Merrily We Roll Along RevivalLibretto MIT Españo.Docx

Libretto / Vocal libro de

delmúsica y letras de Stephen

Sondheim libro de George Furth

basada en la obra original por George Kaufman y Moss Hart Dirigida originalmente en Broadway por Harold Prince Producido originalmente en Broadway por Lord Grado, Martin Starger, Robert freidora y Harold Prince en Asociación con Ruth Mitchell yHoward

AVISOHaines:NO BORRAR!

• En caso de considerar necesario para marcar las señales o cortes, use un lápiz de mina blanda de color negro solamente. NO SE VENDE.

• Este es un libro alquilado por el período especificado es su contrato. Se mantiene la propiedad de: DE LA MÚSICA TEATROINTERNACIONAL DE

TEATRO DE LA MÚSICA INTERNACIONAL 545 Eighth Avenue Nueva York, NY 10018 (212) 8686668 libro Copyright © 1994 por George FurthRilting.

Música y Letras Derechos de Autor 0 1981, 1987 por Revelación Music Publishing Corp. y música, Inc. Todos los derechos reservados. Usado con permiso.

De conformidad con los términos y condiciones especificados en la licencia de funcionamiento, toda la música, las canciones y el diálogo contenidas en este documento son propiedad de los autores y se encuentra plenamente protegido por derechos de autor. No se le permite hacer ningún cambio en la música, letras o el diálogo tantas veces que juegue incluyendo la interpolación de nuevo material y / o la exclusión material de ofe xistentes. Cualquier cambio estará constituido por los derechos de autor de infracción deliberada de ayuda OFS y le someta a todas las sanciones penales y responsabilidad civil conforme a la Ley de Copyright de los Estados Unidos. Este libro no puede ser duplicado y debe ser devuelto a la conclusión ofy nuestra producción. Este espectáculo es la ofi Autores propiedad ts. Recuerde, usted ha alquilado estos materiales y ha concedido una licencia de funcionamiento. El usuario no puede duplicar estos materiales, ni utilizarlos para las actuaciones no sean las especificadas en su contrato de licencia.

TEATRO DE LA MÚSICA INTERNACIONAL Octava Avenida545 Nueva York, NY 10018 (212) 868 a 6.668

MUM INTERNACIONAL DE TEATRO

Indice acto uno

PRÓLOGO

I

#1

Overture

(orquesta)

1

#2

Merrily We Roll Along

(Empresa)

2

eSCENA UNO

7

#3 # 3A

que Frank incidental

(Empresa) (piano on-etapa)

7 17

# 3B # 3C

incidental incidental

(piano on-etapa)

22

#4

( "buena cosa") Transición 1

(On-stage piano) (de la empresa)

25 28

eSCENA DOS

30

#5 #6

Old Friendr - como si fuera (María, Charley) Franklin Shepard Enc (Charley)

# 6/1

Transición 2

32 .40

(Empresa)

ESCENA TRES

49

#7 # 7A # 7B

Old Friends creciendo - Parte 1 creciendo - Parte 2

(María, Frank, Charley) (Franklin) (Crussie)

54 66 68

# 7C

Transición 3

(Empresa)

69

ESCENA CUATRO #8 #9

No pasa un día Ahora usted sabe

70 Meth) (Scotty, María, Tyler, Charley, Frank, Joe, JErome, KT,

74

Company)

78

ACTO II # 10 Entr'acte ESCENAUNO 10A# # 11 # 11A

Ley2 - Apertura es un éxito Transición 4

(Orquesta)

85

(Gussie) (enemigo, Frank, Mag, Beth, Charley) (de la empresa)

85 85 89 97

ESCENA DOS

99

# 12 # 124

El Blob - parte 1 The Blob - parte 2

(Comparg) (Empresa, Gussie)

59 102

# 12B # 12C # 12D # 13 # 13

The Blob - parte 2 (subrayado) Crecer The Blob - parte 3 buena cosa El Blob - Parte 4

(piano on-etapa) (Gussie) (Cumplir y (Charley, Frank) (Charley, Frank, Dory, Gussie, Joe, reducida)

105 109 110

# 13B

Transición 5

(Empresa)

117

ESCENA TRES # 14 Bobby y Jackie y Jack # 14A # 15 # 15A

(Charley, Frank, Beth, pianista)

119

Bobby y Jackie andJ ACK Playoff

(On-stage piano)

125

No pasa un día Acto 2

(Beth, María, Frank)

132

Transición 6

(Tyler, Dory)

134

Abriendo Puertas Transición 7

ESCENA CINCO # 17 Nuestro tiempo - Parte 1 # 17A Nuestro tiempo - Parte 2 # 17B Nuestro tiempo - Parte 3 # 18 # 19 # 19A

114

119

ESCENA CUATRO # 16 # 16A

113

Arcos Exit Music Exit Music

135 (Charlg, Frank, Mary, Joe, 1ª Gir4 Bet) (Beth, Frank Jr., señora Spencer)

135 151

(Frank, Charley) (Frank, Charky) (Empresa)

152 153 155 159

(Orquesta, Empresa) (Orquesta) (Orquesta)

161 161 161

CARACTERES FRANKLIN SHEPARD CHARLEY. Kringas MARYFLYNN TYLER TERRY SCOTTY DORY RU JEROME KT. MEG KINCAID BUNKER gussie CARNEGIE TVPERIODISTA TVnewswoman Maquilladora TRASPUNTE JOE FRANK JOSEPHSON JR. JUEZ FOTÓGRAFO BETH MR. SPENCERpianista. MRS SPENCER 1ST la MUCHACHA PERSONAS de Multitudes

canciones de CARÁCTER Bet

# 8 No pasa un día en # 11 es un éxito

Charley

74 89

# I4 Bobby y Jackie y Jack

119

# 15 No pasa un día - Ley 2

132

# I6a Transición 7

151

# I6 Apertura D0077

135

# 5 Old Friends- como si fuera # 6 Franklin Shepard Inc.

32 40

# 7Old Friends # 9Ahora ya saben

78

# 11 es un hit

Sociedad

perro

Frank

# 13 buena cosa

113

#13 The Blob - Parte 4

'114

# I4 Bobby y Jackie y Jack # 16 apertura de puertas

I 19 135

# I7 Nuestro Tiempo - Parte I

153

# 17A Nuestro Tiempo - Parte 2

155

# I7b Nuestro Tiempo - Parte 3

159

#2 Alegremente We roll Akng

2

# 3 que Frank

7

# 4 Transición 1

28

# 6ATransition 2

47

# Transición 7C 3 # 9 Ahora ya saben

69 78

# 11A Transición 4 # 12 El Blob - Parte I

99

# 124 The Blob - Parte 2

102

# 12D The Blob - Parte 3

110

# I3B Transición 5

117

# 17B Nuestro Tiempo - Parte 3 # I8 Arcos

159 161

# I3A The Blob - Parr 4

114

# I5A transición 6

134

# 7 Old Friends

54

# 7A creciendo - Parte I

66

# 9 Ahora usted sabe

78

# 11 es un éxito

89

# I3 buena cosa

113

# 13 El Blob - Parte 4

I 14

# 14 Bobby y Jackie y Jack

119

#15 No pasa un día - Ley 2

132

# 16 apertura de puertas # 17 Nuestro Tiempo-Parte 1

135 153

° 174 Nuestro tiempo- Parte 2

155

# 17B nuestros días- Parte 3

159

Frank Jr.

# 16A de transición 7

151

huéspedes

° 134 El Blob - Parte 4

114

Gussie

# 78 Growing Up-Parte 2

68

# 10A Ley 2 - Apertura

85

# 124 El Blob- Parte 2 # 12C Creciendo # 134 The Blob - Parte 4 Jerome Joe

102 109 114

# 9 Ahora usted sabe

78

# 9 Ahora ya saben

78

# 11 es un éxito # 134 The Blob - Parte 4

89 114

# 16 apertura de puertas de

735

K T.

# 9 Ahora usted sabe

78

de mayo

# 50 / i Amigos - como si fuera

32

# 7 Old Friends

54

# 9 Ahora usted sabe

78

#I 1 es un éxito

89

# 15 No pasa un día -4.ct 2 # 16 la apertura de puertas

132 135

# 17B Nuestro Tiempo - Parte 3

159

señora Spencer

# 16A Transición 7

151

pianista

# 14 Bobby y Jackie y Jack

119

Scan))

# 9 Ahora usted sabe

Tyler

# 9 Ahora usted sabe

1º Girl

# 154 Transición 6 # 16 Apertura de puertas de

78 78 134 135

CRONOLOGÍA actuar de una escena:

Bel aire, Californiiaa -1976

ESCENA DOS:

NBC Studio, Nueva York -1973

Escena tres: Apartamento de Frank, la ciudad de Nueva York -1968

(Frank, María, de 40 años de edad) (Frank, María, Charley: 37) (Frank, María, Charley: 31)

Escena cuatro:de Nueva York

Palaciojusticia de Manhattan, 0,1967

(Frank, María, Charley: 30)

ESCENA UNO: 1964

Alvin Theatre, de Nueva York -

(Frank, María, Charley: 27)

ESCENA DOS:

Gussie Brownstone y del enemigo, la ciudad de Nueva York -1962 (Frank, María, Charley: 25)

ACTO DOS

Escena tres: El club del centro, la ciudad de Nueva York -1960

(Frank, María, Charley: 23)

ESCENA CUATRO New York City -1.957-1.959

(Frank , María, Charley: 20-22)

ESCENA QUINTA: En una azotea de la calle 110, Ciudad de Nueva York -1957 (Frank, María, Charley: 20)

Para Robert Lantz, flora Roberts y Dennis Aspland

Merrily We Roll Along

Page 1

ACTO PRÓLOGO #1

Overture

(orquesta)

(El escenario está en la oscuridad, cubierto en el frente por una malla. La orquesta comienza a tocar la obertura. Cuando "buena cosa" comienza, se enciende una luz arriba en FRANKLIN Shepard, sentado en un piano detrás de la malla, downstage IZQUIERDA Es un hombre guapo, selfpossessed de unos cuarenta años, vestido con un smoking elegante. Él juega junto con la orquesta, pero está claro que él está jugando por sí mismo. También es querida que él es un jugador extremadamente consumado y profundamente expresiva. La orquesta da paso a la pala de "MERRILY We Roll Along", y mientras la empresa entra, FRANKLIN paradas de juego, mira las manos, y luego mira fijamente ruminatively en el centro . la distancia medida que el número ( "MERRILY WE ROLL ALONG ') avanza, vemos diapositivas proyectadas sobre el cañamazo, diapositivas que nos cuentan la historia que vamos a ver: Desactivar fotos RANIWN Shepard, MARY Flynn y CHARLEY. Kringas cada uno a la edad de ocho, a continuación, en sus escuelas individuales secundarias y universidades, seguido por una variedad de cosas tales como: los tres de ellos posingfir imágenes humorísticas en las cabinas de diversiones-palacio, sus éxitos iniciales como escritores, el matrimonio y el divorcio de Franklin; opiniones, artículos Variety, chismes columnas, los relatos de los periódicos de la disolución de la asociación de Franklin y Charley; de FRANKLIN lacarrerapelícula;Premio CHARLEY. de Pulitzer; etc., lo que conduce finalmente a un gran deslizamiento de una invitación formal que coincide con el final de la serie y que dice: Usted está cordialmente invitó a una fiesta en la casa de FRANKLIN Shepard para celebrar el estreno de su última MOTION PICTURE "oscuridad antes del amanecer" 1740 BELLAGIO UNIDAD Bel Air, California dE OCTUBRE dE 4, 1976

Page 2

Acto I Prólogo Durante el transcurso de la feria, veremos estas diapositivas de nuevo, proyectado durante las transiciones entre escenas, igualando e ilustrando cada vezadecuado. y eventos la música sigue por debajo)

#2

Merrily We Roll Along

(Empresa)

empresa (salvo FRANK) (en diversos aspectos) AYER está hecho. VER eL CAMPO BONITO. MERRILY WE ROLL ALONG, rodar a lo largo, lleno de sueños. VIAJE está la diversión, INTERMITENTE POR EL CAMPO, TODOS feliz, feliz capturados en el SUEÑOS, rodando a lo largo ... ... rodando rodando a lo largo ... DE GRUPOSME SUEÑOSNO morir, para mantener un ojo en su sueño, GRUPO II y antes de saber dónde se encuentra, ahí estás. GRUPO I que pasa el tiempo y las esperanzas se secan, pero todavía se puede probar por su sueño. GRUPO I tienden SU SUEÑO .. . GRUPO II

(superposición) ¿Cómo es posible? DE GRUPOS meun SUEÑOStomotiempo ...

Alegremente We Roll Along GRUPO H (superposición) una vez que estaba todo tan claro. GRUPO I que pasa el tiempo ... GRUPO II (superposición) ¿Cómo puede obtener tan lejos de la PISTA? ¿Por qué no te das la vuelta y volver? GRUPO I CURVA SU SUEÑO ... GRUPO II (superposición) ¿Cómo es posible? ¿DONDE ESTÁ ELDE MOMENTO? GRUPOI con la carretera. .. GRUPO II (superposición) ¿Cómo puedes perder? NO ES CLARO? ¿Cómo puedes dejar que se escape fuera de velocidad? TODOS ¿Cómo has podido llegar desde aquí? GRUPO I usted rueda. GRUPO II (superposición) ¿Cómo es posible? GRUPO III ¿Cómo es posible? GRUPO I USTED apenas rollo.

Page 3

Page 4

Prólogo Acto I GRUPO II

(superposición) una vez que estaba todo tan claro. GRUPO III

(Overla.p_ping) ¿No es siempre claro? GRUPO I roll Todo el mundo, GRUPO II ¿CÓMO empiezan a ir? GRUPOS II, III no se escape LENTO TODO por lo que nunca se dan cuenta su ocurra? CHARLEY. ¿Cómo has llegado hasta aquí? todos excepto CHARLEY. Cuál fue el momento? MARY ¿Cómo has llegado hasta aquí? MARY, CHARLEY. Escójase UN CAMINO . CONOZCA EL CAMPO. Muy pronto ESTÁ MERRILY, TODO MERRILY la práctica de los sueños. Sueños que va a explotar, despertando el campo, haciendo que se sienta feliz, feliz, lo que puede ir mal en LAMINADO?

Merrily We Roll Along

Página 5

Algunos caminos son suaves y algunos son DESIGUAL . Algunas carreteras REALMENTE volar. Algunas atracciones son ásperas y te dejan con saltos. ¿Por qué hacer que sea difícil CONSIGUIENDO GRUMPY? MONTÓN DE CAMINOS a intentarlo. GRUPOI

GRUPOII

un solo viaje. todo lo que obtiene Es un paseo rápido. mirar un poco un paseo RAPIDO -...por el campo quedeEN LA PISTA

Algunos caminos son suaves y algunos se llena de baches. Algunas carreteras YOU volar realmente Algunas atracciones son ásperas Y LEAVE USTED JUMPY ¿Por qué hacer que seDURO POR CONSEGUIR GRUMPY MONTÓN DE CAMINOS Pruebas a

nunca mirar hacia atráscarreteras.?.. Nunca mirar hacia atrás. NUNCA MIRES ATRÁS. NUNCA MIRES ATRÁS. NUNCA MIRES ATRÁS. Nunca mire -

algunas REALMENTE volar.

ALL ¿Cómo has llegado hasta aquí? Cuál fue el momento? ¿Cómo has llegado hasta aquí? BENDING con la carretera, deslizándose a través del COUNTRYSIDE_ MERRILY WE ROLL ALONG, rodar a lo largo, la captura de los sueños. Sueños que va a explotar, ACTIVACIÓN DEL CAMPO, TODOS feliz, feliz, CANTA 'EM su canción, rodando a lo largo! A rodar! A rodar! LAMINADO A -

Página 6

FIN DEL PRÓLOGO

Acto I Prólogo

Merrily We Roll Along ESCENA UNO (La música se vuelve ruidoso y animado FRANKLIN, sacudidos de suy. ensimismamiento, se levanta y se sube una escalera a un aterrizaje dónde se encuentra en las sombras relojes, mientras que al mismo tiempo los miembros de la vuelta compañía el uno al otro y comienzan charla animadamente - que ahora son amigos e invitados en una fiesta en FRANKS BEL AIR INICIObajo.. downstage es un patio con bar y, justo fuera del escenario, una piscina UpStage el balcón son puertas francesas que conducen al interior de la casa, a través del cual podemos ver algunos de los invitados bebiendo y bailando. el resto son proscenio en el patio. todos ellos están en sus treintas andf Orties, ricos, exitosos y felices. MARYFLYNN, .una grasa, despeinado otrora bastante mujer de 40 años

de edad se encuentra en el bar, borracho y conseguir más borracho Durante el transcurso de la obra se convertirá en diez libras más delgado en cada escena sucesiva una diapositiva sobre el proscenio dice lo siguiente: ". BEL Air, California 1976 "#3

que Frank

(Empresa) INVITADO (Tyler)

(Para otro huésped) me dijo:" FRANK, esta imagen es una de cuencas ... "INVITADO(Terry)

(Para otro huésped) me dijo:" FRANK , un día se encontrará con mi estudio ... "INVITADO(Scotty)

(Para Dory) me dijo:" Frank, ¿quieres atención a esa respuesta? "INVITADO (DORY) me dijo:" FRANK sabe a ciencia cierta lo que el público . "TYLER

(para un invitado diferente) me dijo:" FRANK, esta imagen es una de cuencas ... "MARY

(En el bar, lo que indica su vaso como se la lleva hacia RU, un hombre joven y guapo) sé lo que estoy tener

Página 7

Page 8

Acto I Escena 1 RU ??lo que María no lo divertido FRANK

(al salir de las sombras en el balcón, levantando una copa, llamando a todos con alegría exagerada) PARTIDO-.! grupo I que FRANK JEROME eL INDIVIDUO ES DEMASIADO FRANK Hey, en el interior del partidoGRUPO II que Frank Frank usted como la imagen TERRY eL TOQUE dE PLATINO FRANK ¿Qué hay de más de Champagne-?.?

(salidas para obtener Champagne) SCOTTY Tiene un gusto, que tiene talento Terry es HE ELMEJOR? TYLER más una multa CABEZApara los negocios.

KT. EL hombre es bienaventurado.

Merrily We Roll Along

Página 9

TODO LO QUE FRANK! (Frank vuelve a entrar en vertiendo Champagne. La música sigue bajo) RU (a María) escribí el guión para la película de Frank. MARY su secreto a salvo conmigo. (Frank ve MEG corriendo hacia él. Evitar estar solo con ella se vuelve a verter en el grupo de Tyler como ella se une a él) FRANK Oh Tyler, yo quiero que conozcas a Meg, la estrella de mi película. Mi viejo amigo Tyler aquí el hombre que inventó el teléfono contestandomachine_ TYLER Y las personas están viviendo en el miedo me inventaré algo másTyler). (Se dan la mano; FRANK pasa a verter para el siguiente grupo, dejando MEG hablar con GRUPO yo que Frank RU (a María) Entonces, ¿qué hacer Jerome deEl lleno de consejos MARY lo beba GRUPO II que Frank RU -?..?No, ¿qué es lo que realmente hace TODO Y DIOS, ¿verdad AGRADABLE

es

Página

10!

Ley1 Escena 1

MARY realmente beber KT-.. lo que un amigo MEG WHAT A HOST bunker y su trabajo es GRANprecioso! TERRY tiene una mujer que es MEN -.un hijo que es hetero ALL es el tipo aquí se puede aprender a odiar , que Frank! FRANK (a los invitados) que dice: "solo en la cima?" (Babble arriba, luego hacia abajo) DIGO, "LET IT NUNCA PARA!" (DIAFONÍA de nuevo, luego hacia abajo) es nuestro tiempo que viene a través , todos nuestros sueños se hacen realidad-. trabajando duro, hacerse rico, SER FELIZ Hay un interruptorGRUPO I esa sonrisa BUNKER ¿no se olvida de escribir música

Merrily We Roll Along

Página 11

GRUPO I él es caliente, pero él es FRESCOque?. FRANK era el viejo Frank Shepard GRUPO II qué estilo JEROME -.!Este tipo es el sueño americano MEG (Mirando fuera de escena)que y louna gran piscina-

SI tenía idea SIGNIFICABA

de

lo

GRUPO I CARISMA

GRUPO II y simplemente no pueden ser celosos , él es TAN GENT Todoque loél es el tipo de hombre que os NO PUEDE reenviar, que Frankfuera!. (MUSIC Sobre la siguiente, fragmentos de DIAFONÍA BAJA y música de fondo o piano emanan del roorn partido fuera del escenario ligeramente visible, fi-om y en el que los huéspedes continuar para entrar y salir) MEG (Acercándose FRANK) Franklin(Nervioso;? FRANK Evitarla, HE cambia de dirección y cruces a María) Oh, Meg, esta es Mary Flynn. (sinceramente) María es mi más profunda, más cerca, mejor amigo en todo el mundo. Vamos camino de vuelta. MARY Pero rara vez hacia adelante.

Page 12

Ley Escena I 1 MEG En realidad, Franklin me dio la novela que escribió y leyó una y otra vez. María no se obtiene la primera vez? FRANK (Limeily, a los huéspedes) Hey, cuadrilla, nos dieron esta orquesta y baile en el interior. (reanuda la música, como Frank SALIDAS) TYLER que dije "FRANK, usted está viniendo abajo ... A MEXICO" JEROME PIENSO Frank es de regresar a PARAMOUNT... MARY (al público), estos están los motores, estos son los TALLADORAS, estas son las personas que llenan los papeles. GRUPO I MEXICO ... MARY eSTOS SON lOS AMIGOS DE FRANK. GRUPO II de regresar a PARAMOUNT ... MARY CADA UNO uN ESPACIO eN BLANCO PERFECTO. al cuando vea una película que tiene éxito, ¿qué puede decir? (a Frank Felicidades! FRANK GRACIAS!

