Wednesday, July 10, 2024

AVA: At the end of the world

  

 

 

 

 

 

 

 

 

 

  

 

 

 

 

  AVA 

 

                             At the End of the World

 

 

Book by ERIC McCUSKER and LARRY BUTTROSE.

 

Songs by ERIC McCUSKER with additional 

                songwriting by JAKE MASON.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

            Cast of Characters

 

 

 

AVA GARDNER: 36 year old American actress

 

JOE “BEBOP” LANE: 29 year old Australian jazz singer

 

FRANK SINATRA: 43 year old American singer

 

NEIL JILLETT: 25 year old reporter for the Sydney Morning Herald

 

GRACE GRAZIANO: 27 year old Australian/Hawaiian/Italian singer, Ava’s film stand-in

 

BELLA and JOY GRAZIANO: Grace’s sisters and members of The Three Graces. Aged 33 and 30.

 

FELIPE HERNANDEZ: 45 year old Cuban guitarist AKA “Gypsy Flip”

 

HORACE MEAHAN: 35 year old Australian photographer. Through the story he gradually accumulates injuries.

 

FRED ASTAIRE: 59 year old American dancer and actor

 

GREGORY PECK: 42 year old American actor

 

STANLEY KRAMER: 46 year old American film director

 

LEE GORDON: 36 year old American promoter

 

JIMMY WYBLE: Frank Sinatra’s guitarist, 37 year old American

 

 

 

 

 

 

 

 

 

  

 

      ACT ONE

 

 

      Scene One

 

 

Curtain up on Neil Jillett, a young newspaper reporter, hanging around outside the Melbourne Chevron with his photographer Horace Meahan. 

 

Through a large lit-up bay window they watch stylishly dressed people as they drink cocktails and dance. Fred Astaire does a little dance turn watched by the celebrity crowd and Horace notices.

 

HORACE:                     Neil, Neil… look… Fred bloody Astaire!

 

His flashbulb goes as he takes shot. But Neil is less impressed. 

 

NEIL:                           Save your bulbs for the main act, Horace. 

(Points) And…. there she is, right on cue.

 

Neil points to Ava, who approaches the window to look out. Horace prepares to shoot again, but every time he does, Ava takes evasive action, turning and moving away from the window, as if she’s toying with them. 

 

NEIL:                           Bugger it, Ava! Stand still!

 

HORACE:                     I don’t think even she knows how mate.

 

Neil and Horace sing Hollywood Comes to Melbourne.

 

NEIL:                     HEY…HAVE YOU READ THE NEWS TODAY

AVA GARDNER HITS THE CITY BY THE BAY

 

NEIL & HORACE:  HOLLYWOOD COMES TO MELBOURNE

THE CITY IS BATHED IN LIGHT

                           HOLLYWOOD COMES TO MELBOURNE

AND THE STARS COME OUT AT NIGHT

 

NEIL:             TO PLAY…SING AND DANCE THE NIGHT AWAY

                   AVA, AVA, CAN YOU TURN YOUR FACE THIS WAY

 

BOTH:             HOLLYWOOD COMES TO MELBOURNE

THE CITY IS PAVED IN GOLD

HOLLYWOOD COMES TO MELBOURNE

AND THE STORY MUST BE TOLD

 

                   WHEN HOLLYWOOD GOES OUT ON THE TOWN

THE PRESS GO ON THE PROWL

ALL OF US TRYING TO GET A SHARE

OF GREGORY PECK OR FRED ASTAIRE

ANTHONY PERKINS OR STANLEY KRAMER

OR BEST OF ALL A SHOT OF AVA

 

NEIL:                 I’VE BEEN WAITING ‘ROUND ALL DAY

HORACE:                      WAITING FOR AVA

NEIL:    AVA, AVA, WON’T YOU TURN AND FACE THIS WAY

 

BOTH:               BUT NO, SHE TREATS IT LIKE A GAME 

AVOIDING BEING PHOTOGRAPHED

SHE ALWAYS SEEMS TO SLIDE OUT OF FRAME

AND ALL WE END UP GETTING IS

REFLECTIONS OF OUR PHOTOFLASH

THEY ALL TURN OUT THE SAME

 

NEIL:       BUT HEY…WE’RE THE HUNTERS, SHE’S THE PREY

HORACE:                         HUNTING FOR AVA

NEIL:     AVA, AVA, CAN’T YOU TURN YOUR FACE THIS WAY

 

BOTH:                 HOLLYWOOD COMES TO MELBOURNE

THE CITY IS BATHED IN LIGHT

HOLLYWOOD COMES TO MELBOURNE 

SEE THE STARS COME OUT AT NIGHT

 

                  WHEN HOLLYWOOD GOES OUT ON THE TOWN 

THE PRESS GO ON THE PROWL

 ALL OF US TRYING TO GET A SHARE

OF GREGORY PECK OR FRED ASTAIRE

ANTHONY PERKINS OR STANLEY KRAMER

                                     OR BEST OF ALL A SHOT

OF AVA LOOKING HOT   

 

Ava in the window fans her face with a distinctive Spanish fan. She turns away. 

 

 

OR IN SOME AWKWARD SPOT…

A QUOTE AND/OR A SHOT FROM

 

NEIL:                                         AVA

I’VE BEEN WAITING ‘ROUND ALL DAY

HORACE:                       WAITING FOR AVA

NEIL:                 WE’RE THE HUNTERS, SHE’S THE PREY

HORACE:                       PRAYING FOR AVA

 

Ava seems to return to the window and stand there, fanning her face with the Spanish fan.

 

NEIL:                  Look Horace… now! Now!!

 

Horace’s flashbulb goes off. But then Ava lowers the fan and smiles sweetly at them through the window… and they see it’s another woman, Ava’s film stand-in, Grace Graziano, wearing the same dress as Ava, smiling out at them. 

 

NEIL:         (spoken) WAIT A MINUTE

HORACE:                 WHAT?

NEIL:                    THAT’S NOT HER

HORACE:                 WHO?

NEIL:             OH MY GOD SHE’S GONE AND GOT  

BOTH:                  (sung) AWAY-AY-AY

NEIL:                       AGAIN

 

They scan the room for Ava…

 

NEIL:                  Bloody hell Horace… get the car quick! The bitch has done a runner!

 

They run off as Grace is joined in the window by Fred Astaire and they smile 

and clink glasses in a toast. 

 

Fade out lights in the window. 

 

Fade to blackout. 

 

End of Scene.

 

 

 

 

    Scene Two

 

 

The setting is a jazz café bar called the Cat’s Cradle, with a small crowd at tables and chairs. Jazz group the Melbourne Cats are playing the intro to the song All the Crazy Things. Joe “Bebob” Lane enters to clapping and cheers.

 

JOE:                             Hi. Welcome to the Cat’s Cradle. I’m Joe Bebop Lane and these are the Melbourne Cats… come in, come in make yourself at home… 

 

Ava enters alone… and is ushered to a front table…. Other patrons crane their 

necks to see her and start whispering… Ava smiles at Joe.

 

JOE:                             …check your worries with your coats and hats… plenty of room for swingin’ cats….

 

He sings the song with the band. 

 

I WANNA THANK YOU ALL FOR COMIN’ OUT

COMIN’ OUT TO SEE THE SHOW

I WANNA THANK YOU ALL FOR TAKIN’ A CHANCE

ON SOMEBODY THAT YOU MIGHT NOT KNOW…

 

IF YOU’RE AGREED AND WE’RE ALL READY TO PROCEED

THEN WE SHOULD SET OUT FOR THE NEAREST STAR

A BIG OCCASION, A CELEBRATION OF

THE CRAZY THINGS WE ARE

OF ALL THE CRAZY THINGS WE ARE

 

         YOU SPEND YEARS PRACTISING YOUR HORN

YOU SACRIFICE YOUR DAY TIMES

STAYING UP AND PLAYING UNTIL DAWN

 

UNTIL ALONG COMES A NIGHT 

LIKE THIS ONCE IN A BLUE MOON

THRU MUSIC, SWEET MUSIC WE CAN JOURNEY SO FAR

AS WE PLAY AND WE SING 

ABOUT THE CRAZY THINGS WE ARE

 

The band goes into an instrumental break. Ava gestures to Joe to her table to sit. 

 

AVA:                   Hey! You’re good!

 

JOE:                    You really think! 

 

AVA:                   Sure I think. About half the time too. What’s your name honey?

 

JOE:                    Joe “Bebop” Lane, Miss Gardner. 

 

AVA:                   Call me Ava. 

 

But then Joe spots something. Neil and Horace have entered, and are loitering at the back of the room, and Horace has his camera at the ready.

 

JOE:                    Uh-oh…

 

AVA:                   (Seeing) Who are those two jerks?

 

JOE:                    The one without the camera’s Neil Jillett. Reporter. A real prick. 

 

Neil and Horace boldly approach and try to get a shot of Ava.

 

NEIL:                  (Taunting) Say cheese Ava!

 

AVA:                   (Furious) Hey!! Shove off!!

 

Ava throws champagne over Neil, leaps up and pushes Horace backwards. He 

falls over a table as his flash goes off. The crowd goes Oooh. 

 

AVA:                   Joe is there a back way out!!

 

Lights fade on the club and up on Joe riding a Vespa with Ava on the back with

scenes of Melbourne in the background, with Rear Projection (RP).

 

JOE:                    You haven’t told me where to?

 

AVA:                   Caroline Grove, South Yarra.

 

JOE:                    Nice. Just round the corner.

                           

The Vespa pulls up outside a fancy house.

 

AVA:                   Thanks Joe. (Getting off) Say, I’m having a flamenco later. Why don’t you stop by after your show?

 

JOE:                    Thanks! Er, but what’s a flamenco…

 

AVA:                   You’ll see.

