Bombshell Script

Bombshell Book by: Patrik Komljenović Music by: Marc Shaiman Lyrics by: Marc Shaiman and Scott Wittman Based on the life of Marilyn Monroe. Original concept by NBC’s hit TV series Smash. All rights to the creative team of this beautiful concept, I just couldn’t let it sit and wait, so I just did it!

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Bombshell Characters ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Norma Jeane Mortenson/ Marilyn Monroe Shadow selves Gladys Baker Young Norma Jeane Tourists Starlets Studio Executives Darryl F. Zanuck Johnny Hyde Photographer Ben Lyon Stage Manager 20th Century Fox Staff Joe DiMaggio Friend New York Yankees Lovers

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General United States Troops Assistant Executive 1 Executive 2 News Reporter Studio Staff Reporters Lee Strasberg Paula Strasberg Students Arthur Miller Show girls Assistants Bing Crosby (the host) Nat King Cole John F. Kennedy

The musical is divided in two acts. The musical takes place mostly in Los Angeles, California, on movie sets, in homes and studios Time: 1940’s to 1960’s

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Prologue ( Song No. 0, Opening) SET: The stage is black and empty. Big doors are covering the stage. Kids who are playing on the street and cars driving by can be heard from the left side of the stage. Voices can be heard behind the big doors. The door opens on a black stage by an eerie silence. After the door slams, a single spotlight slices through the darkness and comes up on a beautiful young woman, standing in the centre of the stage. The beautiful girl is Norma Jeane Mortenson, who is innocent and vulnerable, unaware of what the world has in store for her. The stage background is pitched black and Norma Jeane is standing in the centre of the stage. Behind her there are figures, women just like her - Shadow selves behind the glass windows on each side of the stage.

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ACT I. Scene 1 Big doors are slowly opening. Norma is standing behind them. She is confused (spotlight goes on her)

Let me be your star (Song No. 1, Let me be your star) Norma: So another man says that he can’t compete, That he can’t love a moving target, so another affair gets incomplete. Well it’s time to adjust my plan, Cause when I’m up there on the silver screen it can make the whole world want Norma Jeane! So I can’t have the love of a single man, But a million or more well that I can! As the lights slowly come up, we see the Shadow selves – voices that Norma Jeane hears in her head and her head alone. In our eyes, we see that other young women are just like Norma. Women that are standing behind glasses, present unreal person- an illusion Shadow self 1: You're nothing. Shadow self 2: Your father left, because he didn't want you. Shadow self 3: Your mother is crazy. Certifiably nuts. Shadow self 4: Nobody wants you. Shadow self 3: Nobody wants you. Shadow self 2: Nobody wants you. Shadow self 1: You're nothing.

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Norma Jeane becomes unsettled by these taunting words and is almost tormented by memories of her childhood. But then something happens - her demeanor changes into one of confidence...and of hope for the future. Norma: Fade in on a girl With a hunger for fame, And a face and a name to remember. The past fades away Because as of this day, Norma Jeane’'s gone. She's moving on... Her smile and your fantasies play a duet That will make you forget where you are. The music starts playing, It's the beat of her heart saying... Let me be your star. Flashback to a girl With a song in her heart, As she's waiting to start the adventure. The fire and drive That make dreams come alive... They fill her soul. She's in control... The drama, the laughter, the tears just like pearlsWell, they're all in this girl's repertoire. It's all for the taking, And it's magic we'll be making; Let me be your star. I'll just have to forget the hurt that came before, Forget what used to be. The past is on the cutting room floor, The future is here with me. Choose me! Fade up on a star 5

With it all in her sights... All the love and the lights That surround her. Someday she'll think twice Of the dues and the price She'll have to pay But not today... Then she'll do all she can For the love of one man, And for millions who look from afar. I’m what you've been needing It's all here and my heart's bleeding, Let me be your star!

Shadow self 1: Norma Jeane Dougherty. No, not anymore. Baker... Shadow self 2: Or Mortenson... Shadow self 3: Left, to be on her own. Shadow self 4: Left to be and stay in shadows. Norma: I’m free. I don’t need any men to take care of me.

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Scene 2 SET: We turn back time 10 years in the past. On stage there is a green wall in Glady’s apartment. Norma Jeane is visiting her mother. She would like to be adopted by the family in which she is staying in. Norma Jeane comes from the left of the stage; Gladys is sitting on the bed. Young Norma: Hi Mamma! I came to you... Gladys: Oh, darling, hello! How are you? Young Norma: Oh, I’m great and I wanted to see you mum. Gladys: Oh, yes come here, give your Mamma a big hug! Young Norma goes to her mother and hugs her. Young Norma: Mamma I wanna talk with you about something. Gladys: Is something wrong, darling? Young Norma: Well, you know, this family, where I am now is very, truly nice. They love me so much... Gladys: (incoherent) What are you talking about? Young Norma: They want to adopt me and I really want them to. They sent you the papers many times, but you’ve never even looked at them. I really like them Mamma and I would like them to adopt me. Gladys: Sweetheart, I won't let them adopt you. I'm your family, they're not. Young Norma: But you never treated me like family. They do. Please let me go. Gladys: I'm not just something you can cut out of your life. Young Norma: But you were never there. Gladys: Don’t say it like that, I had to work and... (she gets speechless) 7

Young Norma: (almost crying) And? You were out with, with men and you came home drunk most of the time, I was so lonely... Gladys: Norma Jeane! Stop it! Don’t say that! Who told you that? That old hag? I loved you and I still do, and I want us to have a wonderful life together. Young Norma: But, you’ve never played with me, never bought me an ice cream, we’ve never gone to the park. Gladys: Norma, you don’t know how I tried. Norma you can’t imagine how it is to be a mother. I had to work harder to get more money for you, for us. And I was out late, because I was looking for a father for you, a real one not just ... a picture. She gets on her knees, and puts her arms on young Norma’s shoulders. And before I tell anyone, I am buying a house, a little white cute house for us. We’ll have everything together. I’ll find a new work. I love you darling, don’t think that I don’t. Norma is looking at the floor. Young Norma: not very happy I love you too, Mamma. Gladys: Now, stop with the sad face. Let’s get our little girl an ice cream. Gladys takes Young Norma’s hand and they leave the stage on the left.

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Scene 3 SET: This scene is in Los Angeles. The scene takes place at Grauman’s Chinese Theatre. There are many people on the streets walking up and down on walk of fame. Gladys in on the left of the stage. Young Norma Jeane runs to her with an ice cream from right of the stage. Young Norma: Mamma? Gladys:(takes Young Normas hands) Baby, here you go. We have had a lot of fun, didn’t we? Now, I have to go. Yang Norma: But Mamma! Please wait. I want to spend more time with you... Gladys: Listen Norma Jeane, I want to stay with you, but the work is waiting and there is nobody who’s gonna pay me for not beeing there. Young Norma: Mamma, please, stay. I’ve been so lonely without you. Where did you go mum? Gladys: Oh, darling. Please, it wasn’t that long, I was just a little bit stressed, ill! I should say, and I see that you have learned how to play piano very well. Young Norma: I guess. But it is really hard. Gladys: You’ll get better my darling. Young Norma: I just don’t like being away from you. Gladys: Don’t worry. Everything is gonna change now. I am working and we’ll be together soon, so my dear Norma Jeane, you don’t have to worry about that. You are still my little darling, my little Baby Grand. Gladys kisses young Norma. Gladys: Now I have to go Norma... Young Norma: Mamma don’t go! Gladys: Oh, darling! Look at you, you’re in the best place on this little Earth. Look, all the handprints from... from stars! And let me tell you a little secret of mine... 9

Young Norma: Yeah mamma? Gladys: And someday your hands will be here too! And it’ll say Norma Jean Mortenson Young Norma: You really think so?

At your feet (Song No. 2, At your feet) Gladys: Darling, every Saturday it's our tradition I give you a nickel for a days admission Then Mommy has to run, ah, but that won't stop your fun 'Cause you get to see whose shoes you fit Hey, Grauman, can you babysit? Young Norma: Mom, do you have to leave me alone here?

Gladys: Norma Jeane, you know I have to work. And what do you mean alone? This place is full of people! And not just people - stars. Nothing bad could ever happen to you here. Some folks wish on stars above They want money, fame and love We like our stars more concrete So the stars that you're wishin' on are at your feet Some like night to dream what's not We prefer this sunny spot To see the light and feel the heat When the stars that you're wishin' on are at your feet

I have to work each Saturday So my baby sees the matinee You watch the movie, then rush out And put your left foot and your right foot in And shake those dreams about!

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Most girls dream to touch the sky Wide awake is when we fly Down the boulevard, where it's hard to not feel high When you hear the song and feel the beat 'Cause the stars that you're wishin' on are at your feet Now, go on Norma Jeane, go see whose hands match yours. Young Norma: Mamma, who is your favourite? Gladys: Mary Pickford, Clara Bow Their impressions make a show And you're in a front row seat Where the stars that you're wishin' on are at your feet Tap in time with Fred Astaire Maybe someday you'll be there Ginger Rogers can't compete When the stars that you're wishin' on are at your feet We don't watch the skies for a star's ascent We prefer a square of wet cement With famous names that fill the screen And maybe some day one will spell out "Norma Jeane"! Young Norma: Maybe someday one will spell out "Norma Jeane"! Gladys: It's showtime, let the dream begin With each star who's ever been Step inside the footsteps that you should follow in So, I leave you in the best of hands In this most Chinese of wonderlands Your dreams will truly be complete When the stars that you're wishin' on are at your feet! Ain't she sweet!