Merrily We Roll Along

(FRANKj Oins un grupo y, de espaldas a nosotros, tiene todos ellos riendo con una historia animada e hilarante) MARY eSTOS SON los motores, estos son los TALLADORAS, estas son las personas que le dan VAPORES ... FRANK

(Crossing, a María) Hace veinte años, que había adivinado, la OMS 'D haber adivinado que estaríamos aquí de pie? DIOS, hubiéramos estado tan impresionado! Ahora estamos aquí con la mayor cantidad -

GRUPO I MEXICO ... FRANK -. Mentes brillantes EN LA COSTA

DEL GRUPO II ... de regresar a PARAMOUNT ... FRANK Y AVISO QUE ES SU HOSTMEXICO.. GRUPO I ... .. GRUPO II HERMOSA,FRANK GRUPO DE I ... ACAPULCO, MEXICO ... GRUPO II !!HERMOSA, FRANK ALL cuando haya hecho una película que tiene éxito, ¿dónde irUhhh?

página 13

Page 14

Acto I Escena 1 FRANK - ! primordial (la música sigue bajo; FRANK, torneado y de cruce, dedo meñique a María)

levanta

su

"Aquí está a nosotros." MARY (levanta su dedo meñique) "¿Quién es como nosotros?" FRANK, MARY (meñiques juntando) "Maldita pocos. FRANK, "Graciasamigo para volar. MARY Gracias amigo, para la compra de entradas. Tengo una carta de Frankie. FRANK Bueno, al menos mi hijo te escribe. María para mí gracias por venir a su graduación. FRANK Él no me invitó. MARY Él no me invitó tampoco. FRANK ¿Cómo es Frankie? MARY se preguntó lo mismo de ti. Oh, Frank, ¿por qué no los dos de usted KT (Interrumpiendo mientras se cruza con FRANK) Frank, estoy empezando mi mensaje de difusión, "¿Dónde Franklin Shepard va voy, porque ahí es donde la lista" A "va".

alegremente We Roll Along

Página 15

(sonríe, se aleja) MARY acabo descubierto lo que la 'a' es sinónimo de ... (Frank, sonriendo, la deja) JEROME (Detener FRANK) Ahora he oído un rumor fiable que eres la venta de la casa de Malibú? FRANK Usted no lo quieren. El lugar no tiene ni siquiera una piscina. MARY (demasiado alto) No hay piscina!?! (Música se detiene. Todo el mundo se queda mirando) En el hoyo de mi rata en Nueva York el retrete está terminalmente reventado y la cocina debe ser condenado. Pero no hay piscina (Exclamaciones) Papelera ella !! (arroja los brazos, derramando liquidfrom su bebida; FRANK cruza de nuevo a FRANK ella)!?!.Tengamos un poco de café, María (la toma del brazo y mueve la derecha del escenario) todos los pobres FRANK María nunca me beber café todo lo manejó tan bien MARY la cafeína no es bueno para usted GRUPO II que Frank

Página

16

Acto I Escena I

FRANK -....Mire, soy consciente de que esto era sólo una película fórmula Jerome deel leales como HELL. FRANK Pero mi siguiente imagen. Espera

(FRANK cruza DL) MARY I renunció a esperar-.. todo lo que ha educado y considerado, con lluvia o sol María

(brillantemente, levantando su copa, con Terry en el bar) Todo comenzó cuando probé vino de la comunión TODO LO QUE FRANK. FRANK

(para los huéspedes) que dice: "no debe ir demasiado lejos"través?

(Babble arriba, luego hacia abajo) DIGO,"Mira dónde estamos!"

(Babble arriba, luego hacia abajo) es nuestro tiempo, que viene a - I diga: "Bien,

su

yo y DIGO," Rugido DIGO, "Ride!"

(gesto hacia el interior de la casa) yo digo: "Oye, hay comida dentro!" TODO lO qUE FRANK Terry -película deFrank fue muy divertido

Alegremente We roll a lo largo de

Page 17

ALL Uno pensaría que había RELAX TYLER Frank sabe lo que el público quiere! TODO NO FRANK BUNKER Frank entiende comercial! Todo lo que ha COLOCACIÓN nuevas canciones. KT (Indicando MEG, que se sonroja) y Frank hizo una estrella! TODO SI USTED tenía idea de lo CARISMA SIGNIFICABA Y usted simplemente no puede ser celoso, él es TAN GENT -Él es el tipo de hombre PUEDE SER PRESIDENTE, QUE FRANK que Frank! ! QUE FRANK

# 3A

incidental

(En-fase piano)

(paradas de la música) MEG (Cruce a FRANK} Oh, Frank -.(F.RANK notar gussie ENTRAR EN LA PUERTA U.S_L y verlos, se mueve rápidamente away_ MEG, sintiendo que algo está mal se detiene, que queda a una distancia)

- Esta noche vi un star_ caer yo estaba corriendo por el césped y allí mismo, delante de mí ...

Página

18

.act I Escena 1

FRANK (en voz alta, para que todos oigan) y ¿qué tenemos ver frente a nosotros? Una cosa. estrella Porque no importa lo que los críticos dicen de esta imagen, que está seguro de amarte. gussie Son seguramente. no importa lo que dicen de la imagen. (Rich, altivo, una estrella de Broadway, que se utiliza a una atención le negó en esta costa, que viene downstage) MARY (para nadie) La trama se adelgaza. FRANK Meg, ya sabes mi esposa, Gussie. MEG Cualquiera que haya estado alguna vez en un espectáculo de Broadway sabe Gussie Carnegie. gussie el dobladillo de su prenda. SCOTTY (MEG, lo que indica que todas las luces de abajo desde lejos L a medida R) yo digo mañana por todo eso va a ser a sus pies. gussie Scotty. ese es el valle. FRANK (para gussie, después de un briefa wkward pausa) ¿ha estado dentro de todo este tiempo? gussie es habitual cuando se le da una fiesta para asistir a ella. FRANK cantaste? gussie Nadie preguntó.

Alegremente We roll _Along

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(gussie SALIDAS UR PUERTA. FRANK cruza lejos para evitar MEG de nuevo, pero ella sigue de cerca detrás de él) MEG Franklin FRANK (En silencio, advirtiéndole) -.Más adelante MEG (Bajando la voz) Me estás ignorando FRANK Sí, soytengo.. MEG lo que sentimientos. FRANK Y tengo una esposa. MEG te amo tanto. Frank y te amo. (se cruza el fondo del escenario, lejos de ella) TYLER (en voz alta) de todos modos, estoy fuera. Mañana vuelo a Nueva York. BUNKER Oh, mientras estás allí no perder esa nueva Charles Kringas jugar. (Música se detiene. FRANK detiene. Noio., Ad lib. Conversación se detiene.) Ese es el único espectáculo en años que en realidad merece su premio Pulitzer. Digo, en cada generación hay un dramaturgo que (El silencio y las miradas indican que, obviamente, ha dicho algo malo) Oh, mi Dios. ? ¿Qué dije

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Acto I Escena I María

no sabe usted que en este conjunto debe nunca, nunca mencionar el nom (Exclamaciones) CHARLES Kringas

bre

FRANK (Acercándose a ella)

-.Mary Mary (Sin hacerle caso, en voz alta)

Véase, Charley, Frank y yo una vez que se dedicaron éstos, insepw. gussie

¿Quiere alguien entrar? MARY

hasta ese famosa entrevista de televisión cuando Charley, en -1-1 (_ FRANK

María, maldita sea, eso es suficiente. gussie

María, te lo he advertido. JEROME (entra, con páginas)

Hey, los números de las casas están en la costa este de! SCOTTY (entrando con Jerome, tira un puño en el aire)

Y se fue por las nubes !. (Emoción, DIAFONÍA por toda la habitación) FRANK

por lo tanto, no tiene que guardar las botellas de los depósitos. SCOTTY (MEG)

Y, escucha. (Reading)

"la sorpresa de 'oscuridad antes del amanecer', es Meg Kincaid, una

estrellado,

Merrily We Roll Along

Rye 21

TYLER (levantando su copa; en voz alta, para llamar la atención de todos)

a Franklin Shepard, que he conocido desde que empezamos a salir juntos de nuevo en un pequeño salón de Greenwich Village de mala muertealzando. JEROME (también vidrio)

Para Frank Shepard. Felicitaciones al cliente todos los abogados sueños de cuarenta años, un éxito en Nueva York, ahora un éxito en Hollywood, casado con esta leyenda de Broadway, rodeado de la gente que trabaja para él, por su dinero ... (Todos ríen)

MARY Oh, estamos haciendo discursos? (levanta su copa)

Para Franklin Shepard, el productor. El hombre que lo tiene todo. Y grasa, borracho y acabado, prefiero ser yo cualquier día. (Hay un silencio espantoso)

TERRY Looken el momento. Tengo que ir a la cama. María (Bitchily, gay de implyinghe)

Esperará. Gussie ¡Fuera de aquí, borracho. FRANK Gussie! Gussie (Frank)

Consigue que el Sot de grasa de aquí. FRANK (Después de cruzar a MARY; en voz muy baja)

María, ¿puedo tomar su vasogordo?. MARY (muy fuerte)

No, pez El usuario no puede tomar mi vaso!

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Ley Escena I (Apartándose, ella cae con fuerza hacia abajo "golpeando sobre toda la barra con un fuerte ruido y horrible. A medida que los invitados jadear, ella lucha desde el fioor, luego cae de nuevo)

Oh no. Ahora no voy a ser invitado de nuevo-.

(RU ayuda a levantarse y caminar a su UpStage) Escucha, por favor Ahora no siente que tiene todo para dejar sólo porque me voydistancia.

(se tropieza y RU toma her_ Ella se retuerce de de él, y se vuelve para enfrentar la habitación en el rellano de la escalera) Pero en primer lugar, la atención. Le dije:

(Gritando) A I-IENTION !!

(Los invitados, conmocionado, parar y escuchar) Tengo algo que debo decir. ¿Usted escucha? Todos ustedes son basura-.

(Se vuelve a Frank, señalando) Y Te las mereces

(Se da la vuelta, cae la madrugada, una vez más, y sale arrastrándose Ruf su ollows.) TYLER

(Después de un ausa briefp) Maldita triste'.. TERRY Isn t que alguien DORY ?.No, ella es un crítico

# 3B incidental

(En-fase piano)

JEROME ella escribió un éxito de ventas, una vezcreído.. gussie Nunca lo habría Ella es finalmente fuera de Frank vida. Frank y la pérdida es insoportable.

Merrily We Roll Along

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(Como MEG, Tyler y Scotty han estado ayudando a la limpieza en el bar, MEG deja escapar un grito repentino, agarrando la mano, que está sangrando )

SCOTTY ¿Qué pasó? DORY Se cortó la mano en un pedazo de vidrio. MEG No es nada. Se va a detener. FRANK (A los otros)

Meg a cortar la mano bastante mal. (Gussie se aleja, al lado de Terry)

MEG Honestamente, no es nada. FRANK Ru, alguien, ir a buscar algo. Obtener un poco de yodo. (RU _EXITS)

TERRY (Para gussie)

Véase, cuando se es joven y la estrella, cómo la más mínima cosa y ya está el foco de todo el mundo. Gussie perra. (Cruce de distancia)

MEG Se parar. Sólo voy a dejar que el aire. (MEG se agote. FRANK tiene un impulso de seguirla, pero ve gussie y no. Gussie ha captado el momento, sin embargo, y sus ojos conectar con FRANKS por un segundo antes de que él se mueve de distancia)

SCOTTY (con demasiada intensidad, a Frank y gussie)

Ustedes dos, sin duda saben cómo hacer caer una cortina.

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Acto I Escena 1 RU

(entrando con el yodo) tengo el yodo. ¿Dónde está el paciente? FRANK

Abajo deElla al pie del césped. Gussie

Haciendo su imitación leonado. RU

(empieza a salir, pero se vuelve de nuevo a FRANK Sr. Shepard? FRANK

(distraída) Frank. RU

Antes de irme, sólo quiero sabe (Sonriendo) ¿Cómo llego a ser queDon? FRANK

el peor vicio en el mundo es "consejos", por lo que no da ninguna (RU empieza a EXIT) Hey ... (RU se detiene, se da vuelta) 't acaba de escribir lo que sabes. (señala la cabeza) Escribe lo que sabes. (Puntos a su corazón) Ahora sal de aquí. (RU salidas. FRANK y gussie están solos. MUSIC PIANO continúa por debajo. Los huéspedes son visibles en el interior , bailando y disfrutando de la fiesta. FRANK vuelta para irse) gussie

`el peor vicio es" consejos "?" ¿usted consiguió que fuera un tee-shin, Frank? FRANK

lo siento, ¿qué ocurre?

Merrily We Roll Along

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gussie ustedy que poco Punchboard son lo que está mal. FRANK por favor, por favor, no hagas esto Tenemos un quite pasando ahí. gussie es posible que me has traicionado, pero no vas a humillarme. FRANK Gussie, cuando ¿vas a dejar que se vaya? Nunca dije que eras demasiado mayor para el papel. El estudio dijo que eras demasiado mayor para el papel. Gussie para pensar me divorcié de un marido que besaba el suelo que entré en casarse con una lamentable excusa para un hombre como usted. FRANK (suspiros)

He hecho un solo error en mi vida . Pero lo hice una y otra y ovcr. Eso era decir "sí" cuando quería decir "no". Perdóname. (Se vuelve de Estados Unidos)

gussie no te atrevas a caminar lejos de mí, señor. FRANK bien. ¿Quiere saber si es verdad? Es verdad. Pero lo que nunca entendería es que ella es sensible, que le importa, ella es una inspiración. Ella es la balsa que memantiene •}ta ahogamiento. (Extremos música y las personas en el interior aplaudir. Comienza música nueva,

'gussie Patético. (Cruza DR)

Después de todos estos años que tengo la mano ro a Charley Kringas. Eso expulsados poco VAS siempre el que lo suficientemente inteligente como para leer la etiqueta de Frank -;..y yo envidiar Charley Kringas todos los días de mi vida

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Acto 1 Escena I

gussie Oh, hilarante, esto viniendo de un hombre cuyo trabajo no es recordado por el momento llegar al público del aparcamiento. FRANK lo juro, si pudiera volver de nuevo al principio, si yo pudiera de alguna manera empezar de nuevo con Charley, escribiendo programas, tratando de cambiar el mundo, que le daría todo esto así. gussie Usted'he mentido a sí mismo tanto tiempo es probable que cree eso. FRANK ¿de verdad no ve que estoy avergonzado de todo esto? que soy tan enfermo de mí mismo como eres? eso sólo trato de seguir actuando como si todos los asuntos. para no dejar que la gente vea lo mucho que odio mi vida, cuánto me gustaría que la maldita cosa que Dios había terminado RU (entrando con un MEG reacios)

-.me encontré corriendo por el césped, el canto FRANK (Recuperación, entregando RU el yodo)

Oh, lo siento. Aquí. RU (MEG)

Ahora se detiene y me dejó poner un poco de yodo en esa mano. JEROME (Entrando U. C con DORY)

Mi pareja y yo quiero decir buenas noches. MEG (Tener el yodo aplicada por RU) ay,

ay! gussie (Cruzando hacia abajo para RU y _MEG)

Meg, mi marido me estaba diciendo que eres el WHC zorra iluso, lo Ts de ahogarse. FRANK Gussie, basta!

Merrily We Roll Along

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gussie

absolutamente, Frank, lo detendrá. Pero tal vez no sea tan iluso ahora !..(gussie agarra el yodo del RU y lo lanza directamente a los ojos de Meg MEG grita, tapándose la cara con las manos Los otros se apresuran a rodearla, todo tantas veces que tras el diálogo es simultáneo) Ahí está mi tostada a usted, Frank! MEG

gussie

(superposición) y puede usted conseguir todo lo que se merece! Jerome

(superposición) Frank, llame al hospital! Llame al hospital y decirles que ha habido un terrible accidente! MEG (superposición) Oh, Dios mío! DORY

(superposición) Diles enviar una ambulancia aquí rápido! Gussie

(superposición) Estaba durmiendo con ella, Dory! TYLER

(superposición) no podemos esperar a una ambulancia, Frank. La puso en mi coche. RU

(superposición) Necesitamos agua, el Sr. Shepard! Agua y paños! MEG

(superposición) Oh, por favor! Que alguien me ayude!

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Acto I Escena I Jerome

(Frenética, lo que lleva a cabo MEG) Frank, la policía debe ser notificado a la vez! TYLER

(superposición) hay un teléfono en el coche, Frank. JEROME Frank, Frank, date prisa! Tenemos que movernos! Gussie

(A raíz de los invitados que salen, gritando a FRANK que está allí congelado) Dijiste que nos habían terminado, Frank? Pues bien, ahora hemos terminado. Usted y ella y yo y cada maldita cosa que Dios ha terminado!

(Sale) FRANK

(Sola, giros, gritos) WHYYYY ?? !! #4

Transición I

(Empresa) EMPRESA

(en diversos aspectos) ¿Cómo has llegado hasta aquí? Cuál fue el momento? ¿Cómo has llegado hasta aquí? Grupo I sueños no mueren,mantener un ojo en su sueño, O ANTES saber dónde se encuentra, estás ahí, los caminos pueden viento y USTED puede encontrar lo que han Atrás queda su sueño. TIENDE SU SUEÑO ... GRUPO II ¿Cómo puede ser? ... GRUPO I sueños toman TIEMPO ...

Alegremente We Roll Along GRUPO II una vez que estaba todo tan claro GRUPO I que pasa el tiempo ... GRUPO II CÓMO PUEDE Uno está tan lejos de los caminos? ¿Por qué no te das la vuelta y volver? CURVA SU SUEÑO ... ¿cómo es posible? DONDE ES EL MOMENTO? Con la carretera ... ¿CUÁNDO la carretera detrás de desaparecer? ¿DÓNDE dejar que las cosas se salga de engranaje? TODO COMO ¿Alguna vez de estar aquí? ... SOLO CINCO MIL NOVECIENTOS SETENTA Y ... SOLO DIECINUEVE setenta y cuatro. .. SOLO mil novecientos setenta y tres ...

Fin de la escena una

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página 30 de

la Ley Escena I 2

ESCENA DOS (La diapositiva lee .. NBC Studio 1973. Somos bastidores en un programa de noticias de televisión en curso. Lejos eclipsar a un periodista de TV y TV NEWSWOMAN sit behind a desk, reporting the evening news. A makeup area is DOWNSTAGE LEFT and an interview area is being set up on a platform STAGE RIGHT We get a sense of the general frantic floor activity of a live TV broadcast as a MAKE-UP ARTIST, FLOOR MONITOR (RU), and STAGE MANAGER and others are all bustling about. Gradually we bear the sound ofF rank Sinatra singing "Good Thing Going" playing in the background and soon fading out) TV NEWSWOMAN And that was Frank Sinatra singing " Good Thing Going" from the Broadway and film hit "Musical Husbands." The composers of that show, Franklin Shepard and Charles Kringas, are here in our studio tonight and we'll be meeting and talking with them. But first the news. Hal? TV NEWSMAN The lead-in story from tonight's edition of "News From New York." Today our nation is at long last celebrating the cease-fire in Vietnam. The tragic death toll there now having cost nearly forty-six thousand American lives. Judy? TV NEWSWOMAN On the local front — Mayor Abe Beame... (Lights down and sound fades out as RU turns to direct the ENTERING MARY to the make-up area. This MARY is very happy, very excited) MAKE-UP ARTIST (Holding up a hand mirror to CHARLEY la.INGAS, 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. MARY Charley, Charley.

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(MARY hugs him)

CHARLEY Mary, do not speak to me. (MARY removes her hands)

This whole goddamn thing is your fault. I don't know why in Christ's name I let you talk me into this humiliation.

ever

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

Here's the drink you ordered, Miss Flynn. CHARLEY (Taking the drink from MARY)

Mary, how thoughtful_ MARY Charley, c'mon, I need a drink. CHARLEY One drink. What would you like? MARY A bottle of vodka and a straw. (CHARLEY hands MARY the drink. RU EXITS)

Where's Frank? (Drinks)

CHARLEY Oh, Frank. Probably off signing to score another movie. Or closing a record deal.. can only tell you where Frank never is...that's with me, working on our show.

I

MARY Well, when I called KT to set up this interview, I made it very clear that all you two guys were here to talk about was your next show and how long you both have been working on it. CHARLEY Grow up, Mary. Since Frank married Gussie, the only 'working' he knows is `working the room.'

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Act I Scene 2 MARY And just where did he learn that, Charley? Off on that goddamn yacht is where. And who was it who sent him off on that goddamn yacht, huh? CHARLEY I say to hell with Frank. I've started a play all on my own. And if Frank doesn't show up in the next thirty seconds, me, I am walking right out that door.

(Looks at watch) MARY Charley, I know Frank. If you connect with him again, if you commit the guy today publicly, I promise you, by tomorrow you two are going to be back together working again. You gotta help save him, Charley.

#5

Old Friends — Like It Was

(Messy, Charley)

(CHARLEY looks at watch: time's up; HE gets up and starts to EXIT. MARY stops him with her hand as well as with the song's first line, as MUSIC begins) HEY, OLD FRIEND, WHAT DO YOU SAY, OLD FRIEND? MAKE IT OKAY, OLD FRIEND. GIVE THE OLD FRIENDSHIP A BREAK. WHY SO GRIM? WE'RE GOING ON FOREVER. YOU, ME, HIM, TOO MANY LIVES ARE AT STAKE. FRIENDS THIS LONG HAS TO MEAN SOMETHING'S STRONG, SO IF OUR OLD FRIEND'S WRONG, SHOULDN'T AN OLD FRIEND COME THROUGH? IT'S US, OLD FRIEND — WHAT'S TO DISCUSS, HERE'S TO US, WHO'S LIKE US?