 

She gives him a kiss on the cheek. 

 

JOE:                    Oh Mamma!! I just got kissed by Ava Gardner!!

 

She laughs and disappears Off. 

 

Joe steps off the Vespa and straight back up onto the club stage with the Cats, 

and resumes the song.

 

YOU SPEND YEARS PRACTISING YOUR HORN

YOU SACRIFICE YOUR DAY TIMES

STAYING UP AND PLAYING UNTIL DAWN

 

YOU SPEND YEARS WORKING ON YOUR CHOPS

AND DEALING WITH THE REAL WORLD

WHEN THE MUSIC STOPS

 

UNTIL ALONG COMES A NIGHT 

LIKE THIS ONCE IN A BLUE MOON

THRU MUSIC, SWEET MUSIC WE CAN JOURNEY SO FAR

AS WE PLAY AND WE SING

RING-A DING-DING

WE PLAY AND WE SING 

ABOUT THE CRAZY THINGS WE ARE

 

I WANT TO THANK YOU ALL

FOR COMING OUT 

TO FIND OUT ABOUT WHO I AM

MAYBE I’M INSECURE

BUT I’M NEVER REALLY SURE 

IF THERE’LL BE ANYONE HERE

WHO GIVES DAMN. 

 

SO IF YOU’RE READY

WE CAN HIT IT HARD AND STEADY 

AND SWING OUT TO THE FINAL BAR

A BIG OCCASION A CELEBRATION

OF THE CRAZY THINGS WE ARE

OF ALL THE CRAZY THINGS WE ARE

 

Applause, he bows. Blackout. 

 

End of Scene. 

 

 

 

                                             

 

 

 

 

 

 

 

 

  

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   

 

 

 

Scene Three

 

 

Sound of a door knock in the blackout. Lights up on front door of a house. Ava walks quickly to answer the door.

 

AVA:                   (Shouts) Fuck off! Beat it!! Leave me alone!!

 

There’s a pause. Joe is on the other side of door.

 

JOE (OFF):          (Cautiously) Ava… it’s Joe.

 

AVA:                   Whatever goddam paper you’re from… Joe… just get the hell back there!

 

JOE (OFF):          But… no, no, Ava… it’s Joe… Bebop… Lane. We… met earlier… at the club…

 

AVA:                   Oh… oh! That Joe! Why didn’t you say so? Joe, Joe, come in!

 

She opens the door and he enters.

 

JOE:                    Sorry I’m late. 

 

AVA:                   No-one’s ever late, honey. Not till they’re dead.

 

She shuts the door. He looks around.

 

JOE:                    Nice place.

 

AVA:                   Cocktail bar. Patio. I had a horse upstairs for a while too.

 

JOE:                    I once lived in a place with a donkey in the basement.

 

AVA:                   (Giggles) OK. Mine wasn’t a stayer though.

 

They enter the opulent living room where Fred and Grace stand chatting, drinks 

in hand.

 

AVA:                   Joe, this is Fred Astaire. You may have heard of him. 

 

JOE:                    Mr Astaire. A true king of cool... 

 

FRED:                 (Chuckles) Well I don’t know about that…

 

AVA:                   And this is Grace, my stand-in on the film set…

 

JOE:                    I know Grace. Hi. And Ava… have you discovered yet what

                  a great singer Grace is..?

 

GRACE:              But Joe do you know what a great singer Ava is...? 

 

There’s another knock. Ava goes to the door again.

 

AVA:                   (Screams) Fuck off! Go away!! How many times…

 

FLIP (OFF):         It’s us!! Flip and the girls!!

 

AVA:                   Why the hell didn’t you say so!!

 

Cuban guitarist Gypsy Flip in a straw hat with bushy black hair underneath it,

and two young dancers in Gypsy outfits, Grace’s sisters Bella and Joy, 

enter. 

 

AVA:                   Come in, come in…

 

They all follow Ava back into the living room.

 

AVA:                   This is Joe. Joe, our Cuban buddy and maestro, Gypsy Flip… and his two lovely Gypsy dancers, Joy and Bella… who also happen to be Grace’s sisters.

 

Joe smiles at the girls and turns to Flip.

 

JOE:                    Moonlighting, Felipe...

 

FLIP:                   A musician’s fate is indeed cruel when he must spend time with ladies as lovely as these, Joe.

 

AVA:                   You guys know each other?

 

JOE:                    Every musician in this town knows each other.

 

AVA:                   Seems like every person in this town knows each other. There’s only about six of them...

 

A small chuckle in the group.

 

JOY:                    Seems like every second person in this town is working on 

the movie too. (Beat) So what’s your part in it Fred?

 

FRED:                 Well, as you may know the movie’s about the end of the world…

 

BELLA:               But it has a happy ending, right?

 

FRED:                 Maybe… I play a scientist who gasses himself in his garage.

 

AVA:                   …And my lover sails away to his doom and leaves me to die alone, of radiation poisoning, in Melbourne.

 

FRED:                 So I guess you could say it has a happy ending, yeah.

 

They all laugh. Gypsy Flip begins playing a Spanish style interlude on the guitar.

 

JOE:                    A friend of mine in Sydney reckons he couldn’t imagine a better place than Melbourne… to make a film about the end of the world…

 

AVA:                   Yeah honey!

 

Ava dances flamenco and sings Mel-Boring.

 

IT’S…THE PITS

I’M AT THE END OF MY FUCKING WITS

THE PRESS ARE BEING PERFECT SHITS

THEY’RE TRYING TO PESTER ME TO DEATH

 

IT’S BEEN GOING ON FOR MONTHS AND MONTHS

NOW I’VE BEGUN COMING OUT IN LUMPS

MAN I THOUGHT THAT I’D SEEN SOME DUMPS

BUT NONE LIKE MEL-BORING

 

PUT ME ON A PLANE 

BACK TO SPAIN

I’VE HAD ENOUGH 

I NEED TO SPEND 

SOME TIME ALONE

BLOOD FROM A STONE

 

Bella and Joy join her dancing flamenco.

 

GLITZ AND GLAM

THAT’S ALL THAT THEY THINK I AM

THEY DON’T SEEM TO GIVE A DAMN

ABOUT THE FILM WE’RE TRYING TO MAKE

 

WITH THEIR BEER AND THEIR PIES

AND THE FLIES CRAWLING IN MY EYES

THE HEAT AND DUST AND WORST OF ALL

MEL-BORING

 

PUT ME ON A PLANE 

STRAIGHT BACK TO SPAIN

I’VE HAD ENOUGH 

I NEED TO SPEND 

SOME TIME ALONE

BLOOD FROM A STONE

 

AWAY FROM MEL-BORING

MARVELLOUS MELB’N

 MEL-BORING

PLEASE TAKE ME AWAY

 

The others all laugh and applaud wildly. Ava takes a little bow with Bella and Joy, and gestures to Gypsy Flip.

 

FLIP:                   Gracias… gracias… thank you…thank you…

 

The phone rings. 

 

AVA:                   Excuse me.

 

Ava walks away to a side table and picks it up.

 

AVA:                   Hello.

 

Lights down on the group, although the others keep chatting in the background. Ava is in a spot, with Frank Sinatra in a spot on the other side of the stage.

 

AVA:                   Who is this? 

 

FRANK:              What’s the time there?

 

AVA:                   I dunno… eleven? Frank?? What time is it where you are?

 

FRANK:              In the wee small hours of course.

 

AVA:                   Where are you?

 

FRANK:              I’m in Honolulu. 

 

AVA:                   What you doin’ there? Riding a surfboard with a scotch in your hand?

 

FRANK:              On my way to you. I’ll be there in a couple of days… 

 

AVA:                   What? Where will you be?

 

FRANK:              Mel-borne!

 

AVA:                   Mel-boring…

 

FRANK:              Ooh. That bad, huh?

 

AVA:                   Hot as Death Valley but not half the fun. 

 

Frank chuckles.

 

AVA:                   I just wanna be back drinking sangria on the Ramblas.

 

FRANK:              Drinking what on the who? (Overhears) Sounds like you got some people over…

 

AVA:                   A few, uh-huh.

 

FRANK:              Any guy I should worry about?

 

AVA:                   Frank, we’ve been divorced for years.

 

FRANK:              Any guy I should worry about? 

 

AVA:                   (Chiding) Frank…

 

FRANK:              So things going OK..?

 

AVA:                   (Sighs) The movie’s about to wrap. But… I dunno…

 

FRANK:              Anyway, my Mel-borne shows are in two days time. Ain’t you heard? I get on the plane in the morning. Lee says he’s got the whole country on red alert.

 

AVA:                   I heard. But I didn’t realise it was so soon… Jesus, Frank… I still gotta finish the goddam movie… the press are thick as flies… people are pestering me…  and you here too?

 

FRANK:              Oh. I’m all hurt now. I thought you’d be picking out your fancy lingerie. (Pause) You are gonna come to the show aren’t you…?

 

AVA:                   (Hesitates) Can I have two tickets?

 

FRANK:              Any guy I should worry about..? Baby you can have as many as you like. Just as long as you’re there. 

 

AVA:                   See you Frank.

 

FRANK:              Yeah.

 

She hangs up, staring disconcerted out at the audience. Fade spot on her. 

 

Lights up on Frank putting down the phone in what we now see is the bar of the

Royal Hawaiian in Honolulu. His guitarist Jimmy Wyble is picking out a few

notes on his guitar while Frank drinks down an Old Fashioned. 

 

He takes an emerald necklace out of his pocket and shows it to Jimmy. 

 

FRANK:              Think she’ll like it Jimmy?

 

Jimmy gives a low whistle at its obvious value, admires it and hands it back to

Frank.