(spoken) Here you go baby. Here are your tickets and you are fully ready and I have to be going. See you soon baby grand! 11

Young Norma: Ok, bye Mamma, see you soon! Gladys: Bye, bye baby! Gladys runs off the stage on left, Norma is standing alone looking after her mother and then she goes in the theater.

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Scene 4

SET: The stage is black and empty. Spotlight goes to the right of the stage. Young Norma Jeane runs to the center of the stage. She is alone. Her mother was taken away, because she had a metal breakdown Young Norma: frightened Mum?! Were are you going? Mum? Where are you taking her? Lights goes to the Shadow selves, which are standing behind Young Norma Jeane Shadow self 1: Norma Jeane! Come here! Young Norma: Where is my Mamma? Shadow self 2: She is gone. Come with us. Screaming is heard from the left of the stage Young Norma: What is happening? What is wrong with my mum? Shadow self 3: She is a little bit ill, darling... Shadow self 4: She is crazy, Shadow self 1: She is nuts. Now... Shadow self 3: Shhh! Come here Norma. Everything will be alright. Don’t worry. Shadow self 2: You’ll live in the orphanage. Young Norma: But I have a mother and I have a... father! I’m not an orphan! Shadow self 4: Of course you’re not. Shadow self 1: Just for a while. Shadow self 2: ‘till your mother is feeling alright. Young Norma: Ok? Will my mother be alright soon? 13

Shadow selves: Yes, she will be. Shadow self 3: Come now, child! They leave the stage on left

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Scene 5 SET: On the stage there is the desk and three couches. On two of them there are sitting diferent Starlets and when the music starts Norma Jeane enters the stage. Mr. Zanuck comes in the casting room, where starlets are waiting to attack him. Darryl F. Zanuck: I need somebody new, somebody blonde, somebody hot. So please for God’s sake find me some fresh flesh! Bring on the tomatoes: heirloom, cherry, plum I know that script stinks, but we’ll hit the road if we get the right SEX MATERIAL! Now girls what are you willing to do for the part?

Smash (Song No. 3, Smash) One of the Starlets: You ask me, how far will I go You ask me what I wouldn't do For the sight of my name As it fills every frame Yes, I want to be more than a flash Norma: I ask you, what lies should I tell I tell you I'm willing to learn So enroll me in school In your kidney-shaped pool In a two-piece I make Quite a splash 'Cause I wanna be a smash All: Yes, I wanna be a hit and run Till I've won every heart Be a queen to each king Or mechanic Plus you, Mr. Zanuck But first, mister You have to give me the part I know all the tricks of the trade I've even invented a few One of the Starlet: Now your interest is mounting 15

And soon we'll be counting The lights Norma: and the nights All: And the cash 'Cause I'm gonna be a Smash! Yes, I'm gonna be a smash Won't you help me be a... Smash! The number ends with Norma Jeane in Zanuck’s arms. He looks at the other blond girl and points at the blonde one. Zanuck: You’re all great and I had fun. But I need just one, just blonde, just hot! He drops Norma Jeane on the couch and the blonde goes away. Blackout. Spot light goes on Norma Shadow self 1: What are you doing? Sex won’t lead you anywhere. Shadow self 2: You’re just another dumb model, with new bathing suit, jumping up and down in front of the camera. Shadow self 3: You have no career. Shadow self 4: All you have, it’s just a miserably face, with nothing special to offer. Norma: There is a big life ahead of me, and nobody can stop me! Nobody! And if I they want to have a blonde, I’ll give them blonde.

Scene 6 SET: Studios of The 20th Century Fox. 16

In the background we see a sign of the 20th Century Fox. Stage Manager and Assistant of the director are talking Norma is led into a 20th Century Fox screen test room by a Stage manager. Stage Manager: What do people want? Not every person can be an actor, why don’t people finally get that. Assistant: Well you know, directors need someone besides theirs wives. If you know what I mean? Stage Manager: Thank god for the doors! Oh! Look the new flesh... Norma Jean comes on the stage, she is lost and frightened, but she knows, how she must look Norma: Hello! I’m Norma Jeane. I’m here for the meeting. Stage Manager: Oh, mr. Lyon is waiting for you in his office. He brings her to the office table on the left of the stage Ben Lyon: Hello, Norma Jeane, isn’t it? Norma: Yes I am. Ben Lyon: Well, you’re just a girl, who wants to be a movie star, hm? Norma: Well... Ben Lyon: I saw your pictures... Norma: Oh, yes! Well, I was modeling. They used me in every magazine they could put me in, I believe. Ben Lyon: Well, you are quite a girl, aren’t you? Norma: I guess so? Ben Lyon: Any experience? Norma: Well, I was...Juliette... Ben Lyon: Really?

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Norma: ...No...they didn’t accept me, because...I...was. Not that I didn’t learn the script, I...couldn't move in the character’s situation. Ben Lyon: Shakespeare? Norma: I wish, but it was some lame work from nobody... but I wanted the part so much... And I've tried to pick as much experience as I could from photographers, who took photos of me. Ben Lyon: Well, I... Norma: No please, just listen... I think that I have a talent, I know that I’ve never been to acting classes before, but I can do it, I can do anything... Ben Lyon: All I wanted to say is that, the face you have, Hollywood will not forget! Norma: Oh really? Ben Lyon: Now you are finally getting that contract! Who will shine now?! What about you Norma Jeane? Norma: They will ask for it. I didn’t know that my body is such a treasure! I guess that true work begins now. And Ben... Ben Lyon: Yes? Norma: You’re my angel! I can’t believe that you did so much for me already! Ben Lyon: Go and make them blush and get that contract at last... He goes and 20th Century Staff comes to stage One from the crowed: Oh, look it’s her! Stage Manager: Norma Jeane Mortenson, screen test for 20th Century Fox. Are you ready to Fox-trot, Miss Mortenson?

20th Century Fox Mambo (Song No. 5, 20th Century For Mambo Norma: At Paramount, it's "ooh la la" The Warner Brothers "cha cha cha" And L.B. Mayer loves his schmaltz So MGM made The Great Waltz But the 20th Century Foxtrot 18

It's precious -- but precious, it's not hot To make the big boys hire me Please make that rhythm fiery Come on, boys and girls Make me over! In this factory where dreams can come true Are you ready to make someone new? You're the team that must teach me to do The 20th Century Fox Mambo! Done the homework, and I'll pass the test I'll do whatever my teachers suggest I can do it clothed or undressed The 20th Century Fox Mambo! Make it up, shake it up Norma with 20th Century Fox Staff: Let the fantasies begin Norma: Here's the dope: To get cast, change the past Norma with 20th Century Fox Staff: Make the light just right for Cin... Norma: -emaScope! Take a gamble, 'cause it's safe to bet Mr. Zanuck ain't seen nothing yet When we're finished, he'll never forget Norma with 20th Century Fox Staff: This 20th Century Fox 20th Century Fox Staff: For fame 19

Play the game Change your name To the 20th Century Fox! Norma with 20th Century Fox Staff: Make it up! Shake it up! Marilyn: Make me feel like the main attraction Change the clothes, fix the nose And then five, six, seven, eight, action! Now I'm blonde, but I ain't so dumb Hollywood will be under my thumb I'll change partners until I become Marilyn with 20th Century Fox Staff: The 20th Century Fox Marilyn: Mambo! Marilyn: What do you think of... 20th Century Fox Staff: AAAAAAAAH? Stage Manager: Mason, Mary,...Marilyn sounds great... Marilyn: Can I at least have Norma in it.

Ben Lyon: Miller, I want that m-m sound in it, you know you are a piece of a candy... What was your grandma’s last name again? Marilyn: From now on, Marilyn Monroe in standing in front of you! 20th Century Fox Staff: You’re perfect! Sexy, you are hot! They go off the stage on the right. From the left of the stage we see a guy and a girl coming, who have just seen Marilyn on wallpapers and magazines. Girl: Who’s that?! Guy: They call her Marilyn Monroe. Girl: Well she’s gorgeous. I bet she’s really gonna became a big hit. You know? 20

Guy: Oh please! Blondes are a dime a dozen in this town. You’ll probably never hear from her again. Girl: I don’t know. They say that the history is made at night. And a girl like her can hit it any time, you know it’s a man’s world. Guy: I’m not like that. Girl: I’m sure you’re not...I’ll ask you that after 5 years.

Scene 7 SET: In the centre of the stage there is a big photograph on the white background. The spotlight goes to photo studio. Photographer: Norma Jeane, hello! You’re back, I knew it! Calendar is it? Will we go nude... Marilyn: It’s Marilyn now. Wait! You sure that I’m ready to take the “big boys”? You know my ex-husband and that. Photographer: Oh, don’t worry darling. Just relax and think of the sad boys across the pond. You do wanna help in the war. Don’t ya? Marilyn: Oh, think of the boys... you know, I know a lot of them now. I tell you that I gave them too much of me already. I wasn’t loved by them... I gave them love and they mocked it. I was never loved by them. 21

Never give all the heart (Song No. 4, Never give all the heart) As Marilyn is singing that, she remembers all the boys she met in her life. They come and dance with her, but at the and they disappear as she pushes the memory away Marilyn: As a girl, I lived in a million homes So I always would keep to myself And my lessons were learned From the stories and poems I would steal from a library shelf Yes the books, like the rooms Weren't mine to keep But the words weren't left behind And I think of them all now when I can't sleep And a poet who read my mind As the wise man once wrote Never give all the heart Well, it's easy to see He was writing for me I just wish I could play that part Yes, he scribbled that love Isn't worth thinking of That it fades out from kiss to kiss If I just learned those lines Well, just think of the misery I'd miss As the Irishman said Don't put your heart up to play When he warned of the cost And the heart that he lost Mr. Yeats really paved the way For the men that I've known Who have clearly shown They've been reading him from the start 'Cause when it comes to me Well, their kisses come free 22

But they never give all the heart When he warned of the cost And the heart that he lost Mr. Yeats really paved the way For the men that I've known Well, they've clearly shown They've been reading him from the start 'Cause each time that I fall They never give all the heart Mmmmm-mmmmm... Photographer: That was beautiful and fully true, but now let’s make some money. Take off that dress! Marilyn: Please... just don’t make me into joke. Photographer: (scornfully) Darling, this whole business is a joke. Marilyn: What? You really think that? Photographer: Of course not. The stage gets dark and the sound and light effect of photographing is heard and seen.

