENCE)

THESE ARE THE MOVERS,THESE ARE THE SHAPERS,THESE ARE THE PEOPLETHAT FILL THE PAPERS.

GROUP I MEXICO


MARYTHESE ARE THE FRIENDS OF FRANK.

GROUP II MOVING BACK TO PARAMOUNT

MARYEACH ONE A PERFECT BLANK.

ALLWHEN YOU SEE A MOVIE THAT SUCCESSFUL,WHAT CAN YOU SAY?

(To FRANK)Congratulations!

FRANKTHANK YOU!

(FRANK joins a group and, with his back to us, has them all laughingwith an animated and hilarious story)

MARYTHESE ARE THE MOVERS,THESE ARE THE SHAPERS,THESE ARE THE PEOPLETHAT GIVE YOU VAPORS

FRANK(Crossing, to MARY)

TWENTY YEARS AGO, WHOD HAVE GUESSED,WHOD HAVE GUESSEDWED BE STANDING HERE?GOD, WE WOULD HAVE BEEN SO IMPRESSED!NOW WERE HERE WITH THE MOST

GROUP I MEXICO

FRANK BRILLIANT MINDS ON THE COAST.

GROUP II MOVING BACK TO PARAMOUNT

Act I Scene 1

FRANKAND NOTICE WHO IS THEIR HOST.

GROUP I MEXICO

GROUP IIBEAUTIFUL, FRANK!

GROUP I ACAPULCO, MEXICO

GROUP IIBEAUTIFUL, FRANK!

ALLWHEN YOUVE MADE A MOVIE THAT SUCCESSFUL,WHERE DO YOU GO?

FRANKUhhh Paramount!

(MUSIC continues under.

FRANK, turning and crossing, holds up his pinkie to MARY)Heres to us.

MARY(Holds up her pinkie)

Whos like us?

FRANK, MARY(Clasping pinkies)

Damn few.

FRANKThanks pal, for flying out.

MARYThanks pal, for the ticket. I got a letter from Frankie.

FRANKWell, at least my son writes to you.


MARYTo thank me for coming to his graduation.

FRANKHe didnt invite me.

MARYHe didnt invite me either.

FRANKHow is Frankie?

MARYHe asked the same thing about you. Oh, Frank, why dont the two of you

K.T.(Interrupting as she crosses to FRANK)

Frank, I am beginning my broadcast, Where Franklin Shepard goes I go, becausethat is where the A list goes.

(Smiles, moves away)

MARYI just figured out what the A stands for

(FRANK, smiling, leaves her)

JEROME(Stopping FRANK)

Now I heard a reliable rumor that youre selling the Malibu house?

FRANKYou dont want it. The place doesnt even have a pool.

MARY(Too loudly)

No pool!?!

(MUSIC stops.

EVERYONE stares)

In my rats hole in New York the john is terminally busted and the kitchen should becondemned. But no pool!?!

(Shouts)TRASH IT!!

Act I Scene 1

(Flings out her arms, spilling liquid from her drink; FRANK crosses backto her)

FRANKLets have some coffee, Mary.

(Takes her arm and moves STAGE RIGHT)

ALLPOOR FRANK

MARYI never drink coffee.

ALLHE HANDLED THAT WELL.

MARYCaffeine isnt good for you.

GROUP IITHAT FRANK

FRANKLook, Im aware this was just a formula movie.

JEROMEHES LOYAL AS HELL.

FRANKBut my next picture. You wait.

(FRANK crosses D.L.)

MARYI gave up waiting.

ALLHES POLITE AND CONSIDERATE, RAIN OR SHINE

MARY(Brightly, lifting her glass, to TERRY at the bar)

IT BEGAN WHEN I TASTED COMMUNION WINE

ALLTHAT FRANK.


FRANK(To GUESTS)

WHO SAYS, MUSTNT GO TOO FAR?


I SAY, LOOK AT WHERE WE ARE!


ITS OUR TIME, COMING THROUGH I SAY, GOOD,ME AND YOU!I SAY, ROLL!I SAY, RIDE!

(Gesture toward inside house)I SAY, HEY, THERES FOOD INSIDE!

ALLTHAT FRANK

TERRYFranks movie was fun!

ALLYOUD THINK HED RELAX.

TYLERFrank knows what the public wants!

ALLNOT FRANK

BUNKERFrank understands commercial!

ALLHES LAYING NEW TRACKS.

K.T.(Indicating MEG, who blushes)

And Frank made a star!

ALLIF YOU HAD NO IDEA WHATCHARISMA MEANT

Act I Scene 1

AND YOU JUST CANT BE JEALOUS,HES SUCH A GENT HES THE KIND OF A MANCOULD BE PRESIDENT,THAT FRANK!THAT FRANK!THAT FRANK!

#3A Incidental (Onstage Piano)

(MUSIC stops)

MEG(Crossing to FRANK)

Oh, Frank

(FRANK, noticing GUSSIE ENTERING U.S.L. DOOR and watchingthem, moves quickly away. MEG, sensing somethings wrong stops,remaining at a distance)

tonight I saw a falling star. I was running across the lawn and right there in frontof me

FRANK(Loudly, for all to hear)

And what do we see in front of us? A rising star. Because no matter what the criticssay about this picture, theyre certain to love you.

GUSSIETheyre certain to. No matter what they say about the picture.

(Rich, haughty, a Broadway star, used to an attention denied her on thiscoast, SHE comes DOWNSTAGE)

MARY(To no one)

The plot thins.

FRANKMeg, you know my wife, Gussie.

MEGEverybody who has ever been to a Broadway show knows Gussie Carnegie.

GUSSIEThe hem of your garment.


SCOTTY(To MEG, indicating all the LIGHTS below them from FAR L to FARR)

I say by tomorrow all of that is going to be at your feet.

GUSSIEScotty. Thats the Valley.

FRANK(To GUSSIE, after a brief awkward pause)

Have you been inside all this time?

GUSSIEIts customary when you give a party to attend it.

FRANKDid you sing?

GUSSIENo one asked.

(GUSSIE EXITS U.R. DOOR. FRANK crosses away to avoid MEGagain, but SHE follows close behind him)

MEGFranklin

FRANK(Quietly, warning her)

Later.

MEG(Lowering her voice)

Youre ignoring me.

FRANKYes, I am.

MEGIve got feelings.

FRANKAnd Ive got a wife.

MEGI love you so much.

Act I Scene 1

FRANKAnd I love you.

(He crosses UPSTAGE, away from her)

TYLER(Loudly)

Anyway, Im off. Tomorrow I fly to New York.

BUNKEROh, while youre there do not miss that new Charles Kringas play.

(MUSIC stops.

FRANK stops. Noisy ad lib. conversation stops)

That is the only show in years that actually deserves its Pulitzer Prize. I say, in everygeneration there is one playwright who

(The silence and the stares indicate that obviously he has said somethingwrong)

Oh, my God. What did I say?

MARYDont you know that in this joint you must never, ever mention the name

(Shouts)CHARLES KRINGAS!

FRANK(Crossing to her)

Mary.

MARY(Ignoring him, loudly)

See, Charley, Frank and I once were these devoted, inseparable friends.

GUSSIEWould anyone care to come inside?

MARYUp until that famous television interview when Charley, in front of

FRANKMary, goddamn it, thats enough.


GUSSIEMary, Ive warned you.

JEROME(ENTERS, carrying pages)

Hey, the house numbers are in from the East coast!

SCOTTY(ENTERING with JEROME, shoots a fist high in the air)

And it went through the roof!(Excitement, BABBLE throughout the room)

FRANKSo we dont have to save the bottles for deposits.

SCOTTY(To MEG)

And you, listen.(Reading)

The surprise of Darkness Before Dawn, is Meg Kincaid, a starry-eyed find.

TYLER(Raising his glass; loud, to get everyones attention)

To Franklin Shepard, who Ive known ever since we started out together back in acrummy little Greenwich Village saloon.

JEROME(Also raising his glass)

To Frank Shepard. Congratulations to the client every lawyer dreams of. Forty yearsold, a hit in New York, now a hit in Hollywood, married to this Broadway legend,surrounded by the people who work for him, by his money

(ALL laugh)

MARYOh, are we making speeches?

(Raises her glass)To Franklin Shepard, the producer. The man who has everything. And fat, drunkand finished, I would rather be me any day.

(There is an awful SILENCE)

TERRYLook at the time. Ive got to get to bed.

Act I Scene 1

MARY(Bitchily, implyinghes gay)

Hell wait.

GUSSIEGet out of here, drunk.

FRANKGussie!

GUSSIE(To FRANK)

Get that fat sot out of here.

FRANK(Having crossed to MARY; very quietly)

Mary, may I take your glass?

MARY(Very loudly)

No, big shot. You may not take my glass!