 

JIMMY:               That’s a helluva thing, Mr S! You still kind of in love with her? I mean, most guys I know would travel halfway round the world to get away from their ex-wives… 

 

FRANK:              Yeah, well, I ain’t most guys. And she’s Ava. 

 

Jimmy plays some chords which other musicians at the bar pick up on (the Cats, recostumed), and Frank sings I Still Ain’t Over Ava.

 

I STILL AIN’T OVER AVA

SHE’S STILL MY FAVOURITE FLAVOUR

I WISH THAT I COULD SAVE HER FOR MYSELF

OH WELL…WHAT THE HELL

I’VE BEEN FOREVER AND EVER UNDER HER SPELL

 

WHEN HER RUBY LIPS ARE SHINING

HER EYES SO WIDE AND SMILING

WITH A SPARKLE THAT’S BEGUILING TO BEHOLD

OH YEAH…SO UNFAIR

I WOULD GIVE ANYTHING BROTHER TO HAVE HER BE THERE

WHEN I CALL

 

I WILL ALWAYS BE HER SLAVE

GUESS I STILL AIN’T OVER AVA AFTER ALL

 

EVEN THOUGH

SHE’S A BELLIGERENT ARROGANT SO AND SO

SHE’LL HIT YOU AND KICK YOU AND DON’T I KNOW

SHE’LL SKITTLE YOU AND BELITTLE YOU

SHE CAN GIVE ME SUCH A MIGRAINE

LIKE TICKER-TAPE IN MY BRAIN

 

BUT BROTHER I AIN’T LYIN’

THERE’S NO POINT IN DENYIN’

THOUGH IT’S NOT FOR WANT OF TRYIN’ TO BE FREE

AND HOW… AH BUT NOW

I’M GONNA SWALLOW MY PRIDE

AND FOLLOW MY FOOLISH HEART 

BACK I WILL CRAWL

 

‘CAUSE I STILL FIND THAT I CRAVE

THE SWEET LOVE THAT SHE GAVE

I’LL ALWAYS BE HER SLAVE

I STILL AIN’T OVER AVA AFTER ALL

I STILL AIN’T OVER AVA AFTER ALL

I WAS NEVER OVER AVA AFTER ALL

 

JIMMY:               That bad, uh Frank?

 

FRANK:              That bad and worse, Tex.

 

Fade light on Frank and up on Ava rejoining her group.

 

FRED:                 Who was that?

 

AVA:                   Frank.

 

FRED:                 He’s not… here yet, is he?

 

AVA:                   No. But soon. 

 

FRED:                 Uh-oh. (Pause) You know Ava… this isn’t such a bad town. Last night the police picked me up.

 

AVA:                   What, Fred? What’d you do?

 

FRED:                 Nothing. I just like driving around the city with the cops at night. 

 

AVA:                   Really?

 

FRED:                 It beats lying awake in my hotel room.

 

AVA:                   It’s always the quiet ones that are weird, isn’t it Fred…

 

They smile at each other. She takes Joe aside while the others chat on.

 

AVA:                   So… Joe… We’ve only just met, I know, yeah, but…wanna come with me to Frank’s concert?

 

JOE:                    Me? Really? How about all your other friends?

 

AVA:                   I actually don’t like being out with a crowd… and you seem like a pal…  

 

Joe nods and smiles at her. 

 

JOE:                    Is Frank going to be OK with me coming along with you?

 

AVA:                   He can’t tell me what to do!

 

JOE:                    But still… what’s the low-down on you two? You cool with each other now? I know you’re not still married…

 

AVA:                   We’re not cool. He’s hot and I’m not. (Pauses) Except… sometimes.

 

JOE:                    When’s that?

 

AVA:                   Depends. What day of the week is it? (Pauses) Look, our marriage was like a storm. And it almost crushed us in the end. Leaving Frank was an act of pure self-preservation.

 

JOE:                    So where are things at now?

 

AVA:                   We’re usually good for a day. Anything more than that’s dangerous.

 

JOE:                    So how long’s he here for?

 

AVA:                   Two days. (Pauses) Frank… Jesus… (Sighs) So much about that bastard I love…. so much I don’t… and so much more, I.... 

 

Flip plays… she listens…  She sings Critical Mass.

 

IT’S WAR, IT’S LIKE 

EL-ALAMEIN OR D-DAY

WE MAKE LOVE THEN THE FIGHTING STARTS 

ON MY WAY TO THE BIDET

 

I’LL HEAR A KIND OF SONIC BOOM

COMIN’ OUT OF THE BEDROOM

SPARKS WILL START TO FLY

WITHOUT ME EVEN KNOWING WHY…WE HIT

 

CRITICAL MASS, WE HIT CRITICAL MASS

CRITICAL MASS, WE HIT OUT

 

SO WHY, WHY

DO I CHOOSE THESE KIND OF FELLAS

 START OUT LOVELY AND CHARMING THEN END UP

CRAZY JEALOUS

 

HOW’M I S’POSED TO PIN MY HOPES

ON TWO UNSTABLE ISOTOPES

WHEN THE CHAIN REACTION STARTS

IN OUR HEARTS AND OTHER PARTS…WHEN WE HIT

 

CRITICAL MASS, WE HIT CRITICAL MASS

CRITICAL MASS, WE HIT OUT

 

TAKE TWO PARTS DYNAMITE ADD TWO PARTS TNT

THROW TOGETHER IN BED FOR A NIGHT

LIGHT FUSE, STAND BACK THEN WAIT AND SEE

 

SEE FIREWORKS AND FIREPOWER

AND FLAMES OF SUCH INTENSITY

BUT AFTER WORDS THE MOOD TURNS SOUR

AND HE STARTS TO ACT OFFENSIVELY 

 

I’M NOT SURE IF THE PAIN IS WORTH IT

FOR THE SHOOTING STARS AND THE SHAKING EARTH, IF

LOVING FRANKIE MEANS I RISK

BEING BLOWN TO SMITHEREENS…WHEN WE HIT

 

CRITICAL MASS, WE HIT CRITICAL MASS

CRITICAL MASS, WE HIT OUT

 

The others all applaud. Fred re-enters quickly.

 

FRED:                 Ava!! It’s the end of the world!

 

AVA:                   Already?? Impossible!

 

FRED:                 I mean it! We’re outa booze!

 

She runs into a corner and looks.

 

AVA:                   Jesus Christ, you’re right! It’s the end!

 

Snap blackout.  End of Scene.

 

      Scene 4

 

 

Ava, Joe, Fred and Flip sit boozing late into the night in a dive. There’s a 

couple drunkenly kissing in one corner, and a drunk slumped over a chair.

 

AVA:                   Guess we’re the stayers coming on to this joint…

 

JOE:                    (To Ava) You know, you’ve got a really good singing voice.

 

AVA:                   Why thank you honey. I love to sing. I’d rather sing than act.

 

JOE:                    Did you sing in any of your films?

 

AVA:                   Yeah. In The Killers. I sang in the night club scene. And they actually kept my voice. Unlike goddam Show Boat.  They replaced me with someone who didn’t even have same accent. Fuckers.

 

JOE:                    And gee Fred I really dig your voice... In Follow the Fleet when you sing Let’s Face the Music and Dance… the way you put those words out front...

 

FRED:                 “Before the fiddlers have fled…” One the most beautiful lines Irving Berlin ever wrote…  

 

JOE:                    I’m kinda more like a horn player, and I can see the notes ahead strung in front of me like lights, and I forget what the words mean… and just sing the sound…

 

AVA:                   You know they’ve asked me to sing at the wrap party.

 

JOE:                    Yeah, the Melbourne Cats got the gig too. Grace is putting it together.

 

AVA:                   Well why don’t you come along and sing a song there Joe? And Fred you should do something too.

 

FRED:                 Maybe I could dance to something Joe sings. But I still haven’t heard you sing…

 

Flip starts playing some gypsy jazz. And Joe sings Butterflies.

 

IT’S FAST APPROACHING

THAT TIME OF THE EVENING

WHEN THE MOON STARTS CALLING OUT MY NAME

GOT TO GET OUT ON THE BEAT

SURF THE CROWD INTO THE STREET

JUST TO STOP MYSELF FROM GOING INSANE

 

READY TO LEAP OUT OF MY SKIN

IS THE STATE I’M IN

KNOWING IN THE MORNING

I’LL BE MEETING HER OFF THE TRAIN

 

JUST GOTTA MAKE IT THROUGH TONIGHT

WITHOUT BEING TAKEN IN BY THE SIGHT

OF ALL THE BEAUTIFUL CREATURES

BLOOMING AFTER THE RAIN

 

BUTTERFLIES INSIDE ME

MESSING ALL WITH MY STUFF

BUTTERFLIES TO REMIND ME

IT’S BETTER I DO IT TOUGH 

BUTTERFLIES INSIDE ME

TRYING TO GET SHOT OF ALL THESE BUTTERFLIES

 

ALL THE CRAZIES AND THE SHADIES

AND THE LADIES OF THE NIGHT

FIREWORKS AND THE SMELL OF FRENCH PERFUME

IT’S GETTING HARDER TO RESIST

THE OFFER OF A GLOVE ON A ROSY FIST

SO I CLENCH MYSELF AND HEAD BACK TOWARDS THE ROOM

 

DOO- DOO-DOO (etc)

 

BUTTERFLIES INSIDE ME

MESSING ALL WITH MY STUFF

BUTTERFLIES TO REMIND ME

IT’S BETTER I DO IT TOUGH 

BUTTERFLIES INSIDE ME

TRYING TO GET SHOT OF ALL THESE BUTTERFLIES

 

Fred gets up and dances around the tables doing a fast soft shoe. His stamping continually wakes the drunk who keeps nodding off again and the kissing couple are blithely unaware. 