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Scene 8 SET: Racquet Club in Palm Springs; Pin-up shoot with Marilyn, when she meets with Johnny Hyde. Hyde is sitting on a chair and he is talking on the phone, Marilyn and her acting coach Natasha are coming from the right of the stage Johnny Hyde: Don’t worry. I’ll find her! She’ll be here... Yeah! You know me, I always find the right one! Hahaha! I heard she’s good looking, I mean those pictures...You’re right! I just hope she’s not dumb as others. Blonde is beautiful, but blonde usually means empty head... Haha we’ll be on the top again! Marilyn comes on the stage she is wearing bathing suite and talking to Natasha Johnny Hyde: Miss Monroe? Marilyn: Yes? She goes to him and sits on a chair opposite his. Johnny Hyde: Do you know who am I? Marilyn: I’m not sure, but I guess you must be somebody... Johnny Hyde: I am Johnny Hyde. I know you from the photos, I believe that you know mr. Bernard. Do you know he is very strict? Marilyn: Don’t worry, I know him very well. And It’s just a photo shoot. Johnny Hyde: JUST a photo shoot? You need to have a good... No, a great agent, like... me. Marilyn: Really! You would like to be my agent! Johnny Hyde: Well, you never know, what life brings us! He gives her a business card. Marilyn: I will meet with you, ok? Johnny Hyde: Monday noon, at my office. We will make a big star out of you! 24

Marilyn: Are you sure, you want me? Johnny Hyde: Positive! She stands up and goes toward the centre of the stage, but then she turns around. Marilyn: Oh! Thank you so much!

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Scene 9 SET: We see a cafe. There are the best baseball player Joe Dimaggio and his friend James, sitting and enjoying the coffee. James is reading the magazine (Marilyn is in it-playing the baseball) Joe DiMaggio: I can’t do that anymore. Divorce was enough, I can’t think, I can’t sleep... DiMaggio’s friend sees a picture of Marilyn on a ball field in the magazine Friend: What about this one? Look at her! Joe DiMaggio: What? Friend: Her, a girl. You need someone, believe me. Joe takes a look in the magazine Friend: What do you think? Joe DiMaggio: I don’t know, who, who is she? Friend: That’s Marilyn...Marilyn Monroe, you don’t know her? Joe DiMaggio: Should I? Friend: Movie star...still doesn't ring a bell? Do you read newspapers? Joe DiMaggio: My wife... Friend: You don’t have a wife anymore. You and her are going on a date on Saturday. A dinner date. Your agent will bring some articles about her. You and her: big love! He shows that with his fingers Joe DiMaggio: Ok, let’s meet her. Friend: She’s not into baseball, so talk about something else.

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SET: The ball field. Players are waiting for her. Marilyn: Those boys, haven’t seen a blonde yet, I guess. And they can be lucky ‘cuz I’m in the mood. Let’s see if this date is going to work! One of the Yankees: Oh look! There she is! A magazin girl! She is coming to us in the flesh!

The National Pastime (Song No. 6, The National Pastime) Marilyn: Fellas! New York Yankees: Yeah? Marilyn: Fellas! New York Yankees: Is it? Marilyn: Hey team! New York Yankees: Off the benches, it's Marilyn! Marilyn: I just got a date New York Yankees: She just got a date Marilyn: With baseball's Joltin' Joe New York Yankees: That lucky so-and-so Marilyn: 27

So run me 'round the bases Put me through my paces And teach me all the things a slugger's lover Should know! What's that there? New York Yankees: That's the pitcher's mound! Marilyn: Have you ever seen a shape that is so perfectly round? New York Yankees: Batter up! Marilyn: Play ball! New York Yankees: You better give it your all! Marilyn with New York Yankees: 'Cause all men like to play at Marilyn: The national pastime Who's that man? New York Yankees: That's the first base coach! Marilyn: Have you noticed that he signals every time I approach? New York Yankees: Kill the ump! Marilyn: Throw him out! New York Yankees: 28

Because there isn't a doubt Marilyn with New York Yankees: That all men like to play at Marilyn: The national pastime When I was just a little girl I liked being dainty and purty But now that I'm giving sports a whirl I find I kinda like to get dirty New York Yankees: Yeah! Baby, what's that there?

Marilyn: That's the team bullpen And I like the odds I'm seeing: no girls, all men! New York Yankees: Hit the deck, look alive! Beware the lady's line drive!

Marilyn: Yes, my skill and my passion'll Elevate the national... Peanuts! Hot dogs! Crackerjack! I don't care, I don't care if I ever get back! 29

New York Yankees: When the season's over, the play won't end Marilyn: 'Cause a baseball diamond is a girl's best friend Marilyn (New York Yankees: Yes, my style and my fashion'll New York Yankees: Yes, her style and her fashion'll Marilyn with New York Yankees: Elevate the national Pastime!

Scene 11 SET: The stage is black, spotlight goes to the Shadow selves; then we see the Hollywood hills in the beck, we hear people talking in the back;

Shadow self 1: Hollywood hills, Shadow self 2: Called lover’s pond! Shadow self 3: Love birds meet there, live together for the rest of their’s life. Shadow self 4: You never forget that moment.

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Shadow self 1: Even if you take the long ride, Shadow self 2: Even if the driver is a little bit shy. Shadow self 3: But the love will lead you , Shadow self 4: Love will put you to the right place. Lights fade out on Shadow selves. The spotlight goes to the centre of the stage, where’s a car. From the left of the sage we see Marilyn in a beautiful pink dress and DiMaggio in black suite with a brown hat walking by and several people - sweethearts are walking behind the car. Then Marilyn and DiMaggio sit on the car and enjoy the end of their date. Marilyn: Oh, Joe! All that drivin’ in circles...I thought you'd never ask! My head is in a true whirl right now! DiMaggio: Let’s go up there! Marilyn: I’ve never been on the hill before! DiMaggio: Come! There’s the true love story happening, like ours. They sit on the car Marilyn: Kiss me, Joe... DiMaggio: Wait, what? Marilyn: You heard me: Kiss me, Joe... Oh, darling! Don’t be shy. We’re not in the school anymore. Do I have to teach you?

History is made at night (Song No. 7, History is made at night) Lovers: (scatting) Marilyn: Put down the playbook 'Cause the things I wanna show you can't be written down Let my lips do the teaching 31

DiMaggio: Turn off the camera Kick your shoes off for this scene, you should be sitting down Yeah, sitting close enough for reaching

Marilyn: Turn down the lamp For the last page has been turned DiMaggio: When the dawn's breaking through Marilyn: We can stop and review all the lessons you'll have learned

Marilyn and DiMaggio with Lovers: 'Cause history is made at night So close the books, turn off the light, and listen Marilyn and DiMaggio: Let my heart be the teacher Marilyn and DiMaggio with Lovers: No one here to disapprove As we review the lessons you've been missing Marilyn and DiMaggio: Let the moon be our only light 'Cause history is made at night Lovers: (scatting) DiMaggio: I see the questions burning in your eyes, or is it just reflections Mm, of the stars high above you Marilyn: Oh, I'm just your student, and I hope you won't be shy, please make corrections 32

Yeah, on the sweetest way to love you DiMaggio: Come whisper close, tell me just when to say when Marilyn: Then we'll sleep through the day DiMaggio: Then whenever you say, that's when school begins again Marilyn and DiMaggio with Lovers: 'Cause history is made at night So close the books, turn off the light, and listen Marilyn and DiMaggio: Let my heart be the teacher Marilyn and DiMaggio with Lovers: No one here to disapprove As we review the lessons you've been missing Marilyn and DiMaggio: Let the moon be our only light 'Cause history is made at night Lovers: (scatting) Marilyn: Oh, oh, yes, someday, they'll write lots of books About our fame and glory DiMaggio: But if all their reports are just movies and sports They'll be missing the whole story Lovers: Missing the whole story Marilyn and DiMaggio with Lovers: 'Cause history is made at night 33

So close the books, turn off the light, and listen Let my heart be the teacher No one here to disapprove As we review the lessons you've been missing

Marilyn and DiMaggio: Let the moon be our only light 'Cause history is made at night Yes, our history was made at night

Lovers: (scatting) Marilyn: Joe, I love you so much. You are my dream come true! DiMaggio: Come here baby. Marilyn: Oh look, the dawn! She tricks him to look at her and then she kiss him

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Scene 12 SET: The two quickly fall in love, and marry. While honeymooning in Japan, Marilyn is asked to perform for troops in Korea. Joe sees from first hand how men react to her and how she loves to be in the centre of affection. Shadow self 1: joyfully Love can take you all over the World! Shadow self 2: smart But love don’t always put you in the spotlight Shadow self 3: insecure Sometimes you have to, well... Shadow self 4: decisive Put work before your love. Shadow self 3: corectfully Well, not really before, just a little bit in the middle Hotel Room; Marilyn: Oh darling! Look at it! she raises her left hand and shows her big wedding ring It’s so shiny! Diamonds are truly a girl best friends! I can’t believe that we are here in Japan! Oh! I love you so so much! DiMaggio: I love you too, mrs. Joe Dimaggio. Marilyn: I wanted this life for so long! DiMaggio: And now, we’ll have it, our own little family. Marilyn: Yes! and the dog, the house and our own kids. It’s like a dream come true! Telephone is ringing, DiMaggio takes it.