(Pulling away, SHE falls down hard, knocking over the entire bar with aloud and awful CRASH. As the guests gasp, she struggles up from thefloor, then falls again)

Oh no. Now I wont be invited back.

(RU helps HER up and walks her UPSTAGE)

Listen, please now dont all feel you have to leave just because Im leaving.

(SHE trips and RU grabs her. She squirms away from him, and turns toface the room on the stair landing)

But first, attention. I said,(Shouting)

ATTENTION!!

(The guests, shocked, stop and listen)

I have something I must say. You listening? You are all junk.(SHE turns to FRANK, pointing)

And you you deserve them.


(SHE turns, falls down once more, and EXITS crawling. RU follows her)

TYLER(After a brief pause)

Damn sad.

TERRYIsnt she somebody?

DORYNo, shes a critic.

#3B Incidental (On-stage piano)

JEROMEShe wrote a best-seller once.

GUSSIEI would never have believed it. Shes finally out of Franks life.

FRANKAnd the loss is unbearable.

(As MEG, TYLER and SCOTTY have been helping clean up at the bar,MEG lets out a sudden scream, clutching her hand, which is bleeding)

SCOTTYWhat happened?

DORYShe cut her hand on a piece of glass.

MEGIts nothing. Itll stop.

FRANK(To the others)

Megs cut her hand rather badly.

(GUSSIE moves away, next to TERRY)

MEGHonestly, its nothing.

Act I Scene 1

FRANKRu, somebody, go get something. Get some iodine.

(RU EXITS)

TERRY(To GUSSIE)

See, when youre young and the star, how the slightest thing and youre everybodysfocus.

GUSSIEBitch.

(Crossing away)

MEGIts stopping. Im just going to let it air.

(MEG runs out. FRANK has an impulse to follow her, but sees GUSSIEand doesnt. GUSSIE has caught the moment however, and her eyesconnect with FRANKS for a second before HE moves away)

SCOTTY(Too brightly, to FRANK and GUSSIE)

You two certainly do know how to bring down a curtain.

RU(ENTERING with the iodine)

Ive got the iodine. Wheres the patient?

FRANKShes down at the foot of the lawn.

GUSSIEDoing her fawn imitation.

RU(Starts to EXIT, but turns back to FRANK)

Mr. Shepard?

FRANK(Distracted)

Frank.

RUBefore I go, I just want to know


(Smiling)how do I get to be you?

FRANKThe worst vice in the world is advice, so I dont give any.

(RU starts to EXIT)

Hey(RU stops, turns back)

dont just write what you know.(Points to his head)

Write what you know.(Points to his heart)

Now get out of here.

(RU EXITS. FRANK and GUSSIE stand alone. PIANO MUSICcontinues underneath. GUESTS are visible inside, dancing and enjoyingthe party. FRANK turns to leave)

GUSSIEThe worst vice is advice? Did you get that off a tee-shirt, Frank?

FRANKIm sorry, whats wrong?

GUSSIEYou and that little punchboard are whats wrong.

FRANKPlease, please dont do this. Weve got a party going on in there.

GUSSIEYou may have betrayed me but youre not going to humiliate me.

FRANKGussie, when are you going to let it go? I never said you were too old for the part.The studio said you were too old for the part.

GUSSIETo think I divorced a husband who worshipped the ground I walked on to marry apitiful excuse for a man like you.

Act I Scene 1

FRANK(Sighs)

Ive made only one mistake in my life. But I made it over and over and over. Thatwas saying yes when I meant no. Forgive me.

(HE turns U.S.)

GUSSIEDont you dare walk away from me, mister.

FRANKAll right. You want to know if its true? Its true. But what youd never understand isshe is sensitive, she cares, shes an inspiration. She is the raft that keeps me fromdrowning.

(MUSIC ends and the GUESTS inside applaud. New MUSIC begins)

#3C Incidental (Good Thing Going) (On-stage piano)

GUSSIEPathetic.

(SHE crosses D.R.)After all these years I have to hand it to Charley Kringas. That driven little runt wasalways the one smart enough to read your label.

FRANKAnd I envy Charley Kringas every day of my life.

GUSSIEOh, hilarious, this coming from a man whose work isnt remembered by the timeaudiences reach the parking lot.

FRANKI swear, if I could go back to the beginning, if I could somehow be starting over withCharley, writing shows, trying to change the world, Id give all this up like that.

GUSSIEYouve lied to yourself so long you probably believe that.

FRANKDo you really not see that Im ashamed of all this? That I am as sick of myself as youare? That I just try to keep acting like it all matters. To not let people see how muchI hate my life, how much I wish the God damn thing was over


RU(ENTERING with a reluctant MEG)

I found her running along the lawn, singing.

FRANK(Recovering, handing RU the iodine)

Oh sorry. Here.

RU(To MEG)

Now stand still and let me put some iodine on that hand.

JEROME(Entering U.C. with DORY)

My significant other and I want to say good-night.

MEG(Having the iodine applied by RU)

Ow, ow!

GUSSIE(Crossing down to RU and MEG)

Meg, my husband was just telling me that youre the starry-eyed slut who keeps himfrom drowning.

FRANKGussie, stop it!

GUSSIEAbsolutely, Frank, I will stop it. But maybe she wont be so starry-eyed now!

(GUSSIE grabs the iodine from RU and throws it directly into MEGSeyes. MEG screams, covering her face with her hands. The others rush tosurround her; all of the following dialogue is simultaneous)

Theres my toast to you, Frank!

MEG(Overlapping)

My eyes! My eyes!

GUSSIE(Overlapping)

And may you always get all that you deserve!

Act I Scene 1

JEROME(Overlapping)

Frank, call the hospital! Call the hospital and tell them theres been a terribleaccident!

MEG(Overlapping)

Oh, my God!

DORY(Overlapping)

Tell them to send an ambulance here fast!

GUSSIE(Overlapping)

He was sleeping with her, Dory!

TYLER(Overlapping)

We cant wait for an ambulance, Frank. Put her in my car.

RU(Overlapping)

We need water, Mr. Shepard! Water and cloths!

MEG(Overlapping)

Oh, please! Somebody help!

JEROME(Frantically, leading MEG out)

Frank, the police must be notified at once!

TYLER(Overlapping)

Theres a phone in the car, Frank.

JEROMEFrank, Frank, hurry! We have to move!

GUSSIE(Following the exiting GUESTS, screaming at FRANK who stands therefrozen)

You said we were finished, Frank? Well, now were finished. You and her and me andevery God damn thing is finished!


(EXITS)

FRANK(Alone, turns, screams)

WHYYYY??!!

#4 Transition 1 (Company)

COMPANY(Variously)

HOW DID YOU GET TO BE HERE?WHAT WAS THE MOMENT?HOW DID YOU GET TO BE HERE?

GROUP IDREAMS DONT DIE,SO KEEP AN EYE ON YOUR DREAM,OR BEFORE YOU KNOW WHERE YOU ARE,THERE YOU ARE,ROADS MAY WINDAND YOU MAY FINDWHAT YOUVE LEFT BEHIND IS YOUR DREAM.TEND YOUR DREAM

GROUP IIHOW DOES IT HAPPEN?

GROUP IDREAMS TAKE TIME

GROUP IIONCE IT WAS ALL SO CLEAR.

GROUP ITIME GOES BY

GROUP IIHOW CAN YOU GET SO FAR OFF THE TRACK?WHY DONT YOU TURN AROUND AND GO BACK?BEND YOUR DREAMHOW DOES IT HAPPEN?WHERE IS THE MOMENT?WITH THE ROADWHEN DID THE ROAD BEHIND DISAPPEAR?WHERE DID YOU LET THINGS SLIP OUT OF GEAR?

Act I Scene 1

ALLHOW DID YOU EVER GET TO BE HERE?

SOLONINETEEN SEVENTY-FIVE

SOLONINETEEN SEVENTY-FOUR

SOLONINETEEN SEVENTY-THREE...

END OF SCENE ONE


SCENE TWO

(The slide reads: NBC STUDIO 1973. We are backstage at a TV newsbroadcast in progress. Far UPSTAGE a TV NEWSMAN and TVNEWSWOMAN sit behind a desk, reporting the evening news. A make-up area is DOWNSTAGE LEFT and an interview area is being set upon a platform STAGE RIGHT

We get a sense of the general frantic floor activity of a live TV broadcastas a MAKE-UP ARTIST, FLOOR MONITOR (RU), and STAGEMANAGER and others are all bustling about.

Gradually we hear the sound of Frank Sinatra singing Good ThingGoing playing in the background and soon fading out)

TV NEWSWOMANAnd that was Frank Sinatra singing Good Thing Going from the Broadway andfilm hit Musical Husbands. The composers of that show, Franklin Shepard andCharles Kringas, are here in our studio tonight and well be meeting and talking withthem. But first the news. Hal?

