5ept41h3pjy3laibf32yym6p-wpengine.netdna-ssl.com5ept41h3pjy3laibf32yym6p-wpengine.netdna-ssl.com/wp-content/uploads/... ·...

- PERUSAL PACK -

Book, Music and Lyrics by JANET YATES VOGT & MARK FRIEDMAN

1/10/18

TENDERLYCopyright © 2017 by JANET YATES VOGT & MARK FRIEDMAN. Music and lyrics by various artists. All rights reserved.

mailto:[email protected]

1

CHARACTERS

ROSEMARY CLOONEY - Singer, Film Actress, Wife, Mother, age 40

THE DOCTOR (Doctor Victor Monke) - Psychiatrist, Rosemary’s Therapist

The DOCTOR also portrays the following characters:

FATHER O’REILLY – Rosemary’s Parish Priest in Maysville

ROSEMARY’S MOTHER

SOUND TECHNICIAN AT THE WLW RADIO STATION

BETTY CLOONEY - Rosemary’s sister

UNCLE GEORGE - Rosemary’s Uncle

JOSE FERRER - Rosemary’s Husband & Actor

VICE PRESIDENT/PARAMOUNT PICTURES

DANTE DIPAOLO - Rosemary’s Dance Coach and Future

Husband

FRANK SINATRA

BING CROSBY

NEWSMAN

MUSICIANS Jazz Trio Piano, Bass, Drums/Percussion

SCENES A night club in Reno, Nevada Mental Ward at Cedar-Sinai Hospital in Beverly Hills, CA Flashbacks to other places in Rosemary’s Life The Hollywood Bowl

SETTING Performance area with a 1950’s period microphone Doctor’s office – which can simply be 2 chairs, desk, and/or other simple furniture

TIME 1968 – with flashbacks to other times and situations in Rosie’s life – and one flash forward.

TRW

Peru

sal

Not fo

r Prod

uctio

n

2

AUTHORS’ NOTES As longtime fans of Rosemary Clooney, we always knew we wanted to craft a show about her remarkable life and career. Her engaging personality filled the screen in all of her movies, her television shows and appearances, and on her many recordings. Rosemary had an undeniable and beautiful voice which captured a heartfelt genuineness. Her ability to sing and sell a lyric was her hallmark both in her early days and later as she became a jazz artist. We were intrigued by her childhood ties to Kentucky and Cincinnati and how her journey eventually brought her to Hollywood and concert stages across the United States and abroad. In our research into Rosemary’s life, we visited Maysville and Augusta, Kentucky on several occasions – visiting her childhood home, eating lunch at her favorite restaurants, touring the Russell Theatre, located on Third Street in Maysville, which was the site of the world premiere of Rosemary Clooney’s first film, The Stars Are Singing in 1953, and where she sang as a young child. We walked through the Maysville Opera House, had a slice of Transparent Pie, visiting the church where she and Dante married and where Rosie’s funeral took place. We went the house Dante and Rosie shared together which is now the Rosemary Clooney Museum, and visited her gravesite. We talked with her friends, family members, attorney, and business associates and heard from them wonderful first-hand stories about Rosemary. We read, re-read, and outlined both of her autobiographies, watched all of her films, and poured over the many interviews and performances which exist online and – of course – listened to her many, many recordings. We were moved by the challenges and struggles she faced throughout her life, and the inspiring way Rosemary rose above them all to enjoy a long and fruitful career, surrounded by the love of family, friends, and the countless Rosemary Clooney fans around the world. Her enduring body of work is the way she still touches the hearts and lives of those she worked with, her audiences, and even the most casual acquaintance. Rosemary’s courage, strength and sense of humor in the face of many challenges is an inspiring lesson for all of us. Her ability to re-invent her career and move forward with her life is a wonderful example for people today.

TRW

Peru

sal

Not fo

r Prod

uctio

n

3

We hope that Tenderly is a pleasant reunion for many of Rosemary’s lifelong fans and we hope it will serve as an introduction for a whole new audience to be inspired by her legacy, as well. All Our Best, Mark Friedman & Janet Yates Vogt

TRW

Peru

sal

Not fo

r Prod

uctio

n

4

PRODUCTION NOTES ROSEMARY’S THERAPY SESSIONS It is our hope that Tenderly portrays a gradual progression from nervousness and defensiveness in her early sessions, to a gradual confidence and trust in the Doctor as the musical moves forward.

THE ROLE OF THE DOCTOR Throughout the play, the Doctor will assume the roles of many of the major figures in Rosemary’s life. This must be done in a way that allows the audience to feel that Rosemary is seeing and conversing with these people – all within the context of her therapy sessions. Elaborate costumes are not needed. You may choose to simply have him remove his jacket for use as a cape or cloak for his role of the Mother, and pick-up Rosemary’s purse as a prop. Hats, pipes, cigarettes, costume accessories, and other hand-held props may aid in making the Doctor’s many characters recognizable and believable. To maintain the sophistication of the work and the correct dramatic focus of the scenes, do not have the Doctor use any female clothes items – i.e. a women’s coat or hat, etc – to portray the female characters. He should assume the female roles simply by his attitude and body language with perhaps simple re-purposing of his own wardrobe or use of a single prop. PLEASE NOTE: To maintain and build the connection and the closeness of the relationship between Rosemary and the Doctor, we strongly suggest that the Doctor NOT take notes (in a stereotypical Doctor/Patient way), but rather listen intently to Rosemary and be fully engaged in each conversation and session. PRE-RECORDED SOUND BITES We have indicated the use of pre-recorded sound bites – fragments of Bobby Kennedy’s campaign speech prior to his assassination, an ambulance siren, the sound of gun shots, and hecklers in the audience at her performance at Harold’s Club in Reno on the night she broke down on stage. THE DRESSING TABLE AND MIRROR The dressing room table and mirror are an important “marker” for Rosemary in the musical. It represents both her angst and her re-birth. It could have a real mirror so

TRW

Peru

sal

Not fo

r Prod

uctio

n

5

that she sits with her back to the audience or just a frame which would allow her to sit facing the audience. Her facial expressions and mannerisms at the mirror are important as they reflect her mental state. THE MUSICAL’S BOOKENDED SONGS The musical begins with HEY THERE – a huge number one hit single for Rosemary in 1953. The show ends with THIS OLE HOUSE - the “flip side” of HEY THERE and even bigger number one hit single in 1953. Rosemary references her life as having a “flip side” in the final scene. A NOTE ABOUT THE BOWS AND MUSICAL CONCLUSION OF THE PIECE You will note that we have given you two options to conclude Tenderly. The first option, BOWS OPTION 1, is to follow Rosemary’s final song, THIS OLD HOUSE, with a vocal reprise of THIS OLD HOUSE which functions as both the Bows and the opportunity for the two actors to sing together again. The second option, BOWS OPTION 2, is to follow Rosemary’s final song, THIS OLE HOUSE, with a short instrumental version of the piece to serve as brief bows, with the Doctor then exiting and Rosemary remaining to sing an ENCORE MEDLEY of three of her biggest hits. She is ultimately joined by the Doctor again at the very end of the medley for a final bow and duet. We encourage you to choose the best option for your production and your audiences. A NOTE ABOUT ACCENTS Please note that none of the Clooneys (Rosie’s mother, her Uncle George, Betty, etc) spoke with any kind of southern drawl or accent. They all spoke with a normal Midwestern American accent as you will note when researching clips of Rosemary, her brother Nick, as well as her nephew, George, who grew up in nearby Augusta, Kentucky. Maysville, Kentucky is on the northern tip of the state and its residents do not have any kind of Deep South way of speaking. To maintain the authenticity of the portrayal of these people, actors should use a simple Midwest manner of speaking.

TRW

Peru

sal

Not fo

r Prod

uctio

n

6

MUSIC ACKNOWLEDGMENTS HEY THERE (from The Pajama Game) by Richard Adler and Jerry Ross / published by J&J Ross Company, LLC and Lakshmi Puja Music / All Rights Reserved. SISTERS by Irving Berlin / used by permission of Rodgers & Hammerstein: an Imagem Company. On behalf of the estate of Irving Berlin, www.irvingberlin.com. / All Rights Reserved. COUNT YOUR BLESSINGS INSTEAD OF SHEEP by Irving Berlin / used by permission of Rodgers & Hammerstein: an Imagem Company. On behalf of the estate of Irving Berlin, www.irvingberlin.com. / All Rights Reserved. HAWAIIAN WAR CHANT (Ta-Hu-Wa-Hu-Wai) by Johnny Noble, Ralph Freed, and Leleiohaku / Copyright ©1936 / Renewed ©1957 EMI Miller Catalog, Inc. / Used with Permission of Sony ATV / All Rights Reserved. IT’S ONLY A PAPER MOON by Harold Arlen and lyrics by Yip Harburg and Billy Rose. Copyright ©1936 / All Rights Reserved. HOW ABOUT YOU by Burton Lane, with lyrics by Ralph Freed. Copyright © 1941 All Rights Reserved. TENDERLY by Jack Lawrence and Walter Gross / Used by Permission of Range Road Music, Inc. / Courtesy of EDWIN H. MORRIS & COMPANY, A DIVISION OF MPL MUSIC PUBLISHING, INC. (ASCAP) / All Rights Reserved. STRAIGHTEN UP AND FLY RIGHT by Nat King Cole and Irving Mills / Copyright ©1944 American Academy of Music Inc, USA / Warner Chappell Music Ltd, London / Used with Permission of Sony ATV / All Rights Reserved. BOTCH-A-ME (Ba-Ba-Baciami Piccina) English lyric and music adapted by Eddie Y. Stanley / Italian Words and Music by R. Morbelli and L. Astore / Copyright ©1952 (Renewed) Edizioni Fono Enic., Milan, Italy / TRO-Hollis Music, Inc., New York, controls all publication rights for the USA and Canada / International Copyright secured / Used by Permission / All Rights Reserved.

TRW

Peru

sal

Not fo

r Prod

uctio

n

7

ARE YOU IN LOVE AGAIN by Janet Yates Vogt & Mark Friedman / Copyright ©2010 Vogt/Friedman Music LLC / All Rights Reserved. I GET ALONG WITHOUT YOU VERY WELL by Hoagy Carmichael / Used by Permission of Songs of Peer, Ltd. / All Rights Reserved. HAVE I STAYED TOO LONG AT THE FAIR by Billy Barnes / Criterion Music Corporation and Universal Music Publishing Inc. / Used with Permission / All Rights Reserved. PRETTY LITTLE PILLS by Janet Yates Vogt & Mark Friedman / Copyright ©2017 Vogt/Friedman Music LLC / All Rights Reserved. I REMEMBER YOU by Victor Schertzinger and Johnny Mercer / Copyright ©1942 Paramount Music Corporation / Used with Permission of Sony ATV / All Rights Reserved. SWAY by Luis Demetrio and Pablo Beltrán Ruiz. "(Original title: "¿Quién será?) Copyright ©1953 / All Rights Reserved. COME ON-A MY HOUSE by Ross Bagdasarian and William Saroyan / Copyright ©1957 Ross Bagdasarian Music, Adam Bagdasarian Music, Carol Bagdasarian Music, The Saroyan Company and Stanford University / Used with Permission / All Rights Reserved. MAMBO ITALIANO by Bob Merrill. Golden Bell Songs. Copyright ©1954 / All Rights Reserved. THIS OLE HOUSE by Stuart Hamblen / Used with Permission of ClearBox Rights, LLC on behalf of Hamblen Music Co. Inc. / All Rights Reserved.