 

READY TO LEAP OUT OF MY SKIN

THAT’S THE STATE I’M IN

KNOWING IN THE MORNING

I’LL BE MEETING HER OFF THE TRAIN

 

JUST GOTTA MAKE IT THROUGH TONIGHT

WITHOUT BEING TAKEN IN BY THE SIGHT

OF ALL THE BEAUTIFUL CREATURES

BLOOMING AFTER THE RAIN

 

BUTTERFLIES INSIDE ME

MESSING ALL WITH MY STUFF

BUTTERFLIES TO REMIND ME

IT’S BETTER I DO IT TOUGH 

BUTTERFLIES INSIDE ME

TRYING TO GET TOP OF ALL THESE BUTTERFLIES

BUTTERFLIES INSIDE ME

MESSING ALL WITH MY STUFF

BUTTERFLIES TO REMIND ME

IT’S BETTER I DO IT TOUGH 

BUTTERFLIES INSIDE ME

TRYING TO GET TOP OF ALL THESE 

TRYING TO GET RID OF ALL THESE

TRYING TO GET ON SHOT OF ALL THESE 

TRYING TO GET RID OF ALL THESE BUTTERFLIES

 

The others applaud. The drunk does too while still asleep. The kissing couple applaud while not breaking from the kiss. 

 

Joe and Fred slump down in their chairs and a Waitress approaches.

 

JOE:                    (To Waitress) Four Cuba Libres thanks…

 

She nods and goes off to make them.

 

JOE:                    …in honour of our Cuban mate! Felipe Diego José Francisco de Paula Juan María Andres Lopez de los Remedios Cipriano de la Santísima! Otherwise known as Flip.

 

The others applaud Joe. But Flip looks a little disconsolate.

 

FLIP:                   Thank you my friends. But it is sad to think of my Cuba... This bloody revolution…

 

AVA:                   You don’t like Castro?

 

FLIP:                   No! My brother will lose his bar. The best in all Havana… I played there many times…

 

AVA:                   Frank and I used to go down to Havana all the time. The Tropicana was where we met Lee Gordon, who’s just booked Frank here… 

 

The drinks arrive and they all take them and raise them and clink.

 

FRED:                 It’s one thing to lose a bar. But Castro’s buddies in the Kremlin will be licking their lips at the chance of a base just off Florida…

 

AVA:                   That’ll sure turn up the heat on the Cold War…

 

JOE:                    And suddenly On The Beach won’t be so far-fetched…

 

FRED:                 And everything just inches closer to the edge…

 

Fred trails off. Pause.

 

JOE:                    (To Ava) Do you think the movie can make any difference?

 

AVA:                   Well I hope it can maybe wake people up a bit. That’s the one of the main reasons I’m doing it… 

 

JOE:                    (Thinks) What are the other reasons?

 

AVA:                   Hell, there’s 400 thousand of them honey… 

 

JOE:                    Huh?

 

AVA:                   US dollars that is. 

 

FRED:                 (Spitting out drink) They’re only paying me a third of that!

 

AVA:                   It’s more than I got paid in my whole time at MGM. 

 

JOE:                    Phew!!

 

AVA:                   And I’m free of the studio at last. And Louis B. Mayer can kiss my ass!

 

FRED:                 Now that’s a picture I’ll carry to the grave.

 

She starts singing Money in the Bank, with Flip playing along, and she

dances a cod flamenco.

 

I STARTED THE RACE WITH A SWEET LITTLE FACE

PRETTY SOON THAT FACE

BEGAN TAKING ME PLACES

 

 THERE WERE NO RULES FOR ME

 MEN BECAME FOOLS FOR ME

 I HAVE THEIR FOOLISHNESS TO THANK

 

IT WAS MONEY IN THE BANK

LIKE MONEY IN THE BANK

ALL THE THINGS THAT MY BEAUTY COULD BUY

THEY PLIED ME WITH SAPPHIRES AND DIAMONDS

MY FACE WAS LIKE MONEY IN THE BANK

 

SOON I HAD FAME AND A HOUSEHOLD NAME

I FOUND MYSELF IN 

WITH THE RICH AND THE FAMOUS

 

 THE WORLD SEEMED TO SPIN FOR ME

FAME AND INFAMY

GAVE ME CHAMPAGNE AND SO I DRANK

 

IT WAS MONEY IN THE BANK

LIKE MONEY IN THE BANK

IT SEEMED LIKE AN ENDLESS SUPPLY

NEVER THOUGHT IT COULD EVER RUN DRY

MY FAME WAS LIKE MONEY IN THE BANK

 

I’VE LIVED THE LIFE OF A PIRATE

 BUT NOW TIME’S DRAWING SHORT

 EVEN PIRATES CAN DREAM OF RETIRING 

TO SOME FAVOURITE PORT

 

WHILE I STILL HAVE THE CHANCE

I’LL SING AND I’LL DANCE 

AND I’LL ACT TO SHORE UP MY FINANCES

 

AND WHEN I’VE DONE MY DASH

 I’LL HAVE ENOUGH CASH

 FOR A LIFE LIVED ALONE WITHOUT FRANK

 

OR ARTIE OR MICKEY ROONEY OR HOWARD HUGHES

OR ANY OTHER MAN WHO THINKS HE CAN OWN ME

 

CAUSE I’LL HAVE MONEY IN THE BANK

 MONEY IN THE BANK

NOT HOLLYWOOD PIE IN THE SKY

WHEN THE FAME AND THE BEAUTY RUN DRY

I’LL STILL HAVE MY

MONEY IN THE BANK

 

As Flip plays the final flourish, dancing by him she goes to whip off his hat to put on… and the bushy hair comes with it. It’s a wig! He’s bald! She looks at it in horror. They both scream, and he runs from the bar.

 

Blackout.

 

 

 

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   Scene Five

 

 

Ava and Gregory Peck sit in a triangular arrangement on folding chairs with Stanley Kramer in the bare, silent space of a rehearsal room. They all sip mugs of coffee.

 

AVA:                   Please don’t say it’s a reshoot.

 

STANLEY:          It’s a reshoot.

 

GREGORY:         (Pauses) Which scene, Stanley?

 

AVA:                   Not the goodbye on the dock scene.

 

STANLEY:          The goodbye on the dock scene.

 

AVA:                   You said we’d nailed it.

 

STANLEY:          I did. And you did.

 

AVA:                   And, didn’t Giuseppe get the light between our lips, just like he wanted? Took him forever to set up those shots.

 

STANLEY:          He did. And it did.

 

GREGORY:         So, what do you want?

 

STANLEY:          I… just keep going back to that scene. I think you can find the truth more, that’s all. Get a bit deeper still.

 

AVA:                   It’s me, isn’t it Stanley.

 

STANLEY:          No.

 

AVA:                   Yes it is. Greg’s never hit a bum note his life. 

 

GREGORY:         What? I’ve hit more bum notes than you’ve had…

 

AVA:                   Martinis? Lovers?

 

GREGORY:         I was going to say silk stockings.

They share a smile.

 

STANLEY:          It’s no-one’s “fault”. The scene just has to be right, that’s all. It’s the climax. He’s going to sea and the lovers are going to die apart and alone. It doesn’t get any tougher than that… and that’s what we need. We’ll work without the script. Do it in your own words. How you’d say it. The truth of it.

 

AVA:                   Improvise.

 

STANLEY:          Uh-huh.

 

GREGORY:         OK by me. Ava?

 

Ava pauses then nods. They all get to their feet.

 

STANLEY:          Right, so Dwight is waiting on the dock, and Moira arrives at a run. And they embrace.

 

AVA:                   Should we do that?

 

STANLEY:          Sure.

 

AVA:                   Stanley, it’s five past nine in the morning.

 

STANLEY:          Positions please.

 

AVA:                   You better not have had garlic last night Greg.

 

He smiles and shrugs. She stands a little way off.

 

STANLEY:          Action.

 

Ava rushes across the room, and she and Gregory embrace, and kiss.

 

AVA:                   Oh Dwight, you’re still here… you’re staying after all!

 

GREGORY:         (Pauses) No... No I’m not.

 

AVA:                   But… but where’s … the Sawfish…

 

GREGORY:         Still out in the Bay, still here. Moira… I love you… 

 

AVA:                   Oh, God, I love you too. Please don’t leave me here alone. Stay.

 

GREGORY:         But… the boys… my crew…

 

AVA:                   Your… crew?? Fuck your crew!!

 

STANLEY:          Oh… cut! Yes Ava, I’m sure Dwight would rather fuck you than his crew. But I don’t remember that word in the script.

 

AVA:                   I thought we were fucking improvising.

 

STANLEY:          You are fucking improvising. But within limits. OK?

 

AVA:                   Limits? How can I “go deeper” within limits? Or at least finding out what they are?

 

STANLEY:          Let’s just try it again. You OK Greg?

 

AVA:                   He’s always O-fucking-Kay.

 

Silence.

 

GREGORY:          From the top?

 

STANLEY:          Uh-huh. Positions please. And… action.

 

Ava rushes to Gregory. They embrace and kiss. 

 

AVA:                   Oh Dwight, Dwight, darling… thank God you’re still here.

 

GREGORY:         I was waiting for you Moira…

 

AVA:                   You’re not going after all! You’re staying. Here, with me.

 

GREGORY:         No… no I’m not. My crew… the boys… they want to go home.

 

AVA:                   But want you to come home! To my home! With me!

 

GREGORY:         I’m their captain Moira… you know I love you… I love you…

 

AVA:                   Yeah. So much so you’re going to take your precious “boys” back to their dead families in their dead America… and leave the living, breathing woman who fucking loves you… to die alone… here!!