TV NEWSMANThe lead-in story from tonights edition of News From New York. Today ournation is at long last celebrating the cease-fire in Vietnam. The tragic death toll therenow having cost nearly forty-six thousand American lives. Judy?

TV NEWSWOMANOn the local front Mayor Abe Beame

(Lights down and sound fades out as RU turns to direct the ENTERINGMARY to the makeup area. This MARY is very happy, very excited)

MAKE-UP ARTIST(Holding up a hand mirror to CHARLEY KRINGAS, a bespectacled,easily agitated man seated in the make-up chair)

Well, Mr. Kringas, what do you think?

CHARLEY(Lowering mirror)

I think my worst nightmare has come true. I look like Richard Nixon.

MARYCharley, Charley.

Act I Scene 2

(MARY hugs him)

CHARLEYMary, do not speak to me.

(MARY removes her hands)

This whole goddamn thing is your fault. I dont know why in Christs name I everlet you talk me into this humiliation.

RU(ENTERING with beverage tray, handing MARY a drink)

Heres the drink you ordered, Miss Flynn.

CHARLEY(Taking the drink from MARY)

Mary, how thoughtful.

MARYCharley, cmon, I need a drink.

CHARLEYOne drink. What would you like?

MARYA bottle of vodka and a straw.

(CHARLEY hands MARY the drink. RU EXITS)

Wheres Frank?(Drinks)

CHARLEYOh, Frank. Probably off signing to score another movie. Or closing a record deal Ican only tell you where Frank never isthats with me, working on our show.

MARYWell, when I called K.T. to set up this interview, I made it very clear that all you twoguys were here to talk about was your next show and how long you both have beenworking on it.

CHARLEYGrow up, Mary. Since Frank married Gussie, the only working he knows isworking the room.


MARYAnd just where did he learn that, Charley? Off on that goddamn yacht is where. Andwho was it who sent him off on that goddamn yacht, huh?

CHARLEYI say to hell with Frank. Ive started a play all on my own. And if Frank doesnt showup in the next thirty seconds, me, I am walking right out that door.

(Looks at watch)

MARYCharley, I know Frank. If you connect with him again, if you commit the guy todaypublicly, I promise you, by tomorrow you two are going to be back together workingagain. You gotta help save him, Charley.

#5 Old Friends Like It Was (Mary, Charley)

(CHARLEY looks at watch: times up; HE gets up and starts to EXIT.MARY stops him with her hand as well as with the songs first line, asMUSIC begins)

HEY, OLD FRIEND,WHAT DO YOU SAY, OLD FRIEND?MAKE IT OKAY, OLD FRIEND.GIVE THE OLD FRIENDSHIP A BREAK.

WHY SO GRIM?WERE GOING ON FOREVER.YOU, ME, HIM,TOO MANY LIVES ARE AT STAKE.

FRIENDS THIS LONGHAS TO MEAN SOMETHINGS STRONG,SO IF OUR OLD FRIENDS WRONG,SHOULDNT AN OLD FRIEND COME THROUGH?

ITS US, OLD FRIEND WHATS TO DISCUSS, OLD FRIEND?HERES TO US,WHOS LIKE US?

(She puts her pinkie finger up. After a beat, Charley links his pinkie tohers)

CHARLEYDAMN FEW.

Act I Scene 2

MARYCHARLEY,WHY CANT IT BE LIKE IT WAS?I LIKED IT THE WAY THAT IT WAS,CHARLEY YOU AND ME, WE WERE NICER THEN.

WE WERE NICE,KIDS AND CITIES AND TREES WERE NICE,EVERYTHINGI DONT KNOW WHO WE ARE ANY MORE,AND IM STARTING NOT TO CARE.

LOOK AT US, CHARLEY,NOTHINGS THE WAY THAT IT WAS.I WANT IT THE WAY THAT IT WAS HELP ME STOP REMEMBERING THEN.

DONT YOU REMEMBER?IT WAS GOOD, IT WAS REALLY GOOD.HELP ME OUT, CHARLEY,MAKE IT LIKE IT WAS.

Come on. It was so much better, Charley. The three of us.

CHARLEYAnd you come on were not the three of us any more, Mary. Now were one andone and one.

MARYCHARLEY,NOTHINGS THE WAY THAT IT WAS.I WANT IT THE WAY THAT IT WAS.GOD KNOWS, THINGS WERE EASIER THEN.

TROUBLE IS, CHARLEY,THATS WHAT EVERYONE DOES:BLAMES THE WAY IT ISON THE WAY IT WAS ON THE WAY IT NEVER EVER WAS.

(MARY downs the drink)

CHARLEYJesus, Mary. After all these years. Youre still in love with the guy.


MARY(Shrugs)

You gotta help save me then, Charley.

K.T.(ENTERING D.R.)

Charley? Frank? Were on a commercial break, then its us. Follow me.

CHARLEYFrank isnt here.

K.T.(Panicked)

He isnt here? Where the hell is Frank?

(FRANK, GUSSIE, JEROME, TERRY are all hurried in by RU and theMAKE-UP ARTIST. ALL hug. RU EXITS. TERRY and JEROMEmove U.S. and confer, whispering)

FRANKFrank is here. And Frank is sorry. But ever since Gussie and I got married, life is thisseries of meetings, meetings, meetings.

(Crosses to CHARLEY, hugs him)Hey, pal.

CHARLEYHey, pal. Long time, no see.

FRANKOh, and Ive missed you, buddy. And Mary. Oh, God, Mary.

(Hugs MARY. Stands back to look)You look wonderful. Lost a little weight?

MARYA hundred eighty pounds. He still calls, though.

K.T.Please, Frank, Frank in the chair. And Charley, you come with me.

(As K.T. and CHARLEY cross to the interview area, FRANK sits in themake-up chair, and is made up)

GUSSIE(Stopping K.T.)

K.T., I think I saw my ex-husband hovering around outside. Could you see to it thatnobody is allowed in? Hes become the eternal sponge.

Act I Scene 2

K.T.Got it. Charley, move, please we gotta go

(CHARLEY and K.T. continue to interview platform; MAKE-UPEXITS with cart)

RUExcuse me, Mrs. Shepard. I know this is inappropriate. But I wrote a filmscript,Darkness Before Dawn, that is so perfect for you.

GUSSIEIt is inappropriate, give it to me.

(RU gives it to GUSSIE and crosses around platform to CHARLEY,hooking up his microphone)

Ive accepted that if I dont want people handing me scripts then I can never go out.Frank, did you tell Mary about closing the threepicture deal?

MARYOh, no.

FRANKBut, please let me be the one to tell Charley. Im waiting to choose the exactmoment.

MARYOh, God.

GUSSIEIve explained to Frank, you compose a Broadway show youre something in NewYork. But you produce a movie, youre something all over the world.

(K.T. scurries back to the make-up area)

K.T.Frank, were up. We got to move.

MARYOh, hell.


(They head for the interview area. GUSSIE turns to follow them whenJOE JOSEPHSON, a seedy-looking man in his late 50s, ENTERS D.L.During the following, we can see RU cross to K.T. and whisper in herear)

JOEGussie?

(SHE turns)

Hi, Gussie.

GUSSIEOh, Joe.

JOEYou look great.

GUSSIEYou caught me in the middle, Joe.

JOEI was just hoping maybe you could spare a hundred or so.

GUSSIEJoe, Joe. I

(Surrenders. Into purse. Hands him money)You cant keep doing this to me, Joe. Now this is the last time.

JOEIm lining up backers for my next play

GUSSIE(Backing away)

Excuse me, Joe. Theyre waiting for me. Im sorry.

(SHE turns and EXITS into the control room OFFSTAGE. JOE, after abeat shuffles off in another direction)

TV NEWSMANAnd now our evenings top news story: Today the Supreme Court made its finalruling legalizing abortion. The court stated, Abortion should be a decision betweena woman and her physician. A longtime controversy now ended. Judy?

Act I Scene 2

(We hear a few bars of Sinatra singing Good Thing Going; RU hasbeen attaching Franks microphone)

TV NEWSMANFor those who have tuned in late, we are hearing Frank Sinatra singing the hit songby Franklin Shepard and Charles Kringas, our next guests, live from New York.

(Lights up on the interview platform where FRANK, CHARLEY andK.T. have been chatting, laughing, having a reunion)

K.T.Oh, and Frank, I cannot thank you enough for this favor.

FRANKFavor? After what you did for me during my divorce !

CHARLEYThats why were here.

K.T.Oh, and hows your son?

FRANK(Taking out wallet)

Want to see a picture?

K.T.No. But do that on the air and Ill coo and Ill tear and Ill carry on like a mad thing.People love cheap sentiment. And I understand congratulations are in order. I hearyouve signed a three-picture deal to produce movies.

(Mimes applauding FRANK)

FRANK(Uncomfortable)

Whered you hear that?

K.T.Oh, I have my spies. Now, dont worry. I understand that Im not supposed to bringit up on the air.

