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SUNSET BOULEVARD INDEX 01 Overture/I guess it was five a.m. 02 Let's have lunch 03 Every movie's a Circus 04 At the House on Sunset 05 Surrender 06 With one Look 07 Salome 08 The Greatest Star of All 09 Every movie's a Circus (reprise) 10 Girl meets Boy 11 Back at the House on Sunset 12 New Ways to Dream 13 Completion of the Script 14 The Lady's Paying 15 New Year's Eve 16 The Perfect Year 17 This Time Next Year 18 New Year's Eve (Back at the House on Sunset) 19 Sunset Boulevard 20 There's been a Call/Journey to Paramount 21 As if We never said Goodbye 22 Paramount Conversations/Surrender 23 Girl meets Boy (reprise) 24 Eternal Youth is worth a little Suffering 25 Who's Betty Schaeffer? 26 Betty's Office at Paramount 27 Too much in Love to care 28 New Ways to Dream (reprise) 29 The Phone Call 30 The Final Scene 01 OVERTURE / I GUESS IT WAS FIVE A.M. JOE I guess it was five A.M. A homicide had been reported From one of those crazy mansions up on sunset Tomorrow every front page is going to lead with this story You see an old time movie star is involved, Maybe the biggest star of all But before you read about it, before it gets distorted By those Hollywood piranhas, if you wanna know the real facts You've come to the right party Let me take you back six months, I was at the bottom of the barrel I'd had a contract down at Fox, but I'd fallen foul of Darryl Now I had a date at Paramount, Along with about a thousand other writers If it didn't come up roses, I'd be covering funerals Back in Dayton, Ohio, I'd hidden my car three blocks away Turned out to be a smart move. INDEX 02 LET'S HAVE LUNCH JOE Hi there, Myrion MYRON How's it hanging? JOE I've got a date with Sheldrake MYRON I'm shooting a western down at Fox JOE How can you work with Darryl? MYRON We should talk JOE Gotta run BOTH Let's have lunch MARY Hi, Mr. Gillis JOE You look great MARY I'm up for an audition JOE Sheldrake is driving me insane MARY Don't forget me when you're casting JOE We should talk MARY Gotta run BOTH Let's have lunch JOE Morning, Joanna MARY Hi there, Myrion JOANNA Who are you meeting MYRON You look great JOE Sheldrake, but do I need it? MARY I've spent the last month fasting JOANNA I'm handing in my second draft MYRON I'm shooting a western down at Fox JOE I'd really love to read it MARY Don't forget me when you're casting JOANNA We should talk MYRON We should talk JOE Gotta run MARY Gotta run BOTH Let's have lunch Let's have lunch joe Yeh, I have an appoinment with Mr. Sheldrake JONES Name? JOE Gillis, Joseph Gillis JONES All right, sir, you know your way? JOE Yeah 1ST FIN. We want the key to your car 2ND FIN. You're way behind the payments 1ST FIN. Don't give us any fancy footwork.... 2ND FIN. Give us the keys JOE I only wish I could help. I loaned it to my accountant He has an important client down in Palm Springs Felt like shooting the breeze 1ST FIN. Are you telling us you walked here? JOE I believe in self-denial, I'm in training for the priesthood 2ND FIN. Okay wise guy, three hundred bucks 1ST FIN. Or we're taking the car 2ND FIN. We have a court order JOE I love it when you talk dirty SAMMY Bless you, Joseph JOE That you, Sammy SAMMY How do you like my harem? JOE How come you get such lousy breaks? SAMMY One learns to grin and bear 'em GIRLS This is the biggest film ever made JOE What're you planning? ANITA Temple Virgin DAWN Handmaiden to Delilah JOE Let's have lunch, gotta run You've got to find me a job, I'm way behind with my payments I thought you were meant to be my agent, I need some work MORINO I only wish I could help, this town is dead at the moment There's been this slowdown in production.... JOE Who is this jerk? MORINO He's my wunderkind from Broadway, Every major studio wants him YOUNG MAN Playing one against the other.... JOE What I need is three hundred bucks MORINO Maybe what you need is a new agent JOE Hello, Artie ARTIE Joe, you bastard! JOE You never call me anymore ARTIE Found a cuter dancing partner how are things? JOE Not so great ARTIE Will this help? Twenty bucks? JOE Thanks! you're a pal! ALL Good morning, Mr. De Mille MYRON Good morning, C.B. SHELDRAKE This is Sheldrake, bring some water, Get me that shithead Nolan Nolan, sweetheart, great to talk, this draft is so much brighter You're the best, even so, I've hired another writer SECRETARY Mr.Gilis SHELDRAKE Joe! What the fuck bring you here! JOE You wanted to see me SHELDRAKE I did? What about? JOE "Based Loaded" It's an outline for a baseball picture SHELDRAKE So, pitch JOE It's about a rookie shortstop. He's batting .347 The kid was once mixed up in a holdup. Now he's trying to go straight SHELDRAKE Wait a minute. Wait a minute. I think I have read this Somebody, bring in whatever we've got on.... JOE "Based Loaded" SHELDRAKE ......"Based Loaded" JOE They're pretty hot for it over at Twentieth SHELDRAKE Good JOE But can you see Ty Power as a shortstop? ENSEMBLE Let's have lunch BETTY Here's that "Based Loaded" material, Mr. Sheldrake I made a two-page synopsis for you, But I wouldn't bother to read it. SHELDRAKE Why not? BETTY It's just a rehash of something That wasn't very good to begin with SHELDRAKE Meet Mr. Gillis, he wrote it ENSEMBLE We should talk SHELDRAKE This is Miss Kramer BETTY Schaefer, Betty Schaefer. And right now, I'd like to crawl into a hole and pull it in after me JOE If I could be of any help... BETTY I'm sorry, Mr. Gillis, I couldn't see the point of it JOE What sort of material do you suggest? James Joyce? Dostoyevsky? BETTY I think pictures should at least try to say a little something JOE I see you're one of the message kids. I expect you'll have turned down"Gone with the wind" SHELDRAKE No, that was me ENSEMBLE Gotta run BETTY And I guess I was disappointed. I've read some of your other works And I thought you had some real talent JOE Yeah, that was last year. This year I felt like eating. BETTY Well, I'm sorry, Mr. Gillis SHELDRAKE Thank you, Miss Kramer. Well, looks like Zanuck's got himself a baseball picture. ENSEMBLE We should talk, gotta run, let's have lunch JOE You've got to give me some work, I'll take whatever's on offer There must be some shit that needs a rewrite, throw it my way SHELDRAKE I only wish I could help, there's no spare shit at the moment Remember the greatest writers starved in Garrets, Didn't care about pay JOE Are you trying to be funny SHELDRAKE I believe in self-denial, give a man some moral backbone JOE Can you loan me three hundred bucks SHELDRAKE I'm sorry, Gillis, Good-bye JOE I just love Hollywood MYRON Morning, Joanna CLIFF Where've you been hiding? SAMMY Hi there, Lisa MYRON How're you doing? KATHERINE I hate this weather CLIFF You look great LIZ RKO are O.K. MARY What are you doing? JOANNA You look great GIRLS This is the biggest film ever made CLIFF I'm trying to make my mind up MARY Guess I was born to play her DAWN What is my motivation? JOANNA You look great SAMMY They're taling nominations LIZ You should go work for Warners' MYRON Is your new script with Sheldrake? MORINO I'm very close to Sheldrake ARTIE We shoot next month SAMMY & OTHERS Gotta run JOHN Let's drive to Vegas this weekend JOANNA Let's have lunch ANITA You look great JOANNA I'm handling in my second draft MARY It's between me and Dietrich KATHERINE I've landed a big broadway show ADAM I'm gonna work for Metro CLIFF Let's have lunch MARY Let's have lunch GIRLS Let's have lunch, this is the biggest film ever made MYRON I'd really love to read it CLIFF I'd know just how to light you JOHN Let's have lunch JOHN/LISA It won't work MORINO Let's pencil Thursday morning GROUP 1 We should talk GROUP 2 Gotta run CHORUS Let's have lunch Hi! Good morning, aren't we lucky? Going to work with Cukor Paramount is paradise, movies from A to Zukor We should talk, gotta run GROUP 1 Let's have lunch GROUP 2 We should talk GROUP 1 Gotta run GROUP 2 Gotta run ALL Let's have lunch JOE Come to get your knife back? It's still there, right between my shoulder blades. INDEX 03 EVERY MOVIE'S A CIRCUS BETTY I read one of your stories, wasn't it Scribner's, some magazines. Title-something with windows JOE It was 'Blind Windows' if that what you mean BETTY That's right, I really liked it JOE I'm all warm and runny inside BETTY Let me pitch it to Sheldrake JOE I may be broke but I still have my pride BETTY Come on, get off your high horse, Writers with pride don't live in L.A. Silence, exile and cunning, those are the only cards you can play JOE Sheldrake won't buy this story, he likes trash with fairy lights. Jesus, think of the effort trying to get him to heighten his sights. BETTY Every movie's a circus, can't we discuss this Schwab's Thursday night? JOE What for? Nothing will happen, I gotta go now, fight the good fight, BETTY What's the rush? JOE See those Gorillas? BETTY Yes, what about them? JOE Do me a terrific favor, keep them amused while I escape BETTY If you're at Schwab's on Thursday JOE Done, look, those guys are after my car, If I lose that in this town, it's like having my legs cut off BETTY Let's duck into the soundstage 1ST FIN. Hey, come on Gillis, give us the keys BETTY Shhh! Please be quiet, Mr. De Mille is shooting right over there 1ST FIN. So what? BETTY He's working on 'Samson and Delilah' They're doing a red hot scene with Hedy Lamarr. You want to stay and watch? 