 

STANLEY:          Oh… cut it…. Jesus, come on Ava…

 

AVA:                   You want “the truth”! Well that’s the truth!

 

She rushes off, leaving Gregory and Stanley looking at each other.

 

Lights change to Ava sitting trembling in front of a lit-up dressing room

mirror. She sings The Stranger in the Mirror a cappella, “finding” the words as 

she goes. 

 

THERE’S A STRANGER IN THE MIRROR

WHO STARES INTO YOUR EYES

SHE DARES YOU TO COME NEARER

AND SEE THRU HER DISGUISE

 

Gregory appears, and stands still a short way off from her as she sings.

He approaches and stands behind her, looking at her in the mirror. 

 

AVA:                   Look at me, Greg. I’m… beaten up… beaten down… old.

 

GREGORY:         You look like Ava Gardner. 

 

AVA:                   I look like shit. I have the whole shoot.

 

GREGORY:         Moira’s a woman who’s lived. So have you. 

 

AVA:                   I’m still meant to look like a movie star.

 

GREGORY:         Come on, Ava. You fill the screen. It’s yours.

 

AVA:                   (Pauses) You know when they call you the most beautiful woman in the world… first you wonder, is that true… and then… is that all I am?… and then you realise too… the clock is ticking...

 

GREGORY:         Yes I understand, and the fact is MGM was the big messy family you resented… but now you’ve left home you know if you don’t cut it as a free agent… 

 

AVA:                   Uh-huh.

 

GREGORY:         But you do cut it. You always do. You’re far better than you think you are.

 

AVA:                   All right for you. You can just lie there. Or sit there. Or stand there. And be Gregory Peck.

 

GREGORY:         (Smiles) It’s not really so hard. Hit your mark. Say your line and mean it. Keep your head still. If you’ve got it, the rest just happens. You know that. And you’ve got it.

 

AVA:                   You’re always so damn sweet and nice.... (Turns and faces him). Did you hear that Frank’s coming...

 

GREGORY:         I know... doing some shows here.

 

AVA:                   To see me.

 

GREGORY:         Yeah. So let’s just get this finished. Do the reshoot. One last scene. And at least that’s off your list.

 

AVA:                   (Smiles, nods) I guess I should apologise to Stanley…

 

GREGORY:         (Nods) You’re right though. Dwight’s a fool to leave her. But in this, he does. So that’s what we do. We act. 

 

AVA:                   (Smiles at him) Thanks for the reminder.

 

Blackout.

 

End of scene.

 

    

 

 

 

 

 

 

 

 

 

    Scene Six

 

 

Lee Gordon at a mike in a spot downstage at West Melbourne Stadium.

 

LEE:           Ladies and gentlemen! My name is Lee Gordon, the promoter of this show! Tonight… direct from the U.S.A., Melbourne let’s hear it for… the world’s greatest singer… Mr Frank Sinatra!!!

 

Frank comes on with a genial smile and sings Time Stood Still:

 

HAPPY

I THOUGHT THAT I WAS HAPPY

'TIL YOU CAME ALONG AND SHOWED ME 

WHAT I'D BEEN MISSING

 

I CONFESS

THAT I FEARED FOR MY HAPPINESS

KNOWING I'D HAVE TO TRUST MY HEART 

TO SOME-ONE NEW

 

SOME-ONE LIKE YOU…UNTIL…THAT DAY

THAT TIME STOOD STILL

 

FACES

ON THE PEOPLE GOIN' PLACES

SUDDENLY THEY STOPPED AND FROZE IN TIME

FOR JUST A MOMENT

 

WHILE I ZOOMED IN

INTO THE ROOM YOU WERE IN

AND I GOT TO SEE YOUR LOVELY FACE

IN CLOSE-UP VIEW

 

TOO GOOD TO BE TRUE…THAT THRILL…THAT DAY

THAT TIME STOOD STILL

 

The band goes into an instrumental section… Ava enters the auditorium… and a spot picks her out and follows her all the way down the aisle as the audience cheer adoringly at her. She sits daintily basking in the adulation… every bit the showbiz goddess! 

 

FROM THAT MOMENT ON

YOU KNOW I WAS TOTALLY GONE

FROM THAT MOMENT ON THE ONLY ONE WAS YOU

 

                          WHAT COULD I DO…THAT THRILL…THAT DAY

THAT TIME STOOD STILL

TIME STOOD STILL

REMEMBER THAT DAY

REMEMBER THAT THRILL

TIME STOOD STILL

REMEMBER THAT DAY

I REMEMBER THAT DAY

TIME, TIME STOOD STILL

 

The audience applauds wildly. Spot fades on Ava and Joe quietly joins her, sitting beside her. Frank continues on stage.

 

FRANK:              Ladies and gentlemen thank you. Now in honour of our latecomer, Miss Ava Gardner, we might do a song from off the list. Last year I recorded an album with Nelson Riddle called Only The Lonely… which is all about heartbreak, frankly. The next song didn’t make the cut but I like it very much anyway. So it’s just me and my guitarist Jimmy Wyble… take it away Tex.

 

Jimmy plays. He sings You Can’t Tell the Weather, singing some of it to Ava.

 

I WISH THAT IT WOULD RAIN

UPON THIS WINDOW PANE

AND HELP ME TO DISGUISE

THE TEARS THAT ARE IN MY EYES

 FOR THE DREAMS THAT WON’T COME TRUE

BUT YOU CAN’T TELL THE WEATHER WHAT TO DO

 

STILL I GO AND WISH FOR A LIGHTNING STRIKE

TO TEAR APART THE NIGHT

AND BLIND ME IN THE DARK 

TO THE PAIN TEARING AT MY HEART

FOR THE PLANS THAT WON’T COME THROUGH

 

BUT YOU CAN’T TELL THE WEATHER WHAT TO DO

 

I HAVE NO CHOICE, I HAVE NO VOICE

FROM CRYING TO THE NIGHT TIME SKIES

I HAVE NO POWER, IT’S MY DARKEST HOUR

AND NO-ONE CAN HEAR ME

 

NOW THE  STORM HAS COME AND PASSED

 THE SUN IS OUT AT LAST

LIGHTING UP THE SCENE

AN OTHERWORLDY GREEN

 

BUT I CAN’T ENJOY THE SHOW

I TELL THE SUN WHERE IT CAN GO

THE WAY OF DREAMS THAT WON’T COME TRUE

BUT YOU CAN’T TELL THE WEATHER WHAT TO DO

WHAT TO DO, WHAT TO DO

 

AVA:                   (Sighs) Oh, Frank…

 

Lights fade to blackout. 

 

End of scene. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  Scene Seven

 

 

The Mocambo Club entrance. There’s a knot of excited people outside… fans, autograph hunters, press. Neil and Horace are there too. Joe escorts Ava through the crowd. Neil gets in a question before Ava sees who it is.

 

NEIL:                  Miss Gardner, what do you think of Melbourne?

 

AVA:                   (Over shoulder) Right now? Hot.

 

Horace shoots a shot, flashbulb goes off. 

 

AVA:                   (Hand to eyes) Oh….

 

Ava runs inside… but Joe is still caught up outside. Neil speaks to Joe.

 

NEIL:                  Joe! Joe! Neil Jillett! Sydney Morning Herald! Remember I wrote that review of your show at the Muso’s Club!

 

JOE:                    Yeah, I remember… I’ve been trying to forget.

 

NEIL:                  What are you doing with Ava Gardner..?

 

JOE:                    Well… she likes the way I sing. Unlike some people.

 

NEIL:                  So what’s she really like?

 

JOE:                    Better than you press bastards could ever imagine.

 

NEIL:                  What does she think of Melbourne?

 

Joe starts to go. 

 

JOE:                    (Over shoulder) How am I supposed to know? Me, I like Melbourne. Unlike some Sydneysiders I know. One of my mates up there reckons they picked the perfect place to make a film about the end of the world. (Beat) Listen, why don’t you leave her alone? You’re driving her fucking crazy… 

 

Joe disappears inside the club. In the same moment Frank arrives with

entourage. Neil turns and sees him.

 

NEIL:                  There he is Horace! 

 

There’s a crazy crowd of press jockeying for positions as Sinatra and entourage plough through throwing punches and yanking cameras. Horace’s flash bulb goes off. Frank pushes his way towards Neil who stands his ground, and Frank winds up for a haymaker… but Neil ducks and the punch connects with Horace who staggers back and falls. There’s an Oooh! from the crowd, but Frank keeps shoving and goes into the club.

 

Lighting change to interior of the club. Inside, Franks runs straight into Ava. 

 

FRANK:              Baby!!!

 

AVA:                   Frank!!!

 

They kiss. 

 

FRANK:              Glad to see me!

 

AVA:                   Of course! I guess. Kinda! I mean yeah!!

 

FRANK:              Is that a definite yes??

 

AVA:                   Sure, Frank.

 

A Latin band starts swinging onstage (the Cats re-costumed). It’s the Three Graces… Grace, Joy and Bella, doing a dance routine around Vespas as they sing Latin Italian Jazz. And Joe leaps up on stage.