CHARLEY(Containing rage)

I think you werent supposed to bring it up in front of me.

K.T.Oh? Oh.


FRANKCharley, I was waiting for the exact moment to tell you. But see, it doesnt changeour plan. Its only two or three months at a time.

CHARLEY(Overlapping)

Frank, its always two or three months at a time.

FRANKI havent even signed the contract yet.

CHARLEY(Overlapping)

Do you know how long Ive sat and waited for you to finish this project?

K.T.(Overlapping)

Guys, hold it for one second, can ya?(Looking at watch)

Were just about on

FRANKCharley, I have a son to support. I have an ex-wife draining me. What happens if wefinish this show, we get it on, and they say its no good?

CHARLEYFrank, I have four kids to support. And I dont give a rats ass what they say. If Isay its good. If you say its good. Thats whats important. Thats all thatsimportant.

K.T.(Overlapping)

Okay, fellows, were just about to start.

CHARLEYHe only knows its good if it makes a fucking fortune!

K.T.(The On The Air sign lights up. Quickly smiling into the camera)

Hi. Were back. And welcome to Today in New Yorks Celebrity Spot. And herenext to me we have two brilliantly talented people. The gentleman on my right is

Act I Scene 2

(A delay as FRANK, sitting smiling into the camera, is suddenly shockedto find K.T. is waiting for him)

FRANKOh. Uh Franklin Shepard. I almost forgot.

K.T.(Looking at, then pointing to Charley)

And ?

CHARLEY(Also frozen by the camera)

And he is. Why should he lie. And I have no idea who I am.

FRANKThis is my great friend and even greater collaborator, Charley Kringas.

K.T.They are the songwriters for Musical Husbands, both the show and the movie.They also wrote

(Hand over heart)Sweet Sorrowand their newest collaboration will be called Take A Left, butmore about that later.

CHARLEYApparently much later.

K.T.(Throughout, K.T. directs all her questions to FRANK)

And you recently married the star of those shows, Gussie Carnegie, did you not?

FRANKYes, thats correct.

CHARLEY(Feeling left out)

And Im married to Evelyn.

K.T.Now all of Broadway says you two are the next Rodgers and Hammerstein, Lernerand Loewe

CHARLEY Irving and Berlin.


K.T.Lets start at the beginning. Youre both from Chicago and you both went to thesame school and the same college.

CHARLEYNo. Me, Columbia. Him, Julliard.

K.T.So your entire life youve been very, very close friends?

CHARLEYUntil today.

FRANKLike all partners we have had fights and other commitments, but the magic is onlythere when its me and Charley. Charley and me.

K.T.(To camera)

I love it.(To FRANK)

Now, how do you two work together?

#6 Franklin Shepard, Inc. (Charley)

CHARLEYOh, may I answer that?

K.T.Please.

CHARLEYHow do we work together? Sure.

HE GOES (HE mimes an arpeggio on an imaginary piano)

AND I GO (Mimics typing, the clicking keys sounding in the orchestra)

AND SOON WERE HUMMING ALONG HMMM-HMMM-HMMM AND THATS CALLED WRITING A SONG HMMM-HMMM-HMMM THEN HE GOES

(On the piano)AND I GO

Act I Scene 2

(On the typewriter)AND THE PHONE GOES DRRRRRING!AND HE GOES

(Mimicking FRANKS intense business calls into an imaginary phone)MUTTER MUTTER MUTTER MUTTER, YES, JEROME,MUTTER NO, JEROME,MUTTER MUTTER MUTTER MUTTER

(To K.T.)THATS HIS LAWYER, JEROME

(Back into the phone)MUTTER MUTTER MUTTER MUTTER MUTTER DO IT,

JEROME(Hangs up phone)

CLICK SORRY, CHARLEY

(Arpeggio on piano)SO I GO

(On the typewriter)AND SOON WERE TAPPING AWAY HMMM-HMMM-HMMM

(Mimicking an intercom)BZZZ!SORRY, CHARLEY.BZZZ!

(To K.T.)ITS THE SECRETARY BZZZ!ON THE INTERCOM

(As FRANK)YES, MISS BZZZ

(Nasal, as the Secretary)ITS A MESSENGER.

(As FRANK)THANKS, MISS BZZZ,WILL YOU TELL HIM TO WAIT?WILL YOU ORDER THE CAR?WILL YOU CALL UP THE BANK?WILL YOU WIRE THE COAST?WILL YOU DRRRRING!SORRY, CHARLEY

(Into phone again)MUTTER MUTTER MUTTER MUTTER SELL THE STOCKMUTTER BUY THE RIGHTSMUTTER MUTTER MUTTER MUTTER MUTTER BZZZ!


(Into phone)LET ME PUT YOU ON HOLDBZZZ!YES, MISS BZZZITS THE INTERVIEWTHANKS, MISS BZZZ,WILL YOU TELL HIM TO WAIT?WILL YOU WIRE THE CAR?WILL YOU ORDER THE COAST?WILL YOU SEND UP THE BANK?

AND THE TELEPHONES BLINKAND THE STOCKS GET SOLDAND THE REST OF US HE KEEPS ON HOLD.AND HES INTO MAKING MOVIES.AND HES NOW A CORPORATION.RIGHT?

SO I PLAY AT HOMEWITH MY WIFE AND KIDSAND I WAIT TO HEAR THE MOVIE BIDS.AND IVE GOT A LITTLE SAILBOAT.AND IM INTO MEDITATION.RIGHT?

HE FLIES OFF TO CALIFORNIA.I DISCUSS HIM WITH MY SHRINK.THATS THE STORY OF THE WAY WE WORK,ME AND FRANKLIN SHEPARD, INC.

(HE laughs)

Im surprised at how much I like this. I promise to be honest. If you promise tohandle the lawsuit.

K.T.(Uncomfortable, turns quickly to FRANK)

Now, when you do work together, Ive always been curious, which generally comesfirst the words or the music?

CHARLEY(Glancing at FRANK)

Generally, the contract.

Act I Scene 2

K.T.(To CHARLEY)

Oh, that sounds like you think making money is a bad thing for an artist.

CHARLEYMONEY?

(Arpeggio in orchestra)DID I SAY MONEY?

(Arpeggio again; music resumes)NO, I LIKE MONEY A LOT HMMM-HMMM-HMMM I MEAN ITS BETTER THAN NOT HMMM-HMMM-HMMM BUT WHEN ITS

(Grunts like a pig and starts grabbing imaginary money)MONEY

(Grunt, grunt)MONEY

(Snorts, gathering money like a manic, drooling octopus)WHEN YOURE INTO

(Snort)MONEY

(Lightly)AND YOU SHOULD BE

(Plays an imaginary arpeggio, then gestures to FRANK; MUSICcontinues under)

Listen, Frank does the money thing very well. But you know what? There are otherpeople who do it better. And Frank does the music thing very well. And you knowwhat? No one does it better.

STILL THE TELEPHONES BLINKAND THE BUZZERS BUZZAND I REALLY DONT KNOW WHAT HE DOES,BUT HE MAKES A TON OF MONEY,AND A LOT OF IT FOR ME.RIGHT?

SO I THINK OKAYAND I START A PLAYAND HE SOMEHOW KNOWS,CAUSE RIGHT AWAYITS DRRRRING!

(Into phone again, as FRANK)

HIYA, BUDDY,


WANNA WRITE A SHOW?GOT A GREAT IDEA,WELL OWN ALL THE RIGHTSWITH A TWO-WEEK OUTAND A TURNAROUNDON THE GUARANTEEPLUS A GROSS PERCENTOF THE BILLING CLAUSE

AND THERE I AM IN CALIFORNIA,TALKING DEALS AND TURNING PINK,BACK IN BUSINESS, AND I MEAN JUST THAT,BACK WITH FRANKLIN SHEPARD, INC.

VERY SNEAKY HOW IT HAPPENS,MUCH MORE SNEAKY THAN YOU THINK.START WITH NOTHING BUT A SONG TO SING,NEXT YOURE FRANKLIN SHEPARD

(MUSIC suddenly stops)

Wait, one second, wait. Im getting in too deep here.

K.T.(Very anxious to change the subject)

Franklin, let me ask you

CHARLEY(Interrupting, stopping her)

See, Frank and I are not that kind of close. The way we used to be.

K.T.Now, Frank

CHARLEY(Interrupting her again)

And friendship is like a garden. You have to water it and tend it and care about it.And you know what? I miss it and I want it back. Look

(MUSIC resumes quietly)

NOTHING PERMANENT HAS HAPPENED,JUST A TEMPORARY KINK.FRIENDSHIPS SOMETHING YOU DONT REALLY LOSE

(MUSIC stops again; to camera)

Act I Scene 2

Ladies and gentlemen, dont let me lose the greatest composer any lyricist ever had.Phone him, write him, stop him on the street. Youll recognize him. Hes the onegoing through his checkbook

(FRANK gets up to leave, but is stopped both by K.T. and his attachedmicrophone)

and tell that man to get back to his piano.