1ST FIN. No 2ND FIN. Relax, we got five minutes BOTH FIN. MEN Hey, hey, come back here... JOE What a lovely sight! At the end of the driveway: A great big empty garage. This thing must burn up 10 gallons to a mile. INDEX 04 AT THE HOUSE ON SUNSET JOE Christ, where am I? I had landed in a garden of some palazzo Like an abandoned movie set. VOICE You there! Why are you so late? MAX This way. JOE Hey look, buddy, I just pulled my car.... MAX And wipe your feet! VOICE Max! Tell him to wait! MAX You heard. If you need my help with the coffin, call me. JOE Hey, wait a minute....Hey, buddy... NORMA Any law against burying him in the garden? JOE I wouldn't know. NORMA I don't care anyway. INDEX 05 SURRENDER NORMA No more wars to fight White flags fly tonight You are out of danger now Battlefield is still Wild poppies on the hill Peace can only come when you surrender Here the tracers fly Lighting up the sky But I'll fight on to the end Let them send their armies I will never bend I won't see you now 'till I surrender I'll see you again when I surrender Now don't you give me a fancy price just because I'm rich. JOE Look, lady, you've got the wrong man. I have some trouble with my car, I just pulled into your driveway. NORMA Get out. JOE O.K. I'm sorry you lost your friend. NORMA Get out of here. JOE Haven't I seen you somewhere before? NORMA Or shall I call my servant? JOE Aren't you Norma Desmond? You used to be in pictures. You used to be big. NORMA I am big. It's the pictures that got smal. Once upon a time not long ago, The head of any studio knew how and when to play his aces. Now they put some talentless unknown beneath their sacred microphone. We didn't need words, we had faces. Yes, they took all the idols and smashed them. The Fairbanks, the Gilberts, the Valentinos. They trampled on what was divine They threw away the gold of silence. When all they needed was this face of mine. JOE Hey! Don't blame me, I'm just a writer. INDEX 06 WITH ONE LOOK NORMA With on look I can break your heart With one look I play every part I can make your sad heart sing With one look you will know All you need to know With one smile I'm the girl next door Or the love that you've hungered for When I speak it's with my soul I can play any role No words can tell the stories my eyes tell Watch me when I frown You can't write that down You know I'm right It's there in black and white When I look your way You'll hear what I say Yes, with one look I put words to shame Just one look sets the screen aflame Silent music starts to play One tear in my eye make the whole world cry. With one look they will forgive the past They'll rejoice: I've returned at last To my people in the dark Still out there in the dark.... Silent music starts to play With one look you'll know all you need to know. With one look I'll ignite a blaze I'll return to my glory days They'll say Norma's back at last This time I am staying I'm staying for good I'll be back where I was born to be With one look I'll be me. INDEX 07 SALOME NORMA Now go. JOE Next time I'll bring my autograph album. NORMA Just a minute, you. Did you say you were a writer? JOE That's what it says on my guild card. NORMA And you've written pictures? JOE Sure have. Would you like to see my credits? NORMA Come over here, I want to ask you something. Just what sort of length is a movie script these days? JOE Depends. NORMA I wrote this, it's a very important picture. JOE Looks like six very important pictures. NORMA It's for De Mille to direct. JOE Oh, yeah? And will you be in it? NORMA Of course. What do you think? JOE Just asking. I didn't know you were planning a come back. NORMA I hate the word. It's a return. JOE Well...fair enough. NORMA I want you to read it. JOE You shouldn't let another writer read your stuff. He may steal it. NORMA I am not afraid. Sit down. Max! Bring something to drink. MAX Yes, Madame. NORMA I said sit down! It's about Salome. Salome: the story of a woman. The woman who was all women. Salome, what a woman, what a part! Innocent body and a sinful heart, Inflaming Herods' lust, But secretly loving a holy man. No one could play her like I can. JOE Well, I have nothing urgent coming up, I thought I might as well skim it. It's fun to see how bad bad writing can be, This promised to go to the limit. NORMA There's so many great scenes. I can't wait. A boiling cauldron of love and hate. She toys with Herod 'Till he putty in her hands He reels tormented through the desert sand. JOE It sure was a real cheery set-up The wind wheezing through that organ Max shuffling around and a dead ape dumped on a shelf And her staring like a gorgon. NORMA They drag the Baptist up from the jails. She dances the dance of the seven veils. Herod says: I'll give you anything. JOE Now it was time for some comedy relief The guy with the baby casket. Must have seen a thing or two, that chimp, Shame it was too late to ask it. NORMA Have you got to the scene where she asks for his head? If she can't have him living, she'll take him dead. They bring in his head on a silver tray. She kisses his mouth, it's a great screenplay! JOE It got to be eleven, I was feeling ill, What the hell was I doing? Melodrama and sweet champagne And a garbled plot from a scrambled brain; But I had my own plot brewing. Just how old is Salome? NORMA Sixteen. JOE I see. NORMA Well? JOE It's fascinating. NORMA Of course it is. JOE Could be it's a little long Maybe the opening's wrong But it's extremely good for the beginner. NORMA No, it's a perfect start, I wrote that with my heart The river-bank, the Baptist and the sinner. JOE Shouldn't there be some dialogues? NORMA I can say anything I want with my eyes. JOE It could use a few cuts. NORMA I will not have it butchered! JOE I'm not talking limb from limb, I just mean a little trim All you need is someone who can edit. NORMA I want someone with a knack Not just any studio hack And don't think for a moment I'd share credit! When were you born? JOE December twenty-first, why? NORMA I like Sagittarians. You can trust them. JOE Thanks. NORMA I want you to do this work. JOE Me? Gee, I don't know, I'm busy. I just finished one script and I'm about to start a new assignment. NORMA I don't care. JOE I'm pretty expensive. I get five hundred a week. NORMA Don't you worry about money. I'll make it worth your while. JOE Well. It's getting kind of late. NORMA Are you married, Mr...? JOE The name is Gillis. Single. NORMA Where do you live? JOE Hollywood. Alto Nido Apartment. NORMA You'll stay here. JOE I'll come back early tomorrow. NORMA Nonsense. there's a room over the garage. Max will take you there. Max! MAX Yes, Madame. NORMA Take Mr. Gillis to the guest room. We'll begin at nine sharp. JOE Now this is more like it. MAX I made up the bed this afternoon. JOE Thanks. How did you know I was going to stay? MAX There's a soap and a toothbrush in the bathroom. JOE She's quite a character, isn't she, that Norma Desmond? INDEX 08 THE GREATEST STAR OF ALL MAX Once, you won't remember, if you said Hollywood, Here was the face you'd think of, Her face on every billboard, In just a single week she'd get ten thousand letters. Men would offer fortune for a bloom from her corsage Or a few strands of her hair. Today she's half-forgotten, But it's the pictures that got small She is the greatest star of all. Then, you can't imagine, How fans would sacrifice themselves to touch her shadow. There was a Maharajah who hanged himself with one of her discarded stockings. She's immortal caught inside that flickering light beam Is the youth which cannot fade. Madame's a living legend; I've seen so many idols fall She is the greatest star of all. JOE (V.O.) When he'd gone, I stood looking out the window for a while. There was the ghost of a tennis court with faded marking and a sagging net. There was an empty pool where Clara Bow and Fatty Arbuckle Must have swum 10,000 midnights ago. And then there was something else; The chimp's last rites, as if she were laying a child to rest. Was her life really as empty as that? INDEX 09 EVERY MOVIE'S A CIRCUS (REPRISE) ALL Every movie's a circus on the wire without a net JOANNE Coffee? MYRON I'm up too early, shooting at seven, I gotta go ALL Movies BOY What's wrong? MARY Can't get a screen test, Don't you hate it when a yes-man says no? ALL Movies GIRL Good part? BOY I'm a policeman "Hang up, punk" that's all I say ACTOR First time, you work on the lot there ACTRESS I must say R.K.O are O.K. ALL Movies. BOY Then what? GIRL He pressed a button, out of the wall fell a four-poster bed. ALL Movies, MYRON Busy? JOANNA They shot my screenplay MYRON Isn't that great? JOANNA No, they shot the thing dead. ALL Every movie's a circus on the wire without a net. BOY Lonely? GIRL That's how I like it. BOY Can't you be nice? GIRL Why? We're not on the set. ALL Movies ARTIE Hey, Joe, what are you, slumming? JOE Here for a meeting ARTIE This time of night? ALL Movies JOE Yeah, it's some studio smartass, You know I'm famous for being polite. ALL Movies ARTIE Guess what? I'm getting married. JOE Congratulations ARTIE She'll be right back. ALL Movies ARTIE Fact is we were just leaving She's been stood up by some uppity hack. ALL Movies JOE Married, who would have thought it? Why don't you look happy? Come on, be brave. ALL Movies ARTIE It's this movie I'm shooting. JOE You first assistant? ARTIE More like a slave. ALL Every movie's a circus. ARTIE But this is a circus movie as well Problems, nothing but problems. Animals, actors, two kinds of hell. ALL Every movie's a circus on the wire without a net. BETTY Well, hello, Mr. Gillis. ARTIE You two have met? JOE I'm the uppity hack. ARTIE And she's the studio smartass. BETTY What's going on here? BARMAN Artie, they're calling you back. BETTY I just reread "Blind Windows" It needs some real re-working, of course. If we fixed up the opening ARTIE Call up the wrangler, pay off the horse. INDEX 10 GIRL MEETS BOY JOE Girl meets boy, that's a safe beginning BETTY It's nearly closing, I thought you weren't going to show. JOE So did I, I felt it might be kinder BETTY What are you saying? JOE Come on, Miss Schaeffer, you know. BETTY What? JOE Every time I see some young kid Dreaming they'll produce a masterpiece I just want to throw them on the next train home. BETTY Never thought you'd be so condescending, JOE Sorry, Miss Schaeffer, I don't come here to fight. BETTY Girl meets boy, if that's how you want it. She's a young teacher, he's a reporter. It's hate at first sight. JOE It won't sell, these days they want glamour; Fabulous hairess meets handsome hollywood heel The problem is, she thinks he's a burglar. Would yo believe it? A wedding in the last reel. BETTY It doesn't have to be so mindless. You should write from your experience Give us something really moving; something true. JOE Who wants true? Who the hell wants moving? Moving means starving And true means holes in your shoe. NETTY No, you're wrong. They still make good pictures. Stick to your story, it's a good story. JOE O.K. Miss Schaeffer; I give it to you. BETTY What do you mean? JOE It's what I said. I've given up writing myself. So you write it. BETTY Oh, I'm not good enough to do it on my own. But I thought we could write it together. JOE I can't, I'm all tied up. BETTY Couldn't we work evening? Six o'clock in the morning? I'd come to your place. JOE Look, Betty, it can't be done, it's out. Let's keep in touch through Artie. That way if you get stuck, we can at least talk. Write this down, I'll give you some ground rules. Plenty of conflict but nice guy don't break the law. Girl meets boy, she give herself completely And though she loves him JOE/BETTY She keep one foot on the floor BETTY No one dies except the best friend No one ever mentions communists No one takes a black friend to a restaurant. JOE Very good, nothing I can teach you We could have had fun fighting the studio. BETTY Yes, Mr. Gillis. That's just what I want. ARTIE What a nightmare, good to see you. Come to my new year party. JOE Last year it got out of hand ARTIE Guaranteed bad behavior JOE See you then BETTY Don't give up, you're too good. JOE Thanks. INDEX 11 BACK AT THE HOUSE ON SUNSET MAX Where have you been? JOE Out. I assume I can go out when I feel like it MAX Madame is quite agitated. Earlier this evening, She wanted you for something and you could not be found. JOE Well, that's tough. MAX I don't think you understand, Mr. Gillis, Madame is extremely fagile. She has moment of melancholy. There have been suicide attempts. JOE Why? Because of her career? She