 

TAKE A PIANO ACCORDION AND A MANDOLIN

ADD SOME GYPSY VIOLIN

THROW IT ALL IN AND GIVE IT A SPIN

AND YOU HAVE

 

LATIN ITALIAN JAZZ

LATIN ITALIAN JAZZ

 

GUITARS AND DRUMS TO MAKE IT SWING

 BRASS AND REEDS TO ADD SOME STING

THEN THROW IN THAT WHOLE BRAZILIAN THING

FOR PIZZAZZ

 

LATIN ITALIAN JAZZ

LATIN ITALIAN JAZZ

 

A NEAPOLITAN MELODY

TAKES YOU TO THE ISLAND OF CAPRI

A BLUE WIND BLOWING ACROSS THE SEA

 FROM AFRICA

 

MUSIC IS A MELTING POT

A BRAVE NEW WORLD WHERE COOL IS HOT

I’M SURE YOU’LL FIND THAT IT’S NOT SO HARD TO DO

 

IT’S A SHIVER RUNNING DOWN YOUR SPINE

IT’S MISS MOCAMBO ‘FIFTY-NINE

C’MON EVERYBODY NOW’S THE TIME

SO LET’S DANCE

 

LATIN ITALIAN JAZZ

LATIN ITALIAN JAZZ

 

Joe sees Ava and comes down off stage smiling at her. She motions Joe to sit with them and pours him a glass of wine.

 

FRANK:              And who’s this? You moonlighting as a babysitter Ava?

 

AVA:                   This is Joe. My friend.

 

They shake hands.

 

FRANK:              Hi kid, how’s it’s going?

 

JOE:                    Everything plus, Mr S.

 

Joe pours Frank a drink and he raises it in a toast. Frank eyes Joe as a rival… but hides it in bonhomie…

 

FRANK:              After singing we eat spaghetti! Here’s to the end of the world! May it have music as good as this and women as pretty as these! And plenty of booze at a reasonable price! 

 

AVA & JOE:        To the end of the world! (Clink glasses)

 

The MC takes to the stage.

 

MC:                     And now it’s time for the presentation of Miss Mocambo 1959! I see a certain Signor Sinatra has honoured us with his presence here tonight. Sir, could I ask you please to present the sash to the winner?

 

FRANK:              Well… since you ask so politely…

 

He grins and gets up, and the audience applauds. Frank jumps up on the stage.

 

JOE:                    (To Ava) You OK?

 

AVA:                   (Shrugs) Frank’s still Frank.

 

The MC hands Frank an envelope and he opens it.

 

FRANK:              And the winner is… oh, now here’s a nice Italian name… (audience laughs) Miss Grace Graziano!! 

 

With a squeal of happiness, Grace jumps back on the stage and kisses Frank on 

the cheek. 

 

GRACE:              Mr Sinatra! Sash me please!

 

FRANK:              With pleasure baby!! 

 

They all laugh. He slips the sash on her. Ava calls out…

 

AVA:                   Watch out Grace… next thing he’ll be trying to get it off you! With interest! 

 

All laugh.

 

GRACE:              And now… Signor Sinatra… would you be so kind as to join us for a song? Per favore…

 

FRANK:              Well, you see Gracie, it’s been kind of a long day…

 

GRACE:              We may never get this chance again…

 

FRANK:              Usually it’s me saying that to a woman, not the other way around!! 

 

AVA:                   (Yells) Ain’t that the truth!!!

 

The audience laughs. 

 

GRACE:              (Sweetly) Please…. sing for us…

 

Frank smiles, nods and sings Enjoy, dancing with the three Graces… but especially with Grace, who laughs happily and flirtily. Ava watches… yep, same old Frank.

 

THERE’S A NEW MOVE ON THE EDGE OF THE SECTOR

A NEW GROOVE SHOWN UP ON THE DETECTOR

IT CALLS TO YOU TO JOIN THE COLLECTIVE

BUT YOU DON’T KNOW WHAT’S GOING ON

 

SO THE PLAN IS THAT WE GO UNDERCOVER

AND WE BLEND IN WITH THE STUFF WE DISCOVER

 WHEN THE BAND COMES ON, ACT LIKE WE'RE LOVERS

AND WE’LL DANCE 'TIL THE CATS COME HOME

 

ENJOY THE FACT WE'RE FREE

ENJOY THAT IT'S YOU AND ME

 IF YOU'RE READY TO PLAY

THEN I’M HAPPY TO BE YOUR TOY, YOUR TOY

 

I DON'T KNOW IF IT’S BLACK OR WHITE

I DON'T KNOW IF IT’S WRONG OR RIGHT

 THIS COULD BE THE REAL McCOY 

SO ENJOY…ENJOY...ENJOY!

 

Frank takes off his jacket and tosses it on the stage.

 

IT’S A NEW CRAZE LET’S YOU SPIN ON YOUR SPIRAL

A NEW PHASE LIKE THE GROOVE IN YOUR VINYL

IT FEELS SO FINE BUT IT COULD WELL BE FINAL

AND WE DON’T KNOW WHAT’S GOING ON

 

SO HOLD ME WHILE WE SPIN ROUND THE FLOOR

AND BABY SHOW ME WHAT THE MUSIC IS FOR 

WHEN THE BAND GOES OFF, WE'LL BEG THEM FOR MORE

SO WE CAN DANCE 'TIL THE CATS COME HOME

 

ENJOY THE FACT WE'RE FREE

ENJOY THAT IT'S YOU AND ME

 IF YOU'RE READY TO PLAY

THEN I’M HAPPY TO BE YOUR TOY YOUR TOY

 

I DON'T KNOW IF IT’S BLACK OR WHITE

I DON'T KNOW IF IT’S WRONG OR RIGHT

 THIS COULD BE THE REAL McCOY 

SO ENJOY…ENJOY!

 

I DON'T KNOW IF IT'S DAY OR NIGHT

I DON'T KNOW WHAT'S RIGHT

BUT THIS COULD BE THE REAL McCOY 

 

 SO ENJOY…ENJOY...LET’S ENJOY…LET’S ENJOY!

 

The crowd applauds wildly and Frank and the Graces bow and share a smile.

 

FRANK:              Thank you! (To crowd) Somebody once asked me how I hold a note that long! Dean Martin taught me the secret. Dino said “respiro con il culo”… which you all know is… “I breathe through my ass!” 

 

AVA:                   (Yells) Yeah, and sometimes you talk through it too!

 

FRANK:              Ladies and gentlemen, the one and only Miss Ava Gardner!

 

The crowd applauds and cheers, acknowledged by Ava.

 

FRANK:              Now I’d like to introduce to the stage my promoter Lee Gordon. Lee and I go way back… Ava and I first met him in’47 when he was the booker at the Tropicana in Havana. 

Now this song is a little parable for kids that jump in the deep end… and find the pool’s full of sharks. 

 

He looks pointedly at Joe. Frank and Lee sing The Cutting Room Floor.

 

I WORRY, THAT’S WHAT I DO

AND I ONLY WANT WHAT’S BEST FOR YOU

AND IT’S HARD TO DO NOTHING AT ALL

BUT SIT BACK AND WATCH WHILE YOU HEAD FOR A FALL

 

NOW IN THE MOVIES THERE’S ALWAYS A STAR

AND THE STARS ALWAYS KNOW WHO THEY ARE

IT’S MUCH BETTER THEY’RE SEEN FROM AFAR

 

 OOH YOU’LL GET CAUGHT UP IN ALL KINDS OF FUSS

THEY DON’T PLAY BY THE SAME RULES AS US

YOU’LL GET HEARTACHE AND HEARTBREAK AND MORE

 

THEN YOU’LL END UP ON THE CUTTING ROOM FLOOR

THE CUTTING ROOM FLOOR

THE CUTTING ROOM FLOOR

YOU’LL END UP

DOWN ON THE CUTTING ROOM FLOOR

 

The crowd applauds. Frank and Lee take a bow and shake hands. 

 

FRANK:              And so bouna notte, grazie for the wine and the welcome, but now I wish to be with my bella donna Ava, and knowing her, I may need to use that breathing technique again later!

 

The audience laughs and Ava laughs too. Frank picks up his jacket off the stage 

and runs down and takes her hand… and they run off. 

 

Joe starts to head for the door, looking worried. Grace takes him by the hand.

 

GRACE:              Where are you going?

 

JOE:                    I’m worried about Ava. Things can get pretty stormy between her and Frank.

 

GRACE:              She’s a big girl… And Joe you really don’t want to mess with Frank Sinatra. Come on....

 

In that moment she spots something on the stage. It’s the emerald necklace. She picks it up and looks at it.

 

 The band plays a tight Latin jazz feel Island Interlude. Grace and Joe dance and everyone is on their feet dancing…

 

Blackout.

 

Curtain.

 

END OF ACT ONE.

 

    ACT TWO

 

 

    Scene One

 

 

Curtain up. Tight spot on Ava, dressed as per the last scene. Another spot up on Frank, in the back seat of a car with Ava. Low purr of its engine. RP of deserted late night streets of Melbourne. Soft musical accompaniment begins to play.

Ava sings Am I Still Beautiful to You

 

AM I STILL BEAUTIFUL TO YOU

AM I STILL BEAUTIFUL TO YOU

THESE LAST FEW YEARS HAVE BEEN KIND… KIND OF TOUGH

AND I WAS WONDERING DO THEY SHOW

 

       ‘CAUSE I’M FINALLY AT THAT STAGE

WHERE I KEEP FINDING LINES OF AGE

YOU USED TO LOVE GAZING LONG INTO MY FACE

AND I WAS WONDERING DO YOU STILL

 

ALL THE YEARS

OF LAUGHTER AND TEARS

DON’T JUST DISAPPEAR

WITHOUT LEAVING THEIR SUBTLE TRACES

AND EVERY LITTLE SCAR

IS PART OF WHAT WE ARE

REVEALING THE PLOT SO FAR 

WRITTEN CLEARLY ON OUR FACES

 

AM I STILL BEAUTIFUL TO YOU

 

FRANK:     YES YOU’RE STILL BEAUTIFUL TO ME

 

IS THIS THE FACE THAT YOU ONCE KNEW

 

FRANK:     THE LOVELIEST FACE I E’ER DID SEE

 

I’M NOT TRYING TO HANG ON TO MY YOUTH

 

FRANK:                                 HANG ON TO ME

 

AVA:        CAN I TRUST YOU TO TRUST ME WITH THE TRUTH

AM I STILL BEAUTIFUL TO YOU?