(MUSIC resumes quietly again, but growing gradually louder and morefrantic)

VERY SNEAKY HOW IT HAPPENS,EVERY DAY YOURE ON THE BRINK.FIRST THE PRIZES, THEN THE INTERVIEWS

(Looking around, realizing where HE is; in mock astonishment to coverhis embarrassment)

OH MY GOD, I THINK ITS HAPPENED!STOP ME QUICK BEFORE I SINK.ONE MORE TRIUMPH THAT I CANT REFUSE

(To camera again)In case you didnt notice, this is my first time on TV. And my last!

NO, HERES THE POINT, WHATEVER HAPPENS,THEN WELL ALL GO HAVE A DRINK

(Gestures in FRANK'S direction)THATS THE GUY I LOVE, THE FELLA WHOSINSIDE

(Into phone)MUTTER MUTTER MUTTER MUTTER QUICK, JEROME,GET THE PRESIDENT,THERES A CRAZY MANON MY TV SCREENINSIDE BZZZ! BZZZ! DRRRING! INSIDEFRANKLIN SHEPARD

(To camera)Just write him care of Any Bank, U.S.A. INC.!

K.T.Now lets take a commercial break.

(On The Air sign goes out)Oh thanks, guys. Jesus Christ.


(SHE EXITS)

FRANKThat was a real slaughter, Charley. Congratulations.

CHARLEYFrank

FRANKOh, I think you said enough. I know for years youve been attacking me andconstantly putting me in the position of having to defend myself. But that see, Idont know why anyone would want to so humiliate and betray the guy who is hisoldest friend in the world like that. But I do know youre never going to have theopportunity to do it again. Youre goddamn out of my life, Charley.

CHARLEYIm sorry

FRANKYoure sorry! After you publicly mock and ridicule and belittle me when, man, Iswear I would lay down my life for you.

CHARLEYIf youd just let me

FRANKShut up! Charley, all these years I have loved you no matter what you did, but I guessbecause I dont live my life like you or the way youd like me to, you had to shoot medown and watch me bleed. Well, I like my life, so please you just get the hell out ofit.

(Starts to leave)

MARY(ENTERING quickly, stopping FRANK)

Guys, hey. What do you say the three of us go out for a humongous drink and talk?We need to talk.

GUSSIE(ENTERING with JEROME and TERRY)

Oh, Frank, Frank. Are you all right?

CHARLEYFrank, can we go talk?

Act I Scene 2

FRANK(To the others, ignoring CHARLEY, fighting for control, really hurt)

You know, there is this tribe in Africa that when one of its members does somethingcruel or evil, or betrays them, they never see him again. They simply just never seehim. They never talk to him, or look at him, or acknowledge him in any way. Forthem, he is dead. Absolutely and irrevocably dead.

(Starts to walk away)

CHARLEY(A hand on FRANKS shoulder, to stop him)

Frank? Let me explain what

(FRANK stops and shrugs the hand off, then without turning aroundcontinues to walk away. CHARLEY talks as he grabs FRANKS arm)

Can I explain what all that came out of?

(FRANK swings around, shoving CHARLEY, sending him sprawling tothe floor. CHARLEY gets up and lunges at FRANK)

MARY(As the TWO MEN go at each other, until finally separated and backedOFFSTAGE by the OTHERS)

Frank! Charley! Stop it! Charley, Frank! No!! No!! No!!

(FRANK EXITS first, after which CHARLEY is let go. HE standsbrushing his clothes, finally turns and bows to MARY with armsoutstretched, indicating satisfied? then turns and EXITS opposite side ofstage. After a despairing pause, MARY EXITS)

#6A Transition 2 (Company)

COMPANY(Variously)

SOME ROADS ARE SOFTAND SOME ARE BUMPY,SOME ROADS YOU REALLY FLY.SOME RIDES ARE ROUGHAND LEAVE YOU JUMPY,WHY MAKE IT TOUGHBY GETTING GRUMPY?PLENTY OF ROADS TO TRY.

SOLONINETEEN SEVENTY-TWO


SOLONINETEEN SEVENTY-ONE

GROUP I GROUP IIONE TRIP. SOME ROADS ARE SOFTALL YOU GET IS AND SOME ARE BUMPY.ONE QUICK RIDE. SOME ROADS YOU REALLY FLY.LOOK AROUND A BIT SOME ROADS ARE ROUGHONE QUICK RIDE AND LEAVE YOU JUMPY.THROUGH THE WHY MAKE IT TOUGHCOUNTRYSIDE. BY GETTING GRUMPY?STAY ON THE TRACK. PLENTY OF ROADS TO TRY

SOLONINETEEN SEVENTY

GROUPSOME ROADS YOU REALLY FLY

SOLONINETEEN SIXTY-NINE

ALLHOW DOES IT START TO GO,DOES IT SLIP AWAY SLOWSO YOU NEVER EVEN NOTICEITS HAPPENING?NINETEEN SIXTY-EIGHT

END OF SCENE TWO

Act I Scene 3

SCENE THREE

(Slide: 1968.

(A gorgeous, ultra-modern, split-level apartment on Central Park Westwith a fabulous New York view in the background. One UPSTAGEdoor leads to the front hall, another to the bedroom hallway. A doorSTAGE LEFT leads to the kitchen.

FRANK is talking on the phone, open suitcases and trunks, souvenirs,crates on the floor next to him. As the LIGHTS come up, we see that he isdressed in a shirt and shorts)

FRANK(Into phone hurriedly)

You say she is not there? Is she expected back?

(Doorbell rings)

You dont expect Im sorry, my front doorbell is ringing.(Covers the phone and calls)

The door is open.(Into phone)

One more time, please. You dont expect her back until ?(Listening)

until after the theatre?

(A nine-year old FRANK JR. ENTERS from the front hall)

No. No message. Wait, yes, would you tell her

FRANK JR.(Doing vaudeville pose)

Ta-da!

(FRANK now sees his son, immediately hangs up, runs to him, gets downon his knees, hugging and kissing him. As HE talks, he lifts him up, withFRANK JR. wrapping his arms and legs around his father; throughoutthe following scene, FRANK holds, touches and strokes his son lovinglywhenever possible)

Frankie, oh my Frankie! My God! I dont believe my eyes. Oh, did your daddy missyou! And look at how big you got! Give Daddy a love. Bigger. Bigger. Bigger.

FRANK JR.(As FRANK hugs him)

Daddy, we saw your boat. But we didnt see you.


(MARY and CHARLEY ENTER, posing like a vaudeville team)

MARY, CHARLEYTa-da!

(THEY run over to FRANK. All three scream, kiss, laugh and lock in athree-way hug, huddling and jumping up and down together)

CHARLEYWhats amazing is that were not all still waiting at that dock to surprise you. Wasour face red.

FRANKFirst class doesnt get off at the dock. We had this big ramp at the prow and aCaptain who leads you right into your limousine.

CHARLEYOh, of course. Silly us. Now you should have known that, Mary.

(Both are staring at FRANKS pantless legs)

FRANK(To FRANK JR.)

Why didnt you tell me I have no pants on?(Starts a search for his pants)

CHARLEYWe got Beth to send Frankie from Houston.

FRANK JR.Daddy, I have the thirty-two postcards all over my wall. My favorites are the alligatorand the Panama Canal.

CHARLEY(Opens one of the trunks and looks deep into it, the lid concealing himfrom both FRANK JR. and us)

Oh look, he brought Frankie an alligator back. What a nice little

(HE begins to scream and resist an imaginary alligator which attacks himrepeatedly, each time pulling him deeper and deeper into the trunk. Theothers laugh as he finally disappears completely into the trunk)

FRANK(As CHARLEY flings FRANKS pants out of the trunk)

Oh thanks, Uncle Charley.

Act I Scene 3

(Putting on pants)Thats bound to give someone here real nice dreams.

MARYStart with the trip, and then I want a Sherpa guide to show me this gargantuanapartment.

FRANKWell, I owe it all to you guys for making me go. I didnt do anything that wasntrich. Rich living, rich food, rich people.

CHARLEYWell, poor Evelyn, my poor wife, who never comes in from our poor house in thepoor country, poor thing, is dropping off our four poor children at her poormothers

FRANKGot it, Charley.

CHARLEY where theyre expecting Frankie, and then then Evelyn is meeting the three ofus at

MARY(To CHARLEY)

Wait, wait, wait!(To FRANK)

Where? Where? Youll never guess where?

FRANKThe Downtown Club.

MARY(Disappointed)

Charley!

(CHARLEY points to himself; hes innocent)

FRANKLet me think. A smoky, dingy Greenwich Village dive or the homecoming party atthe Colony Club? Hmm. What a choice!

CHARLEYOh Frank, sorry. You must give me a list of whats in and whats out. You knowhow important all of that is to me.