done well enough. Look at all the fan mail she gets everyday. MAX I wouldn't look too closely at the postmarks if I were you. JOE You mean you write them? MAX Will you be requiring some supper this evening, sir? JOE No. And Max MAX Yes. sir? JOE Who the hell do you think you are, Bringing my stuff up from my apartment without consulting me? I have a life of my own- Now you're telling me I'm supposed to be a prisoner here. MAX I think, perhaps, sir, You will have to make up your mind to abide by the rules of this house. That is, if you want the job. JOE I started work on the script I hacked my way through the thicket A maze of fragmented ramblings by a soul in limbo She hoverd there like a hawk Afraid I'd damage her baby. NORMA What's that? JOE I thought we might cut away from the slave market... NORMA Cut away from me? JOE Norma, they don't want you in every scene. NORMA Of course they do. What else would they have come for? Put it back. JOE I'd made my first big mistake I'd put my foot in the quick sand It wouldn't be a few days paste and scissors This would take weeks. The house was always so quiet Just me and Max and that organ No one phoned and nobody ever came And there was only one kind of entertainment on hand. Max, what's on this evening? I hope it's not one of her weepy melodramas. MAX We'll be showing one of Madame's enduring classics: "The Ordeal Of Joan Of Arc" JOE Oh, God, we saw that last week. MAX A masterpiece can never fall She is the greatest star of all. INDEX 12 NEW WAYS TO DREAM NORMA This was dawn, there were no rules, we were so young, Movies were born; so many songs yet to be sung. So many roads still unexplored; We gave the world new ways to dream. Somehow we found new ways to dream. Joan of Arc; look at my face, isn't it strong? There in the dark, up on the screen, where I belong. We'll show them all nothing has changed, We'll give the world new ways to dream Everyone needs new ways to dream JOE I didn't argue, why hurt her? You don't yell at the sleepwalker Or she could fall and break her neck. She smelled of faded roses, It made me sad to watch her as she relived her glory. Poor Norma, so happy, lost in her silver heaven. NORMA Nothing has changed We'll give the world new ways to dream Everyone needs new ways to dream INDEX 13 COMPLETION OF THE SCRIPT JOE In December, the rain came. One great big package, Over-sized, like everything else in California. And it came right through the roof of my room Above the garage. So she had me move into the main house. Into what Max called " The room of the husbands" And on a clear day, the theory was, you could see Catalina. And little by little I worked through the end of the script. At which point I might have left. Only by then those two boys from the finance company had traced my car and towed it away; and I hadn't seen one single dollar of cash money since I arrived. NORMA Stop that! Today's the day. JOE What do you mean? NORMA Max is going to deliver the script to Paramount JOE You're really going to give it to De Mille? NORMA I've just spoken with my astrologer. She read De Millle's horoscope; she read mine. JOE Did she read the script? NORMA De Mille is Leo; I'm scorpio. Mars is transiting Jupiter, And today is the day of closest conjunction. JOE Oh, well, that's all right, then. NORMA Max MAX Yes, Madame NORMA Make sure it goes to Mr. De Mille in person. JOE Well.... NORMA Great day. JOE It's been real interesting NORMA Yes...hasn't it? JOE I want to thank you for trusting me with your baby NORMA Not at all, it is I who should thank you JOE Will you call and let me know as soon as you have some news? NORMA Call? Where? JOE My apartment NORMA Oh, but, you couldn't possibly think of leaving now, Joe. JOE Norma, the script is finished. NORMA No, Joe, No, it's just the beginning, it's just the first draft; I couldn't dream of letting you go, I need your support. JOE Well, I can't stay. NORMA You'll stay on with full salary, of course. JOE Oh, Norma, it's not the money. Yes, of course, I'll stay until we get some sort of news back from Paramount. NORMA Thank you, thank you, Joe. JOE So, Max wheeled out that foreign bus Brushed the leopardskin upholstery. He trundled along to Paramount To hand Cecil B. our hopeless opus. My work was over I was feeling no pain. Locked up like John the Baptist. INDEX 14 THE LADY'S PAYING NORMA Hurry up, the birthday boy is on his way. This is a surprise celebration I hope you've remembered everything I've said I want to see a total transformation JOE What's all this? NORMA Happy birthday, darling. Did you think we'd forgotten? JOE Well... I don't know NORMA These people are from the best men's shop in town. I had them close it down for a day. JOE Norma, now listen! NORMA I'll leave you boys to it. MANFRED Happy birthday, welcome to your shopathon JOE What's going on? MANFRED Help yourself, it's all been taken care of, anyone who's anyone is dressed by me. JOE Well, golly gee. MANFRED Pick out anything you like a pair of. You just point, I'll do the rest I have brought nothing but the best You're a very lucky writer Come along now, get undressed Unless I'm much mistaken That's a 42-inch chest JOE I don't understand a word you're saying MANFRED Well, all you need to know's the lady's paying It's nice to get your just reward this time of year. JOE Get out of here! MANFRED And all my merchandise is strictly Kosher When you've thrown away all your old worn-out stuff, JOE Hey, that's enough MANFRED Perhaps you'd like to model for my brochure I have just a thing for you chalk-stripe suits SALESMAN 1 In black SALESMAN 2 Or blue SALESMAN 3 Glen paid trousers SALESMAN 4 Cashmere sweaters SALESMAN 5 Bathing shorts for Malibu SALESMAN 6 Here's a patent leather lace-up SALESMAN 7 It's a virtuoso shoe MANFRED And a simply marvelous coat made of vicuna JOE You know what you can do with your vicuna NORMA Come on, Joe, you haven't even started yet JOE You wanna bet? NORMA I thought by now he'd look the height of fashion He always takes forever making up his mind, don't be unkind, I thought you writer knew about compassion I love Flannel on a man MANFRED This will complement his tan NORMA We'll take two of these and four of those MANFRED I'm still your greatest fan! Very soon now we'll have stopped him looking like an also-ran JOE You're going to make me sorry that I'm staying NORMA Well, all right. I'll choose, after all, I'm paying. MANFRED Evening clothes? NORMA I want to see your most deluxe JOE Won't wear a tux NORMA Of course not, dear, tuxedos are for waiters. MANFRED What we need are tails, a white tie and top hat JOE I can't wear that NORMA Joe, second-rate clothes are for second-raters JOE Norma, please NORMA Shut up, I'm rich Not some platinum blonde bitch I own so many apartments I've forgotten which is which JOE I don't have to go to premieres I'm never on display You seem to forget that I'm a writer Who cares what you wear when you're a writer? NORMA I care, Joe, and please don't be so mean to me. JOE O.K. all right. NORMA You can't come to my New Year's Eve party In that filling- station shirt JOE I've been invited somewhere else on New Year's Eve NORMA Where? JOE Artie Green. He's an old friend of mine. NORMA I can't do without you, Joe, I need you I've sent out every single invitation JOE All right, Norma, I give in NORMA Of course, you do And when they've dressed you You'll cause a sensation SALESMEN We equip the chosen few of movieland MANFRED (The latest cut) SALESMEN We dress every movie star and crooner From their shiny toecaps to their hatband MANFRED (Conceal your gut) You won't regret selecting the vicuna SALESMEN If you need a hand to shake If there's a girl you want to make If there's a soul you're out to capture Or a heart you want to break If you want the world to love you MANFRED You'll have to learn to take SALESMEN And gracefully accept the role you're playing MANFRED You will earn every cent the lady's paying SALESMEN So why not have it all? MANFRED Now that didn't hurt, did it? SALESMEN The lady's paying! INDEX 15 NEW YEAR'S EVE JOE Max, you've pulled the stops out. It looks like a gala night aboard S.S. Titanic. Will we play spot the actor? As if we are visiting a gallery of waxworks? MAX Would you rather I mix for you a dry matini Or shall I open a champagne? JOE Max, don't be evasive, who's she invited to the ball? MAX Madame herself made every call NORMA Here. Happy New Year. JOE Norma, I can't take this. NORMA Oh, shut up. Open it. Read what it says. JOE "Mad about the boy" NORMA Yes, and you do look absolutely divine. JOE Well, thank you. NORMA I had these tiles put in, you know, because Rudy Valentino said to me, it takes tiles to tango. Come on. JOE No, no, not on the same floor as Valrntino! NORMA Oh come on. come on. come on. Get up. Follow me. And one, two....and one, two, one two together. And one.... Don't lean back like that. JOE Norma, it's that thing. It tickles. INDEX 16 THE PERFECT YEAR NORMA Bring out the old, bring in the new A midnight wish to share with you Your lips are warm, my head is light, Were we in love before tonight? I don't need a crowded ballroom, everything I want is here If you're with me, next year will be the perfect year JOE Before we play some dangerous game; Before we fan some harmless flame We have to ask if this is wise And if the game is worth the prize With this wine and with this music How can anything be clear? Let's wait and see, it may just be the perfect year NORMA It's New Year's Eve, and hope are high Dance one year in, kiss one good-bye Another chance, another start So many dreams to tease the heart. We don't need a crowded ballroom, Everything we want is here And face to face, we will embrace, the perfect year We don't need a crowded ballroom, everything we want is here And face to face, we will embrace, the perfect year JOE So, what time are they supposed to get here? NORMA Who? JOE The other guests. NORMA There are no other guests. Just you and me. I'm in love with you, surely you know that. JOE Norma.... NORMA We'll have a wonderful time next year. I'll have the pool filled up for you. I'll open up my house in Malibu, And you can have the whole ocean. I have enough money to buy us anything we want. JOE Cut out that "us" business NORMA What's the matter with you? JOE What right do you have to take me for granted? NORMA What right? Do you want me to tell you? JOE Norma, what I'm trying to say is that I'm the wrong guy for you; You need a big shot, someone with polo ponies, a Valentino... NORMA What you're trying to say is, you don't want me to love you. Say it! Say it! JOE Max. Get me a taxi. I had to get out, I needed to be with people my own age, To hear the sound of laughter and mix with hungry actors, Underemployed composers, nicotine-poisoned writers, Real people, real problems, having a really good time. INDEX 17 THIS TIME NEXT YEAR ARTIE Hey, Gillis! We'd given you up. Let me take your coat. Jesus, Joe, what's