OLD

FRIEND?

(She puts her pinkie finger up. After a beat, Charley links his pinkie to hers) CHARLEY DAMN FEW.

Merrily We Roll Along

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MARY CHARLEY, WHY CAN'T 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, EVERYTHING... I DON'T KNOW WHO WE ARE ANY MORE, AND I'M STARTING NOT TO CARE. LOOK AT US, CHARLEY, NOTHING'S THE WAY THAT IT WAS. I WANT IT THE WAY THAT IT WAS — HELP ME STOP REMEMBERING THEN. DON'T 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. CHARLEY And you come on — we're not the three of us any more, Mary. Now we're one and one. MARY CHARLEY, NOTHING'S THE WAY THAT IT WAS. I WANT IT THE WAY THAT IT WAS. GOD KNOWS, THINGS WERE EASIER THEN. TROUBLE IS, CHARLEY, THAT'S WHAT EVERYONE DOES: BLAMES THE WAY IT IS ON THE WAY IT WAS ON THE WAY IT NEVER EVER WAS. (MARYdowns the drink) CHARLEY Jesus, Mary. After all these years. You're still in love with the guy.

one

and

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Act I Scene 2

MARY (Shrugs)

You gotta help save me then, Charley. KT. (ENTERING DR)

Charley? Frank? We're on a commercial break, then it's us. Follow me. CHARLEY Frank isn't here. KT.

(Panicked) He isn't here? Where the hell is Frank? (FRANK GUSSIE, JEROME, TERRY are all hurried in by RU and the MAKEUP ARTIST. ALL hug. RU EXITS. TERRY and JEROME move US and confer, whispering)

FRANK Frank is here. And Frank is sorry. But ever since Gussie and I got married, life is this series of meetings, meetings, meetings. (Crosses to CHARLEY, hugs him)

Hey, pal. CHARLEY Hey, pal. Long time, no see. FRANK Oh, and I've missed you, buddy. And Mary. Oh, God, Mary. (Hugs MARY Stands back to look)

You look wonderful. Lost a little weight? MARY A hundred eighty pounds. He still calls, though. KT. Please, Frank, Frank — in the chair. And Charley, you come with me. (As KT and CHARLEY cross to make-up chair, and is made up)

the interview area, FRANK sits in the

GUSSIE (Stopping K T)

KT, I think I saw my ex-husband hovering around outside. Could you see to it that nobody is allowed in? He's become the eternal sponge.

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KT. Got it. Charley, move, please — we gotta go... (CHARLEY and K T. continue to interview pla tform; MAKE-UP EXITS with cart) RU Excuse me, Mrs. Shepard. I know this is inappropriate. But I wrote a filmscript, "Darkness Before Dawn," that is so perfect for you. GUSSIE It is inappropriate, give it to me. (RU gives it to GUSSIE and crosses around pla tform to CHARLEY, hooking up his microphone) I've accepted that if I don't want people handing me scripts then I can never go out. Frank, did you tell Mary about closing the three-picture deal? MARY Oh, no. FRANK But, please let me be the one to tell Charley. I'm waiting to choose the exact moment. MARY Oh, God. GUSSIE I've explained to Frank, you compose a Broadway show you're something in New York. But you produce a movie, you're something all over the world. (KT scurries back to the make-up area) KT. Frank, we're up. We got to move. MARY Oh, hell.

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Act I Scene 2 (They headftr the interview area. GUSSIE turns to follow them when JOE JOSEPHSOIV, a seedy-looking man in his late 50's, ENTERS DL During the following we can see RU cross to K T. and whisper in her ear) JOE Gussie?

JOE You look great_ GUSSIE You caught me in the middle, Joe. JOE I was just hoping maybe you could spare a hundred or so. GUSSIE Joe, Joe. I — (Surrenders. Into purse. Hands him money) You can't keep doing this to me, Joe. Now this is the last time. JOE I'm lining up backers for my next play — GUSSIE (Backing away) Excuse me, Joe. They're waiting for me. I'm sorry. (SHE turns and EXITS into the control room OFFSTAGE. JOE, after a beat shuffles off in another direction) TV NEWSMAN And now our evening's top news story: Today the Supreme Court made its final ruling legalizing abortion. The court stated, "Abortion should be a decision between a woman and her physician." A longtime controversy now ended. Judy?

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(We hear a few bars of Sinatra singing "Good Thing Going"• RU has been attaching Frank's microphone) TV NEWSMAN For those who have tuned in late, we are hearing Frank Sinatra singing the hit song by Franklin Shepard and Charles Kringas, our next guests, live from New York. (Lights up on the interview pla tform where FRANK CHARLEY and KT. have been chatting, laughing, having a reunion) KT. Oh, and Frank, I cannot thank you enough for this favor. FRANK Favor? After what you did for me during my divorce — CHARLEY That's why we're here. KT. Oh, and how's your son? FRANK (Taking out wallet) Want to see a picture? KT. No. But do that on the air and I'll coo and tear and I'll carry on like a mad thing. People love cheap sentiment. And I understand congratulations are in order. I hear you've signed a three-picture deal to produce movies. (Mimes applauding FRANK) FRANK (Uncomfortable) Where'd you hear that? KT. Oh, I have my spies_ Now, don't worry. I understand that I'm not supposed to bring it up on the air. CHARLEY (Containing rage) I think you weren't supposed to bring it up in front of me_ KT. Oh? Oh.

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Act I Scene 2

FRANK Charley, I was waiting for the exact moment to tell you. But see, it doesn't change our plan. It's only two or three months at a time. CHARLEY (Overlapping)

Frank, it's always two or three months at a time. FRANK I haven't even signed the contract yet. CHARLEY (Overlapping)

Do you know how long I've sat and waited for you to finish this project? KT. (Overlapping)

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

We're just about on — FRANK Charley, I have a son to support. I have an ex-wife draining me_ What happens if we finish this show, we get it on, and they say it's no good? CHARLEY Frank, I have four kids to support. And I don't give a rat's ass what "they" say. If I say it's good. If you say it's good. That's what's important. That's all that's important. KT (Overlapping)

Okay, fellows, we're just about to start. CHARLEY He only knows it's good if it makes a fucking fortune! KT (The "On The Air" sign lights up. Quickly smiling into the camera)

Hi_ We're back. And welcome to "Today in New York's" Celebrity Spot. And here next to me we have two brilliantly talented people. The gentleman on my right is —

Merril' We Roll Along:

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(A delay as FRANK, sitting smiling into the camera, is suddenly shocked to find KT is waiting for him) FRANK Oh. Uh — Franklin Shepard. I almost forgot. KT.

(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. FRANK This is my great friend and even greater collaborator, Charley Kringas. KT.

They are the songwriters for "Musical Husbands," both the show and the movie. They also wrote — (Hand over heart) "Sweet Sorrow"...and their newest collaboration will be called "Take A Left," but more about that later. CHARLEY Apparently much later. KT.

(Throughout, KT directs all her questions to FRANK) And you recently married the star of those shows, Gussie Carnegie, did you not? FRANK Yes, that's correct. CHARLEY (Feeling left out) And I'm married to Evelyn. KT. Now all of Broadway says you two are the next Rodgers and Hammerstein, Lerner and Loewe — CHARLEY — Irving and Berlin.

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Act I Scene 2 KT. Let's start at the beginning. You're both from Chicago and you both went to the same school and the same college. CHARLEY No. Me, Columbia. Him, Julliard. KT So your entire life you've been very, very close friends? CHARLEY Until today. FRANK Like all partners we have had fights and other commitments, but the there when it's me and Charley. Charley and me. KT (To camera) I love it. (To FRANK Now, how do you two work together?

#6

Franklin Shepard, Inc.

(Charley) CHARLEY

Oh, may I answer that? KT Please. CHARLEY How 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 WE'RE HUMMING ALONG — HIVIMMHMMM-HMMM — AND THAT'S CALLED WRITING A SONG — HMMMHMMM-HMMM — THEN HE GOES — (On the "piano) AND I GO —

magic is only

Merrily We Roll Along (On the "typewriter") AND THE PHONE GOES DRRRRRING! AND HE GOES — (Mimicking FRANKS intense business cads into an imaginary phone) "MUTTER MUTTER MUTTER MUTTER, YES, JEROME, MUTTER NO, JEROME, MUTTER MUTTER MUTTER MUTTER"— (To KT.) THAT'S 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 WE'RE TAPPING AWAY — HMMMHMMM-HMMM — (Mimicking an intercom) BZZZ! "SORRY, CHARLEY." BZZZ! (To KT.) IT'S THE SECRETARY— BZZZ! ON THE INTERCOM... (As FRANK) "YES, MISS BZZZ..." (Nasal as the Secretary) "IT'S 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 Mli 1 1ER SELL THE STOCK MUTTER BUY THE RIGHTS MUTTER MUTTER MUTTER MUTTER MUTTER —" BZZZ!

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Act I Scene 2 (Into -phone") "LET ME PUT YOU ON `HOLD'..." BZZZ! "YES, MISS BZZZ..." "IT'S THE INTERVIEW..." "THANKS, 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 BLINK AND THE STOCKS GET SOLD AND THE REST OF US HE KEEPS ON "HOLD". AND HE'S INTO MAKING MOVIES. AND HE'S NOW A CORPORATION. RIGHT? SO I FLAY AT HOME WITH MY WIFE AND KIDS AND I WAIT TO HEAR THE MOVIE BIDS. AND I'VE GOT A LITI LE SAILBOAT. AND I'M INTO MEDITATION. RIGHT? HE FLIES OFF TO CALIFORNIA. I DISCUSS HIM WITH MY SHRINK. THAT'S THE STORY OF THE WAY WE WORK, ME AND FRANKLIN SHEPARD, INC. (HE laughs) I'm surprised at how much I like this. I promise to be honest. If you proi,' handle the lawsuit. KT. (Uncomfortable, turns quickly to FRANK) Now, when you do work together, I've always been curious, which gener: first — the words or the music? CHARLEY (Glancing at FRANK) Generally, the contract.

c

to

Merrily We RolI Alon_g

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KT. (To CHARLE)9 Oh, that sounds like you think making money is a bad thing for an artist. CHARLEY MONEY? (Arpeggio in orchestra) DID I SAY MONEY? (Arpeggio again; music resumes) NO, I LIKE MONEY A LOT — HMMM-HMMM-HMMM — I MEAN IT'S BETTER THAN NOT — HMMMHMMM-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 YOU'RE INTO — (Snort) MONEY — (Lightly) AND YOU SHOULD BE... (Plays an imaginary arpeggio, then gestures to FRANK MUSIC continues under) Listen, Frank does the money thing very well. But you know what? There are other people who do it better. And Frank does the music thing very well. And you know what? No one does it better. STILL THE TELEPHONES BLINK AND THE BUZZERS BUZZ AND I REALLY DON'T KNOW WHAT HE DOES, BUT HE MAKES A TON OF MONEY, AND A LOT OF IT FOR ME. RIGHT? SO I THINK "OKAY" AND I START A PLAY AND HE SOMEHOW KNOWS, 'CAUSE RIGHT AWAY IT'S DRRRRING! (Into "phone- again, as FRANK) "MY-A, BUDDY,

Page 44

Act I Scene 2 WANNA WRITE A SHOW? GOT A GREAT IDEA, WE'LL OWN ALL THE RIGHTS WITH A TWO-WEEK OUT AND A TURNAROUND ON THE GUARANTEE PLUS A GROSS PERCENT OF 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 YOU'RE FRANKLIN SHEPARD — (MUSIC suddenly stops) Wait, one second, wait. I'm getting in too deep here. KT (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. KT Now, Frank — CHARLEY (Interrupting her again) And friendship is like a... garden. You have to water it and tend it and care about it. ¿Y sabes qué? I miss it and I want it back. Look— (MUSIC resumes quietly) NOTHING PERMANENT HAS HAPPENED, JUST A TEMPORARY KINK. FRIENDSHIP'S SOMETHING YOU DON'T REALLY LOSE... (MUSIC stops again; to camera)

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Page 45

Ladies and gentlemen, don't let me lose the greatest composer any lyricist ever had. Phone him, write him, stop him on the street. You'll recognize him. He's the one going through his checkbook —

(FRANK gets up to leave, but is stopped both by K T. and his attached microphone) — and tell that man to get back to his piano.

(MUSIC resumes quietly again, but growing gradually louder and more frantic) VERY SNEAKY HOW IT HAPPENS, EVERY DAY YOU'RE ON THE BRINK. FIRST THE PRIZES, THEN THE INTERVIEWS...

(Looking around, realizing where HE is; in mock astonishment to cover his embarrassment) OH MY GOD, I THINK ITS HAPPENED! STOP ME QUICK BEFORE I SINK. ONE MORE TRIUMPH THAT I CAN'T REFUSE —

(To camera again) In case you didn't notice, this is my first time on TV. And my last! NO, HERE'S THE POINT, WHATEVER HAPPENS, THEN WE'LL ALL GO HAVE A DRINK —

(Gestures in FRANK'S direction) THAT'S THE GUY I LOVE, THE FELLA WHO'S INSIDE

(Into "phone") "MUTTER MUTTER MUTTER MUTTER QUICK, JEROME, GET THE PRESIDENT, THERE'S A CRAZY MAN ON MY TV SCREEN..." INSIDE — BZZZ! BZZZ! DRRRING! — INSIDE FRANKLIN SHEPARD —

(To camera) Just write him care of Any Bank, USA — INC.!

KT. Now let's take a commercial break.

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

Page 46

Act I Scene 2 (SHE EXITS)

FRANK That was a real slaughter, Charley. Congratulations. CHARLEY Frank — FRANK Oh, I think you said enough. I know for years you've been attacking me and constantly putting me in the position of having to defend myself. But that — see, I don't know why anyone would want to so humiliate and betray the guy who is his oldest friend in the world like that. But I do know you're never going to have the opportunity to do it again. You're goddamn out of my life, Charley. CHARLEY I'm sorry — FRANK You're sorry! After you publicly mock and ridicule and belittle me when, man, I swear I would lay down my life for you. CHARLEY If you'd just let me — FRANK Shut up! Charley, all these years I have loved you no matter what you did, but I guess because I don't live my life like you or the way you'd like me to, you had to shoot me down and watch me bleed. Well, I like my life, so please you just get the hell out of it. (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? CHARLEY Frank, can we go talk?

Merrily We Roll Along

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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 something cruel or evil, or betrays them, they never see him again. They simply — just never see him. They never talk to him, or look at him, or acknowledge him in any way. For them, he is dead. Absolutely and irrevocably dead. (Starts to walk away) CHARLEY (A hand on FRANK'S shoulder, to stop him) Frank? Let me explain what — (FRANK stops and shrugs the hand off then without turning around continues to walk away. CHARLEY talks as he grabs FRANK'S arm) Can I explain what all that came out of? (FRANK swings around, shoving CHARLEY, sending him sprawling to the floor. CIIARLEY gets up and lunges at FRANK) MARY (As the TWO MEN go at each other, until finally separated and backed OFFSTAGE by the OTHERS) Frank! Charley! Stop it! Charley, Frank! No!! No!! No!! (FRANK EXITS first, after which CHARLEY is let go. HE stands brushing his clothes, finally turns and bows to MARY with arms outstretched indicating 'satisfied?' then turns and EXITS opposite side of stage. After a despairing pause, MARY EXITS) #6A

Transition 2

(Company)

COMPANY (Variously) SOME ROADS ARE SOFT AND SOME ARE BUMPY, SOME ROADS YOU REALLY FLY. SOME RIDES ARE ROUGH AND LEAVE YOU JUMPY, WHY MAKE IT TOUGH BY GETTING GRUMPY? PLENTY OF ROADS TO TRY.

SOLO NINETEEN SEVENTY-TWO...

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Act I Scene 2 SOLO NINETEEN SEVENTY-ONE... GROUP I ONE TRIP. ALL YOU GET IS ONE QUICK RIDE. LOOK AROUND A BIT — ONE QUICK RIDE THROUGH THE COUNTRYSIDE. STAY ON THE TRACK.

GROUP II SOME ROADS ARE SOFT AND SOME ARE BUMPY. SOME ROADS YOU REALLY FLY. SOME ROADS ARE ROUGH AND LEAVE YOU JUMPY. WHY MAKE IT TOUGH BY GETTING GRUMPY? PLENTY OF ROADS TO TRY... SOLO

NINETEEN SEVENTY... GROUP SOME ROADS YOU REALLY FLY... SOLO NINETEEN SIXTY-NINE... ALL HOW DOES IT START TO GO, DOES IT SLIP AWAY SLOW SO YOU NEVER EVEN NOTICE IT'S HAPPENING? NINETEEN SIXTY-EIGHT...

END OF SCENE ONE

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SCENE THREE (Slide• 1968. (A gorgeous, ultra-modern, split-level apartment on Central Park West with a fabulous New York view in the background. One UPSTAGE door leads to the front hall, another to the bedroom hallway. A door STAGE 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 is dressed in a shirt and shorts) FRANK

(Into phone hurriedly) You say 'she is not there'? Is she expected back? (Doorbell rings) You don't expect — I'm sorry, my front doorbell is ringing. (Covers the phone and calls) The door is open. (Into phone) One more time, please. You don't expect her back until — ? (Listening) — until after the theatre? (A nine-year old FRANKJR. EN I ERS 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 down on his knees, hugging and kissing him. As HE talks, he lifts him up, with FRANKJR. wrapping his arms and legs around his father; throughout the following scene, FRANK holds, touches and strokes his son lovingly whenever possible) Frankie, oh my Frankie! My God! I don't believe my eyes. Oh, did your daddy miss you! 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 didn't see you.

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Act I Scene 3

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

Ta-dal (THEY run over to FRANK All three scream, kiss, laugh and lock in a three-way hug, huddling andj umping up and down together) CHARLEY What's amazing is that we're not all still waiting at that dock to surprise you. Was our face red.' FRANK First class doesn't get off at the dock. We had this big ramp at the prow and a Captain who leads you right into your limousine. CHARLEY Oh, of course- Silly us. Now you should have known that, Mary. (Both are staring at FRANK'S pantkss legs) FRANK

(To F.RANKJ R.) Why didn't you tell me I have no pants on? (Starts a search for his pants) CHARLEY We got Beth to send Frankie from Houston. FRANK JR. Daddy, I have the thirty-two potscards all over my wall. My favorites are the alligator and the Panama Canal. CHARLEY

(Opens one of the trunks and looks deep into it, the lid concealing him from both FI?.ANKJ R. and us) Oh look, he brought Frankie an alligator back. What a nice little — (HE begins to scream and resist an imaginary alligator which atta(...l'c him repeatedly, each time pulling him deeper and deeper into the trunk .the others laugh as he finally disappears completely into the trunk) FRANK

(As CHARLEY flings FRANK'S pants out of the trunk) Oh thanks, Uncle Charley.

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(Putting on pants)

That's bound to give someone here real nice dreams. MARY Start with the trip, and then I want a Sherpa guide to show me this gargantuan apartment. FRANK Well, I owe it all to you guys for making me go. I didn't do anything that wasn't rich. Rich living, rich food, rich people. CHARLEY Well, poor Evelyn, my poor wife, who never comes in from our poor house in the poor country, poor thing, is dropping off our four poor children at her poor mother's... FRANK Got it, Charley. CHARLEY ... where they're expecting Frankie, and then... then Evelyn is meeting the three of us at — MARY (To CHARLEY)

Wait, wait, wait! (To FRANK)

Where? Where? You'll never guess where? FRANK The Downtown Club. MARY (Disappointed)

Charley! (CHARLEYp oints to himself, he's innocent)

FRANK Let me think. A smoky, dingy Greenwich Village dive or the homecoming party at the Colony Club? Hmm. What a choice! CHARLEY Oh Frank, sorry. You must give me a list of what's 'in' and what's 'out.' You know how important all of that is to me.

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Act I Scene 3 FRANK

Oh, wait. Wait, wait, wait. (FRANK takes out wrapped book and manila envelope from

trunk)

Presents. I forgot presents. (To FRANKJR. — handing him gifts) This is for Aunt Mary and that's for Uncle Charley. (As FRANKJR. distributes them)

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

unwrapped

her

gift) It's my book. In Spanish. FRANK

I bought it in Valparaiso, Chile, where there it was in all these store windows. CHARLEY (Taking his giftfi-om FRANKJR. and opening it)

Oh, Mary, tell Frank the story of how success has affected you. Okay, I'll start. Mary has joined the enemy. MARY

Charley! CHARLEY (To FRANKJR.)

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

Charley, shut your mouth and open your present. CHARLEY

I did. MARY

What is it CHARLEY (To FRANK)

What is it?

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FRANK

It's an option agreement. We have been offered a small fortune to do a movie version of "Musical Husbands." CHARLEY

(Sits on the trunk) Frankie, take this over to Daddy and say very dearly, "There isn't enough money in the universe..." (FRA1VKJ R crosses to CHARLEY who hands him the envelope) FRANK

You're welcome, Charley. I appreciate the gratitude. Thanks very much. FRANK JR.