FRANKOh, wait. Wait, wait, wait.

(FRANK takes out wrapped book and manila envelope from trunk)Presents. I forgot presents.

(To FRANK JR. handing him gifts)This is for Aunt Mary and thats for Uncle Charley.

(As FRANK JR. distributes them)

Oh. son, about forty of yours are right now up in the air between Gibraltar andTexas. But, trust me, they are absolutely worth the wait.

MARY(Having unwrapped her gift)

Its my book. In Spanish.

FRANKI bought it in Valparaiso, Chile, where there it was in all these store windows.

CHARLEY(Taking his gift from FRANK JR. and opening it)

Oh, Mary, tell Frank the story of how success has affected you. Okay, Ill start. Maryhas joined the enemy.

MARYCharley!

CHARLEY(To FRANK JR.)

Frankie, tell Aunt Mary how many kids in your class say, When I grow up I want tobe a drama critic.

MARYCharley, shut your mouth and open your present.

CHARLEYI did.

MARYWhat is it?

CHARLEY(To FRANK)

What is it?

Act I Scene 3

FRANKIts an option agreement. We have been offered a small fortune to do a movie versionof Musical Husbands.

CHARLEY(Sits on the trunk)

Frankie, take this over to Daddy and say very clearly, There isnt enough money inthe universe

(FRANK JR. crosses to CHARLEY who hands him the envelope)

FRANKYoure welcome, Charley. I appreciate the gratitude. Thanks very much.

FRANK JR.(Arriving at FRANK, handing him the envelope)

There isnt enough money in the universe

FRANK(Interrupting)

Sweetheart, you want to put that on the bed for Uncle Charley?

(FRANK JR. EXITS towards the bedroom with the envelope)

MARY(Following FRANK JR. with the flight bag)

And you gotta brush your teeth, wash your face, get out your pajamas whateverthe hell kids do.

(EXITS)

FRANK(Loud)

Charley, I am thirty-one years old. Beth wiped me out with the divorce. Ive got ason to consider. So forgive me, Charley, if I happen to need money.

CHARLEY(Louder)

Then lets us do the work and the money will come. Frank, we cannot keep makingour stuff the other thing we do!

MARY(Appearing at the bedroom door, holding the boys pajamas, quietingthem, indicating FRANK JR. OFFSTAGE)

Shhhh. Guys! Not now!


(She disappears into the bedroom hallway)

FRANKCharley, I am telling you we can make a statement with this movie.

CHARLEYNurse! Doctor! Guard! Attendant! Matron! Anybody! Help!

FRANKTrust me!

CHARLEYNo, you trust me!

FRANKCharley, listen

CHARLEYFrank, Frank, you listen. You listening? No, no, no! Never, ever, no!!

#7 Old Friends (Mary, Frank, Charley)

MARY(RE-ENTERS to the shouting, loudly calls out)

HEY!!

(MUSIC; THEY turn to MARY as she quietly, charmingly, pointedly,lifts her pinky finger)

HERES TO US

FRANK(After a beat, raising his pinky)

WHOS LIKE US?

CHARLEY(Grudging pause, then raises his pinky)

DAMN FEW.

FRANK(Intimate and warm, to CHARLEY)

HEY, OLD FRIENDARE YOU OKAY, OLD FRIEND?WHAT DO YOU SAY, OLD FRIEND,ARE WE OR ARE WE UNIQUE?

Act I Scene 3

TIME GOES BY,EVERYTHING ELSE KEEPS CHANGING.YOU AND I,WE GET CONTINUED NEXT WEEK.

MOST FRIENDS FADEOR THEY DONT MAKE THE GRADE.NEW ONES ARE QUICKLY MADEAND IN A PINCH, SURE, THEYLL DO.

BUT US, OLD FRIEND,WHATS TO DISCUSS, OLD FRIEND?HERES TO US WHOS LIKE US?DAMN FEW!

CHARLEY(Softening)

SO, OLD FRIEND,FILL ME IN SLOW, OLD FRIEND.START FROM HELLO, OLD FRIEND I WANT THE WHEN, WHERE AND HOW.

(Including MARY)OLD FRIENDS DOTEND TO BECOME OLD HABIT NEVER KNEWHOW MUCH I MISSED YOU TILL NOW.

ALL THREEMOST FRIENDS FADEOR THEY DONT MAKE THE GRADE,NEW ONES ARE QUICKLY MADE,SOME OF THEM WORTH SOMETHING, TOO.BUT US, OLD FRIENDS WHATS TO DISCUSS, OLD FRIENDS?

FRANKTELL YOU SOMETHING:GOOD FRIENDS POINT OUT YOUR LIES,WHEREAS OLD FRIENDS LIVE AND LET LIVE.

MARYGOOD FRIENDS LIKE AND ADVISE,WHEREAS OLD FRIENDS LOVE AND FORGIVE.


FRANKAND OLD FRIENDS LET YOU GO YOUR OWN WAY

CHARLEY(Pointedly, but pleasantly)

HELP YOU FIND YOUR OWN WAY

MARY(To CHARLEY)

LET YOU OFF WHEN YOURE WRONG

FRANKIF YOURE WRONG

CHARLEYWHEN YOURE WRONG

MARY(Hastily)

RIGHT OR WRONG, THE POINT IS:OLD FRIENDSSHOULDNT CARE IF YOURE WRONG

FRANKSHOULD, BUT NOT FOR TOO LONG

CHARLEY(Edgily)

WHATS TOO LONG?

FRANKIF YOURE WRONG

CHARLEYWHEN YOURE WRONG

MARY(Quickly)

THE THING IS:OLD FRIENDS DO LEAVE THEIR BRANDS ON YOU,BUT OLD FRIENDS SHOULDNT COMPETE.

FRANKOLD FRIENDS DONT MAKE DEMANDS ON YOU

Act I Scene 3

CHARLEYSHOULD MAKE DEMANDS ON YOU

FRANKWELL, DONT MAKE DEMANDS YOU CANT MEET.

CHARLEYWELL, WHATS THEPOINT OF DEMANDS YOU CAN MEET?

MARYWELL, THERES A TIME FOR DEMANDS,WHETHER YOU MEET THEM OR NOT

(These next lines are delivered loudly and simultaneously as musiccontinues under)

MARYGuys, fellas, boys, buddies, cmon. You gotta talk to each other, not over, notaround, not through each other. To each other, understand?

CHARLEYYou are never wrong. Never. The last time you admitted you were wrong was onecold Tuesday back in Chicago in December 1954

FRANKIf you were right, I would be the first to admit it. But with you, there is no otherside. Theres only your way and the wrong way.

ALL THREEHEY, OLD FRIENDS,HOW DO WE STAY OLD FRIENDS?WHO IS TO SAY, OLD FRIENDS,HOW AN OLD FRIENDSHIP SURVIVES?

ONE DAY CHUMSHAVING A LAUGH A MINUTE,ONE DAY COMESAND THEYRE A PART OF YOUR LIVES.

NEW FRIENDS POURTHROUGH THE REVOLVING DOOR MAYBE THERES ONE THATS MORE,IF YOU FIND ONE, THATLL DO.BUT US, OLD FRIENDS WHATS TO DISCUSS, OLD FRIENDS?


HERES TO US!WHOS LIKE US?

TWO OLD FRIENDS,FEWER WONT DO, OLD FRIENDS GOTTA HAVE TWO OLD FRIENDSHELPING YOU BALANCE ALONG:

FRANKONE UPBRAIDS YOUFOR YOUR FAULTS AND FANCIES,

MARYONE PERSUADES YOU

CHARLEYTHAT THE OTHER ONES

ALL THREEWRONG.

MOST FRIENDS FADEOR THEY DONT MAKE THE GRADE,NEW ONES ARE QUICKLY MADE,PERFECT AS LONG AS THEYRE NEW.

BUT US, OLD FRIENDS WHATS TO DISCUSS, OLD FRIENDS? HERES TO US!WHOS LIKE US?

(In elaborate harmony obviously practiced over the years)DAMN FEW!

GUSSIE(ENTERING with JOE)

Oh, anguish, I hate it when Ive missed everything.

JOEThe wife here, she misses nothing.

GUSSIEI had no idea the gang would be dropping in. My understudys been going on thelast few weeks and Joe insisted, as a courtesy, I must see her. But first I insisted thatJoe must see Franks new apartment. Have you ever seen that disaster he was livingin?

Act I Scene 3

MARYI decorated it.

GUSSIEI am calling the Surgeon General tomorrow to have him cut out my tongue.

MARY(To herself, as she turns crossing away)

Promises.

GUSSIE(Going brightly to CHARLEY)

Look, Joe. Its Charles. Now we can call the night a success.

CHARLEYHi, Gussie. I didnt hear a doorbell.

GUSSIEI bet thats because I didnt ring one. I never do when I have keys. Im decoratingthis pad. The price was right. Free. Here.