this made of? Mink? Who did you borrow this from? Adolphe Menjou? JOE Close, but no cigar. Hey! It's quite a crowd. ARTIE I invited all the kids doing walk-ons in "Samson and Delilah" BETTY Where have you been hiding? I called your apartment. I called your ex-agent. I was about to call the Bureau of Missing Persons. JOE Well, they always know where to find me. RICHARD A. Hey, Sammy! You gotta say your new year's resolution out loud. Jean! JEAN By this time next year, I'll have landed a juicy part STEVE Nineteen fifty will be my start RICHARD T. No more carrying spears MARY I'll be discovered, my life won't ever be the same. Billy Wilder will know my name And he will call me all the time KATHERINE 'Til he does, can one of you guy lend her a dime? ALISA Just an apartment with no roaches and no dry rot ANITA Where the hot water comes out hot BOTH That's my Hollywood dream RICHARD A. Your resolution JOANNA Is to write something that get shot With approximately the plot I first had in my head MYRON But you'll get rewritten even after you're dead. RICHARD Artie! ARTIE It's a year to begin a new life Buy a place somewhere quiet, somewhere pretty. When you have a young kid and a wife Then you need somewhere green far from the city It's rambling old house with a big apple tree With a swing for the kid and a hammock for me. SAMMY Behold, my children, it is I, Cecil B. De Mille, Meeting me must be quite a thrill, ADAM But there's no need to kneel SAMMY I guarantee you every girl in my chorus line is a genuine Philistine SANDY They don't come off the shelf SAMMY I flew everyone in from Philistia myself BETTY I have some good news, it's "Blind Windows" JOE You don't let go BETTY I gave Sheldrake an outline, Joe, and he swallowed the bait. JOE Well, Hallelujah! BETTY While you have been buying vicuna coats, I have been making a lot of notes, now there's work we should do... JOE Betty, you're forgetting that I gave it to you You remind me of me long ago Off the bus, full of ignorant ambition Thought I'd waltz into some studio And achieve overight recognition, I've seen too many optimists sinking like stones Felt them suck all the marrow clean out of my bones. BETTY I love "Blind Windows" but I can't write it on my own. Can't we speak on the telephone? All my evening are free. ARTIE Hey, just a minute, I'm the fellow who bought the ring BETTY Artie, this is a business thing it's important to me You'll be on location in Clinch, Tennessee. Please make this your New Year's resolution for me. ALL By this time next year I will get my foot in the door Next year I know I'm going to score an amazing success Cut to the moment when they open the envelope Pass the statuette to Bob Hope and it's my name you hear We'll be down on our knees outside Grauman's chinese Palm prints there on the street immortality's neat! This time next year, this time next year. We'll have nothing to fear contracts all signed Three-pictures deal yellow brick road career Hope we're not still saying these things this time next year. JOE You know, I think I will be available in the New Year. In fact, I'm available right now. BETTY Joe, that's great! JOE Hey, Artie, where's your phone? ARTIE Under the bar JOE Hey, Artie, You think you could put me up for a couple of weeks? ARTIE It's just so happens we've got a vacancy on the couch JOE I'll take it. MAX Yes? JOE Max, it's Mr. Gillis, I want you to do me a favor MAX I'm sorry Mr. Gillis. I can't talk right now JOE Listen, I want you to take my old suitcases... MAX I'm sorry, I'm attending to Madame. JOE What do you mean? MAX Madame found a razor in your room. And she's cut her wrists. ALL Three, two, one, Happy New Year! Should auld acquaintance be forgot and never brought to mind Should auld acquaintance be forgot and days of auld lang syne. For auld lang syne, my dear, for auld lang syne We'll take a cup of kindness yet for the sake of auld lang syne INDEX 18 NEW YEAR'S EVE (BACK AT THE HOUSE ON SUNSET) NORMA Go away. JOE What kind of silly thing was that to do? NORMA I'll do it again! I'll do it again! I'll do it again! JOE Attractive headline: "Great star killed herself for an unknown writer." NORMA Great star has great pride You must have some girl; Why don't you go to her? JOE I never meant to hurt you, Norma, You've been good to me, You're the only person in this stinking town That's ever been good to me NORMA Then why don't you say thank you and go? Go, go. Go! JOE Happy New Year NORMA Happy New Year, darling. INDEX 19 SUNSET BOULEVARD JOE Sure, I came out here to make my name Wanted my pool, my dose of fame Wanted my parking space at Warners' But after a year a one-room hell A murphy bed a rancid smell Wallpaper peeling at the corners Sunset Boulevard, twisting Boulevard Secretive and rich, a little scary Sunset Boulevard, tempting Boulevard Waiting there to swallow the unwary Dreams are not enough to win a war Out here they're always keeping score Beneath the tan, the battle rages Smile a rented smile, fill someone glass Kiss someone's wife, kiss someone's ass We do whatever pays the wages Sunset Boulevard, headline Boulevard Getting here is only the beginning Sunset Boulevard, jackpot Boulevard Once you've won you have to go on winning You think I've sold out? Dead right I've sold out. I just keep waiting for the right offer Comfortable quarters, regular rations, 24-hour, five-star room service. And if I'm honest I like the lady I can't help being touched by her folly I'm treading water, taking the money Watching her sunset....well, I'm a writer L.A.'s changed a lot over the years Since those brave gold rush pioneers Came in their creaky covered wagons Far as they could go end of the line Their dreams were yours, their dreams were mine But in those dreams were hidden dragons Sunset Boulevard, frenzied Boulevard Swamped with every kind of false emotion Sunset Boulevard, brutal Boulevard Just like you, we'll wind up in the ocean She was sinking fast, I threw a rope Now I have suits and she has hope It seemed an elegant solution One day this must end, it isn't real Still, I'll enjoy a hearty meal Before tomorrow's execution Sunset Boulevard, ruthless Boulevard Destination for the stony-hearted Sunset Boulevard, lethal Boulevard Everyone's forgotten how they started Here on Sunset Boulevard INDEX 20 THERE'S BEEN A CALL / JOURNEY TO PARAMOUNT NORMA There's been a call. What did I say? They want to see me right away Joe, Paramount, they love our child, Mr. De Mille is going wild JOE Well, that's wonderful, Norma NORMA But it was some fool assistant, not acceptable at all If he wants me, then Cecil B. himself must call JOE I don't know if this is the time to stand on ceremony NORMA I've been waiting twenty years now What a few more days, my dear? It's happened ,Joe, I told you so, the perfect year. Now, let's go upstairs JOE Shouldn't you at least call back? NORMA No; they can wait until I'm good and ready JOE (V.O.) It took her three days and she was ready She checked with her astrologer, who sacrifice a chicken She dressed up like a Pharoh, slapped on a pound of make-up And set forth in her chariot, poor Norma, so happy, Re-entering her kingdom MAX (V.O.) If you will pardon me, Madame, The shadow over the left eye is not quite balanced. NORMA (V.O.) Thank you, Max GUARD Hey, that's enough of that MAX To see Mr. De Mille. Open the gate. GUARD Mr. De Mille is shooting. You need an appointment MAX This is Norma Desmond. No appointment is neccessary GUARD Norma, who? NORMA Jonesy? JONES Why, if it isn't Miss Desmond. How have you been, Miss Desmond? NORMA Fine, Jonesy, Open the gate JONES You heard Miss Desmond. GUARD They don't have a pass. JONES Stage 18, Miss Desmond. NORMA Thank you Jonesy. And teach your friend some manners. Tell him without me there wouldn't be any Paramount studio JONES Get me stage 18, I have a message for Mr. De Mille HEATHER Mr. De Mille? DE MILLE What is it? HEATHER Norma Desmond is here to see you, Mr. De Mille DE MILLE Norma Desmond? HEATHER She's here at the studio DE MILLE It must be about that appalling script of hers. What shall I say? HEATHER Maybe I could give her a brush DE MILLE Thirty million fans have given her the brush. Isn't that enough? Give me a minute. NORMA Won't you come along, darling? JOE It's your script. It's your show. Good luck NORMA Thank you, darling HEATHER Miss Desmond DE MILLE Well, well, well, NORMA Hello, Mr. De Mille, the last time I saw you, We were some place terribly gay. I was dancing on the table DE MILLE A lot of people were. Lindbergh had just landed. NORMA You read the script, of course, DE MILLE Well, yes.... NORMA Now, I know how busy you are during shooting, But I really think you could have picked up the phone yourself, Instead of leaving it to some assistant. DE MILLE I don't know what you mean, Norma. NORMA Yes, you do. DE MILLE Come on in INDEX 21 AS IF WE NEVER SAID GOODBYE VOICE Miss Desmond? Hey, Miss Desmond! Up here, Miss Desmond; it's hog-eye! NORMA Hog-eye! Well, hello! HOG-EYE Let's get a look at you NORMA I don't know why I'm frightened I know my way around here The cardboard trees, the painted sea, the sound here Yes, a world to rediscover But I'm not in any hurry, and I need a moment. The whispered conversations in overcrowded hallways The atmosphere as thrilling here as always Feel, the early morning madness Feel, the magic in the making Why, everything's as if we never said goodbye I've spent so many morning just trying to resist you I'm trembling now you can't know how I've missed you Miss the fairy tale adventures In the ever-spinning playground we were young together I'm coming out of make-up The lights already burning Not long until the camera will start turning And the early morning madness And the magic in the making Yes, everything's as if we never said goodbye I don't want to be alone that's all in the past This world's waited long enough I've come home at last And this time will be bigger and brighter than we knew it So watch me fly we all know I can do it Could I stop my hands from shaking? Has there ever been a moment with so much to live for? The whispered conversations in overcrowded hallways So much to say not just today but always We'll have early morning madness We'll have magic in the making Yes, everything's as if we never said goodbye Yes, everything's as if we never said goodbye We taught the world new ways to dream INDEX 22 PARAMOUNT CONVERSATIONS / SURRENDER BETTY Well, hello, Mr. Gillis, where have you been keeping yourself? JOE Someone's been doing it for me BETTY And meanwhile "Blind Windows" is stuck on the shelf. You said we'd work together JOE New Year's crisis, what can I say? BETTY Always full of excuses JOE Promise I will call you later today BETTY You said that last time JOE Look Betty, I won't let you down BETTY I guess I'll just have to trust you SHELDRAKE You're Miss Desmond's German Shepherd? I'm the one who's been calling. The name is Sheldrake. A