TRW

Peru

sal

Not fo

r Prod

uctio

n

8

TENDERLY

Scenes, Musical Numbers, and Pages

ACT I

SCENE 1 (Harold's Club, Reno, Nevada 1968)............... 10

#1 Hey There ........................................... 10 #2 Have I Stayed Too Long At The Fair Fragment ......... 11 #3 Come On-A My House Instrumental 1 ................... 11 #4 Come On-A My House Instrumental 2 ................... 12

SCENE 2 (A Psychiatrist’s Office at Cedar-Sinai Hospital; Beverly Hills, 1968)..................................... 13

#5 Paper Moon Transition Music ......................... 22 SCENE 3 (Sisters)........................................ 23

#6 Sisters ............................................. 24 #7 Count Your Blessings ................................ 28 #8 Band Tuning ......................................... 30

SCENE 4 (The Radio Station & On the Road)................ 31

#9 Hawaiian War Chant .................................. 32 #10 It’s Only A Paper Moon ............................. 35 #11 Before How About You? .............................. 39

SCENE 5 (Bing)........................................... 40

#12 How About You? ..................................... 44 #13 After How About You? ............................... 47

SCENE 6 (Joe)............................................ 48

#14 Tenderly ........................................... 50 SCENE 7 (Contracts & Softball)........................... 52

#15 Straighten’ Up And Fly Right ....................... 52 #16 Softball Underscore ................................ 56 #17 Botch-A-Me ......................................... 57 #18 Pretty Little Pills Transition Music ............... 60

SCENE 8 (Deceptions & Accusations)....................... 61

#19 Are You In Love Again? ............................. 63 #20 I Get Along Without You Very Well .................. 65 #21 Down The Hatch ..................................... 70 #22 Have I Stayed Too Long At The Fair? ................ 71

ACT II

SCENE 1 (Regrets)........................................ 75

#23 Pretty Little Pills ................................ 75 #24 Tenderly - Reprise ................................. 80 #25 I Remember You ..................................... 83

TRW

Peru

sal

Not fo

r Prod

uctio

n

9

SCENE 2 (Revelations).................................... 85

#26 Sway ............................................... 86 #27 After Sway ......................................... 88 #28 Hey There - Reprise ................................ 89 #29 Have I Stayed Too Long At The Fair - Reprise ....... 92 #30 Come On-A My House – The Breakdown ................. 93 #31 Come On-A My House – A Cappella .................... 99 #32 Come On-A My House and Overlapping Melodies ....... 100 #33 Before Mambo Italiano ............................. 103

SCENE 3 (Dante)......................................... 104

#34 Mambo Italiano .................................... 105 #35 Straighten Up and Fly Right Variations ............ 106

SCENE 4 (Decisions)..................................... 107

#36 How About You? Instrumental ....................... 108 #37 Hawaiian War Chant Instrumental ................... 110

SCENE 5 (Take a Memo)................................... 111

#38 Hey There Variations 1 ............................ 111 SCENE 6 (The Hollywood Bowl)............................ 112

#39 Hey There Variations 2 ............................ 112 #40 Count Your Blessings Reprise ...................... 115 #41 Hey There Underscoring ............................ 116 #42 This Ole House .................................... 117 #43 BOWS OPTION 1 - This Ole House Vocal Reprise ...... 118 #44 BOWS OPTION 2 - This Ole House Reprise Instrumental 119 #45 Encore Medley ..................................... 119 #46 Walk-Off Music .................................... 121

TRW

Peru

sal

Not fo

r Prod

uctio

n

10

ACT 1

SCENE 1: HAROLD’S CLUB, RENO, NEVADA 1968

(The STAGE is dark - we hear the PRE-RECORDED VOICE of the CLUB EMCEE over a DRUMROLL)

#1 HEY THERE

CLUB EMCEE

(pre-recorded) Ladies and gentlemen, Harold’s Club in Reno, Nevada, proudly presents Miss Rosemary Clooney.

(ROSEMARY enters and walks to the microphone)

ROSEMARY

(singing) LATELY WHEN I’M IN MY ROOM ALL BY MYSELF IN THE SOLITARY GLOOM I CALL TO MYSELF HEY THERE - YOU WITH THE STARS IN YOUR EYES LOVE NEVER MADE A FOOL OF YOU YOU USED TO BE TOO WISE HEY THERE - YOU ON THAT HIGH FLYIN’ CLOUD THOUGH HE WON'T THROW A CRUMB TO YOU YOU THINK SOMEDAY HE'LL COME TO YOU BETTER FORGET HIM HIM WITH HIS NOSE IN THE AIR HE HAS YOU DANCIN´ ON A STRING BREAK IT AND HE WON´T CARE WON’T YOU TAKE THIS ADVICE I HAND YOU LIKE A MOTHER OR ARE YOU NOT SEEIN´ THINGS TOO CLEAR

TRW

Peru

sal

Not fo

r Prod

uctio

n

11

ROSEMARY (CONT’D) ARE YOU TOO MUCH IN LOVE TO HEAR IS IT ALL GOIN´ IN ONE EAR AND OUT THE OTHER HEY THERE - YOU WITH THE STARS IN YOUR EYES LOVE NEVER MADE A FOOL OF YOU YOU USED TO BE TOO WISE WILL YOU TAKE THIS ADVICE I HAND YOU LIKE A MOTHER OR ARE YOU NOT SEEIN´ THINGS TOO CLEAR ARE YOU JUST TOO FAR GONE TO HEAR IS IT ALL GOIN´ IN ONE EAR AND OUT THE OTHER

(After the applause, ROSEMARY walks to a dressing table with a chair and mirror.)

#2 HAVE I STAYED TOO LONG AT THE FAIR

FRAGMENT

(ROSEMARY sits and stares in the mirror – she looks confused and distraught.) (Dissonant sounds are heard over the PA, which conflict with the continuing music, reflecting ROSEMARY’S growing distress. The CLUB EMCEE announces:)

CLUB EMCEE

(pre-recorded) Ladies and Gentlemen, let’s welcome back Miss Clooney – singing one of her biggest hits – “Come on-a My House!”

#3 COME ON-A MY HOUSE INSTRUMENTAL 1

(knock on door)

(The CLUB EMCEE calls out to her.)

CLUB EMCEE (pre-recorded)

Miss Clooney – it’s time for your next number.

TRW

Peru

sal

Not fo

r Prod

uctio

n

12

(ROSIE appears to not hear.)

CLUB EMCEE (CONT’D) Miss Clooney!

(ROSIE still gives no reaction.)

Miss Clooney – you’re on!

(ROSEMARY is growing more and more distraught as the sound effects of chaos crescendo. Suddenly the MUSIC abruptly ends and four gun shots are heard. ROSEMARY reacts with shock and horror at the sounds of the shots.)

(BLACKOUT followed by silence)

#4 COME ON-A MY HOUSE INSTRUMENTAL 2

(SCENE TRANSITIONS)

TRW

Peru

sal

Not fo

r Prod

uctio

n

13

SCENE 2: A PSYCHIATRIST’S OFFICE AT CEDAR-SINAI HOSPITAL; BEVERLY

HILLS, 1968

(A simple office setting, defined by a few chairs and accessories)

(The DOCTOR enters with files in HIS hand. He checks his watch, obviously waiting for someone.) (NOTE: It is the intent of the authors that the DOCTOR does not take notes during the “sessions” which can be distracting to the audience as well as keep the DOCTOR from interacting more fully with ROSEMARY. This allows the two actors to clearly focus on one another. See Authors’ Notes for further information.)

(The DOCTOR turns to see ROSEMARY appear. She is in a simple dress with a clutch handbag.)

DOCTOR

Hello, Miss Clooney. I’m Doctor Victor Monke.

ROSEMARY If you’re a monk – where’s your robe?

(She laughs at her own comment, waiting for his reaction. He ignores her jab.) (ROSIE is fidgety and impatient, pacing about the room.)

DOCTOR I’m looking forward to our working together. Please -

(motioning to a chair) have a seat.

(ROSEMARY is looking around the office, inspecting it)

TRW

Peru

sal

Not fo

r Prod

uctio

n

14

ROSEMARY (sarcastically)

What, no couch? I thought at least I’d get to lie on a couch.

(ROSEMARY ignores him, still pacing. She takes out a cigarette, but doesn’t light it, holding it for comfort and attitude. The DOCTOR looks at her and gestures once again for her to sit.)

DOCTOR Miss Clooney?

(ROSEMARY is still not sitting. She takes out a lighter – lights her cigarette. She takes a long puff as the DOCTOR watches.)

ROSEMARY

(small talk, stalling) Nice office you got here. But I don’t see any family photos. Do you have kids?

(not waiting for his response) Did you know my husband and I had 4 kids in 3 and a half years. Bob Hope called it Vatican Roulette.

DOCTOR

Oh - by the way – Miss Clooney - smoking’s not allowed in here.

(She continues to smoke.)

ROSEMARY (reassuring him that she has special privileges)

Oh – it’s okay, Doc. I gave a lot of money to this hospital. My name’s on that big plaque on the wall by the front desk. I’m sure you’ve seen it.

(The DOCTOR doesn’t respond. ROSEMARY takes another puff, continues to pace.)

(A moment of silence – responds to her pacing)

TRW

Peru

sal

Not fo

r Prod

uctio

n

15

DOCTOR I know it’s not a couch, but this is a perfectly comfortable chair.

(motions to the chair again)

ROSEMARY Oh – I forgot - that’s right. We’re on the clock. Well, I heard you’re the best damn psychiatrist in Beverly Hills – so – let’s get on with it, then -

(flip attitude) as fast as possible. I want out.

DOCTOR (calmly, motioning to the door)

Well, there’s the door.

(ROSEMARY walks to the door, stops, turns around)

ROSEMARY

So that’s how the best damn psychiatrist in Beverly Hills treats his new patients? Shows them the door? You listen to me, Doc. I learned the hard way not to take crap from anybody. Just ask all the people I’ve fired – my manager, my lawyer, my agent.