(SHE moves to each one, giving them each a different color swatch fromher large bag)

I picture all the furniture in here the hues of anemones. See(Crosses to CHARLEY and gives swatch)

a chair,(Crosses to FRANK and gives swatch)

a chair,(Crosses to JOE and gives swatch)

a footstool,(Crosses to MARY and gives swatch)

and a sofa.(MARY frowns)

Oh, I should have a brain transplant. I forgot we bought this teeny, tiny, house-warming nothing. Some awesomely expensive Champagne. Ill open it.

(Slight pause)Do.

(Slighter pause)All right, I will.

MARYLet me go check inside.

CHARLEYAlways nice to see you, Joe. And your wife.


(MARY and CHARLEY EXIT to the bedroom hallway)

GUSSIEJoe, precious, there are glasses in the kitchen. And its Franks house, so he can do thehonors.

(Hands FRANK the Champagne)Mushi-mushi, darling. We have a curtain to make!

JOEHome one day and already shes ordering me around.

(JOE EXITS into the kitchen)

GUSSIEHow nice to see the old gang.

(THEY stand far apart, both facing front. GUSSIE lowers her voice,takes out her compact and repairs her make-up; FRANK begins to openthe Champagne as they talk)

Can they see us?

FRANKYes.

GUSSIEI didnt even unpack. I made up my mind. Im leaving Joe.

FRANK(Stops opening the Champagne)

Hell be destroyed.

GUSSIEOr I will be. Ill call you when I arrive at the theatre.

FRANKIm supposed to go out.

GUSSIEOh, please, please, youve got to wait for my call.

FRANKGussie

GUSSIEIm desperate.

Act I Scene 3

FRANK(A pause. Then)

Ill wait for your call.

GUSSIEConsider yourself kissed.

(MARY, CHARLEY, and JOE RE-ENTER)

JOEYou got this guy everything anyone could ever want in a kitchen except for glasses.

FRANKHere, Ill get them. Theyre still packed.

(HE EXITS, handing the Champagne bottle to JOE)

GUSSIE(Still looking in her compact)

Oh, eek, look at me. That means dont. Im going to the little boys room to repair.(GUSSIE EXITS)

JOEIts real first-class Champagne.

MARYI dont drink.

JOEWhat, never?

MARYWell, hardly ever. I am a very excessive personality. Too much coffee, too muchcigarettes, too much food

CHARLEYToo much Frank.

(MARY turns away)

JOEIs Frank the only person in the world who doesnt know youre in love with him?

(MARY raises a hand for him to stop. JOE then points in the direction ofFRANK and GUSSIE)

And how many people know about those two?


CHARLEY(After exchanging a shocked glance with MARY)

Oh, there must be one or two who dont.

JOEI decided not to know. Shes now Broadways hottest star and the guy hes hot, tooobviously in more than one sense. I say let em get it out of their systems. As long as,please God, she dont leave me.

MARYI think Franks being gone the last eight months put an end to it.

JOE(Opens Champagne bottle)

Gussie flew over and joined the cruise, you know.

CHARLEYWhat?

MARYWe had no idea Gussie was on the cruise.

GUSSIE(RE-ENTERING)

It will never cease to amaze me how everyone in this town knows everything I do. Itwas only for the last two weeks.

FRANK(ENTERS with tray of glasses, hands it to GUSSIE)

Okay. Pretend these are Champagne glasses.

(JOE fills the glasses)

GUSSIE(Passing the tray)

Youve got yours. Now, Charley. Just one, Joe. Mary?

MARYNo, thank you.

GUSSIEOh, thats right, you never do. Well, more for us.

(Raises her glass in a toast to FRANK)To our genius.

Act I Scene 3

JOE(Steps forward)

Thank you. Its always nice to be appreciated.

(THEY drink)

Okay, Gus, curtain, curtain, we got a curtain.

GUSSIEOh, pooh. But one minute late, God, every column.

JOESo, Frank? We see you after?

MARYFranks coming with us.

GUSSIEOh?

FRANKActually what I should do is stay here and get organized.

MARYYoure kidding, arent you?

GUSSIEOh, Mary, now lets all let Franklin get himself settled in. Goodnight, Mr. All-Work-And-No-Play. And everybodys favorite, Charley.

JOEDont you guys stay strangers now.

(GUSSIE and JOE EXIT to the front hallway)

CHARLEYGoodnight.

(Goes OFF to the bedroom)

MARYYoure really not coming?

FRANKMary, I cant leave. Not right now. Just accept that, will you?


MARYPlease, Frank. Please.

(FRANK shakes his head no. A moment, then MARY picks up theChampagne bottle)

Heres to us.(MARRY drinks from the bottle)

FRANKMary!

MARY(Calls to CHARLEY)

Okay, Charley, lets drop Frankie off and go have ourselves one hell of a time.

(MARY carrying the Champagne bottle, EXITS. CHARLEY ENTERS,carrying an overnight bag over his shoulder, a little boys coat and thesleeping FRANK JR.)

CHARLEYIll be down in a minute.

(Putting FRANK JR. on piano)Get rid of Gussie, Frank.

FRANK(Putting the coat on the sleeping FRANK JR.)

Gussies none of your business, Charley.

CHARLEYBut you are. Get rid of this pathetic life.

FRANKCharley, I love success. I love having two out of two shows hit. Moving up in theworld.

(A pause. Then)I need some time to think.

CHARLEYThen begin by thinking about joining Mary and me tonight. Frank, theressomething going on with Mary. She hasnt written one word since her book took off.Frank, she needs us. She needs both of us.

FRANK(Laying his head on his sons head, being close)

I made a promise Id wait for a phone call. I have to. I promised.

Act I Scene 3

CHARLEYWait for her phone call and get out of it once and for all. Then meet us.

FRANKIll be there.

CHARLEYYou know, I love you.

FRANKI love you.

CHARLEYI missed you.

FRANKI missed you.

CHARLEYAnd I want us to get back working together.

FRANKGet out of here before the both of us start wailing.

CHARLEY(CHARLEY raises FRANK JR.S arm, operating it up and down like apuppet and doing a ventriloquists voice)

Goodnight, pop. And listen to Uncle Charley because hes never wrong.(CHARLEY hits a bass note on the piano and EXITS, carrying FRANKJR.)

FRANK(Crosses to the piano and answers CHARLEYS notes, then goes up to thefront hallway)

Ill see you in just a little bit.(Shouting to the departing CHARLEY)

I miss him already.


#7A Growing Up Part 1 (Frank)

(FRANK returns DOWNSTAGE, passing the piano and stops to close thelid, idly noodling an arpeggio on it. HE pauses, sits on the bench andcontinues noodling. Soon the noodling becomes the vamp for GoodThing Going)

FRANKTHANKS, OLD FRIENDSKEEP REMINDING MEFRANKS OLD FRIENDSALWAYS SEEM TO COME THROUGH.FRANK WILL, TOO...

(Orchestra enters)SO, OLD FRIENDS,NOW ITS TIME TO START GROWING UP,TAKING CHARGE,SEEING THINGS AS THEY ARE.FACING FACTS,NOT ESCAPING THEM,STILL WITH DREAMS,JUST RESHAPING THEM.GROWING UP.

(Hits a dissonance with both hands. Fondly)CHARLEY IS A HOTHEAD,CHARLEY WONT BUDGE.CHARLEY IS A FRIEND.

CHARLEY IS A SCREAMER,CHARLEY WONT BEND.CHARLEYS IN YOUR CORNER.

MARY IS A DREAMER,MARYS A FRIEND.MARY IS A NUDGE.

MARY IS A PURIST,CHARLEYS A JUDGE.CHARLEY IS A DROPOUT,EVERYTHINGS A COP-OUT.WHY IS IT OLD FRIENDSDONT WANT OLD FRIENDS TO CHANGE?

EVERY ROAD HAS A TURNING,THATS THE WAY YOU KEEP LEARNING:

Act I Scene 3

(Noodles with one hand)

SO, OLD FRIENDS,DONT YOU SEE WE CAN HAVE IT ALL,MOVING ON,GETTING OUT OF THE PAST?SOLVING DREAMS,NOT JUST TRUSTING THEM,TAKING DREAMS,READJUSTING THEM,GROWING UP,GROWING UP.

TRYING THINGS,BEING FLEXIBLE,BENDING WITH THE ROAD,ADDING DREAMSWHEN THE OTHERS DONT LAST.GROWING UP,UNDERSTANDING THAT GROWING NEVER ENDS.LIKE OLD DREAMS SOME OLD DREAMS LIKE OLD FRIENDS.

(HE continues to play for a moment, then becomes aware of GUSSIEstanding at the doorway. He stops playing)

GUSSIEDont stop.

FRANKI thought you were going to call.

GUSSIEI said I had a headache and had the car bring me back here.