couple of weeks ago, I was looking out of my office window, I saw you drive onto the lot, and I said, that's exactly the car I've been lookingfor, great for my new Crosby picture. So, I made a few inquiries, I've just been calling you for two weeks. Doesn't she ever pick up the phone? You know, outside a museum, You don't see that kind of quality anymore. We're willing to pay, At least a hundred dollars a week.... MAX It's outrageous, you insult her, How can you be so cruel? I forbid you to approach her SHELDRAKE You're insane MAX Go away, go away! NORMA Did you see how they all came crowding around? They still love me and soon we'll be breaking new ground Brave pioneers. DE MILLE Those were the days NORMA Just like before DE MILLE We had such fun NORMA We gave the world new ways to dream BOTH We always found new ways to dream DE MILLE Let's have a good long talk one day NORMA The old team will be back in business DE MILLE Sorry, my next shot's ready MAX Mr. Gillis.... JOE What's the matter, Max? MAX I just found out the reason for those phone calls from Paramount. It's not Madame they want. It's her car. JOE Oh my God NORMA Now, you remember, don't you? I don't work before 10 Or after 4.30 in the afternoon DE MILLE It isn't entirely my decision, Norma. New York must be consulted NORMA That's fine. Ask any exhibitor in the country. I'm not forgotten. DE MILLE Of course you're not Goodbye, young fellow. We'll see what we can do. NORMA I'm not worried. It's so wonderful to be back. BETTY Was that really Norma Desmond? DE MILLE It was HEATHER She must be a million years old DE MILLE I hate to think where that puts me. I could be her father. HEATHER Oh , I'm sorry, Mr. De Mille DE MILLE If you could have seen her at seventeen When all of her dreams were new Beautiful and strong, before it all went wrong She's never known the meaning of surrender. Never known the meaning of surrender. INDEX 23 GIRL MEETS BOY (REPRISE) JOE How about they don't know each other He works the night shift and she takes classes all day? Here's the thing, they oth share the same room, Sleep in the same bed, it work out cheaper that way. BETTY I've feeling you're just kidding But to me it sounds believable Makes a better opening than that car chase scene; Girl meets boy, borrowing her toothbrush Or oversleeping or at her sewing-machine JOE You know, it's not bad, there are some real possibilities BETTY Who's Norma? JOE Who's who? BETTY Sorry, I don't usually read private cigarette cases. JOE Norma's a friend of mine; middle-aged lady, Very foolish, very generous BETTY I'll say; this is solid gold "Mad about the boy" JOE So how's Artie? BETTY Stuck in Tennessee. It rains all the time, they're weeks behind. No one know when they'll be back JOE Good BETTY What's good about it? I'm missing him something fierce. JOE No, I mean this idea we had. It's really pretty good Back to work BETTY What if he's a teacher? JOE Where does that get us? Don't see what good it would do BETTY No, it's great, if they do the same job JOE So much in common, they fall in love, wouldn't you? BETTY Yes, but if he's just a teacher, we lose those scenes in the factory JOE Not if he's a champion for the working man, girl likes boy, she respect his talent BETTY Working with someone can turn you into a fan JOE This is fun, writing with a partner BETTY Yes, and it could be... JOE A helluva movie BETTY Can we really do this? BOTH I know that we can! INDEX 24 ETERNAL YOUTH IS WORTH A LITTLE SUFFERING ASTROLOGER I don't think you should shoot before July 15th. Right now is a perilous time for Pisces If you wait 'till Venus is in Capricorn You'll avoid a catalogue of crises MASSEUR 1 I need three more weeks to get these thighs in shape No more carbohydrates, don't be naughty MASSEUR 2 We'll soon have you skipping like an ingenue You won't look a day over forty BEAUTICIAN 1 We have dry heat, we have steam BEAUTICIAN 2 We have moisturizing cream BEAUTICIAN 3 We have mud-packs. we have blood sacks. BEAUTICIAN 2 It's a rigorous regime ALL Not a wrinkle when you twinkle Or a wobble when you walk BEAUTICIAN 3 Of course, there bound to be a little suffering ALL Eternal youth is worth a little suffering ANALYST Listen to your superego not your id Age is just another damn neurosis I'll have you regressing back to infancy And back into the womb under hypnosis DOCTOR I inject the tissue of the fatal lamb The formula's the one Somerset Maugham owns Just a modest course of thirty-seven shots And you will be a heaving mass of hormones ALL No more crow's feet, no more flab No more love handles to grab You'll be so thin they'll all think you are Walking sideways like a crab Nothing sagging, nothing bagging Nothing dragging on the floor Of course, there bound to be a little suffering Eternal youth is worth a little suffering Of course, there bound to be a little suffering Eternal youth is worth a little suffering Of course, there bound to be a little suffering..... INDEX 25 WHO'S BETTY SCHAEFFER? NORMA Is this what you're looking for, by any chance? JOE Why, yes. NORMA Whose phone number is this? I've been worried about the line of my throat. I think this woman has done wonders with it. JOE Good NORMA And I have lost half a pound since Tuesday JOE Very good NORMA Now it's after nine, I'd better get to bed JOE You had NORMA Are you coming up? JOE I think I'll read a while longer NORMA You went out last night, didn't you, Joe? JOE I went for a walk NORMA You took the car JOE I drove to the beach NORMA Who's Betty Schaeffer? JOE Surely, you don't want me to feel as if I'm a prisoner in this house? NORMA You don't understand Joe, I'm under a terrible strain. It's been so hard I even got myself a revolver. The only thing that stopped me from killing myself Was the thought of all those people Waiting to see me back on the screen. How could I disappoint them? All I ask is a little patience, a little understanding. JOE Norma, there's nothing to worry about, I haven't done anything NORMA Of course you haven't, Good night, my darling JOE I should have stayed there, poor Norma, So desperate to be ready for what would never happen But Betty would be waiting, We had a script to finish one unexpected love scene Two people, both risking a kind of happy ending. INDEX 26 BETTY'S OFFICE AT THE PARAMOUNT BETTY T-H-E-E-N-D-! I can't believe it, I've finished my first script! JOE Oh, stop it, you're making me feel old. BETTY It's exciting, though, isn't it? JOE How old are you, anyway? BETTY Twenty-two JOE Smart girl BETTY Shouldn't we open some champagne? JOE Well, the best I can offer is a stroll To the water cooler at the end of the lot BETTY Sounds good to me, I love the back lot here. It's all cardboard, all hollow, all phony, all done with mirrors. I think I love it more than any street in the world. I spent my childhood here. JOE What were you, a child actress? BETTY But my family always expected me to become a great star. I had ten years of dramatic lessons, diction, dancing, Everything you can think of; And then the studio made a test. JOE This is the saddest story I ever heard BETTY Not at all. Come on, I was born two blocks from here. My father was head electrician at the studio until he died. My mother still work in wardrobe. JOE Second generation, uh? BETTY Third. Grandma did stunt work for Pearl White JOE I guess it's exciting, at that, finishing a script. BETTY What? JOE Are you all right? BETTY Sure JOE Something's the matter, isn't it? INDEX 27 TOO MUCH IN LOVE TO CARE BETTY I had a telegram from Artie JOE Is something wrong? BETTY He wnats me to come out to Tennessee. He says it would only cost two dollars to get married in Clinch. JOE Well, what's stopping you, now that we've finished the script... Hey. why are you crying? You're getting married, isn't that what you wanted? BETTY Not any more JOE Don't you love Artie? BETTY Of course I do. I'm just not in love with him any more, that's all. JOE Why not? What happened? BETTY You did. When I was a kid I played on this street, I always loved illusion, I thought make-believe was truer than life, But now it's all confusion Please, can you tell me what's happening? I just don't know any more. If this real, how should I feel? What should I look for? JOE If you were smart, you would keep on walking Out of my life as fast as you can I'm not the one you should pin your hope on You're falling for the wrong kind of man This is crazy, you know you should call it a day. Sound advice, great advice, let's throw it away. I can't control all the things I'm feeling I haven't got a prayer if I'm a fool, Well, I'm too much in love to care I knew where I was, I'd given up hope, Made friend with disillusion No one in my life, but I look at you, And now it's all confusion BETTY Please, can you tell me what's happening? I just don't know any more. If this real, how should I feel? What should I look for? I thought I had everything I needed My life was set, my dreams were in place My heart could see way into the future All of that goes when I see your face I should hate you, there I was, the world in my hand Can one kiss kiss away everything I planned? I can't control all the things I'm feeling I'm floating in mid-air I know it's wrong, but I'm too much in love to care BOTH I thought I had everything I needed My life was set, my dreams were in place My heart could see way into the future All of that goes when I see your face This is crazy, you know we should call it a day. JOE Sound advice, BETTY Great advice, BOTH Let's throw it away. I can't control all the things I'm feeling We're floating in mid-air If we are fools, well, we're too much in love to care If we are fools, well, we're too much in love to care! JOE What's the matter there, Max,? You waiting to wash the car? MAX Please be careful when you cross the patio. Madame may be watching JOE Suppose I tiptoe up to the back stairs And get undressd in the dark, will that do it? MAX It's just that I am greatly worried about Madame JOE Well, we're not helping any, feeding her lies, more lies. What happens when she find out They're not going to make her picture? MAX She never will. That is my job. I made her a star and I will never let her be destroyed. JOE You made her a star? MAX I directed all her early pictures. In those days there were three young directors- Who showed promises; D.W.Griffith, Cecil B. De Mille and- JOE Max Von Mayerling MAX That's right INDEX 28 NEW WAYS TO DREAM (REPRISE) MAX When we met she was a child, barely sixteen Awkward and yet she had an air I'd never seen I knew I'd found my perfect face Deep in her eyes, new ways to dream And we inspired new ways to dream Talkies came, I stayed with her. Look up this life, threw away fame. Please understand, she was my wife. We had achieved far more than most We gave the world new ways to dream Everyone needs new ways to dream JOE Are you saying you were married to her? MAX I was the first husband So I play this game, keeper