DOCTOR Let’s get some things straight here, Miss Clooney. For your information, I normally don’t do one-on-one sessions anymore. I’m head of this department and plenty busy – but I agreed to work with you. I’m well aware of the money you’ve given – but everyone here gets the same treatment – the best treatment possible - with no special privileges. So if you want to get started, sit down – and

(firmly and emphatically) put - out - your - cigarette.

(She pauses, somewhat astonished, sizing up his words, takes one last puff –– then drops the cigarette to the floor, putting it out with her shoe, then smiles as she says the following:)

ROSEMARY

I should’ve insisted that smoking be allowed before I signed the damn check.

TRW

Peru

sal

Not fo

r Prod

uctio

n

16

DOCTOR

(softening a bit, with a smile) It’s a State Law, Miss Clooney.

ROSEMARY Well then – what do you want to talk about?

DOCTOR (now down to business)

Let’s start with the basics. Why are you here?

(ROSEMARY pauses, then crosses herself in the Catholic tradition)

That’s easy – Father O’Reilly.

(NOTE: This is the first time we see the Doctor transform into the various people in ROSEMARY’S life. This must be done in a way that allows the audience to feel that ROSEMARY is seeing and conversing with these people – all within the context of her sessions with the DOCTOR.

Per the DIRECTOR’S DISCRETION, the DOCTOR may re-fashion his various clothes items and stage props in a subtle and minimal way such as putting on a hat, putting on sunglasses, removing his jacket, etc, to define his various characters.

It is the authors’ intent that these transitions into characters should be as seamless and simple as possible. In no way should the flow of the play be interrupted or delayed by any extensive costume changes or use of props.)

DOCTOR

(as FATHER O’REILLY) Rosemary, you need help – and you need it badly.

TRW

Peru

sal

Not fo

r Prod

uctio

n

17

ROSEMARY Look, Father – everybody needs help. But I’m not going to be locked up in some hospital, so forget it!

DOCTOR (as FATHER O’REILLY)

Think of your children. They want you to get better. They need you to get better.

ROSEMARY I couldn’t take the press, Father. Those reporters can be so mean. They wouldn’t say I’m in the Looney Bin – they would say I was nuts and in the Clooney Bin.

(ROSEMARY sings a cappella) COME ON-A NUT HOUSE – A NUT HOUSE!

DOCTOR

(as FATHER O’REILLY) God doesn’t give us any more than we can handle, Rosie.

ROSEMARY No offense, but I don’t think God’s been checking in with me lately because I had about all I could handle about twenty crises’ ago.

DOCTOR (as FATHER O’REILLY) (gently scolding)

Rosemary -

ROSEMARY I’ve got to keep working, Father. I’m practically broke and I’m certainly not getting any money from Joe. And how can I take care of my kids if I’m in some hospital? Tell me, Father – why should I go?

DOCTOR

(as FATHER O’REILLY) Rosemary, you should go –

(FATHER gestures to ROSEMARY in the form of a cross as if blessing her.)

- because God wants you to.

(The DOCTOR / FATHER O’REILLY transitions back into his role as the DOCTOR.)

TRW

Peru

sal

Not fo

r Prod

uctio

n

18

ROSEMARY

For some reason, Doc – that stuck with me.

DOCTOR (himself again)

And you believe in God?

ROSEMARY Oh yeah, don’t you know I come from a long line of the Maysville “C.I.A.”.

(DOCTOR looks at her quizzically) Catholic Irish Alcoholics - I wouldn’t be here today if my dad weren’t one of the lifetime members.

DOCTOR And your mother?

ROSEMARY Well, she always said, “I want to get out of Maysville. I want to be somebody.”

DOCTOR

Did she? Get out of Maysville?

ROSEMARY Eventually - but first she married the handsome and charming Andrew Clooney - eight years older and looking for his dreams at the bottom of some bottle.

(with concern) Mama! What’s wrong?

(The DOCTOR becomes ROSEMARY’S MOTHER. She is walking with intent as if readying herself to leave.) (NOTE: It is the authors’ intent that when the DOCTOR becomes any of the female characters, he should not put on or use any women’s accessories, jewelry, hats, or clothing items to assume those characters. Instead he should convey his female characters with mannerisms and tone of voice. Taking the time to add these costume

TRW

Peru

sal

Not fo

r Prod

uctio

n

19

items slows the pace and can create unintentional humor where none is meant. However - per the director’s discretion – the DOCTOR may re-fashion his jacket to suggest a female usage of clothing, such as a cape, etc, keeping his character changes both swift and subtly achieved.)

DOCTOR

(as ROSEMARY’S MOTHER) Your father was drunk again last night! He said he would stop drinking, but he won’t.

ROSEMARY (as a TEENAGE ROSEMARY)

Yes he will – he told me he would!

DOCTOR (as ROSEMARY’S MOTHER)

Your father’s a liar - a ladies’ man. He has another child, you know - but it’s his child, not mine. Never trust him!


But – Mama – where are you going?


I’m leaving – I’m going to California. As soon as I get settled, I’ll send for you girls. Oh – and Rosemary - your father will be coming to live with you and your sister -

ROSEMARY (as a TEENAGE ROSEMARY) (alarmed)

But what about Nicky?!


I’m taking your brother with me.

TRW

Peru

sal

Not fo

r Prod

uctio

n

20


You’re taking Nicky - and leaving us with Dad? We hardly know him! Why, Mama, why?

DOCTOR (as ROSEMARY’S MOTHER) (dismissing her)

Take care of Betty.


But Mama –


You’re the oldest, you’ll manage.

(DOCTOR re-assumes his persona as the DOCTOR – we are back in the present moment.)

DOCTOR (himself again)

Did you – manage?

ROSEMARY I remember when the taxi came to take them to the train station, Nicky was in the back seat waving as they pulled away. Betty was crying.

DOCTOR Did you cry?

ROSEMARY

No – I had to be strong for Betty. I had to make all the decisions – good and bad.

DOCTOR

Well, you made the decision to be here. That was good. You committed yourself.

ROSEMARY

Screw that, Doctor. When they asked me to sign the papers, I put a big “X” there instead of my name. I told them I couldn’t write. I don’t need to be here. I don’t need therapy. Only weak people need therapy.

TRW

Peru

sal

Not fo

r Prod

uctio

n

21

ROSEMARY (CONT’D) (beginning to rant)

Look - the only people that belong in hospitals are people having babies, sick people - and those soldiers I visited when I was performing in Vietnam. Damn stupid war. We should never have gotten into it in the first place. Those brave soldiers - some lost their arms - some their legs. The nurse asked me how much could I take. We can stop at any time, she said.

DOCTOR Did you stop?

ROSEMARY

Absolutely not. I just kept smiling - and did the only thing I knew I could do. I took down all their names and phone numbers, and when I got back to the States, I called every one of their families.

DOCTOR

That was a remarkable thing that you did.

ROSEMARY Anyone would do the same. Look - I’m a little tired, Doc. Do you mind if we call it a day?

DOCTOR

Sure, that’s fine.

ROSEMARY Well, I guess I’ll just go back to my dreary little cell.

DOCTOR

Not that dreary - didn’t I see a big bouquet of flowers in your room today?

ROSEMARY

Oh yeah, those are from Bob Hope. He sent them to me when I checked in with a card that said, “I hope it’s a boy.”

DOCTOR Well, get some rest, Miss Clooney. And can I give you some advice?

ROSEMARY Sure, you’re the Doctor, after all.

TRW

Peru

sal

Not fo

r Prod

uctio

n

22

DOCTOR Try the pie here. It’s very good.

ROSEMARY Apple?

DOCTOR Pecan.

ROSEMARY My Grandmother Guilfoyle taught me how to make a piecrust so flaky you’d swear it was nothing but air. But the truth is Doc, I can get pie at Chasen’s any time I want.

(beginning to exit) See you tomorrow. But, I’ll warn you, Doctor Monke. I still want out of here.

(ROSEMARY exits briefly.)

#5 PAPER MOON TRANSITION MUSIC

(SCENE TRANSITIONS)

TRW

Peru

sal

Not fo

r Prod

uctio

n

23

SCENE 3: SISTERS

(Lights up on the DOCTOR. ROSIE enters as the music continues.)

(As ROSEMARY enters, she hums a bit of the “Paper Moon” melody)

ROSEMARY

HMMMMM...

(She stops humming.)

DOCTOR Good morning. How did you sleep?

ROSEMARY

Snug as a baby – (pause)

in a strait-jacket.

DOCTOR I’ve always liked that song you were humming. It’s called – uh...

(He tries to remember the name.)

ROSEMARY Paper Moon. My sister Betty and I used to sing it together on the road.

DOCTOR Have you always been a singer, Miss Clooney?

ROSEMARY Call me Rosie, Doc. Betty and I started on the front porch of our home in Maysville, Kentucky - singing for Mama and Dad. I think I was around six years old and already had a sense of phrasing and timing even back then. My mother didn’t like it.

(The DOCTOR becomes ROSEMARY’S MOTHER)


Don’t leave those holes in the songs when you’re singing, Rosemary.

TRW

Peru

sal

Not fo

r Prod

uctio

n

24

ROSEMARY

(as a YOUNG ROSEMARY) I have to, Mama!


You’re not supposed to pause like that.

ROSEMARY (as a YOUNG ROSEMARY)

But Mama, that’s how the song goes. I’m supposed to do it that way.


Why do you have to?


I don’t know why. I just have to.

(The DOCTOR becomes the DOCTOR again as ROSEMARY directs her next comment to him.)

#6 SISTERS

ROSEMARY You know, Doc - I just couldn’t explain to mama why I had to wait a certain amount of beats before I started the next phrase. Hell, I didn’t even know what beats were back then. Dad would stick up for us though – he’d say “Leave Rosie and Betty alone, Fran. They’re doing just fine.”

(singing - slowly, thoughtfully)

SISTERS SISTERS THERE WERE NEVER SUCH DEVOTED SISTERS NEVER HAD TO HAVE A CHAPERONE NO SIR

(Music changes to up-tempo)

(The DOCTOR becomes BETTY CLOONEY and joins HER in the song. Choreography may

TRW

Peru

sal

Not fo

r Prod

uctio

n

25

mimic the dance scene from “White Christmas”)

DOCTOR

(as BETTY CLOONEY) I´M HERE TO KEEP MY EYE ON HER

BOTH

(singing) CARING - SHARING EVERY LITTLE THING THAT WE ARE WEARING

DOCTOR (as BETTY CLOONEY)

WHEN A CERTAIN GENTLEMAN ARRIVED FROM ROME

ROSEMARY SHE WORE THE DRESS - AND I STAYED HOME

BOTH

ALL KINDS OF WEATHER WE STICK TOGETHER THE SAME IN THE RAIN OR SUN TWO DIFFERENT FACES BUT IN TIGHT PLACES WE THINK AND WE ACT AS ONE UH – HUH THOSE WHO’VE SEEN US KNOW THAT NOT A THING CAN COME BETWEEN US MANY MEN HAVE TRIED TO SPLIT US UP BUT NO ONE CAN LORD HELP THE MISTER WHO COMES BETWEEN ME AND MY SISTER AND LORD HELP THE SISTER WHO COMES BETWEEN ME AND MY MAN

Sisters! Sisters!