(Arriving at FRANK, handing him the envelope) `There isn't enough money in the universe...' FRANK

(Interrupting) Sweetheart, you want to put that on the bed for Uncle Charley? (FRANKJ R. EXITS towards the bedroom with the envelope) MARY

(Following FRANKJ R. with the flight bag) And you gotta brush your teeth, wash your face, get out your pajamas... whatever the hell kids do. (EXITS) FRANK

(Loud) Charley, I am thirty-one years old. Beth wiped me out with the divorce. I've got a son to consider. So forgive me, Charley, if I happen to need money. CHARLEY

(Louder) Then let's us do the work and the money will come. Frank, we cannot keep makin our stuff the other thing we do! MARY

(Appearing at the bedroom door, holding the boy's pajamas, quieting them, indicating FRANKJ R. OFFSTAGE) Shhhh. Chicos! Not now!

Pap 54

Act I Scene 3 (She disappears into the bedroom hallway) FRANK Charley, I am telling you we can make a statement with this movie. CHARLEY Nurse! Doctor! Guard! Attendant! Matron! Anybody! Help! FRANK Trust me! CHARLEY No, you trust me! FRANK Charley, listen — CHARLEY Frank, 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) HERE'S TO US — FRANK (After a beat, raising his pinky) WHO'S LIKE US?

FRANK (Intimate and warm, to CHARLEY) HEY, OLD FRIEND ARE YOU OKAY, OLD FRIEND? WHAT DO YOU SAY, OLD FRIEND, ARE WE OR ARE WE UNIQUE?

Merrily We Roll Along

TIME GOES BY, EVERYTHING ELSE KEEPS CHANGING. YOU AND I, WE GET CONTINUED NEXT WEEK. MOST FRIENDS FADE OR THEY DON'T MAKE THE GRADE. NEW ONES ARE QUICKLY MADE AND IN A PINCH, SURE, THEY'LL DO_ BUTUS, OLD FRIEND, WHAT'S TO DISCUSS, OLD FRIEND? HERE'S TO US — WHO'S 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 DO TEND TO BECOME OLD HABIT — NEVER KNEW HOW MUCH I MISSED YOU TILL NOW. ALL THREE MOST FRIENDS FADE OR THEY DON'T MAKE THE GRADE, NEW ONES ARE QUICKLY MADE, SOME OF THEM WORTH SOMETHING, TOO_ BUTUS, OLD FRIENDS— WHAT'S TO DISCUSS, OLD FRIENDS? FRANK TELL YOU SOMETHING: GOOD FRIENDS POINT OUT YOUR LIES, WHEREAS OLD FRIENDS LIVE AND LET LIVE. MARY GOOD FRIENDS LIKE AND ADVISE, WHEREAS OLD FRIENDS LOVE AND FORGIVE.

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Act l Scene 3 FRANK AND 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 YOU'RE WRONG — FRANK IF YOU'RE WRONG — CHARLEY WHEN YOU'RE WRONG — MARY (Hastily) RIGHT OR WRONG, THE POINT IS: OLD FRIENDS SHOULDN'T CARE IF YOU'RE WRONG — FRANK SHOULD, BUT NOT FOR TOO LONG — CHARLEY (Edgily) WHAT'S TOO LONG? FRANK IF YOU'RE WRONG — CHARLEY WHEN YOU'RE WRONG — MARY (Quickly) THE THING IS: OLD FRIENDS DO LEAVE THEIR BRANDS ON YOU, BUT OLD FRIENDS SHOULDN'T COMPETE. FRANK OLD FRIENDS DON'T MAKE DEMANDS ON YOU --

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CHARLEY SHOULD MAKE DEMANDS ON YOU — FRANK WELL, DON'T MAKE DEMANDS YOU CAN'T MEET. CHARLEY WELL, WHAT'S THE POINT OF DEMANDS YOU CAN MEET? MARY WELL, THERE'S A TIME FOR DEMANDS, WHETHER YOU MEET THEM OR NOT...

(These next lines are delivered loudly and simultaneously as music continues under) MARY Guys, fellas, boys, buddies, c'mon. You gotta talk to each other, not over, not around, not through each other. To each other, understand? CHARLEY You are never wrong. Nunca. The last time you admitted you were wrong was one cold Tuesday back in Chicago in December 1954... FRANK If you were right, I would be the first to admit it. But with you, there is no other side. There's only your way and the wrong way. ALL THREE HEY, OLD FRIENDS, HOW DO WE STAY OLD FRIENDS? WHO IS TO SAY, OLD FRIENDS, HOW AN OLD FRIENDSHIP SURVIVES? ONE DAY CHUMS HAVING A LAUGH A MINUTE, ONE DAY COMES AND THEY'RE A PART OF YOUR LIVES. NEW FRIENDS POUR THROUGH THE REVOLVING DOOR — MAYBE THERE'S ONE THAT'S MORE, IF YOU FIND ONE, THAT'LL DO. BUT US, OLD FRIENDS — WHAT'S TO DISCUSS, OLD FRIENDS? —

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Act I Scene 3 HERE'S TO US! WHO'S LIKE US?... TWO OLD FRIENDS, FEWER WON'T DO, OLD FRIENDS — GOTTA HAVE TWO OLD FRIENDS HELPING YOU BALANCE ALONG: FRANK ONE UPBRAIDS YOU FOR YOUR FAULTS AND FANCIES, MARY ONE PERSUADES YOU CHARLEY THAT THE OTHER ONE'S ALL THREE WRONG. MOST FRIENDS FADE OR THEY DON'T MAKE THE GRADE, NEW ONES ARE QUICKLY MADE, PERFECT AS LONG AS THEY'RE NEW. BUT US, OLD FRIENDS — WHAT'S TO DISCUSS, OLD FRIENDS? — HERE'S TO US! WHO'S LIKE US? (In elaborate harmony obviously practiced over the years) DAMN FEW! GUSSIE (ENTERING with JOE) Oh, anguish, I hate it when I've missed everything. JOE The wife here, she misses nothing. GUSSIE I had no idea the gang would be dropping in. My understudy's been going on the last few weeks and Joe insisted, as a courtesy, I must see her. But first I insisted that Joe must see Frank's new apartment. Have you ever seen that disaster he was living in?

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MARY I decorated it. GUSSIE I 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. It's Charles. Now we can call the night a success. CHARLEY Hi, Gussie. I didn't hear a doorbell. GUSSIE I bet that's because I didn't ring one. I never do when I have keys. I'm decorating this pad. The price was right. Free. Here. (SHE moves to each one, giving them each a different color swatch from her 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, housewarming nothing. Some awesomely expensive Champagne. I'll open it. (Slight pause) "Do." (Slighter pause) All right, I will. MARY Let me go check inside. CHARLEY Always nice to see you, Joe. And your wife.

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Act I Scene 3 (MARY and CHARLEY EXIT to the bedroom hallway)

GUSSIE Joe, precious, there are glasses in the kitchen. And it's Frank's house, so he can do the honors. (Hands FRANK the Champagne) Mushi-mushi, darling. We have a curtain to make! JOE Home one day and already she's ordering me around. UOE EXITS into the kitchen) GUSSIE How nice to see the old gang. (THEY stand far apart, both facingfront. GUSSIE lowers her voice, takes out her compact and repairs her make-up; FRANK begins to open the Champagne as they talk) Can they see us? FRANK Yes. GUSSIE I didn't even unpack I made up my mind. I'm leaving Joe. FRANK (Stops opening the Champagne) He'll be destroyed. GUSSIE Or I will be. I'll (A you when I arrive at the theatre. FRANK I'm supposed to go out. GUSSIE Oh, please, please, you've got to wait for my call. FRANK Gussie GUSSIE I'm desperate.

Merrily We Roll Along Page 61 (A pause. Then)

wait for your r211.

FRANK

Consider yourself kissed. GUSSIE (MARY, CHARLEY, and JOE RE-ENTER)

JOE You got this guy everything anyone could ever want in a kitchen except for glasses. FRANK Here, I'll get them. They're still packed. (HE EXITS, handing the Champagne bottle to JOE)

GUSSIE (Still looking in her compact)

Oh, eek, look at me_ That means 'don't.' I'm going to the little boy's room to repair. (GUSSIE EXITS)

JOE It's real first-class Champagne. MARY I don't drink. JOE What, never? MARY Well, hardly ever. I am a very excessive personality. Too much coffee, too much cigarettes, too much food... CHARLEY Too much Frank. (MARY turns away)

JOE Is Frank the only person in the world who doesn't know you're in love with him? (MARY raises a hand for him to stop. JOE then points in the direction of FRANK and GUSSIE)

And how many people know about those rwo?

Page 62

Act I Scene 3

CHARLEY (After exchanging a shocked glance with MARY)

Oh, there must be one or two — who don't. JOE I decided not to know. She's now Broadway's hottest star and the guy he's hot, too... obviously in more than one sense. I say let 'em ger it out of their systems. As long as, please God, she don't leave me. MARY I think Frank's being gone the last eight months put an end to it. JOE (Opens Champagne bottle)

Gussie flew over and joined the cruise, you know. CHARLEY What? MARY We had no idea Gussie was on the cruise. GUSSIE (RE-ENTERING)

It will never cease to amaze me how everyone in this town knows everyck .,tg I do. It was only for the last two weeks. FRANK (ENTERS with tray ofg lasses, hands it to GUSSIE)

Okay. Pretend these are Champagne glasses. (JOE fills the glasses)

GUSSIE (Passing the tray)

You've got yours. Now, Charley. Just one, Joe. Mary? MARY No, thank you. GUSSIE Oh, that's right, you never do. Well, more for us. (Raises her glass in a toast to FRANK

To our genius.

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JOE (Steps forward) Thank you. It's always nice to be appreciated. (THEY drink) Okay, Gus, curtain, curtain, we got a curtain. GUSSIE Oh, pooh. But one minute late, God, every column. JOE So, Frank? We see you after? MARY Frank's coming with us. GUSSIE Oh? FRANK

Actually what I should do is stay here and get organized. MARY You're kidding, aren't you? GUSSIE Oh, Mary, now let's all let Franklin get himself settled in. Goodnight, Mr. All-WorkAnd-No-Play. And everybody's favorite, Charley. JOE Don't you guys stay strangers now. (GUSSIE and JOE EXIT to the front hallway) CHARLEY Goodnight. (Goes OFF to the bedroom) MARY You're really not coming? FRANK Mary, I can't leave. Not right now. Just accept that, will you?

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Act I Scene 3 MARY

Please, Frank. Please. (FRANK shakes his head 'no.' A moment, then MARYp icks up the Champagne bottle)

Here's to us. (MARRY drinks from the bottle) FRANK

Mary! MARY (Calls to CHARLEY)

Okay, Charley, let's 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 boy's coat and the sleeping F.RANKJ R) CHARLEY

I'll be down in a minute. (Putting FRANKIR on piano)

Get rid of Gussie, Frank. FRANK (Putting the coat on the sleeping FRANI(J R.)

Gussie's none of your business, Charley. CHARLEY

But you are. Get rid of this pathetic life. FRANK

Charley, I love success. I love having two out of two shows hit. Moving up in the world. (A pause. Then)

I need some time to think. CHARLEY

Then begin by thinking about joining Mary and me tonight. Frank, there's something going on with Mary. She hasn't written one word since her book took off. Frank, she needs us. She needs both of us. FRANK (Laying his head on his son's head being close)

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

Merrily We Roll Along

CHARLEY Wait for her phone rag and get out of it once and for all.

Page 65

Then meet us.

FRANK I'll be there. CHARLEY You know, I love you. FRANK I love you. CHARLEY I missed you FRANK I missed you. CHARLEY And I want us to get back working together. FRANK Get out of here before the both of us start wailing. CHARLEY (CHARLEY raises FRAIVKJ R.'S arm, operating it up puppet and doing a ventriloquist's voice)

"Goodnight, pop. And listen to Uncle Charley because he's (CHARLEY hits a bass note on the piano and EXITS, 11Z)

and down like a

never wrong." carrying FRANK .

FRANK (Crosses to the piano and answers CHARLEY'S notes, then goes up to the font hallway)

I'll see you in just a little bit. (Shouting to the departing CHARLEY)

I miss him already.

Page 66 #7A

Act I Scene 3 Growing Up — Part 1

(Fi-ank)

(FRANK returns DOWNSTAGE, passing the piano and stops to close the lid, idly noodling an arpeggio on it. HE pauses, sits on the bench and continues noodling. Soon the noodling becomes the vamp for "Good Thing Going") FRANK THANKS, OLD FRIENDS... KEEP REMINDING ME... FRANK'S OLD FRIENDS ALWAYS SEEM TO COME THROUGH. FRANK WILL, TOO...

(Orchestra enters) SO, OLD FRIENDS, NOW IT'S 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. CHARLEY'S IN YOUR CORNER MARY IS A DREAMER, MARY'S A FRIEND. MARY IS A NUDGE. MARY IS A PURIST, CHARLEY'S A JUDGE. CHARLEY IS A DROPOUT, EVERYTHING'S A "COP-OUT." WHY IS IT OLD FRIENDS DON'T WANT OLD FRIENDS TO CHANGE? EVERY ROAD HAS A TURNING, THAT'S THE WAY YOU KEEP LEARNING:

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(Noodles with one hand) SO, OLD FRIENDS, DON'T 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 DREAMS WHEN THE OTHERS DON'T 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 GUSSIE standing at the doorway. He stops playing) GUSSIE Don't stop. FRANK I thought you were going to call. GUSSIE I said I had a headache and had the car bring me back here. FRANK I have plans, Gussie. I'm going to meet Mary and Charley. And there is something I have to say to you. I think it's — GUSSIE (Interrupting) Frank, I did it. I sent the driver back to take my things to a hotel.

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Act I Scene 3 FRANK Gussie, don't. No. You can't do that! We've already destroyed one marriage. I never live with you leaving joe for me. GUSSIE I'm leaving him for me. FRANK But why? Why suddenly? Why tonight? GUSSIE I saw tonight I could lose you. FRANK My friends are waiting.

#7B

Growing Up — Part 2

(Gussie)

GUSSIE Your friends will be there for you tomorrow. I need you tonight. (MUSIC under) LIFE IS KNOWING WHAT YOU WANT, DARLING. THAT'S 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 IT'S ONLY FAIR THAT YOU SHOULD BE AWARE THAT I WANT YOU A LOT. (Moving slowly towards him) GROWING UP MEANS ADMITTING THE THINGS YOU WANT THE MOST. CAN'T PURSUE EVERY POSSIBLE LINE. FOLDING TENTS, MAKING CHOICES, IGNORING ALL OTHER VOICES, INCLUDING MINE... YOU'RE DIVINE...

could

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(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 IT'S CLEARLY UNDERSTOOD, DARLING, BE nER 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. FRANKf ollows, stopping at the phone. GUSSIE stands in the hallway as he dials 411) FRANK May I have the number of the Downtown Club?

#7C Transition 3

(Company)

(GUSSIE EXITS) COMPANY YESTERDAY IS DONE. SEE THE PRETTY COUNTRYSIDE. MERRILY WE ROLL ALONG, ROLL ALONG, GATHERING DREAMS. TRAVELLING'S THE FUN, FLASHING BY THE EVERYBODY MERRILY, MERRILY FOLLOWING DREAMS, ROLLING ALONG... ROLLING ALONG... ROLLING ALONG... ROLLING ALONG...

END OF SCENE THREE

COUNTRYSIDE...

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Act I Scene 4 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 decision to close this courtroom to both the press and the public. After a one hour recess we will reconvene behind dosed doors with the next subpoenaed witness. This court is now adjourned. (We hear the sound ofa gavel. Lights up on the steps ofa COURTHOUSE. The year is 1967. A REPORTER [KT] is waiting, impatient and angry, when a PHOTOGRAPHER with a flash camera hurries in) KT. You missed the star going in. Stay close. We'll try to grab her coming out. PHOTOGRAPHER I left the minute the Peace March broke. Whattaya got? KT. Composer's wife who wants every last cent plus the kid. This cat's gonna be lucky if they let him keep his clothes. PHOTOGRAPHER I thought you got something hot. KT. After the judge reads the deposition of the star witness and suddenly closes the courtroom to the public, trust me, I got something hot. (The courthouse doors open and JOE, with GUSSIE wearing sunglasses and scarves to conceal her, ENTERS, moving hastily DOWNSTAGE, as if towards a taxi) GUSSIE (To JOE, crossing) It's an innocent little friendship that's been blown totally out of proportion. JOE (Crossing) You're a big star. You gotta know better.

Merrily We Roll Along

KT. Hold it, Miss Carnegie. Why were you subpoenaed? JOE Oh, financial records, percentage, chasserie... (GUSSIE pokes JOE; they continue to EXIT, but KT and the PHOTOGRAPHER block their way)

KT. Miss Carnegie, how are you two involved in this scandal? JOE We are not involved. GUSSIE (Pulling JOE away, avoiding the PHOTOGRAPHER)

And it is not a scandal. We have no comment. KT. (Blocking them again)

Can you tell us why you are subpoenaed to testify today? JOE My wife and me, we are Mr. Shepard's 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 KT'S microphone away as THEYfi nally EXIT)

KT. (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 PHOTOGRAPHER hurry to the steps. JEROME, seeing, the press whispers to CHARLEY, who goes back inside)

KT. Any statement for the press, counselor? JEROME I have no statement.

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Act I Scene 4

KT. I understand Gussie Carnegie is scheduled to testify this afternoon in a closed

courtroom. JEROME

That's what we understand. KT.

Why? JEROME

We have no idea. (CHARLEY drifts back out) KT.

Maybe Mr. Shepard could explain. Isn't Mr. Shepard coming out? JEROME

Mr. Shepard just left by a side exit. PHOTOGRAPHER (To KT.) I know that exit. (THEY EXIT STAGE LEFT) JEROME (Looks aroundf or more press, then)

Go get him, Charley. (CHARLEY signals through the courthouse doors to FRANK, who ENTERS pale, exhausted frantic) CHARLEY

Frank, this has gone on long enough. MARY

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

Give Beth whatever she wants.

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FRANK Charley, she wants everything. JEROME I warned you in the beginning, Frank, 'settle for whatever but settle.' A woman charging 'abandonment of a wife and child' ... Come on. FRANK Beth wants to move back to Houston with my son. And I'll never allow that. Never. CHARLEY You know what they're planning to do today, Frank. JEROME With Beth sitting there with your kid on her lap. MARY Stop it now, Frank. Walk away. Take a trip. CHARLEY Save yourself all this pain. FRANK I cannot just lose my family. TYLER Frank, I've taken that yacht. Come on the cruise. Get away. Get some rest. MARY And when you get back you can stay with me. CHARLEY Go, Frank, go. We all want you out of this. Ir. Get away. FRANK I can't live without my son. (BETH, a feminine, strong and tense woman in her late 20s, ENTERS from the courthouse, together with MR. SPENCER, her father, and FRANKJ R., her son. THEY start to EXIT STAGE LEFT The boy stares back at FRANK as they cross) Beth!

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Act I Scene 4 (BETH continues walking, ignoring him. FRANK screams at the top of his lungs)

BEEEEEETH! JEROME Frank, don't make it worse. FRANK I'm not going to give up, Jerome. BETH (At the EXIT STAGE LEFT, to MR. SPENCER)

Daddy, wait for me. MR SPENCER Don't be a fool, Elizabeth. BETH I said 'wait.' (Bends down and kisses FRA1VIC JR)

Mommy will be right back. You go with Grandpa. MR SPENCER Your 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. FRANK It's not life without my son — BETH You're not going to like what you hear this afternoon. #8

Not A Day Goes By

(Beth)

(MUSIC begins underneath)

I'm not out to hurt you, Frank But I'll hurt you if I have to.

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FRANK How is Frankie? BETH How do you think he is, Frank? All I keep thinking is 'I could have stopped it.' I was warned about Gussie. I could have stopped it. FRANK Do you still love me? BETH Did you sleep with her, Frank? FRANK

(Insistently) Do you still love me? BETH

(Quietly at first) NOT A DAY GOES BY, NOT A SINGLE DAY BUT YOU'RE SOMEWHERE A PART OF MY LIFE AND IT LOOKS LIKE YOU'LL STAY. AS THE DAYS GO BY, I KEEP THINKING, WHEN DOES IT END? WHERE'S THE DAY I'LL HAVE STARTED FORGETTING?

(With increasing fug) BUT I JUST GO ON THINKING AND SWEATING AND CURSING AND CRYING AND TURNING AND REACHING AND WAKING AND DYING AND NO, NOT A DAY GOES BY, NOT A BLESSED DAY BUT YOU'RE STILL SOMEHOW PART OF MY LIFE, AND YOU WON'T GO AWAY.

(Raging) SO THERE'S HELL TO PAY, AND UNTIL I DIE, I'LL DIE DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY

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Act I Scene 4 TILL THE DAYS GO BY TILL THE DAYS GO BY! TILL THE DAYS GO BY! (Quietly again) Did you sleep with Gussie? FRANK

I love you, Beth. BETH

Did you want that kind of life so much you went with her? FRANK I'll always love you. BETH

But did you? FRANK

(Looks away. Then) Yes. BETH

(Puts out her hand and steps toward him) Frank, I want us to — (Suddenly FRANKJ R. runs ONSTAGE toward FRANK, with MR. SPENCER running in after him) FRANK JR.

Daddy! Daddy! Daddy! (BETH pulls him back to send him to his grandfather so that she a/Li FRA1VK can talk) BETH

No, Frankie, no. You're to stay with — FRANK

(Holding onto FRANKJ R.) He's my child, too!