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DiMaggio: Hello? Who is that? You want my wife? Marilyn: Who is it darling? Is it for me? DiMaggio: Soldiers are! They are asking if you would perform for them, because the army is in Korea. Again, everyone knows we’re here... She stands from the bad and goes to the telephone. Marilyn: (on the phone) Blonde on the phone! Yes? Oh, I would love that! Can I...I’m sorry, can we get a boat to Korea? Oh who told you that we are in Japan? Honeymoon should be a secret... Oh, who else than the News, they know just everything...Oh yes tomorrow, all right. Darling...Can we go? DiMaggio: But baby we are on our honeymoon. Can’t it wait for at least few days? Marilyn: Oh, please! Don’t get upset!...Do it for the country and poor soldiers, they need a little fun, you know. DiMaggio: That’s just not right, let me think about it... Marilyn: Ple-e-e-ease... Maybe I can give you little something ... you know in the night (she raises her eyebrow) DiMaggio: Ok, if we must... And they lie on the bed.

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Scene 13 SET: On the ground we see an American flag and in the front of the flag there’s a little stage with an electric microphone. On the stage there is the General and in front of the stage there are soldiers General: Hello soldiers! Because there has been so much rumour about it, I have to say that everything is true! Let’s welcome to one and only: MARILYN MONROE Marilyn comes on the stage in a beautiful blue sparkle dress and DiMaggio is watching her perform from the left of the stage Marilyn: Hello boys! Let’s put aside war for one day and... celebrate!

I never met a wolf who didn't love to howl (Song No. 8, I never met a wolf who didn’t love to howl) When you are born with sex appeal In a forest called Hollywood, You'll find more wolves at your backdoor Than that Little Red Riding Hood. Now she and her little old Gramma Could have learned from the men I've dated That a wolf can be quite a devotee Once he's domesticated! Here's a lesson they should teach in school When a girl gets curvy, and the boys all drool If math and science just ain't your style Just give that teacher a wink and a smile For a passing grade, you won't have to wait And you can thank him later when you graduate 'Cause I never met a wolf who didn't love to howl!

United States Troops: Howwwl! 37

Marilyn: No, I never met a man who wasn't on the prowl United States Troops: Shimmy, shimmy, oh, gimme, gimme! Marilyn: If a nice diploma you wanna get Well, then, make that teacher the student's pet Yeah, I never met a wolf who didn't love to howl! You never know where a wolf might crouch But his natural habitat's the casting couch So take lots of pictures of the wildlife To tell the wolf you could share with this wife The hunter gets captured by the game Then Leo the lion will be roaring your name! Yeah, I never met a wolf who didn't love to howl! United States Troops: Howwwl! Marilyn: No, I never met a man who wasn't on the prowl United States Troops: Shimmy, shimmy, oh, gimme, gimme! Marilyn: If your face and figure are whistle bait Then honey, you'll have the keys to the studio gate Yeah, I never met a wolf who didn't love to howl!

United States Troops: The three little piggies sure had it wrong When the wolf came-a-knockin' with that old song Marilyn: He was huffin' and puffin' sayin' "Marilyn, I gotcha!" 38

I say "Come on in" and I put on Sinatra! Oh Frankie! The enemy wolves are just like boys They use the big artillery like playground toys But when they see my ammunition in all its splendor I'll easily negotiate complete surrender 'Cause the medals on my chest will make them weak in the knees And I promise I won't rest until we're all at ease Marilyn with United States Troops: Yeah, I never met a wolf who didn't love to howl! United States Troops: Howwwl! Marilyn with United States Troops: No, I never met a man who wasn't on the prowl United States Troops: Shimmy, shimmy, oh, gimme, gimme! Marilyn: 'Cause a boy with a gun thinks it's fun to shoot And that's a real big twenty-one gun salute Marilyn with United States Troops: Yeah, I never met a wolf who didn't love to howl!

Marilyn: Come and get me, boys! Marilyn with United States Troops: Yeah, I never met a wolf who didn't love to howl! United States Troops: Howwwl! Marilyn with United States Troops: 39

No, I never met a man who wasn't on the prowl United States Troops: Shimmy, shimmy, oh, gimme, gimme! Marilyn: Seeing all you G.I. Wolves gives me an idea Tell Hollywood that I'm staying in Korea Marilyn with United States Troops: I never met a wolf who didn't love to howl! Marilyn: Oh, yeah!

Toward the end of the song, DiMaggio goes off stage, looking very jealous.

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Scene 14 SET: When they get back in the States, Joe does his best to domesticate her with the promise of a simpler life. Shadow self 1: Back in town! Shadow self 2: It’s great to be back! Shadow self 3: Back in the normal life! Shadow self 4: Really? A normal life? Shadow self 3: uncertain A dream of it at least. On stage we see a lovely house with white fence and in front of it-on left, there’s a white garden bench. Marilyn and DiMaggio come from the left of the stage. DiMaggio: Baby, Marilyn... Marilyn: Yes? DiMaggio: I’ve been thinking... Why should we be so famous? We could settle our lives here in San Francisco. You know, I want you for my own! You are my wife. Marilyn: Oh honey! That’s all I ever wanted!

Mr. & Mrs. Smith (Song No.9, Mr. & Mrs. Smith) Marilyn: Call the Justice of the Peace But don't tell him our names Don't put out a press release Or mention baseball games

DiMaggio: Book the nearest bridal suite One room will suit us fine 41

For the desk clerk that we meet The only autograph we'll sign is Marilyn and DiMaggio: Mr. and Mrs. Smith Simply the folks next door

DiMaggio: People without a single clue what An agent or grip is for Marilyn: Yes Marilyn and DiMaggio: Nothing can beat the view When as far as the eye can see, there's DiMaggio: No one but Mrs. Marilyn: No one but Mr. Marilyn and DiMaggio: Smith and me DiMaggio: For a home the man provides That cottage built for two We'll check the small town classifieds Variety won't do

Marilyn: Then we'll move to Main Street, USA And sign the deed of trust The mailbox at our hideaway Will tell the whole wide world that we're just 42

Marilyn and DiMaggio: Mr. and Mrs. Smith Merely the folks next door

DiMaggio: People who use their kitchen each night Marilyn: Who've never been in "Toots Shor" DiMaggio: Yeah Marilyn and DiMaggio: Nothing can beat the view For as far as the eye can see, there's DiMaggio: No one but Mrs. Marilyn: No one but Mr. Marilyn and DiMaggio: Smith and me No early calls No big premieres No lush romantic theme We'll spend the nights Making our own Little League baseball team We're no one you've ever seen Marilyn: Movie stars don't live anywhere here Except on the local drive-in screen 43

Marilyn and DiMaggio: Yes, I'd gladly disappear If it might guarantee a view of DiMaggio: No one but Mr. Marilyn: No one but Mrs. Marilyn and DiMaggio: Smith and you. Marilyn: I love you so, so much Joe.

They kiss and Marilyn raises her leg up

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SET: Testing out the power of her stardom, Marilyn starts showing up late and refusing roles. The set changes to a room, where Marilyn is on the phone with DiMaggio. She is wearing a bathrobe and no makeup Shadow self 1: It’s not about liking, or disliking. Shadow self 2: It’s not about being true to yourself. Shadow self 3: It’s about looking and feeling good! Shadow self 4: It’s about all of that! Deep inside. Dressing room; Marilyn: (frightened) Hello Joe. I wanted to tell you that I can’t go...I just can’t see Mr. Zanuck’s angry face again. Yes I know but I... just can’t do it. I’m so frightened I think that maybe they want to fire me... Assistant rushes in Marilyn's room without knocking. Assistant: Mrs. Monroe they are waiting for you. Mr. Zanuck is very angry... Marilyn:(confused) I’ll come, just...give me a second.

Scene 16 SET: The set changes to a steam room, where Mr. Zanuck is about to hold a meeting concerning suspending Marilyn from FOX Darryl F. Zanuck (voice): (angry) I can’t even hire her on time! I can’t stand that any more! 45

Don’t say yes until I finish talking (Song No. 10, Don't say yes until I finish talking)

Executive 1: Any idea why Zanuck’s turning the heat up on us again? Executive 2: Search me. I think it’s Monroe, but it’s not like I get paid to think. Studio Executives: A studio executive has no beliefs That's the way of a studio system We've bowed to every rear of all the studio chiefs And you can bet your ass we've kissed 'em Even the birds in the Hollywood hills Know the secret to our success It's those magical words that pay the bills Yes, yes, yes, and yes! Darryl F. Zanuck: (spoken) Gentlemen! Take a memo. Darryl F. Zanuck: Today the trades are all aglow With grosses for our Miss Monroe The things those vermin mustn't know Is what she puts us through She makes directors wait all day One line per hour's all she'll say And still, she thinks we're gonna pay She needs a talking to Tomatoes like her must be put in their place If she don't shape up soon, she'll soon be walking 'Cause the buck stops with me Studio Executives: Yes, you're right, we agree! Darryl F. Zanuck: Uh, don't say yes until I finish talking 46

She's got them all tied up in knots Makes each producer faint and plotz She thinks she's queen and calls the shots As she sits on her throne She needs to learn she's only skin The next girl's waiting for a spin I made a star of Rin Tin Tin And paid him with a bone! Tomatoes like her, well, they're easy to find We throw them out as soon as they start squawking So, get me some younger dish Studio Executives: We concur, as you wish! Darryl F. Zanuck: Hey! Don't say yes until I finish talking!