SISTER DON’T COME BETWEEN ME AND MY MAN

(ROSEMARY and the DOCTOR are back in the session)

TRW

Peru

sal

Not fo

r Prod

uctio

n

26

ROSEMARY When I hear that song from “White Christmas,” it always makes me think of Betty – because that was my character’s name in the movie.

DOCTOR

(as himself) I saw it three times when it first came out.

ROSEMARY (a little skeptical)

Really?

DOCTOR Okay, my wife made me take her three times. But I loved it, too.

ROSEMARY Let me tell you a little secret, Doc. My co-star Vera Ellen was a great dancer – but she couldn’t carry a tune. So they had me dub in all her singing parts.

DOCTOR No kidding? So you sang a duet with yourself?

ROSEMARY Exactly - and later with Betty, too. We recorded that song together for Columbia Records. And like typical sisters - when we got into the studio we started to argue. I had some ideas about harmony. Betty had some ideas about phrasing. She started calling me

(formally) Rosemary - and I began to say

(formally) Betty Ann.

(fondly) But on the ride home we looked at each other and burst out laughing. 'Betts,' I said. 'Rosie,' she answered. And we giggled all the way home. It was like old times.

DOCTOR Old times?

ROSEMARY Singing together again – just like on our front porch “stage” back in Maysville.

TRW

Peru

sal

Not fo

r Prod

uctio

n

27

DOCTOR So - what else do you remember from those times? Tell me more about your mother. Did she ever send for you and your sister?

ROSEMARY

No – and you know, Doc – now she lives with me and takes care of my kids. Ironic, isn’t it – where was she all those years ago when I needed her?

DOCTOR You tell me –

ROSEMARY She got a job as a traveling sales lady and was hardly ever home.

DOCTOR Who looked after you?

ROSEMARY

That was easy. Mama just left us with whoever had room, whoever wasn’t rock-bottom broke and looking for work –

(thoughtful) - whoever said “yes.”

DOCTOR What about your father?

ROSEMARY I didn’t see much of him. He’d show up now and then. I was born when mama was just eighteen. She and my dad had already separated – something they got very good at - doing it over and over again. I don’t remember all of us living under the same roof for more than a few weeks at a time.

DOCTOR So - where was home?

ROSEMARY (pausing – then with tenderness, nostalgia)

When I think of home, I think of my Grandmother Guilfoyle’s house – West Third Street in Maysville, Kentucky - no central heat – just a little fireplace with a grate where my grandmother would cook when the bills weren’t paid – and the gas was turned off.

TRW

Peru

sal

Not fo

r Prod

uctio

n

28

#7 COUNT YOUR BLESSINGS

DOCTOR

Sounds like times were hard back then.

ROSEMARY We didn’t know we didn’t have anything. We never got bikes or roller skates for Christmas, but none of the other kids in my neighborhood did either. Lots of people were out of work. Lots of fathers and even mothers were drinking - just to help them cope.

DOCTOR How did you cope?

ROSEMARY At night in our little attic bedroom, Nicky, Betty and I would quote lines from our favorite movies, or plan trips on the Orient Express.

(The DOCTOR becomes BETTY CLOONEY as a little girl, joining ROSEMARY in the scene. NOTE: the director may choose to have ROSEMARY sitting on the floor with BETTY at her side, sitting or lying down, as if they are in their Orient Express sleeping berths.)

(singing)

WHEN I'M WORRIED AND I CAN'T SLEEP I COUNT MY BLESSINGS INSTEAD OF SHEEP AND I FALL ASLEEP COUNTING MY BLESSINGS

WHEN MY BANKROLL IS GETTING SMALL I THINK OF WHEN I HAD NONE AT ALL AND I FALL ASLEEP COUNTING MY BLESSINGS

(music continues)

DOCTOR

(as a YOUNG BETTY CLOONEY) Oh, Rosie – the Orient Express! Will we stay overnight on the train?

TRW

Peru

sal

Not fo

r Prod

uctio

n

29


More than that, Betty – the trip will take weeks! Across Europe - through the deserts of Arabia - all the way to the Orient itself! I’ve packed three steamer trunks, and a whole wardrobe!

DOCTOR (as a YOUNG BETTY CLOONEY)

What about Nicky?


He can be the conductor! But right now we’d better get into our sleeping berths, tomorrow we wake up in exotic Morocco!

DOCTOR (as a YOUNG BETTY CLOONEY)

Oh, Rosie – I’m scared - it’s so far from home! Promise you’ll stay with me tonight!


Sure, Betty – I’ll never leave you - ever!

ROSEMARY (as herself) (singing)

WHEN YOU’RE WORRIED AND YOU CAN'T SLEEP JUST COUNT YOUR BLESSINGS INSTEAD OF SHEEP AND YOU’LL FALL ASLEEP COUNTING YOUR BLESSINGS

(music continues)

(The DOCTOR rises, resuming his role as DOCTOR.)

ROSEMARY Wherever Mama unloaded us, I was very careful never to say or do the wrong thing.

TRW

Peru

sal

Not fo

r Prod

uctio

n

30

DOCTOR (as himself)

You’re still pretty good at that – I’m starting to see.

ROSEMARY (smiling at his response)

Oh yes. I figured out very early what people wanted from me - and then I’d make sure I was just what they expected.

IF I’M WORRIED AND I CAN'T SLEEP I COUNT MY BLESSINGS INSTEAD OF SHEEP AND I FALL ASLEEP COUNTING MY BLESSINGS

#8 BAND TUNING

(SCENE TRANSITIONS)

TRW

Peru

sal

Not fo

r Prod

uctio

n

31

SCENE 4: THE RADIO STATION & ON THE ROAD

DOCTOR

(as a SOUND TECHNICIAN) (demonstrating)

All right girls, now - turn your heads away from the microphone when you’re sounding a p or a b. Otherwise –

(He blows a PUH and BUH.)

Puh – buh - You’ll make a popping sound over the air.

ROSEMARY (musing, smiling)

That was the sum total of my professional vocal training when I started in radio at WLW – the “nation’s station” in Cincinnati, Ohio.

DOCTOR Cincinnati?

ROSEMARY Yeah - we moved there when Betty and I were teenagers – just down river from Maysville. A lot of people got their start on WLW – Andy Williams, Doris Day. You know, Doc, it was Betty’s fault we got into the business in the first place! She found out about an open-mic audition down at the station – so that day, after school, I gave Betty a choice.

(ROSEMARY becomes her younger, teenage-self.)

ROSEMARY

(as a TEENAGE ROSEMARY) (to BETTY)

Okay, Betts! Now how much do we have between us?

(The DOCTOR becomes BETTY CLOONEY)

DOCTOR (as a TEENAGE BETTY CLOONEY)

Thirty cents.

TRW

Peru

sal

Not fo

r Prod

uctio

n

32


Right - so what would you rather do – take the bus downtown to WLW and ask for an audition, or

(tempting HER) get a soda?


Audition, of course!


Come on, Betts - I really want a soda.


How about we flip for it. Heads, we audition. Tails, we split a soda.

(BETTY flips a coin – it’s heads – BETTY smiles, triumphantly.)

ROSEMARY

(as a TEENAGE ROSEMARY) All right - Come on!

(ROSEMARY becomes her present day self as she speaks to the DOCTOR who becomes himself again.)

ROSEMARY

So downtown we went - schoolbooks and all - still in our school uniforms!

(ROSEMARY walks over to a 1940/50’s style microphone.)

#9 HAWAIIAN WAR CHANT

We walked in there and picked out the first song we could think of –

(ROSEMARY transitions back into her teenage-self.)

(The DOCTOR becomes TEENAGE BETTY CLOONEY and joins ROSEMARY.)

TRW

Peru

sal

Not fo

r Prod

uctio

n

33

ROSEMARY & DOCTOR (as TEENAGE ROSEMARY & TEENAGE BETTY CLOONEY)

THERE'S A SUNNY LITTLE FUNNY LITTLE MELODY THAT WAS STARTED BY A NATIVE DOWN IN WAIKIKI HE WOULD GATHER A CROWD DOWN BESIDE THE SEA AND THEY'D PLAY HIS GAY HAWAIIAN CHANT TA-HU-WA-I LA A TA-HU-WA-I WA-I LA E-HU HE-NE LA-A PI-LI KO-O LU-A LA PU-TU-TU-I LU-A I-TE TO-E LA HA-NU LI-PO I-TA PA-A-LAI AU WE TA HU-A-LA AU WE TA HU-A-LA

(THE DOCTOR becomes THE DOCTOR again)

ROSEMARY

(as herself) (speaking)

The truth is – Betty and I actually made up most of the words to replace the real lyrics we didn’t know – just a bunch of vowels, anyway!

(half-singing, half-talking) AU WE TA HU-A-LA –

(speaking - musing)

What the hell does that mean?

DOCTOR (as himself) (chuckling)

Don’t ask me. (pausing, then)

So - did you get the job?

ROSEMARY (excited)

Yes - singing the late night radio shift - “the Clooney Sisters” - twenty-dollars a week – each! The truth is – after we sang the audition – we didn’t have any money to get home – so Betty just smiled and asked for

TRW

Peru

sal

Not fo

r Prod

uctio

n

34

ROSEMARY (CONT’D) an advance – and they gave it her! I could have never have done that.

(ROSEMARY pauses for a moment. Silence.)

DOCTOR

What are you thinking about, Rosie?

ROSEMARY You know, Doc, Dad left one night to celebrate the end of World War II and never came back – took all the household money, too, and left us alone. They shut off our phone, the rent was overdue, and they were going to turn off the gas – hell – we didn’t even have a soda pop bottle to turn in for a refund – so at twenty-dollars a week apiece, we thought we were on top of the world.

DOCTOR How old were you then?

ROSEMARY I was sixteen and Betty was thirteen. I’d do her hair – she’d do mine – even though the radio audience couldn’t see us. It was just so exciting.

DOCTOR Well, how did you end up on the road?

ROSEMARY Tony Pastor – the bandleader. He was looking for talent and the radio station said they had a couple of girl singers he should hear. Tony took a listen and signed us on the spot – made a deal with our manager, Uncle George, and put us on a train to Atlantic City!

DOCTOR Uncle George?

ROSEMARY Yes! Betty and I couldn’t go on the road without a chaperon, since we were underage, you know, so he gave up his college scholarship and offered to come along. I remember when we got on that first train ride, the conductor asked him: “How far ya’ going?” And Uncle George said: “All the way.”