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(KT and the PHOTOGRAPHER have quickly moved in and suddenly there is a flash as he shoots a picture of this momentary struggle. FRANK and BETH stop, shocked FRANK wheels around to the PHOTOGRAPHER) Get out of here! (CHARLEY, MARY, JEROME and the others come rushing back in) BETH (Holding FRAIVKJ RS hand EXITS with him and MR SPENCER) I can't live like this! FRANK Beth, wait! (The PHOTOGRAPHER takes another shot ofF RANKcalling after the EXITING BETH FRANK turns on him) I said get out of here! (FRANKp ushes the PHOTOGRAPHER, THEY scuffle and FRANK shoves him down on the ground) Are you satisfied? PHOTOGRAPHER It's my job, man. FRANK Then go find a decent one, man. CHARLEY Hey, take it easy. Calm down, buddy. Cool off. (The PHOTOGRAPHER gets up and crosses to the steps) KT I'll kill those photos, genius. But you owe me one. (K T also crosses to the steps as CHARLEY leads FRANK back to the group) MARY Listen to Charley and me, Frank. We want you to get away.

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Act I Scene 4' FRANK Just hold me close, Mary. All I want to do is get back to work. CHARLEY You're in no shape to write, pal. Go off with Tyler for a while. FRANK I don't want to go away. SCOTTY I'm your agent and I'm telling you now is not the time to work. MARY I love you, Frank. And Charley loves you. Listen to us. TYLER Living well is the best revenge! Now You Know

(MUSIC) SCOTTY SO YOU'VE MADE A MISTAKE, SO YOU'RE SINGING THE BLUES, SO YOU'LL TAKE SOME TIME, GO VISIT SOME PLACES — MARY YOU'VE GOT TO BE SOMEWHERE WHERE THERE'S NOTHING TO REMIND YOU — RIGHT? TYLER WHAT YOU NEED IS A BREAK — I'LL ARRANGE A NICE CRUISE, YOU'LL RELAX A BIT AND SEE SOME NEW FACES... CHARLEY, MARY YOU'VE GOT TO DO SOMETHING — ONLY NEVER LOOK BEHIND YOU.

Merrily We Roll Along CHARLEY, MARY, TYLER RIGHT? SCOTTY, TYLER

(Enthusiastically to the others) BEST THING THAT EVER COULD HAVE HAPPENED —

(MARY and CHARLEY shoot them a look) FRANK

(Pleasant, dead) Right. JOE SO YOU'LL SIT IN THE SUN, YOU'LL COME BACK WITH A TAN, THEN WE'LL DO THAT SHOW YOU'VE ALWAYS BEEN TALKING — SCOTTY THE SIDE IS RETIRED, SO WE START ANOTHER INNING — RIGHT? TYLER ON A BOAT IS SUCH FUN — JEROME YOU'LL COME BACK A CHANGED MAN — TYLER I'VE HAD LOTS OF GUESTS AND NO ONE'S SQUAWKING. CHARLEY, MARY FEELS LIKE AN ENDING, BUT ITS REALLY A BEGINNING — RIGHT? SCOTTY BEST THING THAT EVER COULD HAVE HAPPENED, I SAY, BEST THING THAT EVER COULD HAVE HAPPENED —

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Act I Scene 4 TYLER (Overlapping) BEST THING THAT EVER COULD HAVE HAPPENED — JOE (Overlapping) ONE MORE THING NOT TO THINK ABOUT... JEROME (Overlapping) IT WAS ALL GETTING MUCH TOO COMPLICATED — FRANK (Interrupting, edgily) Right!

MARY ALL RIGHT, NOW YOU KNOW: LIFE IS CRUMMY. WELL, NOW YOU KNOW. I MEAN, BIG SURPRISE: PEOPLE LOVE YOU AND TELL YOU LIES. BRICKS CAN TUMBLE FROM CLEAR BLUE SKIES. PUT YOUR DIMPLE DOWN, NOW YOU KNOW. OKAY, THERE YOU GO — THAT'S THE SUM OF IT, NOW YOU KNOW. IT'S CALLED FLOWERS WILT, ITS CALLED APPLES ROT, IT'S CALLED THIEVES GET RICH AND SAINTS GET SHOT, ITS CALLED GOD DON'T ANSWER PRAYERS A LOT, OKAY, NOW YOU KNOW. OKAY, NOW YOU KNOW, NOW FORGET IT. DON'T FALL APART AT THE SEAMS. IT'S CALLED LE GO YOUR ILLUSIONS,

Merrily We Roll Along AND DON'T CONFUSE THEM WITH DREAMS. IF THE GOING'S SLOW, DON'T REGRET IT AND DON'T LETS GO TO EXTREMES. IT'S CALLED, WHAT'S YOUR CHOICE? IT'S CALLED, COUNT TO TEN. IT'S CALLED, BURN YOUR BRIDGES, START AGAIN. YOU SHOULD BURN THEM EVERY NOW AND THEN OR YOU'LL NEVER GROW! BECAUSE NOW YOU GROW. THAT'S THE KILLER IS, NOW YOU GROW. ALL RIGHT, NOTHING'S FAIR, AND IT'S ALL A PLOT, AND TOMORROW DOESN'T LOOK TOO HOT — RIGHT, YOU BETTER LOOK AT WHAT YOU'VE GOT: (Pause, then smiling as FRANK doesn't respond) OVER HERE, HELLO? (HE looks at her, smiles for the first time) OKAY, NOW RIGHT?

YOU

KNOW.

JOE SO YOU'LL FIND A NEW GAL — SCOTTY, JOE SO YOU'LL WRITE A NEW PLAY — JEROME, SCOTTY, JOE IN A MONTH OR TWO, YOU'RE GOING TO THANK US. MARY YOU MAY HAVE MISSED ONE ROAD, BUT THERE'S PLENTY MORE TO FOLLOW. RIGHT?

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Act I Scene 4 TYLER WE'LL GO THROUGH THE CANAL, UP THE COAST TO LA. YOU'LL COME SEE THE PLACE I'M BUILDING AT TRANCAS. CHARLEY YOU HANG AROUND HERE, PAL, AND YOU'RE ONLY GONNA WALLOW. RIGHT? ALL RIGHT! SCOTTY, KT., BUNKER BEST THING THAT EVER COULD HAVE HAPPF MARY (Overlapping) I MEAN, YOU'LL COME BACK, I MEAN, WHAT'S THE FUSS? CHARLEY I MEAN, SEA AND SUN AND COMFORT PLUS. CHARLEY, MARY I MEAN, AFTER ALL, YOU'VE STILL GOT US. ALL (Variously, overlapping) BEST THING THAT EVER COULD HAVE HAPPENED! IT WAS ALL GETTING MUCH TOO COMPLICATED... BEST THING THAT EVER COULD HAVE HAPPENED! FRANK RIGHT! YOU'VE GOTTA LET GO, GOTTA DO IT FROM SCRATCH, TAKE A LONG DEEP BREATH, GO BACK TO YOUR SOURCES. A LI .1 itE VACATION, WHICH IS ALL ABOUT FORGETTING — RIGHT?

Merrily We Roll Along ALL RIGHT! FRANK RIGHT! (To CHARLEY} THEN WE'LL DO A NEW SHOW — NO, WE'LL DO A WHOLE BATCH — MAYBE ONE THAT'S ALL ABOUT DIVORCES! I MEAN, A DIVORCE COURT — WHAT A FASCINATING SETTING! RIGHT? ALL RIGHT! FRANK RIGHT! ALL (Variously, overlapping) BEST THING THAT EVER COULD HAVE HAPPENED... BEST THING THAT EVER COULD HAVE HAPPENED... I SAY, BEST THING THAT EVER COULD HAVE HAPPENED... ITS YOUR TIME, YOUR TIME... YESTERDAY IS DONE. SEE THE PRETTY COUNTRYSIDE. SOON ENOUGH YOU'RE MERRILY, MERRILY ROLLING ALONG... ROLLING ALONG... SO YOU'LL SIT IN THE SUN, YOU'LL COME BACK WITH A TAN, IN A MONTH OR TWO, YOU'RE GOING TO THANK US. IT'S YOUR TIME... IT'S YOUR TIME... (THE COMPANY has assembled to send FRANK off on TYLER'S yacht) ALL

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Act I Scene 4 ITS CALLED BURN YOUR BRIDGES, START AGAIN. YOU SHOULD BURN THEM EVERY NOW AND THEN OR YOU'LL NEVER GROW! BECAUSE NOW YOU GROW. LIFE'S A KILLER, SO NOW YOU GROW. MARY YOU'RE RIGHT, NOTHING'S FAIR, AND IT'S ALL A PLOT, AND TOMORROW DOESN'T LOOK TOO HOT — ALL RIGHT, YOU BE' LI ER LOOK AT WHAT YOU'VE GOT:

(Variously, overlapping) OVER HERE, HELLO? OVER HERE, HELLO? NOW YOU KNOW! NOW YOU KNOW! RIGHT! RIGHT! RIGHT! RIGHT! NOW YOU KNOW!

(FRANK is now on the ship next, to BUNKER, wearing a yachting cap and waving goodbye to the crowd) END OF ACT ONE

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ACT TWO #I0

Entr'acte (Orchestra)

SCENE ONE #10A Act 2 — Opening

(Gussie) (During the entr'acte, the lights slowly come up on GUSSIE, pacing back andf orth on an empty stage, dressed in a sexy evening gown) GUSSIE

(Apparently thinking ofFRANK) HE'S ONLY A BOY... WHY DO I THINK HE LOVES ME? MAYBE HE LOVES WHAT I CAN DO FOR HIM. MAYBE HE THINKS THAT I'LL COME THROUGH FOR HIM. MAYBE THE MOON IS CHEESE! AND YET MAYBE, MAYBE SOMETHING REAL IS HAPPENING HERE... BUT BABY, YOU'RE A BABY, AND THE MAN I'M MARRIED TO NEEDS ME NEAR... OKAY, THE MOON IS CHEESE!

(Suffering a little too much) AND I LOVE THE GUY I SHOULDN'T, AND I DON'T THE ONE I SHOULD. AH, BUT LOVE IS BLIND, AND I GO FOR THE KIND THAT I FINALLY FIND IS NO GOOD...

(Suddenly belting to a strip beat, the pacing turns into a musical comedy strut and we realize that were watching her perform in a show — she might even be joined by a couple ofM ale Dancers here) IT STARTED OUT LIKE A SONG, IT STARTED QUIET AND SLOW, WITH NO SURPRISE, AND THEN ONE MORNING I WOKE TO REALIZE

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Act II Scene 1 WE HAD A GOOD THING GOING.

IT'S NOT THAT NOTHING WENT WRONG... (She EXITS UPSTAGE and we are now in an alley outside the stage door of the Alvin Theatre in New York. It is opening night of "Musical Husbands.- The slide reads: ALVIN THEATER 1964. JOE JOSEPHSON, chewing a cigar and continually checking his watch, ENTERS and paces rapidly back andf orth in front of the stage d9or. His look races between the door and stage right, where suddenly LOU!) VOICES are heard as CHARLEY, MARY, BETH and FRANK with fiveyear old FRANKJ R. asleep in his arms, ENTER, talking lotr 4) JOE (Quieting them) Shhh. Shhhh You got an opening night inside or did you forget? FRANK We're sorry. We're very sorry, but something amazing happened. JOE I'll say amazing. When suddenly, right before the eleven o'clock nunit :his whole pack of you jumps right up out of your seats, turns and races straight up she center aisle like a bunch of meshugginas. CHARLEY It was Evelyn. She suddenly, just like that, she went into labor. MARY And being Evelyn she wouldn't tell us until her pains were only five We just a second ago got her into a cab. JOE (To CHARLEY) Then what the hell are you doing here? CHARLEY My wife would not let me into the cab! FRANK Evelyn refused to let Charley miss our first opening night.

apart.

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CHARLEY Look! She even brought a tape recorder to record the applause. JOE From your mouth to God's ear. FRANK Now the very second the applause is over, Charley — I have the cab waiting — so you, Beth and I will fly to that hospital in record time, I prom isc

(BETH hurries out STAGE LEFT behind the theatre) JOE

(Listening

at

the door)

They're quiet. FRANK Very quiet. MARY When an audience is quiet like that it means they're really concentrating.

(The three MEN turn and look at her; she shakes her head) Shut up, Mary. JOE We should go back in for the closing.

(Turns, looks up to God) I didn't mean 'the closing.' BETH

(RE-ENTERING, to the SPENCERS, taking FRANKJR., pointing Here Momma, now that cab with the meter running right there, that is fog So you and Daddy take that one right behind it. FRANK

(Kissing the sleeping FRANKJR.) And I'll see you very soon, little bit, and I'll tell you every single thing tha Oh, I wanted him to be here opening night. BETH Frank! Now he's been here opening night. Momma, hurry. And we both very much and we both love you very much. Now hurry.

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Act II Scene 1 MR SPENCER (EXITING with MRS. SPENCER, carrying FRANKJ R.) I don't understand why in hell any human being in his right mind would ever, ever live in New York City. BETH, CHARLEY, FRANK, MARY (Overlapping with MR. SPENCER)

... ever, ever live in New York City. FRANK

Charley? Let's do another show_ BETH

Yeaaaa2aa MARY

And then another and then another and then another... JOE And I'll produce it. CHARLEY

Wait a minute, wait a minute. Joe, you'll produce "Take A Left?" JOE I say first get yourselves a couple of hits to show that you can make money. Then,

then you can do that political flop to show them you got integrity. Me, I've got such an idea for you guys. So commercial. First you'll hate it, then you'll love BETH

Frank, you know I never say anything. But I am going to say this. For me. ;.or me, just do one more for Joe, and then you can go do "Take A Left." FRANK

I know the kind of music I want to write. I also know it's hard on you right now, but Beth, I'm asking you to trust me. BETH And I'm asking you to trust me. MARY

Beth. Chicos. Right now is the time you gotta do your own stuff.

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BETH You don't have a child, Mary. And you just had yourself a best seller. So, of course, that's all very easy for you to say. MARY Oh, Beth, believe me. Success ain't all it's cracked up to be. FRANK I think Charley and I will handle success very well CHARLEY Yeah, look how well we've handled failure. #1I

It's A Hit

(Joe, Frank, Mary, Beth, Charley)

(Enormous APPLAUSE from inside as JOE opens the stage door. CHARLEY turns on his tape recorder; MUSIC starts) JOE LISTEN TO THAT! (Another roar ofAPPLAUSE from inside) WILL YOU LISTEN TO THAT! (And another) FRANK DO YOU KNOW WHAT THAT MEANS? LET ME TELL YOU WHAT THAT MEANS — WAIT, NO, ANYONE WHO EVEN THINKS IT, DON'T SAY IT, YOU'LL JINX IT — (OVATIONf rom CHARLEY'S tape) CHARLEY LISTEN TO THAT! (OVATIONf rom inside as JOE opens the stage door) JOE DID YOU LISTEN TO THAT?

FRANK DOES THAT MAKE YOU FEEL PROUD? WELL, FEEL MORE THAN JUST PROUD —

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Act II Scene 1 OKAY, WAIT, I'LL TEMPT FATE AND I'LL STATE IT OUT LOUD:

(OVATION as CHARLEY opens the stage door fora moment and they all bask in the sound) THAT'S THE SOUND OF A —

(As the music starts to build in speed and excitement) HIT! IT'S A HIT! GANG, I THINK THIS IS IT! NO MORE WRITING CLEVER LITTLE SHOWS FOR THOSE BASEMENT SALOONS, NO MORE PROCLAMATIONS FROM THE PROS THAT "YOU CAN'T HUM THE TUNES"— CHARLEY NO MORE SNEAKING IN AT INTERMISSION TO THE PLAYS YOU WISH YOU COULD AFFORD MARY OR PRODUCERS HAVING YOU WHENEVER THEY'RE BORED —

AUDITION

CHARLEY AND WHO'LL SAY RIGHT AWAY AS YOU PLAY THE FIRST CHORD:

"Boys, boys, it's very, very — what is the word? 'Interesting.' And if slightest belief any audiences would come, I would do it in a minus• (Cups hand to mouth to call the next songwriter) Next! ALL WE'RE A HIT! WE'RE A HIT!

(Ovation as JOE RE-ENTERS) JOE STANDING UP — THE WHOLE BIT!

,en

the

Merrily We Roll Along FRANK NO MORE COACHING THOSE SOPRANOS WITH VOICES LIKE BEES — CHARLEY NO MORE SECONDHAND PIANOS WITH

SIX BROKEN KEYS — MARY NO MORE AGENTS GIVING YOU OPINIONS AS THEY TURN YOU OVER TO THEIR MINIONS — ALL JUST FOR THESE GUARANTEES WE SHOULD PLEASE THANK THE LORD IT'S A HIT! IT'S A HIT! BETH WILL MY FOLKS HAVE A FIT! AFTER ALL OF THAT BALONEY THEY'VE MADE ME GO THROUGH, ALL THAT, 'HONEY, NOT THAT HE'S A PHONY, BUT WHAT DOES HE DO?' WILL THEIR FACES BE STONY WHEN THEY SEE ON THEIR SONY SOMEONE HANDING THE PHONY THE TONY AWARD! FRANK `I would like to begin by thanking all the hundreds of people who have every show I have ever written so that I could win tonight for this one.' (OVATION as CHARLEY opens the stage door) Thank you! FRANK LISTEN TO THAT! WILL YOU LISTEN TO THAT? TELL ME, IS THAT A NOISE OR IS THAT A NOISE?

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Act H Scene 1 THAT IS A NOISE WE'VE BEEN WAITING THE WHOLE OF OUR LIVES TO HEAR! BETH

(Overlapping) LISTEN TO THAT! DID YOU LISTEN TO THAT? HONEY, IS THAT A NOISE OR IS THAT A NOISE? THAT IS THE LOVELIEST NOISE FOR A BREADWINNING WIFE TO HEAR! FRANK

(Overlapping) LISTEN TO THAT, WILL YOU LISTEN TO THAT! I CAN'T STAND IT! MARY

(Overlapping) LISTEN TO THAT! THAT'S OBSCENE! MARY, JOE

(Overlapping) THAT IS A NOISE, THAT IS REALLY A — LISTEN TO THAT! WILL YOU LISTEN TO THAT? GOLLY, I CAN'T — LISTEN TO THAT! WILL YOU LISTEN TO THAT? CHARLEY

(Simultaneously) LISTEN TO THAT! FELLAS, THAT IS A NOISE, THAT IS REALLY A NOISE! I CAN'T STAND IT! WILL YOU LISTEN TO THAT! WILL YOU LISTEN TO THAT! BETH

(Simultaneously) LISTEN TO THAT! DID YOU LISTEN TO THAT?

Merrily We Roll Along I CAN'T STAND IT! DID YOU LISTEN TO THAT! LISTEN TO THAT! WILL YOU LISTEN TO THAT! FRANK

(Simultaneously) LISTEN TO THAT! THAT IS THE NOISE I'VE BEEN WAITING MY LIFE TO HEAR! LISTEN TO THAT! WILL YOU LISTEN TO THAT! WILL YOU LISTEN TO THAT! ALL THAT'S THE SOUND OF AN AUDIENCE LOSING ITS MIND! ITS THE POPE ON HIS BALCONY BLESSING MANKIND! JOE FOLKS, IT'S "FUNNY GIRL," "FIDDLER" AND "DOLLY" COMBINED! ALL IT'S A HIT! IT'S A HIT! IT'S A PALPABLE HIT! FRANK, CHARLEY IF IT ONLY EVEN RUNS A MINUTE AT LEAST IT'S A WEDGE, IT'S THE THEATER AND WE'RE REALLY IN IT, NOT JUST ON THE EDGE! JOE

(To FRANK and CHARLEY) IF YOUR SPIRITS EVER NEED IMPROVING, YOU CAN DROP IN ANY NIGHT FOR FREE! FRANK BUT THE THING THAT'S POSITIVELY MOVING — CHARLEY YOU COULD HAVE FOOLED ME —

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Act II Scene 1 FRANK, CHARLEY IS WE'RE STILL OLD FRIENDS! NOTHING CAN KILL OLD FRIENDS! FRANK, CHARLEY, MARY WHERE THERE'S A WILL, OLD FRIENDS DON'T NEED SUCCESS TO SURVIVE! TRIO, BETH AND US, OLD FRIENDS, WHAT'S TO DISCUSS, OLD FRIENDS? ALL WE'VE GOT A SUREFIRE GENUINE WALKAWAY BLOCKBUSTER LINES DOWN TO BROADWAY BOFFOLA SENSATIONAL BOX OFFICE LALAPALOOZA GARGANTUAN HIT!

(OVATION as THEY open the door again) IT'S A HIT!

(And again) IT'S A HIT! IT'S A HIT! IT'S A HIT! ITS A HIT! JOE This is the moment everybody lives for. Now we go in and we fake being modest.

(EXITS into the theater) CHARLEY No, no. I'm having a baby_

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FRANK We're corning. MARY Me, too. BETH What about the opening party? CHARLEY You two go to the party. (Hands the tape recorder to FRANK starts to EXIT, turns back) Frank, I'll do one more for Joe Josephson. But just one more. FRANK (Puts tape recorder down at the side of the stage) One more. And then it's our time.

CHARLEY One more. (THEY hug. BETH cheers. CHARLEY, EXITING STAGE LEFT, tc MARY) Come on. MARY In a minute. BETH (After CHARLEY EXITS, to FRANK) Frank, I was there for Evelyn's last baby and I want to be there for this one, too, you go on ahead. FRANK No, honey, absolutely not. No, no, no. BETH Yes, yes, yes. I am so proud of you. If I don't see you at the hospital, I'll see home. (A slight pause) Oh, I love you so much.