FRANKI have plans, Gussie. Im going to meet Mary and Charley. And there is something Ihave to say to you. I think its

GUSSIE(Interrupting)

Frank, I did it. I sent the driver back to take my things to a hotel.


FRANKGussie, dont. No. You cant do that! Weve already destroyed one marriage. I couldnever live with you leaving Joe for me.

GUSSIEIm leaving him for me.

FRANKBut why? Why suddenly? Why tonight?

GUSSIEI saw tonight I could lose you.

FRANKMy friends are waiting.

#7B Growing Up Part 2 (Gussie)

GUSSIEYour friends will be there for you tomorrow. I need you tonight.

(MUSIC under)LIFE IS KNOWING WHAT YOU WANT, DARLING.THATS THE ONLY THING TO KNOW.AS I TOLD YOU MOONS AGO, DARLING,NOTHING WRONG WITH WANTING.

NOTHING WRONG WITH WANTING ME, DARLING,ALSO NOTHING WRONG WITH NOT,THOUGH ITS ONLY FAIR THATYOU SHOULD BE AWARE THATI WANT YOU A LOT.

(Moving slowly towards him)

GROWING UPMEANS ADMITTING THE THINGSYOU WANT THE MOST.CANT PURSUEEVERY POSSIBLE LINE.FOLDING TENTS,MAKING CHOICES,IGNORING ALLOTHER VOICES,INCLUDING MINEYOURE DIVINE

Act I Scene 3

(FRANK moves away a bit)

YOU DECIDE ON WHAT YOU WANT, DARLING,NOT ON WHAT YOU THINK YOU SHOULD.NOT ON WHAT YOU WANT TO WANT, DARLING,NOT FROM FORCE OF HABIT.ONCE ITS CLEARLY UNDERSTOOD, DARLING,BETTER GO AND GRAB IT.THINGS CAN SLIP AWAY FOR GOOD, DARLING,WHAT IS IT YOU REALLY

(THEY embrace, then kiss. GUSSIE crosses toward the bedroom.FRANK follows, stopping at the phone. GUSSIE stands in the hallway ashe dials 411)

FRANKMay I have the number of the Downtown Club?

#7C Transition 3 (Company)

(GUSSIE EXITS)

COMPANYYESTERDAY IS DONE.SEE THE PRETTY COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,GATHERING DREAMS.

TRAVELLINGS THE FUN,FLASHING BY THE COUNTRYSIDEEVERYBODY MERRILY,MERRILYFOLLOWING DREAMS,ROLLING ALONGROLLING ALONGROLLING ALONGROLLING ALONG

END OF SCENE THREE


SCENE FOUR

(The slide reads: MANHATTAN COURTHOUSE 1967)

JUDGE(VOICE-OVER)

In the case of Shepard vs. Shepard, after serious consideration I have made a decisionto close this courtroom to both the press and the public. After a one hour recess wewill reconvene behind closed doors with the next subpoenaed witness. This court isnow adjourned.

(We hear the sound of a gavel.

Lights up on the steps of a COURTHOUSE. The year is 1967. AREPORTER [K.T.] is waiting, impatient and angry, when aPHOTOGRAPHER with a flash camera hurries in)

K.T.You missed the star going in. Stay close. Well try to grab her coming out.

PHOTOGRAPHERI left the minute the Peace March broke. Whattaya got?

K.T.Composers wife who wants every last cent plus the kid. This cats gonna be lucky ifthey let him keep his clothes.

PHOTOGRAPHERI thought you got something hot.

K.T.After the judge reads the deposition of the star witness and suddenly closes thecourtroom to the public, trust me, I got something hot.

(The courthouse doors open and JOE, with GUSSIE wearing sunglassesand scarves to conceal her, ENTERS, moving hastily DOWNSTAGE, asif towards a taxi)

GUSSIE(To JOE, crossing)

Its an innocent little friendship thats been blown totally out of proportion.

JOE(Crossing)

Youre a big star. You gotta know better.

Act I Scene 4

K.T.Hold it, Miss Carnegie. Why were you subpoenaed?

JOEOh, financial records, percentage, chasserie

(GUSSIE pokes JOE; they continue to EXIT, but K.T. and thePHOTOGRAPHER block their way)

K.T.Miss Carnegie, how are you two involved in this scandal?

JOEWe are not involved.

GUSSIE(Pulling JOE away, avoiding the PHOTOGRAPHER)

And it is not a scandal. We have no comment.

K.T.(Blocking them again)

Can you tell us why you are subpoenaed to testify today?

JOEMy wife and me, we are Mr. Shepards best friends I guess is why.

GUSSIE(Pokes JOE to stop him. Pulls him along. To K.T.)

Do you not understand that we have no comment?!(GUSSIE pushes K.T.S microphone away as THEY finally EXIT)

K.T.(To the PHOTOGRAPHER)

And the public knows no comment means guilty as hell.

(JEROME, CHARLEY and MARY ENTER from the courthouse,followed by SCOTTY and TYLER, K.T. and the PHOTOGRAPHERhurry to the steps. JEROME, seeing, the press whispers to CHARLEY,who goes back inside)

K.T.Any statement for the press, counselor?

JEROMEI have no statement.


(To his group)Stay with me.

K.T.I understand Gussie Carnegie is scheduled to testify this afternoon in a closedcourtroom.

JEROMEThats what we understand.

K.T.Why?

JEROMEWe have no idea.

(CHARLEY drifts back out)

K.T.Maybe Mr. Shepard could explain. Isnt Mr. Shepard coming out?

JEROMEMr. Shepard just left by a side exit.

PHOTOGRAPHER(To K.T.)

I know that exit.

(THEY EXIT STAGE LEFT)

JEROME(Looks around for more press, then)

Go get him, Charley.

(CHARLEY signals through the courthouse doors to FRANK, whoENTERS pale, exhausted, frantic)

CHARLEYFrank, this has gone on long enough.

MARYWe all think you should get out of this any way you can.

CHARLEYGive Beth whatever she wants.

Act I Scene 4

FRANKCharley, she wants everything.

JEROMEI warned you in the beginning, Frank, settle for whatever but settle. A womancharging abandonment of a wife and child Come on.

FRANKBeth wants to move back to Houston with my son. And Ill never allow that. Never.

CHARLEYYou know what theyre planning to do today, Frank.

JEROMEWith Beth sitting there with your kid on her lap.

MARYStop it now, Frank. Walk away. Take a trip.

CHARLEYSave yourself all this pain.

FRANKI cannot just lose my family.

TYLERFrank, Ive taken that yacht. Come on the cruise. Get away. Get some rest.

MARYAnd when you get back you can stay with me.

CHARLEYGo, Frank, go. We all want you out of this. Go. Get away.

FRANKI cant live without my son.

(BETH, a feminine, strong and tense woman in her late 20s, ENTERSfrom the courthouse, together with MR. SPENCER, her father, andFRANK JR., her son. THEY start to EXIT STAGE LEFT. The boystares back at FRANK as they cross)

Beth!


(BETH continues walking, ignoring him. FRANK screams at the top ofhis lungs)

BEEEEEETH!

JEROMEFrank, dont make it worse.

FRANKIm not going to give up, Jerome.

BETH(At the EXIT STAGE LEFT, to MR. SPENCER)

Daddy, wait for me.

MR. SPENCERDont be a fool, Elizabeth.

BETHI said wait.

(Bends down and kisses FRANK JR.)Mommy will be right back. You go with Grandpa.

MR. SPENCERYour mother would turn over in her grave.

FRANK JR.(Looking back as HE is pulled OFFSTAGE by MR. SPENCER, calling)

Daddy! Daddy! Daddy! Daddy!(HE keeps repeating the call into the distance)

BETH(Waiting until JEROME EXITS STAGE RIGHT)

I want you to give up, Frank.

FRANKIts not life without my son

BETHYoure not going to like what you hear this afternoon.

#8 Not A Day Goes By (Beth)

(MUSIC begins underneath)Im not out to hurt you, Frank. But Ill hurt you if I have to.

Act I Scene 4

FRANKHow is Frankie?

BETHHow do you think he is, Frank? All I keep thinking is I could have stopped it. I waswarned about Gussie. I could have stopped it.

FRANKDo you still love me?

BETHDid you sleep with her, Frank?

FRANK(Insistently)

Do you still love me?

BETH(Quietly at first)

NOT A DAY GOES BY,NOT A SINGLE DAYBUT YOURE SOMEWHERE A PART OF MY LIFEAND IT LOOKS LIKE YOULL STAY.

AS THE DAYS GO BY,I KEEP THINKING, WHEN DOES IT END?WHERES THE DAY ILL HAVE STARTED FORGETTING?

(With increasing fury)BUT I JUST GO ONTHINKING AND SWEATINGAND CURSING AND CR

Merrily We Roll Along Libretto

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Transcript of Merrily We Roll Along Libretto