TRW

Peru

sal

Not fo

r Prod

uctio

n

35

DOCTOR

Sounds like he was just as excited as you were.

ROSEMARY We’d certainly come a long way from schoolgirls in knee socks to big band singers in nylons – a real step up from when we’d put make-up on our bare legs to look like stockings. Did you know you could use an eyebrow pencil to draw the back seam right up your leg?

DOCTOR (amused)

No – can’t say that I knew that.

#10 IT’S ONLY A PAPER MOON

ROSEMARY You should have seen us, Doc. Our grandmother made all the dresses we wore with the band! And let me tell you - 1946 - two high school girls from Kentucky with cardboard suitcases - singing with the band on the road. We were living the high life!

(The DOCTOR becomes UNCLE GEORGE and checks the microphone downstage)

DOCTOR

(as UNCLE GEORGE) You’re all set, girls!

ROSEMARY Thanks, Uncle George.

(UNCLE GEORGE exits momentarily. A smiling ROSEMARY addresses the audience, walking up to the microphone)

(Calling out over the music, motioning to the combo:)

ROSEMARY (CONT’D)

Betty and I think Tony Pastor’s band is just about the best on the planet. How about you?

(applause from audience)

TRW

Peru

sal

Not fo

r Prod

uctio

n

36

ROSEMARY (CONT’D) It’s great to be here in – in –

(trying to remember where she is – looking over at the musicians and they call out “Baltimore” to her. She laughs it off, then says:)

Baltimore! Sorry, folks, we’ve been on the road for a little while now.

YOU SAY IT'S ONLY A PAPER MOON SAILING OVER A CARDBOARD SEA BUT IT WOULDN'T BE MAKE BELIEVE IF YOU BELIEVED IN ME

Sing it, Betty!


YES, IT’S ONLY A CANVAS SKY HANGING OVER A MUSLIN TREE BUT IT WOULDN'T BE MAKE-BELIEVE IF YOU BELIEVED IN ME

ROSEMARY WITHOUT YOUR LOVE IT'S A HONKY TONK PARADE

DOCTOR

(as BETTY CLOONEY) WITHOUT YOUR LOVE IT'S A MELODY PLAYED IN A PENNY ARCADE

TOGETHER IT'S A BARNUM AND BAILEY WORLD JUST AS PHONY AS IT CAN BE BUT IT WOULDN'T BE MAKE-BELIEVE IF YOU BELIEVED IN ME

ROSEMARY

IF YOU BELIEVED IN ME

(The DOCTOR becomes UNCLE GEORGE)

DOCTOR (as UNCLE GEORGE)

But I’ve always believed in you, Rosie!

TRW

Peru

sal

Not fo

r Prod

uctio

n

37

ROSEMARY (to UNCLE GEORGE)

If I stay – (hesitating)

If I stay with you, Uncle George, I’ll always be small time.


But you wouldn’t have been able to go on tour without me. Geez, Rosie, I hocked my class ring to buy you girls food on the road. It was my hard work - you know that, don’t you?

ROSEMARY Yes.


You never would have met any of these people who offered you a recording contract if it weren’t for me. Am I right?

ROSEMARY Yes, I know that, Uncle George, but –

DOCTOR

(as UNCLE GEORGE) (interrupting)

And now you want to leave your sister and me behind. Just like that. Get yourself a brand new, fancy New York manager?

ROSEMARY It’s just that I - well - the record company told me I - and – in the meeting - I - I –

DOCTOR

(as UNCLE GEORGE) Rosie?!

ROSEMARY (singing - solo)

WITHOUT YOUR LOVE IT'S A HONKY TONK PARADE WITHOUT YOUR LOVE IT'S A MELODY PLAYED IN A PENNY ARCADE

TRW

Peru

sal

Not fo

r Prod

uctio

n

38

(music continues)

(THE DOCTOR becomes BETTY CLOONEY)


It’s all right Rosie, really it is.

ROSEMARY But, Betty – I –


I know the record company asked you – not me. It’s a chance of a lifetime, Rosie – of a lifetime! You have to do it. I’ll be fine.

(pausing) Besides – I –

(pausing) I’m tired of being the girl in the band. I just want to be the girl in the beautiful dress out on the dance floor - dancing.

ROSEMARY

YOU SAY IT'S ONLY A PAPER MOON SAILING OVER A CARDBOARD SEA BUT IT WOULDN'T BE MAKE BELIEVE IF YOU BELIEVED IN ME IF YOU BELIEVED

(music pauses)

(THE DOCTOR becomes UNCLE GEORGE. He and ROSIE are in mid-conversation)

DOCTOR

(as UNCLE GEORGE) I want to hear it from you, Rosie. You want to leave your sister and me behind and be on your own?

ROSEMARY

(reflecting a memory out loud – offstage focus)

I looked at my Uncle George - and I looked at the corner of the ceiling where a fine crack had made a sort of semi-circle.

TRW

Peru

sal

Not fo

r Prod

uctio

n

39

DOCTOR (as UNCLE GEORGE) (back in the moment with UNCLE GEORGE)

Rosie! Are you sure that’s what you want?

ROSEMARY (tears in her eyes – to UNCLE GEORGE)

Yes.

BUT IT WOULDN'T BE MAKE BELIEVE IF YOU BELIEVED IN ME

(THE DOCTOR becomes THE DOCTOR again. ROSEMARY says to him:)

I’d always known that in this business there’d be a price for success. Now I knew there was a price for ambition, too.

DOCTOR (as himself)

So how did you feel about ending the “Clooney Sisters” act?

ROSEMARY We had a scrapbook we started when we first went on the road.

(announcing the title) “The Clooney Sisters, Our Life with Tony Pastor’s Orchestra” – I wrote down July 1946 to – then I put in a big question mark. When I signed with new manager Mr. Shribman and Columbia Records, I couldn’t bring myself to write the ending date on the cover.

DOCTOR Maybe it’s time to finally write that date in, Rosie.

#11 BEFORE HOW ABOUT YOU?

(SCENE TRANSITIONS)

TRW

Peru

sal

Not fo

r Prod

uctio

n

40

SCENE 5: BING

(ROSEMARY takes out a CIGARETTE, lights it and takes a long puff – blowing the smoke into the air)

DOCTOR

So, you like the hospital you helped build? (good-natured teasingly)

Are you enjoying your stay here?

ROSEMARY (sarcastically)

Yeah, this place is a regular four-star hotel.

(She looks at the DOCTOR who is eyeing the cigarette – they exchange glances –she puts out the cigarette.)

DOCTOR

Remember - you made the choice to be in here – you can also make the choice to leave.

ROSEMARY Doc – no - I can’t leave – right now.

(with a chuckle) First – no other patient can scrub the floors quite like I do – and besides, I’ve got at least three clay ashtrays I haven’t glazed yet. By the way, Doc, let me ask you something – don’t you think it’s a bit odd to have the patients in here make ashtrays – but we’re not allowed to smoke and use them? Have you ever thought of that?

DOCTOR I have to admit – I haven’t –

(whimsically) - but I’ll be sure to bring it up to the hospital board. Now let me ask you something.

ROSEMARY Ask away.

DOCTOR I’ve been thinking it’s time we talk about what happened on stage -

(pause)

TRW

Peru

sal

Not fo

r Prod

uctio

n

41

DOCTOR (CONT’D) in Reno.

ROSEMARY What’s there to talk about?

DOCTOR You know, Rosie.

ROSEMARY I sang a few songs. I wasn’t feeling well – I ended the show early.

DOCTOR And?

ROSEMARY And I think we’re done talking about that.

DOCTOR (pausing, frustrated but giving in)

It’s all right - I can appreciate it – so what do you want to talk about?

ROSEMARY Oh, I don’t know – Cuddles. I miss Cuddles.

(The DOCTOR looks at HER quizzically)

DOCTOR (then interested and amused)

All right – who’s Cuddles?

ROSEMARY My dog - my 150 pound Great Dane –

DOCTOR Now that’s a big dog.

ROSEMARY

I’d walk him around the back lot at Paramount – complete with a rhinestone-studded leash – Bing loved that dog, too.

DOCTOR

Have you seen Bing?

TRW

Peru

sal

Not fo

r Prod

uctio

n

42

ROSEMARY No – I miss him, but he’d never come to see me here - he’s not comfortable with mental hospitals. His agent told me, “Mr. Crosby is on safari.”

DOCTOR

Safari?

ROSEMARY Oh not really – in the literal sense, that is. When we worked together – and things got crazy, Bing would lean over to me and whisper: “Cover for me, Rosie – I’m going over the wall.” That was his way of coping – getting the hell out of there.

DOCTOR Not a bad idea. Sometimes we need to do that.

ROSEMARY But he did write me a three-page letter.

DOCTOR Sounds like a good friend.

ROSEMARY

Yeah – I always stayed friends with the actors I didn’t sleep with. But I nearly blew it the first time I met him on the back lot of Paramount - I literally bumped right into him. Let’s just say I was slightly awestruck.

(The DOCTOR becomes BING CROSBY.)

(NOTE: the Director may choose to have the DOCTOR/BING use his classic pipe as a prop and affect his voice to sound like BING’s.)

DOCTOR

(as BING CROSBY) Well - hello, Miss Clooney. On your way over to the studio?

(kindly) I think you’re a very good singer, you know.

ROSEMARY

Oh – I – uh – well, thank you. (stumbling – awkwardly)

Uhh – you, too.

TRW

Peru

sal

Not fo

r Prod

uctio

n

43

DOCTOR

(as BING CROSBY) And I understand we’re going to be doing some radio shows together – when is that?

ROSEMARY

(still star-struck) I – uh – sometime in the twenties.

DOCTOR (as BING CROSBY)

Ahh – in the twenties, huh? Well – see you in a while.

(DOCTOR/BING is puzzled at her response – politely turns to leave. ROSEMARY calls back to him, stopping his exit.)

ROSEMARY

Uhh – Mr. Crosby - (regaining her composure)

Look, I want to apologize to you. I wasn’t expecting to meet you right now and I normally don’t make stupid statements. “Sometimes in the twenties” didn’t come out right.

DOCTOR (as BING CROSBY) (BING chuckles, amused – tries to get a word in)

Well – I –

ROSEMARY (not allowing him)

I meant toward the end of the month. I promise you I’ll try not to think of you as a big star and I won’t make dumb remarks like that anymore.

(DOCTOR/BING pauses, taking it all in – then remarks:)

DOCTOR

(as BING CROSBY) Want to go get a drink?

(The DOCTOR becomes the DOCTOR again.)

TRW

Peru

sal

Not fo

r Prod

uctio

n

44

ROSEMARY We’ve been friends ever since.

(fondly recalling) And even though we’ve done it all, Doc – Bing and I –movies, recordings, radio, T.V. - every now and then something strikes me - the tilt of his pipe, or the set of his hat - and I ask myself –

ABC TV ANNOUNCER (pre-recorded)

The ABC Television Network proudly presents – The Bing Crosby Show.