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Act II Scene I (SHE kisses him and pushes him into the theater. HE _EXITS through the stage door and RE-ENTERS UPSTAGE where he is visible backstage through the scrim wall) MARY (Stopping BETH) Beth, with Gussie there, I urge you to go with Frank. BETH (Moving) Sometimes you have to trust, Mary. MARY (Stopping her again) And sometimes you don't. BETH I would never want a man I couldn't trust. (BETH EXITS STAGE LEFT, with MARYf ollowing. JOE comes upon FRANK ENTERING from behind the scrim) JOE Hey, Big Man! You got a ride to this fancy—schmancy party? FRANK I can only stay one or two minutes. GUSSIE (ENTERING, seeing them, calling down from a level above) Oh, was that not why we do all this? Was that not just heaven? JOE I gotta go make nice with the backers. You two take our car. (EXITING, calling to GUSSIE) I won't be able to afford this Big Man now, you watch! GUSSIE Oh, what a blessing it's been to find another pure artist. So often I have ).u., wanted to thank you. But Franklin Shepard, I think there has been a conspiracy a, keep you from me. FRANK Miss Carnegie, I owe you so much.

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GUSSIE Didn't I tell you a few years ago, it's Fate that brought us together.

(IGsses the single rose, throws it down to FRANK) Now you, all you have done these past months is work, work, work. Tonight let me show you how divine it is to be number one. Everyone is waiting to meet the man of the hour.

(GUSSIE EXITS downstairs as FRANK starts to EXIT in another direction. Then HE remembers CHARLEY'S tape recorder, crosses over, picks it up, starts to EXIT again, but stops. He stands still CENTER STAGE and presses the Play' button. the APPLAUSE sounds. FRANK closes his eyes tightly, swallows, then bows to his imaginary audience Wore herunsof #11A Transition 4

(Company)

COMPANY (Various/y) DREAMS DON'T DIE, SO KEEP AN EYE ON YOUR DREAM, 'CAUSE BEFORE YOU KNOW WHERE YOU ARE, THERE YOU ARE. TIME GOES BY AND DREAMS GO DRY, BUT YOU CAN'T GIVE UP ON YOUR DREAMS... SOLO TEND YOUR DREAMS... GROUP 1 SOME ROADS ARE EASY SOLO DREAMS TAKE TIME... GROUP 1 SOME ROADS ARE ALL UPHILL. SOLO TIME GOES BY. GROUP II SOME ROADS YOU PLOD ALONG

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Act II Scene 1 WITH A WILL. SOME ROADS YOU TRAVEL JUST FOR THE THRILL. SOLO BEND YOUR DREAMS — GROUP III SOME RIDES ARE BREEZY. SOLO WITH THE ROAD. GROUP III SOME RIDES ARE FULL OF JIGGLES AND BUMPS. ALL CAN'T LET IT GET YOU DOWN IN THE DUMPS. DON'T LET IT GET YOU DOWN IN THE DUMPS! SOLO NINETEEN SIXTY-FOUR... SOLO NINETEEN SIXTY-THREE... SOLO NINETEEN SIXTY-TWO...

END OF SCENE ONE

Merrily We Roll Along SCENE TWO #12

The Blob — Part I

(Company)

GUESTS (GROUP I)

(Solos various/y) HAVE YOU SEEN — ? HOW WAS IT — ? YOU'RE NOT SERIOUS! DO YOU MEAN — ? THAT DOES IT! YOU'RE NOT SERIOUS! GROUP II

(Overlapping) DARLING! WE BOUGHT THE MOST DARLING! WE HAD THE BEST — ! DARLING! WE SAW THE FIRST — DARLING! WAS THAT THE WORST — ?

!

GROUP III

(Overlapping) DID YOU READ — ? IT'LL NEVER — ! WE SAW THE FIRST ! WHAT THEY NEED — ! DID YOU EVER ! WAS THAT THE WORST — ? IT'S THE — ALL GUESTS BEST — ! IT'S THE FIRST — ! ITS THE FINEST — ! IT'S THE LATEST — ! IT'S THE LEAST — !

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Act II Scene 2 ITS THE WORST — ! ITS THE ABSOLUTELY LOWEST — ! ITS THE GREATEST — ! IT'S THE SINGLE — ! IT'S THE ONLY— ! IT'S THE PERFECT — ! IT'S THE — GROUP I HI! GROUP II DREADFUL! GROUP III FABULOUS!

BETH Frank! Frank! (FRANK looks at her. SHE points to someone OFFSATGE) It's the Mayor. God. FRANK (Impatient) I know. I know. BETH (Gasps. Gasps again) Frank! Look! She's my favorite actress. (Points OFFSTAGE again, very excited) FRANK (Wanting her to stop this) I see. I see. BETH But did you see who she's with? FRANK (Embarrassed) Beth, I'm not looking for celebrities. I'm looking for Charley.

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BETH Well, Frank, you can do both. I never saw so many famous people. (Suddenly SHE lets out a loud squeal, points UPSTAGE and all the blase GUESTS stop and look UPSTAGE) ALL WHAT? WHO? WHERE? (The GUESTS see the ENTERING CHARLEY, at whom they stare in disappointment) OH... (The CROWD turns away. Very loud BABBLE, continuing more softly under the dialogue; MUSIC continues under throughout the scene, except when noted) CHARLEY (Crossing to FRANK) What did he say? FRANK I haven't talked to him yet. But it's obvious he didn't invite us here because we'd fit in so well. I'm more sure than ever that he wants to option our show. CHARLEY I'm sure, too. But let's not be too sure. (Showing his inner pockets filled with pastries) I just have the pastry concession, you're the one who's supposed to handle the business. FRANK I'm handling it, Charley. You watch. All this time we've put into our writing, it is finally going to pay off. BETH I don't care what he asks, you just say 'yes.' All I want is for us to be rich as long as we've been poor. FRANK (Quieting her) Beth, there are a lot of sophisticated people here.

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Act II Scene 2

BETH (Teasing) Oh, God. If I'd known that, I would have worn earrings. FRANK (Seeing something across the room) Come on. Let's go. CHARLEY What's going on? FRANK Those people over there. They're smoking marijuana. BETH I've smelled that before. In the Village. I thought it was autumn. #12A The Blob — Part 2

(Company, Gussie) FRANK

Come on. GUESTS (In small groups) DARLING! WE SAW THE NEW — ! DARLING! WE HAD THE MOST —! BAD, WAS IT GOOD? IT'S THE BIGGEST! HE'S A GENIUS! WELL, HE CAN'T — BUT HE USED TO! ITS THE DUMBEST — SHE'S A GENIUS! IT'S THE — ! FRANK (Spotting GUSSIE, puts his hand out) Hi. I don't know if you remember me. I'm Franklin Shepard. That's Charley Kringas, who writes my lyrics.

Merrily We Roll Along (GUSSIE gives CHARLEY a big hug, squashing all the pastries)

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And this is Beth. My wife, Beth. GUSSIE Remember you? You're the reason we're giving this bash. According to our accountant, anyway.

(To BETH) Do you write songs too? BETH No, right now I'm the family breadwinner. GUSSIE You don't mind if I kidnap him, do you?

(Without waiting for a reply, GUSSIE whisks FRANK to one side. CHARLEY EXITS to clean up all the pastry mess from GUSSIE'S hug) I have invited the richest and the most influential people in this town tonight. Not one of whom is as rich or influential as you're going to be. I call them the Blob. They absorb everything. MEET THE BLOB, THE BODIES YOU READ ABOUT. THE ONES WHO KNOW EVERYONE THAT EVERYONE KNOWS. GROUP III HI! GROUP I DREADFUL! GROUP II FABULOUS! GUSSIE MEET THE BLOB. NOT MANY AND YET — GUESTS

(To each other) OH. RIGHT...

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Act II Scene 2 GUSSIE — YOU NEVER SEE ONE — GUESTS WHAT? NO! GUSSIE THEY COME AS A SET. GUESTS WHO?— HIM? GUSSIE AND WE'RE IN THEIR DEBT — GUESTS BUT WHAT DID YOU THINK? GUSSIE 'CAUSE, HONEYBUNCH, THEY WRITE THE BOOKS AND PUT ON THE SHOWS AND RUN THE SALOONS AND DESIGN THE CLOTHES. THEY KEEP US NATIVES ON OUR TOES. GROUP III ALBEE! GROUP II W.ARHOL! GROUP I ICUROSAWA! GUSSIE THEN THEY READ THE BOOKS AND GO TO THE SHOWS AND SWAMP THE SALOONS, WEARING ALL THE CLOTHES... WHAT YOU MIGHT CALL A GLUT, BUT THEY'RE THE MOST IMPORTANT PEOPLE

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IN THE MOST IMPORTANT CITY IN THE MOST IMPORTANT COUNTRY IN THE YOU-KNOW-WHAT! GROUP III

HEAVY! GROUP II

MILTOWN! GROUP I

GESTALT! (PARTY NOISE. GUSSIE brings FRANK back to his friends) #12B The Blob — Part 2 (Underscore) (Offstage piano) GUSSIE

(Grabbing two wine glasseg5-om a passing WAITER) Beth, darling, you don't have any hooch. (Turning to give a glass to BETH, GUSSIE in her haste, or perhaps deliberately to get rid of her, spills it all down the front ofB ETHS dress) Oh, no. I'm going to open my veins. (GUSSIE turns to fine lJOE) BETH

It's okay. (Quietly, to Frank) It better be. Since now I own it. GUSSIE

Joe. Joe. Hurry up. We have a gigantic catastrophe. (To BETH) Oh, this is scandalous. (JOE leaves a Group, crossing over, leaning in to kiss GUSSIE'S cheek. She pulls away in irritation) Joe, take this gorgeous person up to my closet and she is going to choose some rag of mine. Move, Joe, please. I am paralyzed with shame. JOE

Did you talk to my wife? We got something in mind. Maybe for Broadway.

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Act II Scene 2

GUSSIE Joe, if you don't hurry I am going to throw myself down the garbage disposal. Now move! (JOE EXITS, BETH hurrying to stay close behind to conceal the spot. To FRANK) Your new songs are just beautiful. FRANK (Taking out some lead sheets) I brought over some newer ones. GUSSIE (Laughing) You're wonderful. FRANK I just admire people like you so much. You seem to know everyone and do everything. GUSSIE Yes, I do. One day I just made myself up. Now I never change. Instead I change the people around me. (Behind FRANK'S back SHE has waved SCOTTY over) Scotty! (As SCOTTY hurries to her) Precious, this is your new client, Franklin Shepard. SCOTTY You can give me a holler tomorrow. Or I can yell on you. (Indicating phone to ear) I'm in the book. FRANK (Indicating phone to ear) So am I. GUSSIE See, look how much you two have in common. (Throws SCOTTY a kiss; moving away with FRANK) I just found you an agent. (GUSSIE and FRANK cross UPSTAGE through a Door Panel GUSSIE opens the door to the greenhouse and they ENTER. When she

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shuts the door behind her, the PARTY SOUNDS and MUSIC stop, though the party continues in pantomime) Joe gave me this greenhouse as a wedding present. He has a tendency to worship me. FRANK

It's great. GUSSIE

If you like it, take it home. I married Joe because he liked me and I liked this life. I married the one before him because, well I believed him when he said he could write. And the first one? Well, I don't think first ones really count, do you? FRANK

This greenhouse seems as out of place in New York as I do. GUSSIE

(Meaning more) Only at first, darling. Now I find it the best thing about this dump. How old are you? FRANK

Twenty-five. Which doesn't bother me. Then I think, "I'm a quarter of a century" and I panic. There's so much I want to do and I can't get started. I can't — (Stops himsel.fi GUSSIE

Here's something I do when I want to get to know somebody very well, very fast. It's a game. I tell you something honest about me and you answer me right away with something honest about you. I call it 'Trading Hostages.' I'm not very happy. (Pause) Go on. 'I'm not very happy.' FRANK

I'm very happy. GUSSIE

Hmm. I'm inches away from the top. FRANK

I'm miles away from the top. Make that hundreds of thousands of miles away. GUSSIE

Performing is my life.

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Act II Scene 2

FRANK Composing is my life. GUSSIE Success is not happening fast enough. FRANK Success is not happening at all_ GUSSIE I've been in five Broadway shows. FRANK I've seen the second act of every one. GUSSIE Someone's cheating. I've done five Broadway shows. FRANK Me, I can't get started. I can't — GUSSIE My first love is singing. FRANK My first love is music. GUSSIE My second love is acting. FRANK My second love is music. GUSSIE I believe it's Fate that brought us together. (A pause)

Anyhoo, I did all those Broadway shows, most which didn't last as long as this conversation, and Joe has just optioned a vehicle that can change my life_ And yours. We both want you and your partner to do the score. (Big smile. FRANK doesn't smile back)

Do I see disappointment on that sweet face? FRANK We were hoping he wanted to do "Take A Left." The show Charley and I auditioned for him.

Merrily We Roll Along GUSSIE Oh no, darling, not at all. FRANK It's just that we've been working on it for three years. GUSSIE Well, you can do this one much faster. But he wants me to make sure you understand we want it fast, loud and funny.

#12C Growing Up

(Gussie)

I need a hit. What do you say?

(No reply. A long beat. MUSIC begins underneath, slow and sinuous. GUSSIE sings quietly, with understanding) LIFE IS KNOWING WHAT YOU WANT, DARLING, THAT'S THE THING YOU HAVE TO KNOW. YOU'LL GET EVERYTHING YOU WANT, DARLING, HAVE A LITTLE PATIENCE. CLIMBING MOUNTAINS CAN BE SLOW, DARLING, TAKE IT EASY AS YOU CLIMB. I'D SAY YOU'RE A WINNER, ALSO A BEGINNER — ONE STEP AT A TIME. GROWING UP, IT'S WHAT THEY CALL GROWING UP. IT'S WHEN WE'RE ALL STARTING OUT AND STARTING TO SWAY. GROWING UP, YOU HATE THE DELAY, BUT AFTER TODAY YOU'LL BE ON YOUR WAY. SO WHAT DO YOU SAY?... HMMM?

(MUSIC continues underneath) FRANK

(A long, painful agonizing decision. Then quietly) Okay.

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Act II Scene 2

GUSSIE Now this is not a show about subtle and it's not big on depth. It's flash, barn, curtain. It's fun, it's opulent, it's Broadway. FRANK

(Unhappy) Okay.

(FRANK closes his eyes very tightly and swallows) GUSSIE

(SHE smiles, turning to leave) What was that? A second thought? FRANK

(Surprised by her presence) Oh, that's just something I do when I want to hold onto a moment. I close my eyes very tight and I swallow. Like I take a picture that I can treasure. GUSSIE

(Not understanding at alh smiles) You're a treasure. (THEY cross UPSTAGE, EXIT the Greenhouse, and RE-EN lER the party. The loud BABBLE and MUSIC burst upon them) #12D The Blob — Part 3

(Company) GUESTS

(As before) IT'S THE BEST, IT'S THE FIRST, IT'S THE FINEST, IT'S THE LATEST, IT'S THE LEAST, IT'S THE WORST, IT'S THE ABSOLUTELY LOWEST, IT'S THE GREATEST, IT'S THE SINGLE, IT'S THE ONLY, IT'S THE PERFECT, ITS THE... GUSSIE

(Sitting on the piano keys, her rump bouncing up and down, to get attention) Shhhh. Shhhhh. Now I want everyone who hasn't drunk, smoked or gorged too much to hurry over here. Chop chop.

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(As the GUESTS start to gather around the piano, SHE heads back to FRANK BETH, pushing her way through the GUESTS, is modeling one of GUSSIE'S dresses for FRANK) BETH Frank! Oh, Frank, will you look at this — FRANK Oh, honey, it's beautiful. (To MARY, who has ENTERED close behind) Mary, where have you been? MARY I had to borrow a dress. From the guy upstairs. (FRANK laughs, kisses MARY on the cheek) GUSSIE (To BETH) Oh, darling, it looks wonderful on you. Keep it. I'm too fat to wear it anyway. BETH Oh, Gussie, this is our friend Mary Flynn. Mary's a copy editor, but real soon she's going to have her first book coming out. MARY (To GUSSIE) I'm sorry I'm late. So glad you didn't wait. BETH Mary, Charley and Frank are these totally inseparable friends. FRANK Well, I have to separate for a minute. I've got to go find Charley. GUSSIE (Stopping him) Oh, no. I've got plans for you. (To MARY) Mary Flynn, would you be as sweet as you look and go get him Charley. Thank you this much.

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Act II Scene 2 (Kisses her finger and puts it on MARY'S nose. As the smiling GUSSIE turns to BETH, MARYf ollows her with clawed hands, then crosses away to find CHARLEY)

Your husband is the most talented composer I've ever heard. I hope it's all right that I'm crazy about him. BETH

(Smiling back, happily) I hope it's all right, too. (THEY share a big, girlish laugh, as the GEUSTS jabber away. GUSSIE crosses and sits up and down on piano keys again quieting the crowd) GUSSIE

All right, quiet everybody. Please quiet. Listen now, because one day you are going to be able to say, "I was there when." (MARY brings CHARLEY over) I have next to me the most exciting composer ever, ever, ever, and he is going to play a song he's written, and when he finishes you are all going to want to swallow poison, because there will be nothing more to live for. (From the briefexchange which follows between FRANK and CHARLEY, which we see but do not hear, it is clear FRANK welcomes this opportunity and that CI-IARLEY has, at best, mixedf eelings about it) So find a place to park it, fermez all those bouches, and I am honored to now present Franklin Shepard and Charles... some funny name... (GUSSIE makes a face, curtseys, and pretends to shoot herselff or forgetting) Anyway, this song is from a little show that they want to do, that we hope will be in a big show we want to do. CHARLEY

In a big show? Frank, what the hell is she talking about? FRANK

Later. Sing.

Merrily We Roll Along #13

Good Thing Going

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(Charley, Frank)

(FRANK starts to play the intro on the piano) CHARLEY

(Rattled and nervous at first, but gradually becoming calmer and more confident as he receives encouraging glances and signs from MARY and BETH and a sense that the listeners are enthralled) IT STARTED OUT LIKE A SONG. WE STARTED QUIET AND SLOW, WITH NO SURPRISE. AND THEN ONE MORNING I WOKE TO REALIZE WE HAD A GOOD THING GOING. IT'S NOT THAT NOTHING WENT WRONG: SOME ANGRY MOMENTS, OF COURSE, BUT JUST A FEW. AND ONLY MOMENTS, NO MORE, BECAUSE WE KNEW WE HAD THIS GOOD THING GOING. AND IF I WANTED TOO MUCH, WAS THAT SUCH A MISTAKE AT THE TIME? YOU NEVER WANTED ENOUGH — ALL RIGHT, TOUGH, I DON'T MAKE THAT A CRIME.

(A few wordless bars, during which HE and FRANK exchange a warm and happy look)

rrs

AND WHILE GOING ALONG, YOU TAKE FOR GRANTED SOME LOVE WILL WEAR AWAY. WE TOOK FOR GRANTED A LOT, BUT STILL I SAY: IT COULD HAVE KEPT ON GROWING, INSTEAD OF JUST KEPT ON. WE HAD A GOOD THING GOING, GOING, GONE.

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Act II Scene 2 (Much APPLAUSE and OOHING and AHHING follows)

GUSSIE (Leading the applause, yelling) Wait, wait, wait! Keep them there. We want to hear it again. Tell them. Wouldn't you all just like to live your entire life to that music? Down, everybody, down, down, down. They're going to do it again. One mo' time! (Said as SHE moves around organizing PEOPLE, so they can see better) CHARLEY Frank, no. Say 'no.' MARY Charley's right. BETH They loved it. FRANK They thought we were great. CHARLEY And you know what true greatness is? It's knowing when to get off. FRANK I'll sing with you. Come on.

#13A The Blob — Part 4

(Charley, Frank, Dory, Gussie, Joe, Guests)

CHARLEY, FRANK IT STARTED OUT LIKE A SONG. WE STARTED QUIET AND SLOW, WITH NO SURPRISE. AND THEN ONE MORNING I WOKE TO REALIZE — DORY (To two other guests, stage whisper) I SAID, 'JOE, — THIS SHOW WILL BE A WATERSHED.'

CHARLEY, FRANK WE HAD A GOOD THING GOING.

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GUSSIE SHHH! CHARLEY, FRANK IT'S NOT THAT NOTHING WENT WRONG: SOME ANGRY MOMENTS — SCOTTY DID YOU HEAR — ?

CHARLEY, FRANK — OF COURSE,

GUEST NO KIDDING — ! 2ND GUEST YOU'RE NOT SERIOUS!

BUT JUST A FEW, MARY

SHH! GUEST

CHARLEY, FRANK AND ONLY MOMENTS,

SHH!

JOE

(Loudly humming along out of tune) DADADADADA GUESTS IT'S A CLEAR CASE OF TAMMANY POLITICS...

CHARLEY, FRANK NO MORE, BECAUSE WE KNEW —

(CHARLEY and FRANK continue singing, but the GUESTS' attention gradually splinters; THEY start singing to each other, gradually ignoring FRANK and CHARLEY) CHARLEY, FRANK — WE HAD A THING GOOD THING GOING. GUESTS

(Simultaneously, variously) WE WERE STUCK IN THE TUNNEL TILL HALF PAST SIX! CHARLEY, FRANK AND IF I WANTED TOO MUCH

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Act II Scene 2 WAS THAT SUCH A MISTAKE AT THE TIME? GUESTS

(Simultaneously, variously) ITS A SHOW THAT'LL MURDER 'EM IN THE STICKS. DID YOU READ — ? IT'LL NEVER — ! WHAT WE NEED — ! DID YOU EVER — ! TILL HALF PAST SIX! IT'S A CLEAR CASE OF TAMMANY POLITICS... DID YOU READ — ? IT'LL NEVER — ! THEY JUST DON'T MDC! WHAT WE NEED — ! DID YOU EVER — ! TILL HALF — CHARLEY, FRANK

(Simultaneously) YOU NEVER WANTED ENOUGH — ALL RIGHT, TOUGH — GUSSIE SHHHHHHHHHHHHHH!