of the fame Sharing with her one last dream Didn't you think I knew, It never could come true? She'll be the very last one to surrender I will not allow her to surrender. INDEX 29 THE PHONE CALL NORMA Hello, is this Gladstone 9281? Miss Schaeffer? ...Hello, Miss Schaeffer, you must forgive me for calling so late, But I really feel it's my duty. It's about Mr. Gillis... You do know a Mr. Gillis? Well, exactly how much do you know about him? Do you know where he lives? Do you know what he lives on? I want to spare you a lot of sadness. I don't know what he's told you But I can guarantee you he doesn't live with mother Or what you'd call a roommate, He's just a...I can't say it. Poor Betty, you ask him, I'd love to hear his answer....Joe JOE That's right, Betty, why don't you ask me? NORMA Don't JOE ...Or better yet, come over and see for yourself. Yes, right now. The address is ten thousand eighty-six, Sunset Boulevard NORMA Don't hate me, Joe, I did it because I need you. Look at me. Look at my hands. Look at my face. Look under my eyes. How can I go back to work if I'm wasting away? No! Don't stand there hating me, Joe, Shout at me, strike me, but say you don't hate me...Joe, Joe. INDEX 30 THE FINAL SCENE JOE Come on in BETTY What's going on, Joe? Why am I so scared? What was that woman saying? She sounds so weird, I don't understand... Please, can you tell me what's happening? You said you loved me tonight Shall I just go? Say something, Joe. JOE Have some pink champagne and caviar, when you go visit with a star the hospitality is stellar BETTY So this is where you're living? JOE Yes, It's quite a place, Sleeps seventeen, Eight sunken tubs A movie screen, A bowling alley in the cellar. BETTY I didn't come to see the house, Joe. JOE Sunset Boulevard, Cruise the Boulevard, Win yourself a Hollywood palazzo Sunset Boulevard, mythic Boulevard Valentino danced on that terrazzo BETTY Who's it belong to? JOE Just look around you BETTY That's Norma Desmond JOE Right on the money that's Norma Desmond That's Norma Desmond That's Norma Desmond That's Norma Desmond.... BETTY Why did she call me? JOE Give you three guesses, It's the oldest story in the book Come see the taker being took The world is full of Joes and Normas Older woman, very well-to-do Meet younger man, the standard cue For two mechanical performers BETTY Just pack your things and let's go JOE You mean all my things? Have you gone mad? Leave all these things I've never had? Leave this luxuarious existence? You want me to face that one-room hell That murphy bed, that rancid smell Go back to living on subsistence? It's no time to begin a new life Now I've finally made a perfect landing I'm afraid there's no room for a wife Not unless she's uniquely understanding You should go back to Artie and marry the fool And you'll always be welcome to swim in my pool BETTY I can't look at you any more, Joe. NORMA Thank you, thank you, Joe, Thank you....thank you What are you doing, Joe? You're not leaving me? JOE Yes, I am, Norma NORMA You can't! Max! JOE It's been a bundle of laughs And thanks for the use of the trinkets A little ritzy for the copy desk back in Dayton And there's something you ought to know. I want to do you this favor, They'll never shoot that hopeless script of yours, They only wanted your car. NORMA That's a lie! They still want me! What about all my fan-mails? JOE It's Max who writes you letters Your audience has vanished They left when you weren't looking Nothing's wrong with being fifty Unless you're acting twenty NORMA I am the greatest star of them all JOE Goodbye, Norma NORMA No one ever leaves a star. REPORTER And as dawn breaks over the murder house, Norma Desmond, famed star of yesteryear, Is in a state of completely mental shock NORMA This was dawn, I don't know why I'm frightened Silent music starts to play Happy New Year, darling If you're with me, next year will be...next year will be.. They bring in his head on a silver tray She kisses his mouth...she kisses his mouth... Mad about the boy! They'll say Norma's back at last! MAX Madame, the cameras have arrived NORMA Max, where am I? MAX This is the staircase of the palace And they're waiting for your dance NORMA Of course, now I remember; I was so frightened I might fall... MAX You're the greatest star of all! Light! Camera! Action! NORMA When he scorn me I knew he'd have to die Let me kiss his severed head Compromise or death, he fought to his last breath He never had it in him to surrender Just like me, he never could surrender I can't go on with the scene; I'm too happy. May I say a few words, Mr. De Mille? I can't tell you how wonderful it is To be back in the studio making the picture. I promise you I'll never desert you again. This is my life. It's always will be. There's nothing else. Just us and the cameras And all you wonderful people out there in the dark. And now, Mr. De Mille, I'm ready for my close-up This time I'm staying, I'm staying for good I'll be back where I was born to be With one look, I'll be me. MISS SAIGON (ACT 2) ENTR'ACTE BUI-DOI (In September 1978 JOHN is addressing a conference in Atlanta that CHRIS and his wife ELLEN are attending at JOHN'S request.) CHOIR they're called bui-doi the dust of life conceived in hell and born in strife they are the living reminders of all the good we failed to do we can't forget must not forget that they are all our children too JOHN like all survivors, I once thought when I'm home I won't give a damn but now I know I'm caught I'll never leave Vietnam war isn't over when it ends some pictures never leave your mind they are the faces of the children the ones we left behind they're called bui-doi the dust of life conceived in hell and born in strife they are the living reminders of all the good we failed to do we can't forget must not forget that they are all our children too these kids hit walls on every side they don't belong in any place their secret they can't hide it's printed on their face I never thought one day I'd plead for half-breeds from a land that's torn but then I saw a camp for children whose crime was being born they're called bui-doi the dust of life conceived in hell and born in strife we owe them fathers, and a family and loving homes they never knew because we know deep in our hearts that they are all our children too these are souls in need they need us to give someone has to pay for their chance to live help me try CHORUS they're called bui-doi the dust of life conceived in hell JOHN AND CHORUS and born in strife they are the living reminders of all the good we failed to do CHORUS that's why we know JOHN that's why we know CHORUS deep in our hearts JOHN deep in our hearts CHORUS that's why we know JOHN that they are all our children... JOHN AND CHORUS ...too THE REVELATION (After the conference, JOHN introduces CHRIS and ELLEN to his co- workers. CHRIS draws JOHN aside.) CHRIS John, you were great. Can I see you alone? I gotta know what you meant on the phone what is this news you received you can only tell me JOHN a lot of groups use my Bangkok staff to process problems on their behalf we got this in from the embassy it's not easy to tell you, it's best that you see CHRIS Kim. it's about Kim, isn't it? only you now how hard I had tried to get word tell me first, nothing else, tell me: did she survive? JOHN you must read the report, Chris, but yes, she's alive CHRIS you don't know, John, these nightmares, the things that I've seen I have seen her face burned, seen her shot with my gun I have chased her through streets and heard nothing but screams what's wrong? Come on. There is still something more JOHN she has a child you have a son (shows CHRIS the report) CHRIS you won't believe me but I dreamed this, John it's in the nightmare when I see Saigon Jesus, John, I am married is this story for real? JOHN I'm only telling you what I received but our reports can usually be believed Kim's a bar-girl in Bangkok pal, I know how you feel CHRIS It's too late! I have a whole new life I have a wife I love, she just can't disappear JOHN listen, guy, I know the shock you've had it isn't always bad, there are solutions here CHRIS oh John, I never told her my wife, how can I tell her? a child, what do I do? I shattered Kim now Ellen too JOHN I have learned the best thing for a couple to do CHRIS I have to tell her JOHN you should both come to Bangkok, I mean Ellen too CHRIS I have to tell her us both? JOHN you both should go! ELLEN hey guys, come on CHRIS but first . . . Ellen has to know WHAT A WASTE (A street filled with vendors in Patpong in Bangkok, outside a sleazy night-club called "Le Moulin Rouge" where the ENGINEER is doorman and barker. Other DOORMEN compete with him for the attention of crowds of TOURISTS.) ENGINEER check it out! DOORMEN girls! I got girls! DOORMEN gorgeous girls! DOORMEN very nice! TOURISTS hey, wow! Oh look! We gotta see! DOORMEN girls! I got girls! DOORMEN gorgeous girls! DOORMEN very nice! TOURISTS I'm glad my wife's not here with me! ENGINEER what a waste! to pay for my keep I'm rounding up sheep to fleece here in Bangkok I'm disgraced I can't get ahead there's nothing as dead as peace here in Bangkok ten cents an hour, that's all they pay I'll have to swim to the USA (to some TOURISTS) if you're looking for fun original sin if you want to put out then you gotta come in (TOURISTS pass. He tries to make them take his leaflets.) DOORMEN girls! I got girls! DOORMEN gorgeous girls! DOORMEN very nice! DOORMEN girls! ENGINEER (to TOURISTS) gee, isn't Bangkok really neat? DOORMEN I got girls! ENGINEER the things they're selling on the street DOORMEN girls! ENGINEER fresh dog, if that's what you'd enjoy DOORMEN worth the price ENGINEER a girl, or if you want a boy DOORMEN and the ENGINEER come, come to me first drink is free ENGINEER (to two Japanese TOURISTS) don't be a lump, you can hump for a small extra fee hump - "humpy, humpy" I'm depressed for hustling amours to Japanese tours is no treat in Bangkok I'm the best but selling these runts for sexual stunts leaves me beat in Bangkok ten cents an hour... (The CLUB OWNER, the ENGINEER'S boss, passes.) CLUB OWNER you said you'd fill my place up - where are they? ENGINEER they're coming, Boss CLUB OWNER Just get to work, half-breed! ENGINEER ...screw the Siamese look how they're ripping off... refugees (to another PASSER-BY) ENGINEER if you're looking for fun original sin if you want to put out then you gotta come in DOORMEN girls! ENGINEER hey boys, don't stand around like wimps DOORMEN I got girls! ENGINEER watch out, those guys, they're really pimps DOORMEN girls! ENGINEER you want some thrills, come-on and grab it! DOORMEN half the price! ENGINEER three girls, two gerbils, and a rabbit DOORMEN hey, come to me! (unfolding folders of photos) DOORMEN look what you'll see! ENGINEER hey, that's a joke, mine blow smoke for a small extra fee VENDORS come try the streets in every venue with tricks, you'll pick from off