#12 HOW ABOUT YOU?

ROSEMARY What the hell am I doing here - singing with Bing?

(The DOCTOR becomes BING CROSBY again, singing with ROSEMARY on his TV show.)

DOCTOR

(as BING CROSBY) So, Miss Clooney – shall we sing a little ditty together?

ROSEMARY Mr. Crosby, it would be my pleasure.


You start, my dear.

ROSEMARY WHEN A GIRL MEETS BOY - LIFE CAN BE A JOY

DOCTOR

(as BING CROSBY) BUT THE NOTE THEY END ON - WILL DEPEND ON LITTLE PLEASURES THEY WILL SHARE

TOGETHER

SO LET US COMPARE


I LIKE NEW YORK IN JUNE, HOW ABOUT YOU?

TRW

Peru

sal

Not fo

r Prod

uctio

n

45

ROSEMARY I LIKE A GERSHWIN TUNE, HOW ABOUT YOU?


I LOVE A FIRESIDE WHEN A STORM IS DUE

ROSEMARY I LIKE POTATO CHIPS, MOONLIGHT, AND MOTOR TRIPS, HOW ABOUT YOU?

DOCTOR

(as BING CROSBY) Shall I get my hat?

I'M MAD ABOUT GOOD BOOKS CAN'T GET MY FILL

ROSEMARY

AND FRANK SINATRA’S LOOKS GIVE ME A THRILL

TOGETHER

HOLDING HANDS IN THE MOVIE SHOW WHEN ALL THE LIGHTS ARE LOW MAY NOT BE NEW - BUT I LIKE IT HOW ABOUT YOU?

ROSEMARY I LIKE JACK BENNY’S JOKES TO A DEGREE

DOCTOR

(as BING CROSBY) I LOVE THE COMMON FOLKS

ROSEMARY

THAT INCLUDES ME I LIKE TO WINDOW SHOP ON FIFTH AVENUE

DOCTOR

(as BING CROSBY) I LIKE BANANA SPLITS LATE SUPPER AT THE RITZ HOW ABOUT YOU?

TRW

Peru

sal

Not fo

r Prod

uctio

n

46

ROSEMARY May I join you?

THAT MARLON BRANDO’S SMILE MAKES ME FEEL TALL


Helps ya, huh? I tell ya’ Bob Hope – now he’s more my style –

ROSEMARY

Really –


Poky nose and all!

TOGETHER THIS WHOLE WORLD’S IN A SORRY WAY THAT’S WHAT THE PAPERS SAY IT MAY BE TRUE

ROSEMARY LONG AS THOSE STARS STILL SHINE

DOCTOR

(as BING CROSBY) LONG AS YOUR LOVE IS MINE

TOGETHER

I LIKE IT FINE – HOW ABOUT YOU?

ROSEMARY LONG AS YOU KISS SO WELL


LONG AS YOU CAST THAT SPELL

TOGETHER I THINK IT’S SWELL HOW ABOUT YOU? LONG AS THE BIRDS STILL MATE MAY WE REITERATE? WE THINK IT’S GREAT HOW ABOUT YOU?

TRW

Peru

sal

Not fo

r Prod

uctio

n

47

#13 AFTER HOW ABOUT YOU?

(SCENE TRANSITIONS)

TRW

Peru

sal

Not fo

r Prod

uctio

n

48

SCENE 6: JOE

ROSEMARY

Do you believe in fate, Doc?

DOCTOR You can call it fate – or chance – but in the end, I think we create our own path in life.

ROSEMARY Because I know - if Bing hadn’t invited me to sing on his variety special on one particular night – along with Frank -

DOCTOR (with a bit of awe)

Frank - Sinatra?

ROSEMARY Yeah, Doc –

(referring to the DOCTOR being star struck at the mention of FRANK - chuckling)

He had that effect on me too, at first.

(The DOCTOR becomes FRANK SINATRA)

(NOTE: the Director may choose to have the DOCTOR/FRANK sling his jacket across his shoulder in classic “Frank Sinatra” style)

DOCTOR

(as FRANK SINATRA) Rose, I have to tell you – Jose Ferrer was on the set tonight. He asked about you.

ROSEMARY He did? What did he say, Frank?

DOCTOR (as FRANK SINATRA)

He asked if you were married.

ROSEMARY What did you tell him?

TRW

Peru

sal

Not fo

r Prod

uctio

n

49

DOCTOR

(as FRANK SINATRA) I told him you were a good Irish Catholic girl and thinking of becoming a nun.

ROSEMARY No you didn’t!


Be careful, Rose. Mr. Ferrer runs fast with the ladies – and he’s married.

ROSEMARY You’re telling me to be careful? Don’t worry, Frank. I’ll just have a little fun. That’s all.

(The DOCTOR becomes the DOCTOR again)

DOCTOR Tell me about, Jose.

ROSEMARY I call him, Joe. Doc. He’s always been Joe to me.

DOCTOR Well, tell me about Joe, then.

ROSEMARY There was no one like him. He spoke seven languages, was fiercely intelligent - the son of an aristocratic family in Puerto Rico - he’d been accepted into Princeton at fourteen, studied in Switzerland, and won a Tony and then an Oscar for Cyrano de Bergerac.

DOCTOR But Frank warned you about him.

ROSEMARY

If you’re talking about red flags – I didn’t see any. I just saw that this incredible man was interested in me. Besides, once we were together – I was sure all that behavior would stop. Well that’s the way it’s supposed to be, right – when you’re in love?

TRW

Peru

sal

Not fo

r Prod

uctio

n

50

DOCTOR Were you in love?

#14 TENDERLY

ROSEMARY Mitch Miller once explained love to me as the way you hear it in most American songs – you know: I love - you love - we all love - why do we love - how much do we love - where do we love - and why did you stop loving me? I think I had them all with Joe.

THE EVENING BREEZE CARESSED THE TREES TENDERLY THE TREMBLING TREES EMBRACED THE BREEZE TENDERLY THEN YOU AND I CAME WANDERING BY AND LOST IN A SIGH WERE WE THE SHORE WAS KISSED BY SEA AND MIST TENDERLY I CAN’T FORGET HOW TWO HEARTS MET BREATHLESSLY YOUR ARMS OPENED WIDE AND CLOSED ME INSIDE YOU TOOK MY LIPS YOU TOOK MY LOVE SO TENDERLY

(The DOCTOR becomes JOSE FERRER.) (NOTE: The DIRECTOR may choose to have JOSE put on an ASCOT or a simple costume piece to define his character. He approaches ROSEMARY.)

DOCTOR

(as JOSE FERRER) Rosie – you’ve been waiting so patiently - it won’t be long now before Phyllis gives me that divorce.

ROSEMARY

I know, Joe – it’s all right – we’re together.

TRW

Peru

sal

Not fo

r Prod

uctio

n

51

DOCTOR (as JOSE FERRER)

I want you to know how I feel about you, Rosie, and this is for you -

(DOCTOR/JOSE FERRER shows her a small RING BOX opening it for her, revealing a ring.)

ROSEMARY (gasping)

Oh Joe – it’s beautiful – so beautiful –


Look what it says inside.

(He holds up the ring, looking at the inside band with her.)

Te amo - I love you. (DOCTOR/JOSE FERRER stays at her side or behind her embracing her throughout the rest of the song.)

ROSEMARY

THE SHORE WAS KISSED BY SEA AND MIST TENDERLY I CAN’T FORGET HOW TWO HEARTS MET BREATHLESSLY YOUR ARMS OPENED WIDE AND CLOSED ME INSIDE YOU TOOK MY LIPS YOU TOOK MY LOVE SO TENDERLY

(DOCTOR/JOSE FERRER and ROSEMARY end with a passionate embrace.)

(SCENE TRANSITIONS)

TRW

Peru

sal

Not fo

r Prod

uctio

n

52

SCENE 7: CONTRACTS & SOFTBALL

#15 STRAIGHTEN’ UP AND FLY RIGHT

(ROSEMARY is rehearsing with the band.)

BAND LEADER/PIANO PLAYER (voiced by one of the musicians)

Hey Rosie - let’s try the bridge.

ROSEMARY (in a slow tempo)

THE BUZZARD TOLD THE MONKEY - YOU ARE CHOKIN' ME RELEASE YOUR HOLD - AND I WILL SET YOU FREE

Boys, I’m sorry –

(MUSIC PAUSES) You know – that’s about the tempo Betty and I performed it with Tony Pastor, but I think I’d brighten it up. Can we try the whole song again – with a little more swing?

(music resumes at a faster tempo) That’s good – I like that.

A BUZZARD TOOK A MONKEY FOR A RIDE IN THE AIR THE MONKEY THOUGHT THAT EVERYTHING WAS ON THE SQUARE THE BUZZARD TRIED TO THROW THE MONKEY OFF HIS BACK THE MONKEY GRABBED HIS NECK AND SAID NOW LISTEN, JACK STRAIGHTEN UP AND FLY RIGHT STRAIGHTEN UP AND FLY RIGHT STRAIGHTEN UP AND FLY RIGHT COOL DOWN, PAPA, DON'T YOU BLOW YOUR TOP AIN'T NO USE IN DIVIN' WHAT'S THE USE IN DIVIN' STRAIGHTEN UP AND FLY RIGHT COOL DOWN, PAPA, DON'T YOU BLOW YOUR TOP THE BUZZARD TOLD THE MONKEY - YOU ARE CHOKIN' ME RELEASE YOUR HOLD - AND I WILL SET YOU FREE THE MONKEY LOOKED THE BUZZARD RIGHT DEAD IN THE EYE AND SAID

TRW

Peru

sal

Not fo

r Prod

uctio

n

53

ROSEMARY(CONT’D) Your story's so touching it sounds like a lie -

STRAIGHTEN UP AND FLY RIGHT STRAIGHTEN UP AND STAY RIGHT STRAIGHTEN UP AND FLY RIGHT COOL DOWN, PAPA, DON'T YOU BLOW YOUR TOP

(DOCTOR enters, interrupts and challenges ROSEMARY. HE has assumed the persona of a PARAMOUNT PICTURES VICE PRESIDENT. He holds her “CONTRACT” in HIS hand)

DOCTOR

(as PARAMOUNT VICE PRESIDENT) (waving contract papers at her)

Miss Clooney - Excuse me, Miss Clooney – I have to ask – have you read your contract here with Paramount Pictures?

ROSEMARY No, Sir, I have to admit, I haven’t.

(DOCTOR/PARAMOUNT VICE PRESIDENT tries to respond)

And I can’t talk to you right now - we’re rehearsing.