And while you've got me on a roll Let's find a role for Nat King Cole Tell Mankiewicz his script is trite A little lower, to the right I think that Brando is miscast That television just won't last That I'm the king of Hollywood Studio Executives: All hail the king! Darryl F. Zanuck: Ooh, that feels good Which brings me back to that dumb blonde To her demands, I now respond Some buy your act, but I'm not conned You better fall in line You're two bazooms and nuts to boot I'll keep you in a bathing suit 47

When you stop bringing in the loot We'll go back to the vine Tomatoes like you, they all whither and die My powers, though, will never be diminished So don't bring me to my boiling point You're just a broad, I own the joint I'm in control, you're just a face Allow me to cut to the chase I'll make another movie star Can someone light my damn cigar? And then say "yes" 'Cause yes, men I'm finished Studio Executives: Yes! Assistant: Mr. Zanuck, I believe, I mean, I believe that the meeting can start. Marilyn comes in the room in a black polo neck and gray skirt.

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Scene 17 SET: The streets of New York City. Marilyn shoots the famous skirt blowing up scene for Billy Wilder's The Seven Year Itch. The public display enrages Joe, who finally leaves her. Marilyn: Joe come on, we’ll be late, you know it’s the shooting and I...can’t be late. She is going in front of him. DiMaggio: I don’t like the way, how they look at you. Marilyn: I can’t help the way they look at me, Joe. DiMaggio: What? You can’t? You love it. You love it, every bit of it. How you walk, how you talk, how you dress, how you sing, even how you put your makeup on. Marilyn: But that’s my job to do all those things. DiMaggio: Your job? Your job is to take care of me and our home! Marilyn: Don’t be silly, you know... DiMaggio: Silly? I gave up baseball for you. Why can you just give up the movies? Marilyn: Baby, you... don’t understand... DiMaggio: Don’t understand?! All of New York is staring under your skirt! Marilyn: Joe, but that’s... that is publicity. DiMaggio: That is dirty! That is... They are turning you into a joke.

On Lexington and 52nd Street (Song No. 11, On Lexington and 52nd Street) Marilyn: I’m not a joke! 49

DiMaggio: This relationship is a joke. Marilyn: Then tell me, what do you want from me? DiMaggio: What I want? Look it’s here. It’s what’s between us and you keep lying to me! Marilyn: I never lied! She runs off the stage. DiMaggio: Hurry, hurry, step right up See the star who lives for the spotlight Turn the mics and cameras on or she feels incomplete Now before it hits the screen Watch us play the final scene Right here on Lexington and 52nd Street News Reporter: (spoken) It is chaos down here on 52nd and Lexington! Film star Marilyn Monroe brings Hollywood to Manhattan as she films Billy Wilder's Seven Year Itch. DiMaggio: Hurry, all you faceless men And catch the end of the match of the century You're just in time for the final round 'Cause I know when I'm beat See the girl who's become a joke See the man whose heart she broke Right here on Lexington and 52nd Street From Hollywood to Niagara Falls In barber shops, on barroom walls The things I thought were only mine Are up for grabs, so get in line! Hurry, hurry, take a peak The traffic stops for the queen of the movies The centerfold live in the flesh, so get a ringside seat 50

You want to see what her husband sees? Just wait for the next subway breeze Right here on Lexington and 52nd Street Marilyn: (spoken) Joe! Joe! Where's Joe? ... Oh, Joe ... DiMaggio: Hurry, hurry, going fast Watch the fool as he heads for the exit He sees what she has to have, and he cannot compete See the girl who's ten feet high See the man who's learned to cry Right here on Lexington and 52nd... The stage goes black. Spotlight in on Marilyn and Shadow selves Marilyn: Joe? Please don’t leave me. Shadow self 1: Not everything comes together as we think it will... Shadow self 2: Not every dream comes true... Shadow self 3: Tears can heal us. Shadow self 4: Work can heal us. Marilyn: Joe!

Scene 18 SET: On one of the movie sets. Back in Hollywood on her next film. The divorce from Joe becomes official, and as film wraps, Marilyn resolves to keep going with the one family she knows, the film crew. One of the Studio Staff: Did you all hear? She is single again! DiMaggio left and divorce her. Other one of the Studio Staff: That’s why she is late again. Even on the last day she can’t be on time... 51

One of the Studio Staff: Oh look! She is coming! Shush!

Cut, Print...Moving On (Song No. 12, Cut, print...Moving on) Marilyn: I know I've kept you waiting I know I made you mad But this time that we've spent creating Was the best time I ever had Now I love to sit with memories But they won't come until we're gone So give me a kiss And cut, print... moving on Tell me a brand-new story Together we'll turn the page The grass is always greener On some new technicolor stage And if a duckling never swims She'll never become a swan Yes, I'm diving in So cut, print... moving on Yes, there have been nights I'll long to relive But sometimes you gotta roam You can't fight when something's gotta give But you'll always be my home away from home Now I like to play a love scene But don't let it last too long Play me the eight-bar intro Of some new, lush, romantic song I'm not afraid to take that leap With you to depend upon Now tell me your name Cut, print... moving on We told the same jokes, we breathed the same air 52

We couldn't tell night from day But just like the end of a love affair We all know the time comes to break away Studio Staff: It's time to break away! Marilyn: Last year we all were strangers This year, we're lifelong friends I know that this location Is not where our story ends Get up, cause the rat race never ends This life is a marathon And I plan to run so much more than a sprint What's next? Well, I can't even give you a hint But boys, that's a wrap So cut, print... moving on! And on! Moving on! They smile at her attempt at camaraderie, but the crew is long fed up with her on-set behaviour as the curtain falls on Act One.

ACT II. Scene 1 SET: Idyllwild Airport. On the stage we see an airport coming. There are also news reporters. Making one picture after another, Marilyn becomes dissatisfied with the roles she is being offered. She "retires" from pictures and flies off to New York City, where she is met by a phalanx of reporters and fans at Idlewild Airport

Public Relations (Song No. 13 Act II. Opening and Public Relations )

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Reporters: Here she is, Miss Marilyn Monroe! Will she have the answers that our readers want to know? Indian Reporter: From India! Parisian Reporter: And Paris! British Reporter: And from just across the pond! Reporters: We have so many questions for America's smart dumb blonde! Marilyn: Here I am! I dropped in from the sky For Look and Life and all the boys from Peek and U.P.I. Reporters: Please let us peek behind closed doors... German Reporter: Where no one is allowed! Marilyn: Well, I'm pretty good in private But the truth is I'm better in a crowd! I relate to men of so many nations But public relations are my favorite kind Reporters: You're the story that we're glad we're assigned! Marilyn: Dealing with one man can lead to frustrations But public relations I have never declined Reporters: 54

'Cause we're the guys who'll never leave ya behind! Marilyn: A bunch of men with pad and pen is a way to have some fun But, ladies, listen to me, confidentially Nothing ever beats a one-on-one! Still, you have come to me for sex in quotations So I'll use public relations to give you a piece of my mind Reporters: Gimme, gimme, a piece of your mind! 'Cause the answer to a question is the way you're defined, like:

American Reporter: What do you sleep in? Marilyn: Well, I adore Chanel No. 5, and not much more American Reporter: Any advice for a girl in the city? Marilyn: If you're two-faced at least make one of them pretty American Reporter: The studio says "lateness is your favorite crime" Marilyn: True, I've been on a calendar, but never on time American Reporter: When you posed nude, your inhibitions were gone? Marilyn: Well, that's not quite true, I kept the radio on! Reporters: Ahh, yes, to chase the blues boys I chase the newsboys! 55

Fame has plenty of perks! Marilyn: When your life's a mess, call the foreign press! American Reporter: Be they: Indian Reporter: Indian! Parisian Reporter: Parisian! British Reporter: British! German Reporter: German! Turk Reporter: Or Turks! Reporters: Yeah! Marilyn: I am glad you crave my best conjugations Yes, public relations is my favorite sound 'Cause when I'm alone I can pick up the phone 'Cause the fourth estate is always around! Reporters: Yes, it's just good public relations!

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SET: Stage is black. We hear just voices of Shadow selves Shadow self 1: We must take a step ahead Shadow self 2: We can’t always believe in our dreams Shadow self 3: We can’t always follow our dreams... Shadow self 4: We have to stay strong as work our way up! Spotlight comes at the front of the stage where desperate Marilyn and Shadow selves in the back Shadow self 1: Just focus Marilyn. Everything will be alright. Marilyn: Stop it! I don’t need this any more! I won’t be a star in Hollywood! Shadow self 2: Hollywood loves you. Marilyn: So did my husband, and now look at me, alone! Shadow self 3: I love you, like nobody else. Shadow self 4: I love you Shadow self 2: I love you Shadow self 1: Like nobody else. Shadow selves: Like nobody else. Marilyn: But you are not my husband! The Actor’s Studios, oh I’ve never been there or take any classes. I would like to be a real star, and if you don’t want to be a part of that, I don’t need you! Marilyn leave the stage on the right, Shadow selves disappear.

Scene 3 SET: Stage is covered. Marilyn comes from the back of auditorium and sits in the sixth row. Students are sitting in the audience. Acting coach Lee comes from left off the stage in front of audience. More determined 57

than ever to become a great actress, Marilyn begins to study with Lee & Paula Strasberg at The Actor's Studio.