FRANK:             YES YOU’RE STILL BEAUTIFUL TO ME

AVA:                            STILL BEAUTIFUL TO YOU?

 

FRANK:              Never ask me that again.

 

She smiles. He kisses her. They’re suddenly illuminated by the flash of a photograph being taken. There’s the sound of a car roaring away.

 

FRANK:              Goddam…

 

AVA & FRANK: Assholes!!!

 

Blackout.

 

End of scene.

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  Scene Two

 

 

Ava’s flat in South Yarra. Ava runs laughing on to centrestage in a slip.

 

AVA:                   Get that thing away from me!! (Laughs) Oh God I’ve missed that thing!! Gimme that thing!! I want that thing!!

 

FRANK (OFF):     Ava, the thing is all hands on deck… but the man behind the thing is kinda beat after six hours!

 

AVA:                   But… Frank… we’ve barely got started!!

 

FRANK (OFF):     Baby it’s 7am and I got a show tonight!

 

AVA:                   Just a little more thing and you can sleep like a baby!!

 

Frank enters in a pair of briefs. Ava does a graceful, mock balletic run to

him and they entwine in an embrace.

 

AVA:                   OK. OK. Coffee break time then. Irish?

 

FRANK:              Is there any other kind?

 

She goes to a sideboard and starts making coffees. Frank sees the morning paper

under the door. He picks it up and idly looks at it and starts to laugh.

 

AVA:                   What is it?

 

She walks over and looks. But her reaction is fear…

 

AVA:                   Oh… God….

 

FRANK:              What? That blurry photo could be anyone kissing in back of a car anywhere. Jimmy Hoffa and Marilyn Monroe for all you can tell…

 

AVA:                   It’s not that… the headline quotes me saying “Ava calls Melbourne the end of the earth”.

 

FRANK:              So? You told it like it is. 

 

AVA:                   But, I never said it… it was something Joe said to a few friends… so how that reporter could get that… I don’t know… maybe Joe…? And, now the people in Melbourne are gonna hate me even more.

 

FRANK:             Screw them. Who cares?

 

AVA:                   But... I guess maybe I do care a bit… they’re not all bad… I’ve met some nice people here, especially in the last week… 

 

FRANK:              (Pause) So, what kind of “nice people”?

 

AVA:                   Oh… musicians, singers… you know how I always like singers…

 

They sing You Know What We’re Like

 

FRANK:    THAT SINGER…THAT GUY JOE

                    HE SEEMS VERY FOND OF YOU

 

AVA:          WELL I ’M FOND OF HIM TOO

 

FRANK:     I WAS WONDERING, AVA BABY… JUST HOW FOND ?

 

AVA:          DON’T START FRANK !

                    

                    YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

                    A COUPLE OF ANIMALS JUMPING INTO THE FRAY

                    I BECOME A CRAZY ALLEY CAT

                    YOU BECOME A DIRTY OLD SEWER RAT

                    WE CAN’T STOP FIGHTING ‘CAUSE THAT’S THE WAY WE PLAY

                    WE CAN’T HELP FIGHTIN’ AND IT’S ALWAYS BEEN THAT WAY

 

AVA:           AND WHAT ABOUT YOU FRANK ?

                     WITH THAT MISS MOCAMBO 

                     YOUR EYES WERE OUT ON STALKS

                     AND SO WERE YOUR PANTS

                     I SAW THAT SHUFFLE, THAT SILLY LITTLE DANCE

                     ADJUSTING THAT THING IN YOUR PANTS

 

FRANK:     OOOH DON’T START AVA !

 

F&A:          YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

                    IT’S THE DEVIL INSIDE THAT LEADS US BOTH ASTRAY

                    JEALOUSY LIKE A CURSE

                   THE PASSION ONLY MAKES IT WORSE

                    WE CAN’T STOP FIGHTING ‘CAUSE THAT’S THE WAY WE PLAY

                    WE CAN’T HELP FIGHTIN’ AND IT’S ALWAYS BEEN THAT WAY

 

Dream style action sequence on the other side of the stage… with Fred and Grace doing an apache dance, a mock fight between lovers… with Joe scatting along… 

  

F&A            YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

                    A COUPLE OF MONGRELS SCRAPPING IN THE ALLEYWAY

                    THE FUR WILL START TO FLY

                    I CAN’T AFFORD A BLACKENED EYE

                    WE CAN’T STOP FIGHTING ‘CAUSE THAT’S THE WAY WE PLAY

                    WE CAN’T HELP FIGHTIN’ AND IT’S ALWAYS BEEN THAT WAY

        WE CAN’T HELP FIGHTIN’ AND IT’S ALWAYS BEEN THAT WAY

        WE CAN’T HELP FIGHTIN’ AND IT’S ALWAYS BEEN THAT WAY

 

                    YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

                    YOU KNOW WHAT WE’RE LIKE

 

In the dance, the woman wins the fight by KO-ing the man… she struts off leaving him lying on the floor…

 

Blackout.

 

End of Scene.

                                                

 

 

 

 

 

Scene Three 

 

 

Rehearsal at Muttering Lodge for the wrap party. Joe and the Melbourne Cats and Bella and Joy are at a table watching Ava, tired, in sunglasses, giving a press conference on a black and white TV. Full screen of interview.

 

REPORTER:        Did you say that about Melbourne, Miss Gardner?

 

AVA:                   No, I didn’t.

 

REPORTER #2:    Then who did?

 

AVA:                   You’d have to ask Mr Jillett that.

 

REPORTER #3:    But he says you did!

 

AVA:                   (Shrugs) Reporters get stuff wrong all the time.

 

REPORTER #2:    That’s a pretty big thing to get wrong.

 

AVA:                   It is, isn’t it.

 

REPORTER#2:     Are you saying Neil Jillett lied about that quote?

 

AVA:                   Well I sure didn’t say it. Though now I kinda wish I had. Actually… I think it’s pretty funny.

 

A gasp from the reporters.

 

REPORTER:        You think it’s funny. 

 

AVA:                   Yeah, honey. Don’t you? Or is that too much of a stretch?

                           It’s funny you don’t think it’s funny. You’re so afraid!

                           What of? Being nothing? Being nowhere? Ciro’s, the Mocambo… the Cat’s Cradle... It’s imitation Hollywood. Hollywood’s a tawdry, shallow shithole anyway. (Gasp in room) Melbourne’s got great music, gorgeous girls on Vespas, rows of Victorian houses, those cute little green trams. It’s wonderful. Just be who you are. Grow up. And then the stupid jokes won’t hurt. It’s not the end of the world. The world’s round in case you didn’t notice. It’s got no end. 

 

The Cats all applaud. 

 

CATS:                 Go Ava!! Yeah!!

 

But Joe flicks off the TV. 

 

BELLA:               Ava’ll be here soon. What do we say to her?

 

JOY:                    That she’s right. And Jillett’s wrong. Making that stuff up.

 

JOE:                    (Pauses) Hang on, where’s Grace? She should be here by now. And wasn’t Flip going to be here?

 

BELLA:               Didn’t you know? He’s gone missing.

 

There’s the sound of a car Off, and Ava walks in briskly.

 

AVA:                  No need to apologise Joe. I know it must have been you. 

 

JOE:                    How would you know that??

 

AVA:                   Who else could it be? What happened?

 

JOE:                    It was… outside the Mocambo last night. It was crazy … I got stuck near Jillett and he was trying to pump me, for anything. I just said it in passing… as a joke… I didn’t mean anything by it. And I sure didn’t say that you said it!

 

AVA:                  (Pause) Forget it honey. I’ve met a million guys like that low-life.  Come on Mr Looney Tunes, let’s get to work…

 

JOE:                    What’s the song?

 

AVA:                   Stop Searching for Love. I’ll either do that or the mirror number.

 

 TO LOVE AND BE LOVED 

IS LIKE THE HOLY GRAIL

SEEMS LIKE FOREVER

I'D BEEN ON ITS TRAIL

 

BUT YEARS ON THE ROPES

HAD KINDA DASHED MY WEARY HOPES

THOUGHT I MAY AS WELL 

STOP SEARCHING FOR LOVE

 

'CAUSE IN MY SEARCH FOR A PRINCE 

I'VE HAD TO KISS TOO MANY FROGS

OUT THERE IN CLUBLAND

IT'S LIKE DOGS EATIN' DOGS

 

BUT MY QUEST IS OVER NOW

AND I CAN ROLL IN CLOVER NOW

SEEMS I MAY AS WELL 

STOP SEARCHING FOR LOVE

 

THE SEARCH FOR LOVE

IS A LONELY ROAD

I COULD NEVER SEEM TO EVER SEE THE END

WE ALL NEED A FRIEND

AND SHELTER FROM THE WIND

AND A KIND HEART TO WARM WITH BY THE FIRE

 

She snuggles up to Joe….

 

NOW I HAVE A HOME TO COME HOME TO

WHEN DARKNESS FALLS

WITH ROSES AND HOLLYHOCKS

 TO DECK THESE HALLS

 

WHEN I TAKE A LOOK AROUND ME

I CAN SEE MY PRINCE HAS FOUND ME

 

She stands up again…

 

AND I MAY AS WELL STOP SEARCHING FOR LOVE

 YES I MAY AS WELL STOP SEARCHING FOR LOVE

SEARCHING FOR LOVE etc

I MAY AS WELL STOP.

 

Ava finishes singing, and the others see there are tears in her eyes. 

 

Lights fade to blackout. End of Scene.

 

 

Scene Four

 

 

Late afternoon. Frank is dressed in suit pants and shirt and knotting his tie. There’s a knock on his hotel room door.