the menu ENGINEER hey, Joe, try taking a little excursion you'll all feel good from a little perversion TOURISTS oh yeah! ENGINEER massage requiring total immersion TOURISTS oh wow! ENGINEER some strange positions they say are Persian TOURISTS oh no! ENGINEER drinks are on me first girl is free what can I say? You get me for a small extra fee! (JOHN enters looking for KIM. The VENDORS surround him.) ENGINEER (handing a leaflet to John) you want a girl sir? you'll like one of these JOHN you have a Kim here, can I see her please? ENGINEER you pick 'em well. . . monsieur John, is that you? JOHN the Engineer! Jesus Christ! you're here too ENGINEER of all my friends, you're the one that I miss JOHN I'm looking for Kim ENGINEER I love you so, you and your buddy Chris JOHN I'm here about him Kim has a child born in... BOTH seventy-five ENGINEER I filled that out and it's you who arrive you'll find the end of your quest here in our little dive I'm impressed American clerks, a system that works there's really no other JOHN listen, spare me the gas is there really a child? ENGINEER yes, we're blessed and Kim's on a trip for citizenship, and I am her brother JOHN you're her brother, my ass come on, take me inside ENGINEER look Kim, who got our application I said I'd bring us all salvation KIM oh my god! monsieur John! yes, of course he sent you JOHN not in here, is there someplace near we could talk? KIM (to one of the customers) Take your hands off! We're finished! Go find someone else! JOHN come with me, there's a lot I've got to say first KIM Chris is here! say he's here! oh my god, it's all true ENGINEER I suggest, whatever may be you leave it to me just play little mother JOHN what I need to find out she can tell me alone KIM can you take me to Chris? I can leave here right now we've been here for so long took this job to survive one month at sea I was sure we'd drown but I thought about Chris and we didn't go down I've done terrible things but we're safe and you're here so perhaps all the gods have begun to forgive CLUB OWNER did the gentleman order champagne? ENGINEER she was about to get it CLUB OWNER you better get back on the chain, or get out KIM monsieur John ENGINEER I'm so sick of that prick quick before he gets wise KIM look at this ENGINEER let John look at your kid KIM come see love ENGINEER see the lids of his eyes KIM come see Chris ENGINEER let John have his surprise look Uncle Sam how nice I am I doing all this just for Tam an American boy (KIM brings JOHN to her room and shows him TAM) KIM look John, this is his son don't they have the same the smile he's been waiting for his father for a long, long while PLEASE JOHN I'm not here as a friend I have a job to do it's strange to find my work should lead me here to you Chris knows all about you I have shown him all this but I think that it's time you know all about Chris KIM please, don't you see that's all I live for? I have him and nothing more at night, everything that's not him disappears behind my door JOHN please, he went crazy when he lost you spoke to no one for a year then he finally said "I'm home now, my life has to go on here" Kim, let me finish talking, please that was three whole years ago KIM yes, yes I know I know how pain can grow when the rock you hold onto is a love miles away, listen: please, I already know the story take us to the USA JOHN when we finish here, you'll see him Chris arrived with me today! KIM oh Tam! He's here! he is here, he's so near we might breathe the same air tonight! your father's here KIM I dreamed so hard JOHN I can't tell her like this KIM I kept my faith JOHN I should not be the one KIM and now it's true JOHN Chris must come see his son KIM please, JOHN they don't say KIM don't you see we've been JOHN in the files KIM watched over? JOHN there's a woman in love KIM as we crossed JOHN here KIM the wildest sea? JOHN what sustained her for miles KIM even god wants us together JOHN Chris still knows nothing of BOTH can I end this journey, please? JOHN there's only one thing I can do I must bring Chris here to see you CHRIS IS HERE (CLUB OWNER enters, seeing TAM) CLUB OWNER I thought I said, "no kids around" so what's that brat doing here you better take care, I'm watching both of you you, and your Engineer (as JOHN leaves) sir, would you like a massage? JOHN no thanks, it's not my scene CLUB OWNER you can find boys at La Cage (CLUB OWNER leaves and the ENGINEER enters) ENGINEER where is he? what is that look he was right on the hook don't tell me he slipped free KIM Engineer, Chris is here John is going to get him and bring him to me my heart's ready to burst I don't know what I'll tell him first ENGINEER that guy is no one to trust or a soldier who's just learned he's fathered a son you got to get to Chris first I will find his address now before he can run KIM you can trust what he'll do don't you worry I'll mention you ENGINEER don't screw with me little bitch I don't want any hitch you just do as you're told you'll go to his hotel I'll be working as well guarding our bag of gold KIM tell me where, and I'll go he is longing for me I know (KIM picks up the picture of her parents) you have brought me through the lightning you have watched me from afar you know all and you forgive me loving parents that you are ENGINEER please, let your daughter have your blessing go on, talk to your ghosts, little girl on the life that starts today 'til you're blue we must journey to a new world you have one chance, just one he's here talking to you and I must be on my way I'm on my way (the ENGINEER leaves) KIM'S NIGHTMARE (as the room darkens, the ghost of THUY appears) THUY did you think I'd gone away this is the face you saw that day staring at you with open eyes you're safe in the daylight but in the dark I rise I'm the crime that you hid for you want yo forget that you killed, but you did! you will never be free not as long as there's me did you think you would escape the judgement that was planned? did you think you would escape the truth's avenging hand just because you have escaped the bound'ries of your land I'm here! I'm here! I'm never dead I'm here! I am the guilt inside your head (KIM finds herself back in Saigon, April 1975) you think your marine's not like other men (CHRIS appears) he betrayed you once and he will again think about that night where was he back then CHRIS I'm getting you out! CAPTAIN SCHULTZ sorry, sergeant, as things degenerate all I'm giving her is her emigration papers without the wait, sign here CHRIS that's not good enough. . . CAPTAIN SCHULTZ this will get her on board the carrier you're declaring that you will marry her when you get back to the states, sign here (a solider brings in KIM) SOLDIERS by order of the old man the embassy will close according to plan CAPTAIN SCHULTZ I'll stretch a couple rules to issue her pass that's it, you're ready. nice ass. who's next? SOLDIERS by order of the old man we're processing the gooks as fast as we can CAPTAIN SCHULTZ I mean Vietnamese, hey don't get me wrong can't leave these looks for the Cong - right? (The scene changes to the room of CHRIS and KIM) CHRIS Christ, I am due at the embassy no time to lose KIM I don't want you to leave me today CHRIS well at least Uncle Sam bought our honeymoon cruise KIM if you're going I don't want to stay CHRIS look I'm leaving my gun we got time stay and pack KIM well I will do whatever you say CHRIS we'll get plenty of word when the VC attack I want you in that bed waiting when I get back (CHRIS returns to the embassy) DOC sorry, sergeant, we must accelerate state department says we evacuate the word is, we must be out by dawn CHRIS but my girl is out there! REEVES sorry, sergeant, it's straight from Washington no one leaves the grounds now, not anyone as fast as we load the planes, we're gone (a huge crowd of VIETNAMESE is pushing at the Embassy gates) GIBBONS (to the crowd) okay! Keep quiet! don't shout! the Ambassador won't leave till everyone's out the choppers're on their way, there's room for you all TROY they're climbing over the wall! get back! MORE MARINES get back! I tell you, don't shout the Ambassador won't leave till everyone's out NOLAN (entering) the Ambassador just sent an order to freeze HUSTON that's it! No more Vietnamese! Get in! (in the streets outside the Embassy, KIM can't get through the guards.) KIM I'm the wife of a soldier please, let me through! help me, who must I pay? tell me what I must do CHRIS (to an OFFICER) let me out, I have got to go back to my bride! KIM listen, someone! My husband is waiting inside! CHRIS (telephoning, inside the Embassy yard) please Kim hear the phone I can't get there please be home KIM (in the street) please Chris no one sees I am lost here find me please BOTH please, get me through, I don't care how don't take my love away, not now KIM oh, Chris CHRIS oh Kim KIM I can't get free CHRIS please get free KIM still I'm with you CHRIS I am with you KIM wait for me CHRIS wait for me FRYE (to CHRIS) sorry sergeant, inside the Embassy! we are pulling out now and there will be no more reprieves CHRIS I got till the old man leaves! JOHN Chris, don't be a ass the Ambassador is leaving now (CHRIS is forced inside the Embassy, whose doors are then barricaded. The VIETNAMESE are now yelling through the Embassy gates.) ONE VIETNAMESE take me with you! take my children! ANOTHER I have a letter, look! ANOTHER I helped the CIA! CROWD they'll kill who they find here! don't leave us behind here! A VIETNAMESE I've a wife who left already! ANOTHER I have an aunt in New York! ANOTHER I have gold, I can pay! CROWD there is no one to find here! they have left us behind here! (KIM has pushed her way through the gate.) KIM I must get in there, listen, anyone! please tell my husband... look! I have his gun! A VIETNAMESE out of my way, if that's all that you've got! CROWD if I am here when they come, I'll be shot! (inside the compound: MARINES guard the roof helipad.) CHRIS let me go, John, I can't leave her why in the world should I be saved instead of her? CROWD they'll kill who they find here! don't leave us behind here! JOHN it's not you, it's the war that's cruel and if some dreams get smashed, perhaps it's best they were CROWD and KIM there is no one to find here! they have left us behind here! JOHN wake up, my friend, your mercy trip has failed there's nothing you can do, that ship has sailed she's not the only one we'll have betrayed CROWD get to the roof, or else we are betrayed! (the CROWD tries to batter down the fences.) KIM (in the yard) oh, Chris I still believe the heart of you is here with me my heart, against all odds holds still (on the Embassy roof, the last helicopter lands. CHRIS runs up and down the wall, shouting for KIM. Finally he is forced to board the helicopter, which takes off. The nightmare passes. KIM is in her little room with TAM. KIM takes out her wedding dress and puts it on) you are sunlight and I moon joined by the