Dig Deep (Song No. 14, Dig Deep) Lee:(spoken) The challenge for the actor is to use sense memory of childhood trauma. The actor must deploy the conscious and dig into the unconscious. The challenge for the actorStudents are coming from the audience

Students: Ah! Use your past Use your pain Never ever try to entertain Let Stanislavski be your umbrella Lee: Mumble your words! Unless they're... Male Student: "Stella!" Students: Use justification, improvisation Plus some emotional masturbation

Lee: Visitor from the Western coast! (He points his finger on Marilyn in sixth line) Lee with Students: Can you dig it? Marilyn: I dig it the most! (She stands from her sit and goes to Lee) 58

Marilyn: (spoken) I'm through with Hollywood. It's New York and the Actors Studio for me. And if any of those boys from Hollywood come calling, you can tell them I said this! Marilyn: In history, there's this doctrine called Monroe Which basically told the enemy where to go It was created to nurture and protect But now, a new Monroe doctrine is in effect So go tell Mr. Zanuck to read it and weep 'Cause I'm not just here to dig I'm here to dig deep From the 20th Century Foxholes, I'm released Students: (scatting) Marilyn: And just like the sun, I'm rising in the east Students: (scatting) Marilyn: I made a move from that permanent state of sadness To prove there's a method to my madness I'm waking up from that 20th Century sleep Yeah, I'm not just here to dig Students: Woo! Marilyn: I'm here to dig deep Marilyn with Students: Well, there ain't no sin to remove your skin Marilyn: And take a look under the hood Students: Mm-hmm! 59

Marilyn: Well, you must dispel the outer shell Though, you have to admit, my shell looks good Male Student: You're tearing me apart! Marilyn: I'll finally get to use my mind's interior And not only just my bust, and my posterior 'Cause the true inner self, you can't avoid Students: And we're just nuts about Sigmund Freud! Marilyn with Students: So open up my id Marilyn: For a good clean sweep 'Cause I'm not just here to dig Marilyn with Students: No, I'm not just here to dig Oh, I'm not just here to dig Marilyn: I'm here to dig deep Students: Motivation, concentration, exploration, simulation, perspiration, inspiration! Marilyn: So deep! Students: Yeah!

Acters go under the stage through the trapdoor. 60

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Scene 4 SET: Curtain opens. Acting studio. Marilyn is lying on the couch and Lee is standing beside her.

Lee: Remember. Marilyn: That is all I have to do? Lee: That’s all you have to do, my dear Marilyn. Look inside yourself. It’s who you are that will make you a great actress. In the back of the stage, Shadow selves appear. Spotlight goes to the Shadow self 1

Shadow self 1: A great actress. Marilyn: A great actress. Lee: Remember your youth. Spotlight goes to the Shadow self 2 Shadow self 2: Mamma bought the piano. Lee: Remember your childhood.

Second-Hand White Baby Grand (Song No.15, Second-Hand White Baby Grand)

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Shadow self 2: Then mamma went away. Marilyn stands up and goes to the front of the stage, spotlight is on her. Marilyn: My mother bought it secondhand from a silent-movie star It was out of tune, but still I learned to play And with each note we both would smile, forgetting who we are And all the pain would simply fly away Something second hand and broken still can make a pretty sound Even if it doesn't have a place to live Oh, the words were left unspoken when my mamma came around But that second hand white baby grand still had something beautiful to give Through missing keys and broken strings, the music was our own Until the day we said our last goodbyes The baby grand was sent away, a child, all alone To pray somebody else would realize That something second hand and broken still can make a pretty sound Even if it doesn't have a place to live Oh, the words are still unspoken now that mamma's not around But that second hand white baby grand still has something beautiful to give For many years the music had to roam Until we found a way to find a home So now I wake up everyday and see her standing there Just waiting for a partner to compose And I wish my mother still could hear that sound beyond compare I'll play her song 'til everybody knows

That something second hand and broken still can make a pretty sound Don't we all deserve a family room to live? Oh, the words can't stay unspoken until everyone has found That second-hand white baby grand that still has something beautiful to give I still have something beautiful to give.

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The Shadow selves disappear and she lies down on the couch. Lee: What were your dreams about, when you were a child? Marilyn: Well, I daydreamed a lot, when nobody was talking to me, when I was all alone, when nobody was looking. I was sitting in the chair and thinking about that photography. Lee: Well, tell me more. Marilyn: My...mother was...busy, I should say, so I had to stay at my neighbour’s apartment and when I went to visit her, I was so thrilled and happy, but there was that photo, the only one in the apartment. It was a man...It was my father, she told me. He was, well the most handsome man I’ve ever seen. He was wearing a hat. I would dream that he came and said the most wonderful things about everything, but I could never get him, to take off his hat. Lee: That’s the way to start. Marilyn:(to Lee) Nobody ever liked me, no family, no children. I was always alone. I thought, I dreamed of the wonderful life, a wonderful family and a house and the dog. But I have never told that to anyone. They would think that I’m crazy, she is almost crying nuts, like... my mother. I’m not crazy. People want to think that. They say I’m crazy because I want things, but the things I want… I want love. I don’t want… well… a sex object is a thing. Who would want to be a thing? And she starts to cry.

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Scene 5 SET: Marilyn’s dressing room in England. She doesn’t understand why Sir Laurence Olivier doesn’t like her and why did he hired apprentice to “bring her down”. Shadow self 1: Sometimes World sees just your look, Shadow self 2: Just your final piece, Shadow self 3: Final cut... Shadow self 4: They don’t know you, Shadow self 1: They don’t understand you, Shadow self 2: You’re just a-, a picture to them... Shadow self 4: Marionette that they can move... Shadow self 3: How they want to... Spotlight goes to the dressing room Marilyn: Paula, please tell why Sir Olivier hates me? Why does everyone here in England hates me... Paula: Marilyn, they don’t hate you. They just don’t understand you, England is such a different place than the States. Don’t worry everything will be ok. Just remember, you have to focus. Marilyn:(angry) They don’t. And I should? I see that my talent is not enough for them, or...do I even have it?... Now I’m just a dumb sexy blonde which will bring men to fill the seats, for them! I thought that success at Fox was hard but, that? Every time I felt it, but... now, who is my character, I just can’t get it, she is not real like other “american” ones. Paula: You won’t find a character on the page, she is within you, want to get out, pull her out Marilyn, pull her! Marilyn stands up and goes to the front of the stage.

They Just Keep Moving The Line (Song No. 16, They just keep moving the line) 65

Marilyn: The field was bright with clover I saw the finish sign I started as a rover And then victory was mine I thought the race was over But they just keep moving the line They cheered at my persistence But prayed for my decline The path of least resistance Led to Hollywood and Vine I tried to go the distance But they just keep moving the line I jumped all of the hurdles To break out of the pack I started on the outside And then hit the inside track I left the other fillies Back at the starting gate Was ready, on my mark, I got to set To hurry up and wait So talent and ambition Won me a chance to shine I aced the big audition But it's rainin' on Cloud Nine Can't beat the competition 'Cause they just keep moving the line I handled every corner Each bump along the track And when I saw the ribbon, well There was no turning back

I won the photo finish I posed for all the men But before I got my trophy Well, the race began again 66

So I've made friends with rejection I've straightened up my spine! I'll change each imperfection Till it's time to drink the wine! I'd toast to resurrection But they just keep moving the line! Please give me some direction, 'Cause they just keep moving the line! Paula: Sit down and focus Marilyn, you can do this. You are the greatest.

Scene 6 SET: On the stage we see the movie set for Some Like It Hot. Marilyn is not there, she is running late as usual. With the box office failure of The Prince & The Showgirl, Marilyn begrudgingly heads back to Hollywood to film Some Like It Hot, but is so unhappy about still having to play the dumb blonde that she begins spiraling down, keeping the crew waiting more than ever, as she drinks and takes pills. 67

Let’s Be Bad (Song No. 17, Let’s be bad) Show Girls: When we're feeling down and low Then our favorite word is no 'Cause it points the way to go Let's be bad! Who knows what will come tomorrow? Neighbor, lose the sobs and sorrow We've some sugar you can borrow Let's be bad! Assistant #1: (spoken) Does anyone think she'll actually show up? Is she even on the set? Assistant #2: (spoken) Ms. Monroe is in her dressing room. Director: (spoken) What kind of shape is she in? Assistant #1: (spoken) Her shape ain't the problem. Where is she? We will be stuck here all night!

Show Girls: Don't want to be boring Our twenties are roaring Let's punish the flooring Yeah, drummer man, do what you can Tonight the (whoo!) will hit the fan! Director: (spoken) How many takes did we do yesterday? Sixty? Assistant #1: (spoken) You know, someone should fire her! 68

Assistant #2: (spoken) Fire Ms. Monroe?! Show Girls: If you need some more enticing Here's a girl with twice the spicing We're the cake, but she's the icing! Let's be bad! Let's be bad! Director: (spoken) Arthur, where is she? Arthur: (spoken) She's in her dressing room. She's not feeling well. Director: (spoken) I'm not feeling well either! Get her out here, now! Marilyn: (spoken) Here she is, boys. Marilyn Monroe in the flesh, all ready to film yet another thrilling movie about a dumb blonde.

Arthur: (spoken) Marilyn, you look wonderful. Marilyn: (spoken) And that's all that matters, isn't it? Arthur: (spoken) Darling, so many pills... Marilyn: (spoken) How do you expect me to keep going? You're not bringing in any dough. Somebody has to support us. Director: (spoken) Let's take it from her entrance! Marilyn: (spoken) Where's my mark? 69

Assistant #2: (spoken) Right this way, Ms. Monroe. Follow me. Director: (spoken) Action! Show Girls: Let's be bad! Let's be bad! Marilyn: If you say something is taboo Well, that's the thing I wanna do Do it 'til we're black and blue Let's be bad!