(ROSEMARY sings as the DOCTOR/VICE PRESIDENT waits impatiently)

THE BUZZARD TOLD THE MONKEY YOU ARE CHOKIN' ME RELEASE YOUR HOLD AND I WILL SET YOU FREE THE MONKEY LOOKED THE BUZZARD RIGHT DEAD IN THE EYE AND SAID

Your story's so touching it sounds like a lie -

DOCTOR (as PARAMOUNT VICE PRESIDENT)

Well, you don’t have to be the Vice President of Paramount Pictures to figure out Jose Ferrer is a married man. Nobody likes a home wrecker, Rosie.

(ROSEMARY is irritated that he’s bringing up her personal business)

TRW

Peru

sal

Not fo

r Prod

uctio

n

54

ROSEMARY Joe assures me his marriage is over. He’s just waiting for his wife to give him a divorce.

DOCTOR (as PARAMOUNT VICE PRESIDENT)

Well, you should have read your contract first - especially the morals clause.

(sarcastically) Oh - let me enlighten you!

(music modulates)

ROSEMARY DOCTOR (as PARAMOUNT VICE PRESIDENT)

(speaking over ROSEMARY’S speech)

AIN'T NO USE IN DIVIN' Said artist’s contract may be WHAT'S THE USE IN DIVIN' terminated if she does or STRAIGHTEN UP AND FLY RIGHT commits any act or thing that COOL DOWN, PAPA degrades her in society – if DON'T YOU BLOW YOUR TOP she does or commits any act STRAIGHTEN UP AND FLY RIGHT that will bring her into STRAIGHTEN UP AND FLY RIGHT public hatred, contempt, STRAIGHTEN UP AND FLY RIGHT scorn or ridicule - does or COOL DOWN, PAPA any act that would shock, DON'T YOU BLOW YOUR TOP insult, or offend the community or ridicule public morals or decency!

(music pauses)

DOCTOR (as PARAMOUNT VICE PRESIDENT) (angry and loud and waving the contract)

OR – if she flies to Paris with somebody else’s husband!!

(DOCTOR/PARAMOUNT VICE PRESIDENT shoves the contract into her hands.)

ROSEMARY

COOL DOWN, PAPA DON'T YOU BLOW

(ROSEMARY shoves the contract back into his hands)

TRW

Peru

sal

Not fo

r Prod

uctio

n

55

ROSEMARY (CONT’D) YOUR

(DOCTOR/PARAMOUNT VICE PRESIDENT shoves the contract back into her hands)

TOP

(ROSEMARY waves the contract at the DOCTOR/PARAMOUNT VICE PRESIDENT as if to say “get the hell out!”) (speaking)

Fly Right!

(DOCTOR/PARAMOUNT VICE PRESIDENT storms to the DOCTOR chair and sits – becoming THE DOCTOR again)

(ROSEMARY is back in therapy)

That poor guy - I thought he was going to have a heart attack right then and there! But I couldn’t take my mind off Joe no matter what the contract said. There was no one like him, Doc. With him everything was new – jetting off to exotic places, great parties, famous actors, and even kings for friends.

DOCTOR (as himself)

Was it everything you wanted?

ROSEMARY I liked being part of Joe’s world –

DOCTOR That doesn’t sound very convincing, Rosie. And you didn’t answer my question. Was it what you wanted?

ROSEMARY Well - some of the time – it was damn exciting - but other times it felt like I was in some B movie – playing a role – when all I really wanted - was to be myself.

DOCTOR Well, who could you be yourself with?

TRW

Peru

sal

Not fo

r Prod

uctio

n

56

ROSEMARY

Dante – (ROSEMARY is now the Captain of the Paramount Studios softball team – they are practicing on the back lot. The DOCTOR assumes the role of DANTE DIPAOLO. DIRECTOR may choose to have DANTE put on sunglasses to define his character.)

#16 SOFTBALL UNDERSCORE

ROSEMARY

Okay, team – let’s warm up – big game tomorrow against MGM!

DOCTOR (as DANTE DIPAOLO)

So you’re the team Captain?

ROSEMARY Yeah – let’s see what you’ve got.

(ROSEMARY mimes throwing a ball at DOCTOR/DANTE. DOCTOR/DANTE mimes throwing the ball back to her.)

ROSEMARY (CONT’D) Hey – you’ve got a good arm. What else can you do?


Dance, actually. I’m going to be your dance instructor on “Here Come the Girls.” I’m Dante DiPaolo.

ROSEMARY And I’m Rosie Clooney.

(DOCTOR/DANTE takes her HAND, and brings it up to his lips, kissing it with passion)

ROSEMARY (CONT’D)

(flirting) Oh - you work fast. I’ll call you “Whirlwind.”

TRW

Peru

sal

Not fo

r Prod

uctio

n

57

DOCTOR (as DANTE DIPAOLO) (tenderly)

And I’ll call you Rosella. That’s what we would call you in Abruzzi.

ROSEMARY (smiling)

I like it. I’ll inform Paramount to make a name change on all my future films. Though Sinatra once told me I had a lousy Italian accent. The truth is – I only know one Italian phrase. Botcha-me!

DOCTOR

(as DANTE DIPAOLO) (speaking)

Ahh – Botch-a-me. In Italian, that means “Kiss me.”

ROSEMARY Exactly!

#17 BOTCH-A-ME

BOTCH-A-ME - I´LL-BOTCH-A YOU AND EV´RYTHING GOES CRAZY BAH-BAH - BOTCH-A-ME, BAMBINO BAH-BAH-BO - BO - BOCA PICCOLINO WHEN-A YOU KISS ME - AND I´M A-KISSA YOU TRA LA - LA - LA - LA – LA- LA - LA - LOO

(NOTE: During this song you may wish to have playful dancing throughout – with DOCTOR/DANTE acting as ROSEMARY’S dance instructor throughout the song.)

BAH-BAH - BOTCH-A-ME, MY BABY BAH-BAH-BO - BO - JUST SAY YES AND MAYBE IF-A YOU SQUEEZE ME AND I´M A-SQUEEZA YOU TRA LA - LA - LA - LA – LA- LA - LA - LOO BEE-OO - BYE-OH - BEE-OO - BOO WON´T YOU BOTCH-A-BOTCH-A-ME? BEE-OO - BYE-OH - BEE-OO - BOO WHEN YOU BOTCH-A-ME - I’LL BOTCHA YOU AND EV´RYTHING GOES CRAZY

TRW

Peru

sal

Not fo

r Prod

uctio

n

58

BOTH BAH-BAH - BOTCH-A-ME, BAMBINO BAH-BAH-BO-BO - BOCA PICCOLINO AND THEN WE WILL RAISE A GREAT BIG FAMILY TRA LA - LA - LA - LA – LA- LA - LA -LEE

ROSEMARY

Well, here’s my dressing room.


I’ll see you at dance rehearsal later.

ROSEMARY Why don’t we just rehearse right now. Come on in – and lock the door, Whirlwind.

(instrumental dance break)

BOTH BOTCH-A-ME, I´LL-BOTCHA YOU AND EV´RYTHING GOES CRAZY

ROSEMARY

BAH-BAH - BOTCH-A-ME, MY BABY BAH-BAH-BO - BO - JUST SAY YES AND MAYBE IF-A YOU SQUEEZE ME - AND I´M A-SQUEEZA YOU TRA LA - LA - LA - LA – LA- LA - LA - LOO


BEE-OO - BYE-OH - BEE-OO - BOO WON´T YOU BOTCH-A - BOTCH-A-ME?

ROSEMARY Kiss me!

DOCTOR (as DANTE DIPAOLO) BEE-OO - BYE-OH - BEE-OO - BOO WHEN YOU BOTCH-A-ME, I’LL BOTCHA YOU

(ROSEMARY motions to DOCTOR/DANTE)

ROSEMARY

C´mon a-you, kiss-a me, eh?!

TRW

Peru

sal

Not fo

r Prod

uctio

n

59

ROSEMARY (CONT’D) BAH-BAH - BOTCH-A-ME - BAMBINO

DOCTOR

(as DANTE DIPAOLO) BAH-BAH-BO - BO - BOCA PICCOLINO

BOTH

AND THEN WE WILL RAISE A GREAT BIG FAMILY

ROSEMARY TRA LA – LA- LA – LA- LA - LA

DOCTOR

(as DANTE DIPAOLO) BEE-OO- BYE-OH - BEE-OO – BOO

TOGETHER BOTCH-A-ME – BAMBINO - BOTCH-A-ME

ROSEMARY

That’s-a nice!

(ROSEMARY and DOCTOR/DANTE sneak in a quick kiss on the musical button.)

(After applause, the DOCTOR resumes his role as the DOCTOR.)

DOCTOR

(as himself) So what happened with you and Dante?

ROSEMARY Nothing, Doc. We had some good times together – but I was in love with Joe. I made up my mind Joe and I were getting married. And so I left – without even telling Dante goodbye. I’ve always regretted that.

DOCTOR

Why didn’t you stay with him – you told me that you could be yourself with Dante.

ROSEMARY That’s true – it’s just that –

(pause) I didn’t find myself very interesting.

TRW

Peru

sal

Not fo

r Prod

uctio

n

60

#18 PRETTY LITTLE PILLS TRANSITION

MUSIC

(SCENE TRANSITIONS)

TRW

Peru

sal

Not fo

r Prod

uctio

n

61

SCENE 8: DECEPTIONS & ACCUSATIONS

(The DOCTOR becomes ROSEMARY’S MOTHER.)

DOCTOR

(as ROSEMARY’S MOTHER) (accusingly)

What have you been talking about with that Doctor lately? Talking about me again?

ROSEMARY I’m not supposed to tell you what we’ve been talking about, Mama – it doesn’t work that way –


Oh really. Tell me then – just how does it work?

ROSEMARY (pausing, trying to speak calmly)

Look – Mama - I know all those weeks on the road – hell, the months that I was gone - you took care of my children. But Mama - I want - no - I need to ask you:

(pausing) ...all those years ago, Mama – why didn’t you take care of me. Why?


That’s not important now –

ROSEMARY It is, Mama. It’s really important - I have to get it straight, once and for all.

(looks pleadingly at DOCTOR/MOTHER)

DOCTOR (as ROSEMARY’S MOTHER) (accusingly)

Is that what that doctor told you? You’ve been paying him all that money to hear crap like that?

TRW

Peru

sal

Not fo

r Prod

uctio

n

62

ROSEMARY Look - I’ll tell you exactly what he told me. He told me I need to pay the bills, to make my own decisions - to take charge of my life.

DOCTOR (as ROSEMARY’S MOTHER) (sarcastically)

Try telling your children you’re fit to take charge – see what they have to say about it.

(back in therapy, to the DOCTOR)

ROSEMARY (musing)

You know, Doc – I thought having kids would make our marriage better – make Joe stay home more – be a better father – a better husband.

(The DOCTOR becomes the DOCTOR again)

DOCTOR (as himself)

What was Joe like?