gods of fortune midnight and high noon that's what we are how in one night have we come so far outside, day starts to dawn one long night time is gone I feel you near I cry no more I know you're here I reach your door and our love is reborn! bright'ning the sky with the flame of love made of sunlight moonlight ENGINEER Kim! Kim! Chris is at this hotel! Go quickly! KIM take care of Tam! (KIM runs through the city of Bangkok to CHRIS'S hotel, as CHRIS and JOHN travel throughout the city to find her.) ROOM 317 (A hotel room) KIM good evening, maam ELLEN don't turn the bed yet KIM I'm not the maid ELLEN what do you want then? KIM they must have written the room number wrong I am looking for someone named Christopher Scott three-seventeen, oh I'm sorry... unless well, you must be, of course, you're John's wife, are you not? ELLEN oh God, I see it had to happen you must be Kim Chris went to find you please come inside no one will hurt you I'm Chris's wife my name is Ellen (KIM doesn't move) in a way, I am glad I am meeting you first understand, you were only a name till tonight I don't know how I'd feel if our roles were reversed please won't you sit down KIM tell me you are lying ELLEN we've been married a year, I am sorry, it's true KIM he said he'd come to get me ELLEN he says he tried to reach you, but what could he do? KIM please tell me you're not married you don't know, you can't know what I've done to be here ELLEN you don't know how he needed a new start KIM I feel walls in my heart closing in I can't breathe I can't win ELLEN as for the child you say it's Chris's KIM oh yes, Madame my son is Chris's I had a dream for my son to belong and not live his life in the streets like a rat ELLEN we aren't rich, but we'll shoulder our load Chris and I are totally together on that KIM then you must take Tam with you ELLEN take a child from his mother, impossible Kim KIM you will take Tam with you then he'll get what I wanted for him ELLEN but Kim, your child needs you Chris is married to me, we want kids of our own KIM Tam's chance lies with you now, not with me BOTH no! can't you see it won't work it can't be KIM if you're saying that because you've made him change his mind Chris must go away and leave me and his son behind if you're saying that because my husband has another wife my child has no future, like the dust of life he must come tonight to my place tell me so to my face (KIM exits) ELLEN I don't want this I didn't come here to meet a girl who loves my husband I came here to help, but what do I do? now, after this, what do I . . . NOW THAT I'VE SEEN HER it's alright it's alright when you can just imagine there's no face, she's not real and you can tell yourself it's all okay but she's here and my heart cries this isn't happening but the truth is cold and real and I know this storm won't go away now that I've seen her there's no way to hide she is not some fling from long ago now that I've seen her I know why he lied and I think it was better when I didn't know in her eyes, in her voice in the heat that filled the air part of him still lingers there I know what pain her life today must be but if it all comes down to her or me I don't care, I swear, I'll fight now that I've seen her she's more than a name I don't hate this girl even so now that I've seen her I can't stay the same who's this man that I always trusted? now I have to know THE CONFRONTATION (CHRIS and JOHN return) CHRIS we could not find her anywhere honey, what's wrong? ELLEN Kim was here the one who had to tell her was me JOHN oh, my God, it's my fault CHRIS I knew we were gone too long! ELLEN no, I think it's exactly what I had to see you said you lived with her, that's all you were only one thing you left out is that you loved her CHRIS it was just two weeks, that was years ago JOHN nothing's changed for her ELLEN don't explain there's nothing you can say it's like she's gone insane she tried to give away her own child JOHN she wants your son to be an American boy ELLEN don't you see, she still thinks she's married to you you must tell her she's not, she must hear it and soon 'course that only depends if it's true CHRIS please don't doubt me Ellen: you're my wife lots of guys came back and had no life I had you ELLEN you can say what you want but she's borne you a son in your nightmares the name that you shouted was hers you've been with me two years and not shared things you've done don't hold back let me see is it her now or me? CHRIS let me tell you the way it was back when I was a different man back when I didn't have a clue who I am the feelings locked behind a dam that kept me there in Vietnam there in the shambles of a war I found what I was looking for Saigon was crazed, but she was real and for one moment, I could feel I saw a world I never knew and through her eyes I suffered too in spite of all the things that were I started to believe in her so I wanted to save her, protect her Christ, I'm American, how could I fail to do good? all I made was a mess, just like everyone else in a place full of mystery that I never once understood! I wanted back a world I knew the story of my life began again with you ELLEN it's all right now, that's all through CHRIS oh Ellen, I should have told you ELLEN we'll get past this, start anew CHRIS will you ever trust me again? ELLEN all I want CHRIS all I have ELLEN in my life CHRIS in my life now BOTH is you JOHN now listen guys it's not so easy there is this kid who looks just like you hey, I think it's great you have each other but he exists you have to face it I run a camp that is filled with bui-doi looking for the fathers that they may never find you don't have a complicated choice with this boy do you want to take him out or leave him behind? CHRIS he's my son I won't abandon him except that, Jesus Christ, John there is also Kim what of her? ELLEN if it was only Tam I'd take him now he is your son we'd make it work somehow but Chris, she still loves you how can I have her near? CHRIS there's no choice I think the answer's clear they'll have to stay in Bangkok we'll support them here ELLEN I think this is the answer JOHN Listen, you didn't see what's in that girl's head CHRIS AND ELLEN for now this is the answer I hope you are both proud of what you've just said ELLEN it's done CHRIS it's done CHRIS AND ELLEN it's planned the girl is smart she'll understand KIM (walking around the streets of Bangkok) you must take Tam with you CHRIS AND ELLEN in Bangkok, he will go to American schools KIM I won't break my promise to my son CHRIS AND ELLEN they will start a new life KIM you will take Tam with you CHRIS AND ELLEN we'll provide for their needs JOHN you are talking like fools! KIM you won't forget Tam is a part of you CHRIS, ELLEN, JOHN we will (you should) do what is right right for him right for us right for Kim KIM I still taste your kisses your voice sings in my ear you can betray what we were yesterday but you'll come back tonight for him (KIM returns to the bar. THE ENGINEER comes out with TAM.) ENGINEER come on, come on, your recitation describe your reconciliation I hope before his stimulation he bought our little group vacation KIM in all his dreams he saw our baby and he's teaching him to fly paper dragons in the sky ENGINEER yes, papers, what's the situation? we'll need our cards for immigration no tricks, I've got my reputation don't want no phony complications KIM no, no he's coming to us tonight pack your things get yourself arranged while I change for my last performance ENGINEER me, Chris and you what a menage! Bangkok can screw! bon voyage! THE AMERICAN DREAM ENGINEER my father was a tattoo artist in Haiphong but his designs on mother didn't last too long my mother sold her body, high on Betel nuts my job was bringing red-faced monsieurs to our huts selling your mom is a wrench perfume can cover a stench that's what I learned from the French then it all changed with Dien Bien Phu the frogs went home. Who came? Guess who? are you surprised we went insane with dollars pouring down like rain? businessmen never rob banks you can sell shit and get thanks that's what I learned from the Yanks I'm fed up with small-time hustles I'm too good to waste my talent for greed I need room to flex my muscles in an ocean where the big sharks feed make me Yankee, they're my fam'ly they're selling what people need what's that I smell in the air the American dream sweet as a new millionaire the American dream pre-packed, ready-to-wear the American dream fat, like a chocolate eclair as you suck out the cream luck by the tail how can you fail? and best of all, it's for sale the American dream greasy chinks make life so sleazy in the States I'll have a club that's four-starred men like me there have things easy they have a lawyer and a body-guard to the Johns there I'll sell blondes there that they can charge on a card what's that I smell in the air? the American dream sweet as a suite in Bel-air the American dream girls can buy tits by the pair the American dream bald people think they'll grow hair the American dream call girls are lining time square the American dream bums there have money to spare the American dream cars that have bars take you there the American dream on stage each night: Fred Astaire the American dream shlitz down the drain! pop the Champagne! it's time we all entertain my American dream! ENGINEER and CROWD come ev'ryone, come and share the American dream name what you want and it's there the American dream spend and have money to spare the American dream live like you haven't a care the American dream what other place can compare the American dream come and get more than your share the American dream ENGINEER there I will crown Miss Chinatown all yours for ten percent down ALL the American dream! (CHRIS, JOHN and ELLEN enter. THE ENGINEER takes them to see KIM and TAM.) FINALE (In KIM'S room she has dressed TAM in his best clothes.) KIM now Tam, my brave boy our long wait has ended smile Tam for you have a father at last he has come to take you home all I dreamed for you he'll do you're still mine but I can't go along don't be sad though I'm far away I'll be watching you this is the hour I swore I'd see I alone can tell now what the end will be they think they'll decide your life no, it will be me look at me one last time don't forget what you see one more kiss and then say goodbye (THE ENGINEER comes in and takes TAM to CHRIS. KIM prays before the shrine of her parents, blows out the candles and disappears behind the bed curtain. A gunshot. KIM's body falls to the floor.) CHRIS Kim! Kim! (CHRIS picks up KIM and cradles her in his arms.) what have you done, Kim? Why? KIM the gods have guided you to your son CHRIS please don't die KIM hold me one more time (CHRIS holds her) how in one night have we come... so far (KIM'S embrace becomes lifeless. CHRIS sobs, holding her.) THE CURTAIN FALLS END ACT 2

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