Guns and gangsters suit me fine Al Capone is a buddy of mine He's my big-shot valentine Let's be bad! If spirits are sagging If feet are a-dragging Fall off-a that wagon The piano hums to the bass and drums And I'll be dancing when Hoover comes Don't care if you've tied the knot Most folks want what they ain't got Melt the ice, some like it hot Let's be bad! Marilyn with Company: Here's my whistle, make it wetter Let me wear that Scarlet Letter Marilyn: When I'm bad, I'm even better 70

Marilyn with Company: Let's be bad! Director: (spoken) What a mess! She's so doped up, I can't use any of this! Marilyn with Company: Say "bye-bye, propriety!" No polite society Marilyn: Give me notoriety!

Marilyn with Company: Let's be bad! Assistant #2:(spoken) You're fabulous, Marilyn! Arthur:(spoken) The whole world adores you! Assistant #1:(spoken) Keep dancing! You're gorgeous! Marilyn: Bring on the vices Don't care what the price is I'll add the right spices When the stand-up bass slaps you in the face Well, it ain't my husband I'll embrace Marilyn with Company: I can't see the use in waiting Your lips are intoxicating Marilyn: Do my hips need some translating? Marilyn with Company: Let's be bad! Marilyn: If I drown in bathtub gin 71

Notify my next of kin They might grieve or might jump in Marilyn with Company: Let's be bad!

Marilyn: Who wants plays and O'Neill dramas? Gershwin is the cat's pajamas I'm the queen of the red-hot mamas

Marilyn with Company: Let's be bad! Each crook and G-Man Each fop and he-man Marilyn: Just stick with me, man Every joint's a juke with my red-hot uke And just like Judas once said to Luke... Marilyn with Company: Here's the key for my ignition Hit the gas to my transmission Marilyn (Company): When you hear the things I'm wishing You won't offer opposition Let's prohibit prohibition! Let's! (Let's!) Be! (Be!) Ba-a-ad! (Bad!) Marilyn: Some like it hot, and that ain't bad! 72

Marilyn: I don’t feel good. I really should go, if, if you don’t mind... Arthur: Let’s go Marilyn. You need to rest.

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Scene 7 SET: Set changes, into a living room of Marilyn and Arthur. Marilyn is reading the final script of Let’s be bad. Arthur is hoping to get her back on the screen. She is addicted to pills and other drugs. Shadow self 1: Should I even begin? Shadow self 2: The sad part is... Shadow self 3: Lost... Shadow self 4: In your own head. Spotlight on the living room; Marilyn comes in the room, reading the script; she is not happy or not even dedicated to it; Marilyn: What is this Arthur? You even like this? Arthur: Yes, I do. I believe this is the best script you’ve ever got. Marilyn: You know what this is? It’s a crap! Men in dresses? Who’s gonna pay to see that? Nobody. Arthur: What do you mean? This is classic. Just remember Greeks, all men were playing women. Stage wasn’t a proper place for women. Their proper place was home. Marilyn: And who am I playing again? Dumb blonde as always! I just don’t understand why, why? Could you at least try to listen? I don’t care what you think. This script stinks. And you know what else? What is that all about the home being a proper place for a woman. It sounds like something Joe would say. Besides I want to stay home, I want to have a life with you. I’m trying to have a baby with you! ...And all you want to do is put me back to work! Is that why you married me?!

She leaves the room. He realizes he can't help her, or even stay with Marilyn anymore.

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Arthur: I don’t know maybe it’s just not like old times, ones I met her. I saw her in profile against a white light, with her hair coiled atop her head; she was weeping under a veil of black lace that she lifted now and then to dab her eyes. When we shook hands, the shock of her body's motion sped through me. But pills just doesn’t do that, she isn’t a girl I met ones, I can’t control her anymore. Pills have her now... Words sometimes don’t fit in the final script. Like writers sometimes lost the words, I lost my sweet Marilyn... He stands up and goes to the front of a stage.

The Right Regrets (Song No. 18, The right regrets) Arthur: A writer has the empty page where he can set the scene He puts the actors on the stage or on the movie screen The characters all say the words the writer wants to hear And then my friend; a happy end But when the writer steps outside that room where he is king He can't control when lives collide or what the lovers sing And so he hides behind his words the one place he belongs And in black and white he can rewrite the wrongs

Where he can find the strength to say what those he loves should hear And just erase mistakes she's made then make them disappear Where he can change the plot so he's a hero not a louse And when the curtain falls there's not a dry eye in the house A writer hopes to leave behind a work no one forgets And when he writes the end to find he has the right regrets A writer has the empty page where he can use his pen To mend his heart and try to start again.

And he goes off the stage.

Scene 8 SET: Party at Bing Crosby’s house in Palm Springs. 75

On her own back in Hollywood, Marilyn attends a fundraising event for John F. Kennedy in Palm Springs, where Nat King Cole entertains, rallying the super glamorous guests. Spotlight on stage; Bing Crosby the host comes to welcome everybody Bing Crosby: Welcome partners, quests, friends! I’d like to welcome you to a fundraiser for our president, which is joining us tonight. I know I’m not good at speeches, (quests start laughing) but I have another surprise for you tonight! I welcome on the stage one and only Nat King Cole! Nat King Cole comes on stage and sings the song. In the middle of the song president sees the one and only Marilyn Monroe. She catches his with just one wink of her eye, she goes to her

(Let’s Start) Tomorrow Tonight ( Song No. 19, Tomorrow tonight) Nat King Cole: Round and round goes the wheel of love Some say like Russian roulette There's a jackpot I'm dreaming of I'm ready to place my bet No need to beg, steal or borrow The future is looking bright Yes, I'm laying odds on tomorrow So let's start tomorrow tonight Can't cha feel, baby, we're in the chips Tomorrow's our lucky day, yeah I can feel gold at our fingertips We'll prosper if we parlay, yeah! No time for sadness and sorrow Together, we'll fight that fight Yes, I'm laying odds on tomorrow So let's start tomorrow tonight Don't need no clover or lucky charm That rabbit can keep his foot As long as we're walkin' arm in arm It's aces I feel, so shut up and deal!

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I know that we're on a winning streak The future can't come too soon Let's climb together to reach that peak Then, baby, we'll shoot the moon I'm high as Kilimanjaro And with you, Jack, I'm ready for flight Yes, I'm laying odds on tomorrow So let's start tomorrow tonight, yeah! As long as we're walkin' arm in arm It's aces I feel, so shut up and deal! Oh, I know that we're on a winning streak The future can't come too soon Let's climb together to reach that peak Then, baby, we'll shoot the moon I'm high as Kilimanjaro And with you, Jack, I'm ready for flight Yeah, I'm laying odds on tomorrow So let's start tomorrow tonight Let's start tomorrow tonight! Wooo--oooo! John F. Kennedy:(to Marilyn) I didn’t think that I’ll meet you here. Marilyn: Oh, mr. President... John F. Kennedy: Come with me.

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Scene 9 SET: Hotel room. Marilyn is wearing a beautiful white dress with roses. At the fundraising, Marilyn meets John F. Kennedy. Sparks fly, and they begin to sneak off together whenever he can manage to get away. But it is a degrading and doomed relationship.

Our Little secret (Song No. 20, Our little secret) Marilyn:(spoken) Mr. President... John F. Kennedy:(spoken) Call me Jack. I’m a huge fan of your pictures. Marilyn:(spoken) Ha, I’m a fan of yours as well. John F. Kennedy:(spoken) Glad to finally meet you in the, ah, flesh.(He starts to take Marilyn’s jacket off.) Marilyn:(spoken) Disappointed? John F. Kennedy:(spoken) Shall we go somewhere to talk? Get to know each other better. Somewhere where there’s No FBI getting nervous No CIA peeking through I've got my own Secret Service to take care of you Marilyn:(spoken) We can get to know each other right here, can’t we? John F. Kennedy:(spoken) Why don’t we go where No one from Time or from Newsweek, Can document our rendezvous It’s our little secret Just us two Marilyn:(spoken) Everyone’s watching. Is your wife here? John F. Kennedy:(spoken) Jackie doesn't approve of my parties or my friends.

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Marilyn:(spoken) I hear you have a lot of "friends". Maybe that’s why? John F. Kennedy:(spoken) Our host wants to see you. Marilyn:(spoken) Bing? Now? Where is he? She notices a large bed. John F. Kennedy:(spoken) I had to get you alone. Marilyn:(spoken) Do you always get what you want? John F. Kennedy:(spoken) I haven’t told you what I wanted yet. How 'bout I never do? And you have to guess...(He pins Marilyn up against the wall and starts to seduce her more.) Outside of this room there's a cold war, But you'd never know it in here There’s just no defense, the heat’s too intense And oh, how it rises whenever you’re near Marilyn:(spoken) You want the same thing everyone else wants. I thought you’d be different mr. President.. John F. Kennedy: Give me a chance. She smiles and turns her back to the President, and he begins to undress her. John F. Kennedy: So let’s do it now for our country, And raise the old red, white, and blue It’s our little secret, just us two Just us two Just us two The two go on to the bed and start to kiss.