(The NOISE stops completely for a minute, as a shouting FRANK and CHARLEY self-consciously lower their voices) FRANK, CHARLEY I DON'T MAKE THAT A CRIME...

(There is a loud LAUGHfi-om one group of GUESTS. CHARLEY sl/rms down his music on the piano and EXITS as FRANK MARY and BETH hurry after him, leaving the GUESTS, who don't notice) GROUP I DARLING! WE SAW THE NEW — DARLING! WE HAD THE MOST — BAD, WAS IT GOOD? IT'S THE BIGGEST, HE'S A GENIUS!

GROUP II

DID YOU READ ? IT'LL NEVER — THEY JUST DON'T MIX. WHAT WE NEED —.

WELL, HE CAN'T — BUT HE USED TO! IT'S THE DUMBEST, SHE'S A GENIUS! IT'S THE BEST, ITS THE FIRST, HE'S A GENIUS! IT'S THE LEAST, SHE'S A GENIUS!

ITS THE ABSOLUTELY THEY'RE A GENIUS!

Merrily We Roll .Along Page117 DID YOU EVER — TILL HALF PAST SIX! IT'S A SHOW THAT'LL MURDER 'EM IN THE STICKS... IT SA CLEAR CASE OF TAlvIMANY — POLITICS...

LOWEST!

ALL ITS THE GREATEST IT'S THE SINGLE IT'S THE ONLY IT'S THE PERFECT IT'S THE ONE IT'S THE REAL IT'S THE TRUE IT'S THE FINAL IT'S THE... #13B

Transition 5

(Company) COMPANY

TRAVELLING'S THE FUN, FLASHING BY THE COUNTRYSIDE. MERRILY WE ROLL ALONG, ROLL ALONG, CATCHING AT DREAMS. YESTERDAY IS DONE. SEE THE PRETTY COUNTRYSIDE, EVERYBODY MERRILY, MERRILY... NINETEEN SIXTY-ONE... SOME ROADS ARE EASY, SOME RIDES ARE BREEZY, SOME ROADS THE RIDE GETS OUT OF CONTROL, GRINDS TO A HALT AND ENDS IN A HOLE, SOME ROADS YOU STALL BEFORE YOU CAN ROLL...

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END OF SCENE TWO

Act II Scene 2

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SCENE THREE #14

Bobby andJ ackie andJ ack

(Charley, Frank, Beth, Pianist)

(The set has become The Downtown Club, a small night club — checkered tablecloths, candles in Chianti bottles, where FRANK BETH, CHARLEY and a PIANIST are performing their act to a very sparse AUDIENCE which includes JOE JOSEPHSON and GUSSIE. The slide reads: THE DOWNTOWN CLUB 1960) CHARLEY NINETEEN SIXTY... BETH IT'S NINETEEN SIXTY... FRANK AND GOSH, WHAT A SWELL YEAR IT'S BEEN! ALL THREE SO MANY BLESSINGS, SUCH WONDERS IT HAS BROUGHT, YOU HARDLY KNOW WHERE TO BEGIN: THERE'S XEROX AND LASERS, THE TWIST AND THE "PILL," A CITY IN BRAZIL... BETH ...THAT NO ONE WANTS TO FILL... ALL THREE KHRUSHCHEV STOPPED SCREAMING AND LIBRIUM CAME IN. CHARLEY AND NIXON DIDN'T WIN. ALL THREE GOODBYE THEN TO IKE AND THE BRASS, TO YEARS THAT WERE COZY BUT CRASS. FRANK IT'S TRUE IKE WAS ICKY,

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Act II Scene 3 CHARLEY BUT BETTER HIM THAN DICKY — ALL NOW MEET THE FIRST FIRST FAMILY WITH CLASS EN MASSE. (THEY exit behind a rain curtain. The pianist plays an Irish jig and they reappear with Kennedy wigs and accoutrements. FRANK and CHARLEY now sing in broad Harvard accents, BETH in whispers) CHARLEY THERE'S BOBBY— BETH AND JACKIE — FRANK AND JACK — ALL THREE AND MYRIADS MORE IN THE BACK: THERE'S ETHEL AND TEDDY AND PAT ALONE, CHARLEY PLUS EUNICE BETH AND PETER FRANK AND JEAN PIANIST AND JOAN CHARLEY AND WHAT'S-HIS-NAME — ? BETH STEPHEN. FRANK AND HOLD THE PHONE — THE ONE IN THE ARMY —

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BETH, CHARLEY ONE IN THE ARMY? FRANK CAPTAIN... MAJOR... CHARLEY SARGENT! FRANK THAT'S IT! ALL THREE SO MANY CARDS IN THE PACK. YOU WANT TO KNOW HOW TO KEEP TRACK? WELL, ONE IS GOOD-LOOKING AND YOUNG AND RICH WHILE ONE IS GOOD-LOOKING AND YOUNG AND RICH, THE REST ARE GOOD-LOOKING AND YOUNG AND RICH — THERE ISN'T A LOT THAT THEY LACK, NOT BOBBY AND JACKIE AND JACK AND ETHEL AND TED AND EUNICE AND PAT AND JOAN AND STEVE AND PETER AND JEAN AND SARGE — THERE'S PROBABLY DOZENS OF OTHERS AT LARGE, GOD KNOWS — AND JOE AND ROSE. (CHARLEYp lays a tin whistle while FRANK and BETH dance. BETH'S parents, MR. and MRS. SPENCER ENTER DOWNSTAGE, speak to the WAITER [TYLER] and sit at an empty table) ALL THREE WE'RE BRINGING BACK STYLE TO THE WHITE HOUSE. BETH I'M PAINTING IT BEIGE FORA START. ALL THREE WE'RE MAKING IT INTO A CULTURAL LIGHTHOUSE

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Act II Scene 3 CHARLEY FOR GLAMOUR BETH AND BEAUTY FRANK AND ART. BETH EVENINGS OF THE BUDAPEST PLAYING VIVALDI AND MUNCH DOING BITS OF RAVEL. I'LL GET LEONTYNE PRICE TO SING HER MEDLEY FROM "MEISTERSINGER" AND MARGOT FONTEYN TO DANCE "GISELLE." CHARLEY

Together? BETH WON'T IT BE PERFECTLY SWELL? FRANK WE'LL HAVE BECHSTEIN PLAY NEXT ON THE BECHSTEIN PIANO — CHARLEY AND AUDEN READ POEMS AND STUFF. BETH AND GALINA — (Making a lot of the pronunciation) — VISHNEVSKYA, FRANK, CHARLEY GESUNDHEIT! BETH THE RUSSIAN SOPRANO — JUST PRONOUNCING HER NAME IS REFRESHING ENOUGH! ALL THREE WE'RE BRINGING BACK STYLE TO THE WHITE HOUSE, WITH CASUAL CULTURE THE RULE.

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FRANK LET'S HAVE TEBALDI — CHARLEY (Nods) SHE MAKES A GUY FEEL GOOD. BETH AND OLEG CASSINI — (As FRANK and CHARLEY and PIANIST look at her) WELL, I THINK HE'S REAL GOOD. CHARLEY AND HOW ABOUT HEIFETZ? BETH AND CALLAS! FRANK AND GIELGUD! ALL THREE AND LATER WHEN EVERYTHING'S COOL, WE'LL PUSH THEM ALL INTO THE POOL. (Another Irish jig. The BOYS toss a football at each other while BETH takes pictures of them; CHARLEYj umps on FRANK'S back) FRANK OK, Bobby. I'll make you Attorney General. Just get off my back. CHARLEY WITH BOBBY BETH AND JACKIE FRANK AND JACK, ALL THREE THE WHITE HOUSE IS UNDER ATTACK.

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Act II Scene 3 FRANK EIGHT YEARS IS THE LIMIT BUT EIGHT WILL DO, CHARLEY BY THEN THERE'LL BE BOBBY — PIANIST — AND TEDDY, TOO — BETH OR PETER OR STEPHEN — FRANK, CHARLEY, PIANIST (To BETH) OR EVEN YOU — BETH OOH! — AND THEN THERE'S THE COLONEL — FRANK, CHARLEY COLONEL? BETH MAJOR? FRANK, CHARLEY MAJOR? BETH YOU KNOW! FRANK SARGENT. BETH YES... ALL THREE DOZENS TO TAKE UP THE SLACK IF ANYTHING GOES OUT OF WHACK. FRANK AND SOME DAY ELECTIONS WILL BE UNKNOWN

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BETH 'CAUSE EACH OF OUR KIDS WILL ASCEND THE THRONE CHARLEY AND THEIR KIDS HAVE MORE KIDS WITH KIDS OF THEIR OWN

FRANK — IT'S SORT OF A FAMILY KNACK — ALL THREE TILL MOST OF THE NATION'S MADE UP OF RELATIONS OF BOBBY AND JACKIE AND JACK AND ETHEL AND TED AND EUNICE AND PAT AND JOAN AND STEVE AND PETER AND JEAN AND SARGE AND JOE AND ROSE AND ROWS AND ROWS AND ROWS AND ROWS AND ROWS AND ROWS — THE DECADE IS STARTING ANEW, (Crossing their fingers) AND MAYBE THE COUNTRY IS, TOO.

#14A

Bobby and Jackie and Jack Playoff

(On-stage piano)

(The PERFORMERS bow left and right. BETH and CHARLEY EXIT behind the rain curtain) FRANK (As Master of Ceremonies) Ladies and gentlemen, the cast of our revue, "Frankly Frank," now in its fifth successful, not quite record-breaking month, thanks you for coming to the Upstairs Room at the Downtown Club, where we do two shows every night. With the exception of tonight. (CHARLEY runs across the stage with a "just Married"sig n, from which drag the old shoes and tin-cans tied to it, indicating FRANK is getting married tonight) Cut that out. Anyway, please come back and bring a friend. Or come back and mak,: a friend. Or just come back and be a friend. Thank you.

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Act II Scene 3 (FRANK EXITS BACKSTAGE. The lights come up on TYLER crossing to JOE JOSEPHSON, who sits next to a much younger GUSSIE)

TYLER Excuse me, but I got really excited when I saw your name on the reservation list, Mr. Josephson. Me, I'm just a waiter here. Well, actually, I'm holding down three different jobs, but only until I can get my invention launched. See, I have invented a brand new machine that can answer your telephone if you're not at home. Or even if you are. But somehow I just cannot get all the investors I need. JOE Kid, kid, I'm sorry, but there are answering services with operators already that, guess what, do exactly for people what you want this vercockte machine here to do. TYLER Mr. Josephson, I'm looking for only four thousand dollars and for that I will right now sign a contract giving you fifty percent of the return. JOE Wh000a. I live in a penthouse, kid, not in an asylum. Now I will :.nest my last red cent you come up with a sound idea, something like this new 3D movie process.

When the hell am I ever going to meet a waiter who's just a waiter? MARY (Crossing to the SPENCERS, who are clearly not happy) Hello, Mr. and Mrs. Spencer. I'm Mary Flynn. Frank and Beth'll be a minute. (MARY sits)

I bet you're excited about the wedding. MRS. SPENCER `Excited' is not the word. MARY You cannot imagine how important Frank is going to be someday MR. SPENCER No, we can't. MRS. SPENCER Do you work in the show business too?

;t, less than

Merrily We Roll Along

Page 127

MARY

I'm just a fan. But I have never heard music like Frank's. MR SPENCER

Us neither. MARY

MRS. SPENCER

See, now there's a steady, secure job. MARY

I hate it. MRS. SPENCER

Well, maybe that's why they call it 'work.' (MARY joins them now in sitting in silence. FRANK and BETH emerge from backstage, holding hands and silently wish each other luck. Then BETH crosses to HER PARENTS as FRANK crosses to JOE JOSEPHSON) FRANK

Mr. Josephson, do you remember me? I'm Frank Shepard. Our whole cast is just overwhelmed is what they are, that an important man like you would actually come down to see our little revue. JOE

And you recall Shirley Molinsky here? Now Gussie Carnegie? She fixed the nose, he fixed the clothes, she fixed the name, and take a look what was underneath all GUSSIE Oh you. I used to work part time as his secretary to pay for classes. FRANK

We've all seen and admired you on stage so much. JOE

A big talent wasted in little shows, up until me. But you boys must be doing something right, because the fiancee here is going through one hell of a divorce guys made her laugh. GUSSIE

Joe, Joe, Joe.

and you

Page 128

Act II Scene 3 (Hits JOE, then to FRANK) I

thought it was just peaches. FRANK

Oh, see, us, we're usually light years better. But everybody was just, God, so nervous that the two of you were here. And this is a pretty nervous night for me, anyway. I'm getting married. JOE

Is it the girl in the show? FRANK (Nodding)

Beth — JOE

You're awfully young. Marry in haste, repent in Reno. FRANK I'm twenty-three. The guy who does the lyrics is my age and

brky

alrea — (CHARLEYj oins FRANK)

Excuse me, Mr. Josephson, you remember Charley Kringas from the tim.t. we auditioned for you? My collaborator? CHARLEY

Yeah, I collabor him and he collabors me. (CHARLEYp roceeds to wilt as no one laughs) JOE (Getting ready to leave)

Mazeltov. Your stuffs getting more commercial, which is good bec:,trust me, if you're going to get married you're going to need bucks. But ask me, I say unless the girl is pregnant, get out of it. (CHARLEY and FRANK look at each other, then CHARLk down and FRANK looks away. After watching them for a tei JOE gets it and drops his smile)

Have a good wedding. GUSSIE (Crossing to FRANK)

I don't forget talented people, Hank.

-,

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FRANK Frank.

CHARLEY Frank, you know unless you really want to you don't have to. FRANK I want to, Charley. (MARY leaves BETH, who has been miming arguing with her par and crosses to FRANK and CHARLEY) MARY Frank, if there's any truth at all that we turn out like our parents, you'ir r; !;ig trouble. FRANK Mary, do you think I'm making a wrong decision? MARY If you really want to know what I — BETH (Arriving; interrupting) Frank, now don't faint, but my parents want to speak with us before the ceremony. (MARY and CHARLEY standing between them, simultaneously back up, leaving FRANK and BETH alone) Frank, I'm not pregnant. FRANK What? BETH Do you still want us to get married? FRANK Do you? BETH Before, my reason was the baby. Now my reason is you.

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Act II Scene 3

FRANK And my reason is you. BETH I am pregnant. FRANK Beth! BETH I just wanted to be sure. (THEY cross to the SPENCERS)

MRS. SPENCER Elizabeth. BETH Mamma, how do I look? MRS. SPENCER Your father and I just want to say one thing, Elizabeth. . BETH Momma, you've said it all. For two days. MRS. SPENCER The man doesn't even have a real job! (To FRANK)

My daughter told me she was going back to being a legal secretary ju— you.

s.zpport

BETH Momma, now I told you that in private! FRANK Mrs. Spencer, what I want to do with my life isn't to play in this club. I wan- to write music. And to be able to do that I play here, I accompany singers a* auditions, play for dance classes, I do arrangements, I do anything I can so I c.,1,1 just keep on writing music. MR. SPENCER Boy, we're prepared to give you two thousand dollars right here, right now.

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BETH Daddy! MR SPENCER Just call this sorry excuse for a wedding off. FRANK Mr. Spencer, Beth and I are getting married. We hope it's with your blessing, but we are getting married. CHARLEY (Crossing in)

The minister just got here. BETH Where's Evelyn? MRS. SPENCER Who's Evelyn? The minister, I suppose. CHARLEY Evelyn is my wife. She's way in the back of the room. See, often they have to stop weddings right in the middle because of her sobbing. Which I try not to personally. BETH Let's start. MRS. SPENCER Elizabeth? (Stopping BETH, taking offa ring)

Here's Grandma's ring. BETH Oh, thank you, Momma. (Hugging MRS. SPENCER, then hugging MR. SPENCER)

Daddy.

MRS. SPENCER Well, at least he's not black.

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Act II Scene 3 (The MINISTER, who is black, walks through the rain curtain) MR SPENCER

And at least she's not pregnant.

(MRS. SPENCER sees the MINISTER and does a huge take) MINISTER My dear friends, good evening. Before the marriage vows, Frank and Beth have each asked to speak. Frank? #15

Not A Day Goes By — Act 2

(Beth, /limy, Frank)

(MUSIC under) FRANK Beth, I am so happy to be marrying you in the very place where T. met you and grew to love you. And I would like very much to thank our dear, clr frionds for being with us on this, the most important moment in both of our EN,• , MINISTER Beth? BETH (Turns to FRANK) NOT A DAY GOES BY...

(LIGHT on MARY crossing to DOWNSTAGE table) MARY NOT A SINGLE DAY ... MARY, BETH BUT YOU'RE SOMEWHERE A PART OF MY LIFE AND IT LOOKS LIKE YOU'LL STAY. FRANK, MARY AS THE DAYS GO BY, I KEEP THINKING, WHEN DOES IT END? BETH THAT IT CAN'T GET MUCH BEI I ER MUCH LONGER. BUT IT ONLY GETS BETTER AND STRONGER AND DEEPER AND NEARER

Merrily We Roll Along FRANK, BETH AND SIMPLER AND FREE-ER AND RICHER AND CLEARER... TRIO AND NO, NOT A DAY GOES BY, MARY NOT A BLESSED DAY BETH, MARY BUT YOU SOMEWHERE COME INTO MY LIFE AND YOU DON'T GO AWAY. TRIO AND I HAVE TO SAY, IF YOU DO, I'LL DIE.

I WANT DAY AFTER AFTER DAY AFTER DAY

FRANK, BETH DAY

FRANK, BETH, MARY I'LL DIE TRIO DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY TILL THE DAYS GO BY, (FRANKp uts wedding ring on BETH'Sfinger) FRANK, BETH TILL THE DAYS GO BY, (FRANK and BETH kiss) MARY TILL THE DAYS GO BY!

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Page 134

Act II Scene 3 (The LIGHTS fade and go out)

#15A Transition 6

(Tyler, Dory) SOLO I

HOW DOES IT HAPPEN? ONCE IT WAS ALL SO CLEAR. HOW DID YOU GET SO FAR OFF THE TRACK? WHY CAN'T YOU TURN AROUND AND GO BACK? SOLO II HOW DOES IT HAPPEN? WHERE IS THE MOMENT? WHEN DID THE ROAD BEHIND DISAPPEAR? SOLO I WHERE DID YOU LET THINGS SLIP OUT OF GEP BOTH HOW DID YOU EVER GET TO BE HERE? NINETEEN FIFTY-NINE.

END OF SCENE THREE

Merrily We Roll _Along

Page 135

SCENE FOUR #16

Opening Doors

(Charley, Frank, Mary, Joe, 1st Girl Beth)

(The slide reads: NEW YORK CITY 1957-1959. CHARLEY is at a table with a portable electric typewriter; FRANK is at a piano, pencil in mouth, manuscript paper spread in front of him) CHARLEY

(Types) FRANK

(Picks out a phrase on the piano) CHARLEY

(Types)

CHARLEY

(Types, a bit more energetically; the MARGIN BELL rings; HE returns the carriage, rolls it up, starts to read what he has written) FRANK

(Changes another note) CHARLEY

(Grunts in displeasure) FRANK

(Tries another note) CHARLEY

(Rolls the carriage down) FRANK

(Tries another note, getting desperate) CHARLEY

(X's out what he has written) FRANK

(Tries the phrase again, changes another note, finally slams his fist down in the bass and throws the pencil down in disgust. MUSIC under. The following lines are spoken)

Page 136

Act II Scene 4 FRANK HOW'S IT GOING? CHARLEY GOOD. YOU? FRANK FAIR CHARLEY YEAH, TELL ME. (The PHONE RINGS; FRANK answers) FRANK CHINESE LAUNDRY. (LIGHT on MARY at her desk, phoning) MARY HI. FRANK (To CHARLEY) MARY. CHARLEY SAY HELLO. MARY (Sings) I THINK I GOT A JOB. FRANK (Spoken) WHERE? MARY TRUE ROMANCES. FRANK POSING? MARY THANK YOU, WRITING CAPTIONS.

Merrily We Roll Along FRANK WHAT ABOUT THE BOOK? MARY WHAT ABOUT THE BOOK? FRANK NOTHING, ARE YOU WORKING ON THE BOOK? MARY YES... FRANK GOOD. MARY NO... FRANK

(Admonishing) MARY — MARY RIGHT, I KNOW, YES, ME AND BALZAC

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Page 138

Act II Scene 4 CHARLEY

(Types) FRANK

(Adds a chord to the tune) MARY

(Types slowly, looking up at the carriage after each letter) CHARLEY

(Types with enthusiasm) FRANK

(Tries two chords) CHARLEY

(Rolls the carriage up and reads) FRANK

(Tries another chord combination) MARY

(Types) CHARLEY

(Rolls the carriage down and starts Xing out what he has written as MARY continues typing) FRANK

(Plays the phrase with two new chords, then whistles it while writing it down) MARY

(Reads what she has written, groans, slumps in despair) CHARLEY

(Slumps in despair) FRANK

(Sighs, puts the pencil down, slumps) (MARY, FRANK and CHARLEY cross DOWNSTAGE, each in a separate light) CHARLEY I FINISHED THE ONE-ACT.

Merrily We Roll Along FRANK I GOT AN AUDITION — MARY I STARTED THE STORY. FRANK — REHEARSAL PIANIST. CHARLEY SO WHERE ARE WE EATING? MARY I'M MOVING TO PLAYBOY. FRANK THE PUBLISHER CALLED ME. CHARLEY I'M DOING A REWRITE. MARY MY PARENTS ARE COMING. FRANK I SAW "MY FAIR LADY." CHARLEY I REWROTE THE REWRITE. FRANK I SORT OF ENJOYED IT. MARY I THREW OUT THE STORY. CHARLEY I'M MEETING AN AGENT. AIL WE'LL ALL GET TOGETHER ON SUNDAY. WE'RE OPENING DOORS, SINGING, "HERE WE WE'RE FILLING UP DAYS

ARE!"