ROSEMARY Well - when he got nervous, he drank. And when he drank, he drank gin. And when he drank gin -

(pausing) he got mean.

(THE DOCTOR becomes JOSE FERRER who is drunk.)

DOCTOR

(as JOSE FERRER) Things always come so easy for you, Rosie.

ROSEMARY No, they don’t. That isn’t true, Joe.


You can’t understand that I have to work for everything we have – this house in Beverly Hills, the cook, the gardener, the upstairs maid, the downstairs maid, the kids, all the parties we throw - I have to work for it all.

TRW

Peru

sal

Not fo

r Prod

uctio

n

63

ROSEMARY Excuse me - I’m the one who works damn hard, around here - it’s my work that pays the bills, remember?


Work? Is this what you call work? Those stupid records? Let me tell you something - work is performing night after night on the London stage. Work is sweating on a soundstage twelve hours a day for weeks on end shooting a movie and winning an Oscar. That’s real work.

(The DOCTOR becomes THE DOCTOR again)

#19 ARE YOU IN LOVE AGAIN?

ROSEMARY (musing)

There’s no place like home.

DOCTOR (as himself)

What do you mean?

ROSEMARY That was the name of our Ferrer Holiday TV Special. Ironic – huh? Joe and I laughed our way through it – we even sang together –

(feeling the futility of the action) smiled lovingly at each other-

DOCTOR Like the perfect couple?

ROSEMARY

(nodding “yes”) It’s hard work, Doc –

DOCTOR What?

ROSEMARY

Covering up a mess of a marriage and always being what everyone else wants you to be.

TRW

Peru

sal

Not fo

r Prod

uctio

n

64

ROSEMARY (CONT’D) THERE’S A SIMPLE LIGHT THAT SURROUNDS YOUR FACE BUT IT ADDS NO BRIGHTNESS TO THIS LONELY PLACE TO MY LONELY HEART TELL ME WHY WE’VE GROWN FAR APART

THERE’S A SMILE I SEE BUT IT’S NOT FOR ME IT’S NOT THE SMILE I KNEW WON’T YOU TELL ME WHO

WHO’S BEEN SLEEPING BESIDE YOU FELT YOUR TENDER EMBRACE ARE YOU IN LOVE AGAIN?

(reflecting)

One night sitting in a bungalow in France, I listened as my husband and one of his friends talked in another room. Joe clearly didn’t know I could hear them and as their words drifted up to me, I could hear Joe say “she” and “her” and I knew he wasn’t talking about me. He was sharing raw details of a sexual episode in his dressing room in New York – the very room he had been calling me from every night.

THERE’S A SMILE I SEE BUT IT’S NOT FOR ME IT’S NOT THE SMILE I KNEW WON’T YOU TELL ME WHO WHO’S BEEN SLEEPING BESIDE YOU FELT YOUR TENDER EMBRACE ARE YOU IN LOVE ARE YOU IN LOVE ARE YOU IN LOVE AGAIN?

(THE DOCTOR becomes JOSE FERRER)

DOCTOR (as JOSE FERRER) (matter-of-factly)

You knew what kind of man I was when you married me, Rosie. I can’t change. Look - I’ll call your agent and arrange to get you home.

TRW

Peru

sal

Not fo

r Prod

uctio

n

65

ROSEMARY (starting to cry, humiliated)

No. I’m sorry. No - no, don’t call him. Don’t send me away.

DOCTOR (as JOSE FERRER) (dispassionately)

Will you be all right?

(THE DOCTOR become THE DOCTOR again.)

DOCTOR (as himself)

How did you answer him?

ROSEMARY Like I always did.

(remembering) Yes, Joe. I’m sorry, Joe. I’m sure it was all my fault, Joe.

DOCTOR I know you didn’t mean those things. Why did you say them?

ROSEMARY Fear – it was paralyzing.

DOCTOR Fear of what?

ROSEMARY Fear of not being loved.

DOCTOR But did Joe really love you?

ROSEMARY

I think so – but it was never a love I could depend on.

#20 I GET ALONG WITHOUT YOU VERY WELL

ROSEMARY (thoughtfully)

I GET ALONG WITHOUT YOU VERY WELL OF COURSE I DO EXCEPT WHEN SOFT RAINS FALL

TRW

Peru

sal

Not fo

r Prod

uctio

n

66

ROSMEARY (CONT’D) AND DRIP FROM LEAVES THEN I RECALL THE THRILL OF BEING SHELTERED IN YOUR ARMS OF COURSE I DO BUT I GET ALONG WITHOUT YOU VERY WELL

After all - it was a great time for my career – I made appearances on virtually every variety show they had on radio and TV in the 50’s: Bob Hope, Ed Sullivan, Tennessee Ernie Ford, and then CBS gave me my own show: “The Lux Show Starring Rosemary Clooney.” Damn - I sold a lot of soap for that company!

I'VE FORGOTTEN YOU, JUST LIKE I SHOULD OF COURSE I HAVE EXCEPT TO HEAR YOUR NAME OR SOMEONE'S LAUGH THAT IS THE SAME BUT I'VE FORGOTTEN YOU JUST LIKE I SHOULD

I was pregnant twice during that show – except no one knew because they would stick me behind a big bouquet of flowers or a sign advertising a car – a really big car – one time I introduced Frank Sinatra from behind our singing group the HI-LO’s –

(laughing) all you could see was my head – and all America could see was that I was the perfect wife – and I even got Joe on the show a few times – hoping it would help things – but it only seemed to upset him. He was out of work most of that time –

WHAT A GUY WHAT A FOOL AM I TO THINK MY BREAKING HEART COULD KID THE MOON WHAT'S IN STORE? SHOULD I PHONE ONCE MORE? NO IT'S BEST THAT I STICK TO MY TUNE

But – me - I was flying along – in 1955 – hell - I even got to sing on the Academy Awards. Filmmakers weren’t exactly breaking my door down but I managed to appear in several features like “Here Come the Girls” and, of course, “White Christmas”. I was everybody’s girl next door. My smiling

TRW

Peru

sal

Not fo

r Prod

uctio

n

67

ROSEMARY (CONT’D) face was on every magazine cover in every store – didn’t that prove I was happy?

I GET ALONG WITHOUT YOU VERY WELL OF COURSE I DO EXCEPT PERHAPS IN SPRING BUT I SHOULD NEVER THINK OF SPRING FOR THAT WOULD SURELY BREAK MY HEART IN TWO

(thoughtfully, sadly) I could never count on Joe.

DOCTOR But you could count on the pills, couldn’t you, Rosie?

(Silence. ROSEMARY is taken aback. She meets his glance with a look of astonishment, coupled with defensiveness at the mention of pills.)

DOCTOR (CONT’D)

So when did you actually start taking them?

ROSEMARY (somewhat flustered, feeling caught)

I - I don’t remember. It wasn’t that many anyway.

DOCTOR Rosie, be honest with me. Why were you taking them?

ROSEMARY Dammit, Doc. I just told you about my bad marriage and my family falling apart. Why can’t you just help me feel better about that? Isn’t that what this thing is supposed to be about?

DOCTOR You tell me what this thing is all about. I think it has a lot to do with pills.

ROSEMARY (increasingly upset – doesn’t want to go there)

All anybody ever wants to talk to me about is the pills. Even my brother Nicky would go through my dresser and night

TRW

Peru

sal

Not fo

r Prod

uctio

n

68

ROSEMARY (CONT’D) stand looking for them – he didn’t trust me either. Nobody did.

DOCTOR I think they were just terribly worried about you.

ROSEMARY No need to be. I can take care of myself. Like I said - I don’t want to talk about it with you, Doc – with my sister, with my brother or with any of my friends - or you, Frank -

(THE DOCTOR becomes FRANK SINATRA; he stands; ROSEMARY confronts him.)

I don’t want to talk about it with you either.


You gotta stop taking those pills, Rose. I know you – and you don’t need them.

ROSEMARY

What do you know what I need, Frank? I told you – I’m all right.


You’re hurting yourself – badly. Life’s hurtful enough. Why do you have to bring more pain into it?

ROSEMARY I’ll be fine, Frank. I’ll be just fine.


Come out of it, Rose! I know you feel trapped but losing you would be a terrible loss.

ROSEMARY Yeah – right.

(THE DOCTOR sits - becomes THE DOCTOR again)

DOCTOR

Did you feel trapped, Rosie?

TRW

Peru

sal

Not fo

r Prod

uctio

n

69

ROSEMARY You could say that. It seemed like one minute I was sailing in Hyannis port with the Kennedys and Frank – and then - in the blink of an eye - Jack gets killed in Dallas. Now that was a terrible loss.

DOCTOR The whole nation was in shock.

ROSEMARY It’s different when you know them – what kind of people they were. Jack’s smile and that laugh – I’ll never forget it.

DOCTOR Of course, I understand.

ROSEMARY Do you?! I don’t think so.

DOCTOR

Bad things happen, Rosie – to all of us. But it’s how we handle those bad times that define us –– that make us even stronger.

ROSEMARY Don’t preach to me, Doc. You sound just like Father O’Reilly. The next thing you know – you’ll have me saying a few “Hail Mary’s” and absolve me of my sins – like that’s gonna’ help anything!

(stands, begins to pace, becoming more agitated, more irritated with THE DOCTOR)

You don’t know the half of it.

DOCTOR Tell me, then.

ROSEMARY

I was stuck in Vietnam and Martin Luther King was assassinated.

(pause) I cabled Bobby Kennedy and told him, “You’re my last hope.” I’ll be back in time to help you and Ethel with the California primary –

(THE DOCTOR becomes ROSEMARY’S MOTHER)

TRW

Peru

sal

Not fo

r Prod

uctio

n

70

ROSEMARY DOCTOR

(as ROSEMARY’S MOTHER) (overlapping HER)

it was the only thing I For the love of God - could think of to do… for the love of God, Rosie,

DOCTOR (as ROSEMARY’S MOTHER) (agitated - frightened)

how many did you take this time? (ROSEMARY sits, lost in her memory. Her speech starts to slow, “feeling” the effects of taking drugs)

ROSEMARY

(very slurred speech) Uh - I don’t know, Mama - what I always take, I guess.

(looks into her hand as if she’s holding pills)

Never such a pretty sight like a handful of Percodan or Seconal –

#21 DOWN THE HATCH

(singing a cappella – as if delirious) RED, WHITE, YELLOW – SEE THE PRETTY FELLOWS –

(ROSEMARY mimes swallowing the “pills”)

Down - the - hatch!

DOCTOR (as ROSEMARY’S MOTHER) (frightened)

I’m going to get you some coffee

5ept41h3pjy3laibf32yym6p-wpengine.netdna-ssl.com5ept41h3pjy3laibf32yym6p-wpengine.netdna-ssl.com/wp-content/uploads/... ·...

Documents