Scene 10 SET: JFK’s hotel room. On the stage we see the bed. Marilyn is still sleeping, as Kennedy is putting his shirt on. 79

Marilyn wakes up and sees JFK buttoning his shirt. Marilyn:(happy) Jack? Where are you going? John F. Kennedy: I have to get on the plane. Marilyn: When will I see you again? John F. Kennedy: I don’t know. Marilyn sits up and covers her body with a sheet and starts hugging him. Marilyn: I could go with you. John F. Kennedy: You can’t. Jackie’s waiting. He stands up and Marilyn is confused,. JFK goes to her and takes her chin. John F. Kennedy: Last night was fun. And kisses her. Marilyn: (confused) Is that all?! John F. Kennedy: What else was there supposed to be? He puts his jacket on. Marilyn: You are going back to her, when you have this waiting for you right here? John F. Kennedy: Well, let’s face it. You’re not exactly first lady material. He smiles to her. Marilyn: You’re wrong. I’ll call your wife. John F. Kennedy: No you won’t. Marilyn: (She stands up with a sheet covering her body) I will! I’ll call her and I promise she won’t like it one bit. Because I’m not like one of your other girls and she knows it... I’m Marilyn Monroe. If you leave now, you're going to regret it... But you can come back to bed. Come back to bed Jack... 80

She drops the sheet she was covered in - she is nude under it. John F. Kennedy is speechless and he is looking at her but then he leaves and Marilyn covers her body with a sheet and sits on the bed and then lies down.

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Scene 11 SET: On the stage we see a big rounded bed and Marilyn is lying on it. Marilyn: Now I understand! That’s all what they ever wanted! They wanted a sex object! And... I’m not that. When she said that, Shadow selves appear in the back. Shadow self 1: Marilyn? Shadow self 2: Marilyn? Shadow self 3: Marilyn... Marilyn: What?... Marilyn? Shadow self 4: Now, Norma Jeane is gone! There is nothing left... but the empty Monroe... Shadow self 1: Empty,... Shadow self 2: Empty beauty,... Shadow self 3: A thing,... Shadow self 4: Men’s thing...used thing. Shadow self 1: You know too much. Shadow self 2: He...he told you too much. Shadow self 3: Now, you’re just... Shadow selves: A sex object! Marilyn: No! Go away. Disappear! I don’t need you! I’ll make you disappear! She is frightened and confused so she takes a hand full of pills and falls asleep.

Scene 12

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SET: Marilyn is dreaming about the visit to her mother. The bed moves off stage. On the stage comes a hospital bed and around it we see three white panels. On bed is sitting Gladys in a purple dress and Marilyn is coming to her. Fired from her latest film, used up by the Kennedys and deeply under the influence of pills and booze, Marilyn fantasizes about visiting her mother at the sanitarium, where - in the dream Gladys says all the things to Marilyn that she always wanted to hear. Marilyn: Oh, mamma. How...how are you? Gladys: Hello baby, I’m good. Marilyn: O mamma, I’ve missed you so, so much. Gladys: Don’t worry darling, I’m here now, I hope that I’m not too late. Marilyn: Where were you, when I really needed you? Gladys: When I was a film cutter at RKO Pictures, after work, me and the girls would sometimes drive all the way down to the Santa Monica’s pier and went dancing. I should have come to see you, but I knew you were better of where you were. Oh, Norma Jeane I’m so sorry. Marilyn: Mamma, I’m Marilyn now. I haven’t been Norma Jeane in years. Gladys: Baby, I wish I was back in the cutting room. I’d take all these pieces of our lives and I’d make something beautiful out of it.

Hang the Moon (Song No. 21, Hang the Moon) Gladys: If our lives were a movie I'd know what to do I'd write every scene with my heart An R.K.O. picture That stars me and you And this time, I'd learn my part I'd paint you some scenery We'd sing, and we'd dance From morning, 'til late afternoon And when that scene is done 83

Then I'd take down the sun And for you, darling, I'll hang the moon We'd wake up to sunshine Like lights on a set You'd reach out, and there'd be my hand All day, there'd be music A perfect duet That flows from the white baby grand At night, when you're frightened I'll play you to sleep That melody from Clair de Lune And to fill up the sky Past the clouds I would fly And for you, darling, I'll hang the moon Hang the moon forever So you'd never fear The darkness, the darkness I've know Moon, protect Norma Jeane So that she'll never be alone Never alone If our lives were a movie Then you'd be the star 'Cause now I know the role I should play To applaud all you do, All the things that you are And just be there on opening day I know in the past That the lines were all wrong 84

And the music was never in tune But the wish that I make Is for just one more take Because then, darling, I'll hang the moon Gladys and Marilyn: I'll hang the moon above you So you never fear The darkness, the darkness of night Then you'll know I love you Each time that you feel the light Gladys: Feel the light If our lives were a movie Then I'd cut away All the moments when I wasn't there Marilyn: The scenes that are happy Are all that will stay The rest will dissolve into air Gladys and Marilyn: As the final reel ends We might both shed a tear Gladys: For the ending is coming up soon

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Gladys and Marilyn: But when the screen fades to black We can smile and look back Gladys: And for you, darling, I'll hang the moon.

The stage gets dark.

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Scene 13 SET:On the stage we see a big rounded bed and Marilyn is lying on it. She takes a phone and calls someone.But when she awakens to find herself alone, Marilyn calls one friend after another as the drugs and alcohol have a final, lethal effect on her. Marilyn: Mamma? Where are you? I’m so... lonely... Then she takes a phone from her night stand. Marilyn: Hello it’s me...oh yes. They hang up on her. Shadow self 1: Nobody wants you. She takes another pill and calls another friend Marilyn: Hi, can...Ok, bye. They hang up on her. Shadow self 2: Nobody wants you. She calls another one. Marilyn: Hi are you... oh, bye then. They hang up on her. Shadow self 3: Nobody wants you. She takes another pill. Shadow self 4: You’re a thing, an object.

Marilyn is almost down, she calls another friend

Second-Hand, White Baby Grand (Reprise) Something second hand and broken, 87

Still can make a pretty sound. (Into the phone) Come on. Come over. I just need a little company. I just thought a little company would be nice. We don’t… have to do anything. Just… just talk. I like to talk. You know, people don’t talk enough or they talk too much. They’re just… they don’t listen. I’m lying here, naked, waiting for you. Come over. Come on. I’m more beautiful than ever. Sure. Mmhmmm. I understand. Hold a good thought for me and just remember… you’re a great guy. She hangs up. In the back, we see The Shadow Selves; They want to tell Marilyn what Kennedys wants her to know. She is weak, she would believe and she would do anything what someone would tell her Shadow self 1: Wasn’t that enough? Shadow self 2: Don’t you feel it yet? Shadow self 3: You are alone. Shadow self 4: They left you... Shadow self 1: Kennedys. They don’t want you. Shadow self 2: They want you, to ... go. Shadow self 3: You know too much. Shadow self 4: You have to go. There is no other way left for you.

She is frightened, she don’t know what to do. She do, what she knows how to do best, please others...

Marilyn: Oh, the words can stay unspoken 'Til everyone has found That second hand white baby grand Still had something beautiful to give 88

Still had something beautiful To give... She falls on the bed. Silence. No movement. She is dead. Blackout.

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Scene 14 SET: Stage is black and empty, DiMaggio comes on. Spotlight goes on him Joe imagines what their life could have been like.

DiMaggio: Why? Oh, why didn’t I see it? Maybe it wouldn’t have to be like this ... Maybe ....

Mr. and Mrs. Smith (Reprise) DiMaggio: I’d gladly disappear, if it might guarantee a view of No one like mrs. No one like mr. Smith....

Spotlight fades away from him.

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Scene 15 SET: Stage is empty and black. Spotlight lights up on Marilyn is wearing a beautiful white dress. While she is singing, men who “had her” are coming on stage, but she doesn’t care about them. She sings from her heart, why shouldn’t she be forgotten

Don’t Forget Me (Song No. 22, Don’t forget me) Marilyn: They thought they could dispose of me They tried to make me small I suffered each indignity But now rise above it all Yes, the price I paid was all I had But at last I found release And if something good can come from bad The past can rest in peace So if you see someone's hurt and in need of a hand Don't forget me Or hear a melody crying from some baby grand Well, don't forget me When you sing "Happy Birthday" to someone you love Or see diamonds you wish were all free Please say that you won't I pray that you don't forget me But forget every man who I ever met 'Cause they all only lived to control For a kiss they paid a thousand, yet They paid fifty cents for my soul They took their piece: the price of fame That no one can repay Ah, but they didn't buy me when they bought my name And that is why I pray That when you see someone's hurt and in need of a hand 91

You don't forget me Or hear a melody crying from some baby grand You don't forget me When you sing "Happy Birthday" to someone you love Or see diamonds you wish were all free Please say that you won't I pray that you don't forget me There are some in this world who have strength of their own Never broken or in need of repair But there are some born to shine who can't do it alone So protect them and take special care Take care And don't forget me Please take care And don't forget me When you look to the heavens with someone you love And a light's shining bright from afar Hope you see my face there And then offer a prayer And please, let me be Let me be that star!

The end. Curtain falls

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Curtain calls Let Me Be Your Star (Reprise) Ensemble: She turns on the glow As the fans start to cheer It’s her name that you hear Near and far... She’s what you’ve been needing It’s all here and her heart’s pleading Let me be your Star Lee and Arthur: Fade in on that girl who we once loved with the fame and that smile to remember her past faded away when we saw her that day Because Monroe was gone She was now one of us

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We knew from the start She would love me forever and ever We would soon be united and Mr and Mrs Smith would live on But then she past on and left me completely and I love her and she'll love me Forever and ever Eternally Marilyn: Then she’ll do all she can For the love of one man And for millions who look from afar. She’s what you’ve been needing Is all here in my heart, pleading: Let me be your star! Company: Let her be your... STAR!

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