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Page 140

Act II Scene 4 ON A DIME. THAT FARAWAY SHORE'S LOOKING NOT TOO FAR. WE'RE FOLLOWING EVERY THERE'S NOT ENOUGH TIME

STAR.

(MUSIC continues under; the stage becomes alive with activity: CHARLEY being interviewed by an AGENT; FRANKp laying the same bars of rehearsal music over and over while DANCERS rehearse; MARY meeting d musician on a subway. FRANK suddenly gets an idea, plays his phrase in the middle of the "rehearsal" and writes it down excitedly, then crosses, as do CHARLEY and MARY) FRANK I CALLED A PRODUCER. CHARLEY I SENT OFF THE ONE-ACT. MARY I STARTED THE STORY. FRANK HE SAID TO COME SEE HIM. CHARLEY I DROPPED OUT OF COLLEGE_ MARY I MET THIS MUSICIAN. FRANK I'M PLAYING A NIGHTCLUB. CHARLEY THEY'RE DOING MY ONE-ACT. MARY I'M WORKING FOR REDBOOK. FRANK I REWROTE THE BALLAD.

MARY I FINISHED THE STORY. CHARLEY WE STARTED REHEARSALS. MARY I THREW OUT THE STORY AND THEN THE MUSICIAN, I'M MOVING TO POPULAR SCIENCE. ALL WE'RE OPENING DOORS, SINGING, "LOOK WHO'S HERE!" BEGINNING TO SAIL ON A DIME. THAT FARAWAY SHORE'S GETTING VERY NEAR! WE HAVEN'T A THING TO FEAR — WE HAVEN'T GOT TIME!

(ALL THREE throw themselves simultaneously into activity as MUSIC continues under,- CHARLEY and MARY type ferociously while FRANK whistles and hums as he tries out a different vamp for his tune. After a bit, HE hits a chord triumphantly, turns, and looks over at CHARLEY as MARYp icks up her phone and starts to dial) FRANK (Spoken) HOW'S IT COMING? CHARLEY GOOD. YOU? FRANK DONE. CHARLEY ONE MINUTE...

(The PHONE RINGS) FRANK

(FRANK answers) HAMBURG HEAVEN...

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Act II Scene 4 MARY

FRANK (To CHARLEY) MARY. CHARLEY SAY HELLO. MARY (Sings) I GOT ANOTHER JOB. FRANK (Spoken) WHERE? MARY CHIC. FRANK WHAT'S THAT? MARY A BRAND NEW CONCEPT: POPUP PICTURES. FRANK WHAT ABOUT THE BOOK? MARY WHAT ABOUT THE BOOK? FRANK DID YOU GIVE THE PUBLISHER THE BOOK? MARY YES... FRANK GOOD... MARY NO...

Merrily We Roll Along Page143 (Admonishing) MARY...

FRANK

LOOK, I NEVER — MARY

CHARLEY (Ripping the paper out of the typewriter) FINISHED! FRANK (Into phone) LET ME CALL YOU BACK. MARY RIGHT. (SHE hangs up; LIGHT out on her) CHARLEY (Coming to FRANK) THIS IS JUST A DRAFT. FRANK RIGHT. CHARLEY PROBABLY IT STINKS. FRANK RIGHT. CHARLEY I HAVEN'T HAD THE TIME TO DO A POLISH... FRANK WILL YOU SING? CHARLEY RIGHT! WHO WANTS TO LIVE IN NEW YORK? WHO WANTS THE WORRY, THE NOISE, THE DIRT, THE HEAT? WHO WANTS THE GARBAGE CANS

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Act II Scene 4 CLANGING IN SUDDENLY I DO.

THE

STREET?

(During the following, JOE JOSEPHSON is wheeled in by his SECRETARY IGUSSIEJ and starts to listen judiciously, as GUSSIE waits behind the chair; FRANK and CHARLEY are auditioningf or him; CHARLEY sings, as FRANK accompanies him) THEY'RE ALWAYS POPPING THEIR CORK — I'll fix that line — THE COPS, THE CABBIES, THE SALESGIRLS UP AT SAKS. YOU GOTTA HAVE A REAL TASTE FOR MANIACS — SUDDENLY I DO! JOE

(Interrupting them, all smiles) THAT'S GREAT! THAT'S SWELL! THE OTHER STUFF AS WELL. IT ISN'T EVERY DAY I HEAR A SCORE THIS STRONG BUT FELLAS, IF I MAY, THERE'S ONLY ONE THING WRONG:

(To FRANK'S tune) THERE'S NOT A TUNE YOU CAN HUM. THERE'S NOT A TUNE YOU GO BUM-BUM-BUM-DI-DUM — YOU NEED A TUNE TO GO BUM-BUM-BUM-DI-DUM — GIVE ME A MELODY! WHY CAN'T YOU THROW 'EM A CRUMB? WHAT'S WRONG WITH LETTING 'EM TAP THEIR TOES A BIT? I'LL LET YOU KNOW WHEN STRAVINSKY HAS A HIT — GIVE ME SOME MELODY! OH, SURE, I KNOW, IT'S NOT THAT KIND OF SHOW. BUT CAN'T YOU HAVE A SCORE THAT'S SORT OF IN BETWEEN? LOOK, PLAYA LITTLE MORE,

Merrily We Roll Along I'LL SHOW YOU WHAT I MEAN...

(FRANK resumes at the piano) CHARLEY

(Overselling) WHO WANTS TO LIVE IN NEW YORK? I ALWAYS HATED THE DIRT, THE HEAT, THE NOISE. BUT EVER SINCE I MET YOU, I — JOE

(Shaking his head, still smiling) LISTEN, BOYS, MAYBE IT'S ME, BUT THAT'S JUST NOT A HUM-MM-MM-MM-MM-MM-MM-ABLE MELODY! WRITE MORE, WORK HARD, LEAVE YOUR NAME WITH THE GIRL. LESS AVANT GARDE — LEAVE YOUR NAME WITH THE GIRL. JUST WRITE A PLAIN OLD MELODEE-DEE-DEE-DEE-DEE-DEE...

(HE is humming "Some Enchanted Evening"— incorrectly) DEE-DEE-DEE-DEE-DEE-DEE...

(GUSSIE wheels JOE off SR FRANK and CHARLEY stand DOWNSTAGE dejectedly fora moment; MARYj oins them) CHARLEY THEY'RE STOPPING REHEARSALS, THEY RAN OUT OF MONEY... MARY WE LASTED ONE ISSUE. MY BOOK WAS REJECTED... FRANK THE NIGHTCLUB WAS RAIDED. I HAVE TO START COACHING... MARY MY PARENTS ARE COMING.

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Page 146

Act H Scene 4 CHARLEY THEY SCREWED UP THE LAUNDRY. FRANK MY WALLET WAS STOLEN. MARY I SAW THE MUSICIAN. CHARLEY WE'RE BEING EVICTED. MARY I'M HAVING A BREAKDOWN. ALL WE'LL ALL GET TOGETHER ON SUNDAY. THEY'RE SLAMMING THE DOORS, SINGING, "GO, AWAY!" IT'S LESS OF A SAIL THAN A CLIMB. THAT FARAWAY SHORE'S FARTHER EVERY DAY. WERE LEARNING TO RICOCHET... WE STILL HAVE A LOT TO SAY...

(A beat) FRANK YOU KNOW WHAT WE'LL DO? CHARLEY

(Spoken) WHAT? FRANK

(Sings) WE'LL DO A REVUE. CHARLEY

(Spoken) WHAT? MARY WHAT?

Merrily We Roll Along FRANK

(Sings) WE'LL DO A REVUE OF OUR OWN! MARY

(Spoken) WHAT? CHARLEY WHERE? MARY WHY? CHARLEY WHEN? FRANK NOT JUST SONGS BUT STORIES, SCENES, PIANO PIECES, MIME — CHARLEY YEAH! MARY

(Pantomiming a sign) "FRANKLY FRANK"... FRANK

(Sings) A SHOWCASE OF OUR OWN! CHARLEY (Spoo kke enn)) WHERE? FRANK

(As the scene changes to the audition) THE CLUB'S REOPENING. MARY WE'LL WRITE A LOT OF NEW STUFF — CHARLEY REWRITE OLD STUFF —

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Page 148

Act II Scene 4 FRANK WHAT ABOUT THE GIRL? CHARLEY WHAT ABOUT THE GIRL? FRANK ONLY THAT WE'RE GONNA NEED A GIRL CHARLEY WELL., MARY — MARY THANKS, I DON'T PERFORM EXCEPT AT DINNER. (During the above, TWO GIRLS hold rehearsal copies of mv,ic, ready to audition. The FIRST GIRL starts, singing shrilly and of s .1; pianist accompanies her) FIRST GIRL WHO WANTS TO LIVE IN NEW YORK? WHO WANTS THE WORRY, THE NOISE, THE DIRT, THE HEAT? WHO WANTS THE GARBAGE CANS CLANG —

I can sing higher! FRANK Thank you for coming. Next eight, please. SECOND GIRL (BETH) THEY'RE ALWAYS POPPING THEIR CORK — FRANK Up a tone. BETH — THE COPS, THE CABBIES, THE SALESGIRLS UP AT SAKS — FRANK (Exchanging a look ofa pproval with MARY and CHARLEY; Up a tone.

Merrily We Roll Along BETH — YOU GOTTA HAVE A REAL TASTE FOR MANIACS — FRANK Thank you. You're hired. BETH

(Offers her hand) I'M BETH. FRANK I'M FRANK. BETH I REALLY THOUGHT I STANK. MARY

(Offers her hand) I'M MARY. CHARLEY

(Offers his hand) CHARLEY. FRANK BY THE WAY, I'M TOLD WE OPEN SATURDAY.

(Pause) OTHERS WHAT?! MARY YOU'RE NOT SERIOUS! CHARLEY NOBODY'S READY! FRANK APPARENTLY SOMEBODY CANCELED A BOOKING. CHARLEY THE SONGS AREN'T FINISHED.

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Page 150

Act II Scene 4 MARY AND WHAT ABOUT COSTUMES? BETH AND HOW DO I LEARN ALL THESE NUMBERS? FRANK I'LL BRING YOU THE COPIES OF EVERYTHING LATER THIS EVENING_ BETH

(Simultaneously) OKAY, BUT I'LL HAVE TO HAVE ALL OF THE MUSIC AND SATURDAY I'VE GOT TO SING AT A WEDDING. OH GOD, IS THERE DANCING, 'CAUSE I'M NOT A DANCER... CHARLEY

(Simultaneously) NOT TO MENTION I STILL HAVEN'T FINISHED THE SYNANON SONG OR THE KENNEDY NUMBER, AND WHAT'LL WE DO ABOUT GE II ING PUBLICITY, RUN AROUND TOWN PUTTING STICKERS ON WINDC \YTS?, FRANK

(Simultaneously) YOU DON'T HAVE TO, WE'LL SEGUE THE END OF IT INTO THE DANCE WE CUT OUT — NO, WE'LL USE IT BUT NOT WITH THE LONG INTRODUCTIONS... MARY

(Simultaneously) AND HAVE WE DECIDED OR NOT ON THE RESTAL NA SKETCH? I NEED TWO OR THREE DAYS AT THE LEAST TO RI ALL WE'LL WORRY ABOUT IT ON SUNDAY! WE'RE OPENING DOORS, SINGING, "HERE WE ARE!" WE'RE FILLING UP DAYS ON A DIME.

THAT FARAWAY SHORE'S LOOKING NOT TOO FAR WE'RE FOLLOWING EVERY STAR THERE'S NOT ENOUGH TIME

—

WE'RE BANGING ON DOORS, SHOUTING, "HERE AGAIN!" WE'RE RISKING IT ALL ON A DIME. THAT FARAWAY SHORE'S LOOKING NEAR AGAIN. THE ONLY THING LEFT IS WHEN. WE KNOW WE SHOULD COUNT TO TEN — WE HAVEN'T GOT TIME WE HAVEN'T GOT TIME!

#16A

Transition 7

(Beth, Frank k, Mrs. Spencer)

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

END OF SCENE FOUR

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Act II Scene 5

SCENE FIVE (The time is five-thirty AM, just before dawn on New York City's 110th Street. We are on the rooftop of an old tenement building. FRANK is in his Army uniform, sitting reading a script. It is very cool. When FRANK hheeaarrss the sound of CHARLEY coming he tucks the play in the rear of his belt and looks out over the city. The slide reads: A ROOFTOP ON 110th STREET 1957) CHARLEY

(Having just woken up; binoculars on a strap around his r erk) What are you doing up on the roof? FRANK I dunno. I just came up here. CHARLEY

Well, you could have told a person. FRANK

You were asleep. CHARLEY

(Looks at watch) The alarm just went off. You see anything? FRANK

Uh-uh. CHARLEY

Is something wrong? FRANK

No. CHARLEY

What are you doing up here so early? FRANK

I couldn't sleep. (Takes out the plays) Charley, I read your two plays last night. They were so wonderful I couldn't sleep.

Merrily We Roll Along

Page 153

CHARLEY I thought you were mad. I have to tell all the people who stay over to always wake whenever they think I'm wonderful.

me

FRANK I tossed and turned and kept thinking about wasting these last two years in the Army. Then to come back and read your plays — CHARLEY Wasting? What about that music you played for me? Talk about wonderful. FRANK Really? CHARLEY Yes! Frank, you don't just write what you know... (Points to his head) ... you write what you know. (Points to his heart) FRANK Okay, this play — "Pretty Politics?" About the Senate pages. What do you think about making it into a musical? CHARLEY Go on. FRANK I got a better title — "Take A Left." CHARLEY That's a better tide? FRANK I think it's important. #17

Our Time — Part 1

(Frank, Charley)

(MUSIC under) Musicals are popular. They're a great way to state important ideas. Ideas th make a difference. Charley, we can change the world. SOMETHING IS STIRRING, SHIFTING GROUND... IT'S JUST BEGUN.

Page 154

Act II Scene 5 EDGES ARE BLURRING ALL AROUND, AND YESTERDAY IS DONE. FEEL THE FLOW, HEAR WHAT'S HAPPENING: WE'RE WHAT'S HAPPENING. DON'T YOU KNOW? WE'RE THE MOVERS AND WE'RE THE SHAPERS. WE'RE THE NAMES IN TOMORROWS PAPERS. UP TO US, MAN, TO SHOW 'EM... IT'S OUR TIME, BREATHE IT IN: WORLDS TO CHANGE AND WORLDS TO WIN. OUR TURN COMING THROUGH, ME AND YOU, MAN, ME AND YOU! (MUSIC continues under. MARY ENTERS: very young, in:;p:,ers and pajamas, with rollers in her hair, carrying binoculars. SHE sces the two men and with an "Oh" starts back inside) CHARLEY

Hi! FRANK (To MARY) Hi! It's just about time. MARY We just wanted to see. My roommate and — excuse me. (Turns abruptly and hurriedly EXITS) CHARLEY She's probably from Barnard. Barnard girls are dippy. FRANK What time is it now? CHARLEY Quarter to six. You ever think about getting married? FRANK No.

Merrily We Roll Along CHARLEY Me either.

(Shrugs) When I'm a lot older, maybe. #17A

Our Time — Part 2

(Frank, Charley)

(MUSIC) FRANK FEEL HOW IT QUIVERS, ON THE BRINK... CHARLEY WHAT? FRANK EVERYTHING! GIVES YOU THE SHIVERS, MAKES YOU THINK THERE'S SO MUCH STUFF TO SING! AND YOU AND ME, WE'LL BE SINGING IT LIKE THE BIRDS, ME WITH MUSIC AND YOU THE WORDS, TELL 'EM THINGS THEY DON'T KNOW! BOTH UP TO US, PAL, TO SHOW 'EM. OUR TIME, BREATHE IT IN: WORLDS TO CHANGE AND WORLDS TO WIN. OUR TURN, WE'RE WHAT'S NEW, ME AND YOU, PAL, ME AND YOU! FEEL THE FLOW, HEAR WHAT'S HAPPENING: WE'RE WHAT'S HAPPENING! LONG AGO ALL WE HAD WAS THAT FUNNY FEELING, SAYING SOMEDAY WE'D SEND 'EM REELING, NOW IT LOOKS LIKE WE CAN!... CHARLEY SOME DAY JUST BEGAN.

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Act II Scene 5 BOTH

ITS OUR HEADS ON THE BLOCK. GIVE US ROOM AND START THE CLOCK — OUR TIME COMING THROUGH, ME AND YOU, PAL, ME AND YOU! ME AND YOU! (MUSICf ades under. CHARLEY looks up to see MARY, rollers out and a robe over her pajamas in the doorway) MARY I didn't mean to be so overdressed before. Am I too late? FRANK

No, not at all. Just about now. MARY

My roommate is coming up, too. CHARLEY

I'm Charley Kringas and this is Frank Shepard. MARY

I'm Mary Flynn. CHARLEY

We just took the apartment on five. FRANK (Interrupting, trying to get her to stay) I'm not officially moved in until I'm discharged from the army next week. CHARLEY Frank just got a weekend pass to help us move in. A lot to move in. A typewriter, two mattresses and a piano. MARY (Surprised, to FRANK)

Are you the one playing the piano the last two days? FRANK

Merrily We Roll Along MARY Oh, no. You're wonderful. Sincerely wonderful. FRANK I'm sincerely grateful. MARY I even came up here on the roof to hear you better. (Awkward; blushing) I tell everything, then go home and suffer. (To CHARLEY, teasing) Are you sincerely wonderful, too? CHARLEY I write. FRANK He is... CHARLEY Me Columbia. Him juiliard. MARY That's what I want to do. Write. (To FRANK) How does anybody compose music though? To me that is the gift of gii, FRANK I just met the girl I ought to marry. Did anybody ever tell you, you say things? MARY Never. But I really want to know. FRANK Well, writing music is not about words. It's about sounds and feelings music is about everything. (CHARLEY mockingly laughs and points at FRANK) MARY Anyway, it's so creative. FRANK If I didn't have music, I'd die.

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Act II Scene 5

CHARLEY Some day Frank is going to be a very important composer. MARY He is.

(To FRANK) I think you already are.

(Suddenly MARY'S roommate runs in, her hair in pin-curls, wern .;/g- her robe) MARY'S ROOMMATE Mary, are you —

(Sees them all) Oh! You're with guys!

(Squealing she turns and runs out) MARY Evelyn! Evelyn!

(MARY tunzs to them) That was Evelyn. CHARLEY

(Checking his watch) We better look now. It's supposed to be right now.

(CHARLEY and MARY look through their binoculars) FRANK See anything? CHARLEY I hope we didn't miss it. It should come right over...

(11E looks and spots it) There! There it is! MARY I see FRANK Where?

Merrily We Roll Along

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MARY

(Giving FRAM{ her binoculars and pointing) There it is. There. FRANK

It's just phenomenal. MARY

Phenomenal. CHARLEY

Don't you wish it was ours. FRANK

It's everybody's. MARY

Do you call it, Sputnik — (short "u ') or Sputnik? (long "u") CHARLEY

You call it a miracle. God. (FRA1VA gives the binoculars to MARY; she and CHARLEY look through them) FRANK

We've got to be the luckiest people who ever lived. (Reverentially, HE closes his eyes tightly and swallows, 'taking a picture) After this moment... This moment that the three of us are sharing here together Nothing's ever going to be the way is was, not ever again. Do you guys realize th.,t now we are going to be able to do anything? I mean anything we ever dreamed of. What a time to be starring out. What a time to be alive. #17B Our Time — Part 3

(Frank, Mirky, Mary, Conzpa*

(MUSIC begins. During the following, the rest of the COMPANY drifts on, singly and in pairs, dressed in pajamas, bathrobes, hastily thrown-on coats, etc., some with binoculars, some not, but all coming to witness the birth ofa new era in the sky) SOMETHING IS STIRRING, SHIFTING GROUND... IT'S JUST BEGUN.

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Act II Scene 5 CHARLEY EDGES ARE BLURRING ALL AROUND, AND YESTERDAY IS DONE. MARY FEEL THE FLOW, HEAR WHAT'S HAPPENING: MARY, CHARLEY, FRANK WE'RE WHAT'S HAPPENING. DON'T YOU KNOW? WE'RE THE MOVERS AND WE'RE THE SHAPERS. WE'RE THE NAMES IN TOMORROW'S PAPERS. UP TO US NOW TO SHOW 'EM... ALL ITS OUR TIME, BREATHE IT IN: WORLDS TO CHANGE AND WORLDS TO WIN. OUR TURN COMING THROUGH, ME AND YOU, PAL, ME AND YOU! FRANK, CHARLEY, MARY YEARS FROM NOW, WE'LL REMEMBER AND WE'LL COME BACK, BUY THE ROOFTOP AND HANG A PLAQUE: "THIS IS WHERE WE BEGAN BEING WHAT WE CAN." ALL ITS OUR HEADS ON THE BLOCK. GIVE US ROOM AND START THE CLOCK. OUR DREAMS COMING TRUE, ME AND YOU, PAL, ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU!

Merrily We Roll Along (The LIGHTS come up stronger on FRANK, who puts a hand out for CHARLEY to shake. Suddenly, instead, FRANK raises his pinky finger for CHARLEY to link his pinky finger to it. CHARLEY does. Then FRANK iinnddiiccaatteess MARY should join in, and MARY links her pinky finger to theirs. It is a bond offiiendship) #18 #19 #19A

Bows Exit Music

stro, Company) Ocheitrit)

Exit Music

(Orchestra)

The End

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