 

FRANK:              Yes?

 

A Hotel worker opens the door a little.

 

WORKER:           Mr Sinatra. A young lady to see you sir.

 

FRANK:              She got a name, kid?

 

WORKER:           (Stumbles) Miss Grace Graz… ee.. arno…

 

FRANK:              Send her in, thanks.

 

WORKER:           Yes Mr Sinatra.

 

A moment later Grace enters, looking somewhat overawed. The door closes behind her. 

 

FRANK:              Pour us a couple of drinks… er Miss Mocambo…

 

GRACE:              Please call me Grace. 

 

She looks around and sees drinks on a side table and goes to it. He goes back to 

knotting his tie.

 

GRACE:              Scotch?

 

FRANK:              Thanks.

 

GRACE:              Water? Ice?

 

FRANK:              Keep that shit away from my Scotch.

 

She laughs at that.

 

FRANK:              You’ve got a nice laugh. It tickles.

 

 

She smiles and pours herself a soda water, and brings the drinks over to him.

 

GRACE:              I suppose you’re wondering why’ve I come.

 

FRANK:              I try not to wonder too hard.

 

She reaches into her purse and takes out the emerald necklace.

 

GRACE:              I found it on the stage last night. 

 

She hands it to him. 

 

FRANK:              Hey. Thanks. I got it from Joseff of Hollywood.

 

GRACE:              For Ava?

 

FRANK:              For Ava and a day... Yeah. I didn’t even realise I’d lost it…

 

GRACE:              Now you can give it to her.

 

FRANK:              (Pauses) If she’ll take it.

 

GRACE:              Why wouldn’t she?

 

FRANK:              With her… you never can tell..

 

GRACE:              I think it’s a beautiful gift. She’ll love it.

 

FRANK:              I’m glad you think so. Say, have you got a moment?

 

GRACE:              Yes, Mr Sinatra?

 

FRANK:              Please call me Frank.

 

GRACE:              OK Frank. 

 

FRANK:              You’re Ava’s stand-in on the movie, right?

 

GRACE:              Yes. I am.

 

FRANK:              Then, would you mind?

 

GRACE:              What?

 

FRANK:              If I tried it on you.

 

GRACE:              (Teasing) Tried what on me?

 

He laughs.

 

FRANK:              Just the necklace.

 

She smiles at that. He walks her up to the mirror, and then standing behind her, slowly puts the necklace on her, and they both admire it in the mirror.

 

GRACE:              Beautiful.

 

FRANK:              Yeah.

 

Blackout.

 

End of scene.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

     

     

 

 

 

 

 

 

 

   Scene Five

 

 

Ciro’s Nightclub. It is the wrap party for “On The Beach”. Ava, Fred, Gregory, Stanley Kramer and others mingle with other guests. Joe enters singing Somebody Drops A Bomb and people dance along.

 

THE JOINT IS JUMPING 

AND THE BAND IS ON THE FLY

THEY SEEM TO BE HOVERING JUST ABOVE THE FLOOR

AND SO DO I

 

CHECK YOUR WORRIES WITH YOUR COATS AND HATS

PLENTY OF ROOM FOR SWINGIN’ CATS

BOP-BOPPING ALONG 

TO A POPULAR SONG

 

THEN SOMEBODY DROPS A BOMB

SOMEBODY DROPS A BOMB

 

Frank enters, singing. Joe is surprised… not expecting it. 

 

FRANK:          CHECK OUT THE COUPLA DREAMBOATS

 FALLING IN LOVE AT THE END OF THE BAR

SHE’S THINKING ‘BOUT LETTING HIM IN

AND HE’S WONDERING JUST HOW FAR

 

THEN IN WALKS THE SPECTRE OF SOME-ONE’S EX

KINDA LIKE THE MOTHER IN OEDIPUS REX

AND THE MOMENT IS GONE 

AND THE BATTLE IS ON

 

TOGETHER:        ‘CAUSE SOMEBODY DROPS A BOMB

SOMEBODY DROPS A BOMB

 

Fred leaps up on stage and starts dancing along while Joe scats.

 

JOE:                      WHILE WE’VE BEEN DANCING

HALF OF THE WORLD’S BEEN FAST ASLEEP

FRANK:           NOT THINKIN’ ‘BOUT NUCLEAR BOMBS

AND THE FRAGILE PEACE WE KEEP

 

JOE:           BUT ONE LITTLE MISSILE FROM OUT OF THE EAST

IS ALL IT WOULD TAKE TO UNLEASH THE BEAST

FRANK:                               B-47’S AND 52’S

NO GOIN’ BACK ONCE YOU’VE LIT THE FUSE

ALL:                                     B-47’S AND 52’S

NO GOING BACK ONCE YOU LIT THE FUSE 

B-47’S AND 52’S

 

SOMEBODY DROPS A BOMB

 

Applause. Bows. Frank and Fred rejoin the party.

 

JOE:                    Good evening everyone. I’m Joe Lane and welcome to Ciro’s Nightclub and the party at the end of the world! If fact, this is the party after the end of the world! So the good times just roll on forever, right!!

 

FRED:                 (Calls) Yeah. The afterlife doesn’t seem so bad after all!

 

The crowd laughs.

 

JOE:                    And now a few words not from our sponsor… but scarier, your director… Mr Stanley Kramer!

 

Stanley Kramer takes the stage.

 

STANLEY:          Good evening everyone. I just want to thank you all for sticking with a tough shoot, so far from civilisation… hell, they can’t even spell martini here, much less mix one!

 

Laughs.

 

STANLEY:          Though I did get a taste for meat pies. 

 

Laughs.

 

STANLEY:          You all did yourselves proud. It’s going to be quite a picture. See you all at the premieres. And ladies – don’t wear black.

 

Laughs. Joe takes the mike as Stanley returns to the crowd.

 

JOE:                    And now we transport your senses to the blessed isles of Hawaii, in the musical caresses of… The Three Graces!!

 

They enter in Hawaiian costumes singing ‘26 & ‘29 & ’32 and dancing a Hawaiian routine:

 

OUR FATHER WAS A SAILOR 

OUT UPON THE OCEAN BLUE

HE CAME THREE TIMES TO AUSTRALIA

FROM HIS HOME IN HONOLULU

 

HE HOOKED UP WITH OUR MOTHER

AND HE SURE KNEW WHAT TO DO

IN ’26 AND ’29 AND THEN AGAIN IN ‘32

 

OUR MOTHER LOVES THE MUSIC OF HAWAII

HEY, DON’T YOU?

HE TAUGHT HER ALL THE SONGS

AND ALL THE HULA MOVES HE KNEW

 

SHE LOVED HIS UKULELE

AND HIS WIKI-WIKI-WU

IN ’26 AND ’29 AND THEN AGAIN IN ‘32

 

AND I

JUST WANNA GO AND SEE THOSE FRIENDLY ISLES

SEE THOSE FRIENDLY SMILES

ON A WARM HAWAIIAN NIGHT

 

OUR MOTHER KEEPS A PICTURE

OF OUR DADDY BY THE BED

SHE KISSES HIM EACH NIGHT

AS SHE LAYS DOWN HER WEARY HEAD

 

SHE MISSES HIM SO BADLY

AND THE GOOD TIMES THAT THEY KNEW

IN ’26 AND ’29 AND THEN AGAIN IN ‘32

OOH OOH OOH OOH

 

They bow and come offstage down and rejoin the party, and Ava greets Grace.

 

AVA:                   Nice song. Is it true?

 

GRACE:              Yes. Our dad was an American sailor…visited Melbourne three times… thus the three Graces…         

 

AVA:                   Hah…

 

GRACE:              But… then…  his number came up… at Pearl Harbour… we never saw him again.

 

AVA:                   (Reaches for her) Oh, Grace… 

 

GRACE:              It’s OK… so long ago now… we hardly knew him… 

 

AVA:                   But still, he was your dad. And you only get one of those.

 

Joe joins them.

 

JOE:                    Sorry ladies… Flip still hasn’t turned up… I’m very worried about him now…

 

GRACE:              That really isn’t like him…

 

AVA:                      I’m concerned I might have humiliated him the other night… a Gypsy’s pride is a delicate thing.

 

Gregory Peck approaches Ava and they turn and speak alone.

 

GREGORY:         So when are you leaving?

 

AVA:                   Tomorrow I think.

 

GREGORY:         What about Frank?

 

AVA:                   I don’t know when he’s going.

 

GREGORY:         (Pauses) So what about Frank?

 

AVA:                   And me?

 

GREGORY:         Yeah. 

 

AVA:                   You tell me.

 

GREGORY:         No Ava. You tell me.

 

She eyes him, thinking. Meanwhile, Frank is scanning the room for Ava, when of all people Neil Jillett sidles in.

 

FRANK:              You! What the hell you doing here, you jerk!

 

NEIL:                  The paper was invited. 

 

FRANK:              Oh yeah? And give me one reason why I shouldn’t punch you in the nose, you lying hound!

 

NEIL:                  I’ve come to apologise to Ava.

 

FRANK:              Horse shit.

 

NEIL:                  I never meant to… with the quote about her and the end of the world. I mentioned it in a telex to my boss, that someone had said it. They obviously found the temptation too great, and pinned it on Ava. I feel like a creep.

 

FRANK:              Congratulations on getting one thing right. 

 

NEIL:                  Can I see her?

 

FRANK:              You’re lucky you saw me first. I might just slug you. She’d eat you alive and spit out the pips. So why don’t you get the hell outta here. While you still can.

 

NEIL:                  Will you tell her please, Mr Sinatra?

 

FRANK:              Sure. I’ll tell her. If you beat it now and never come back.

 

NEIL:                  Thanks. Well… bye… But I’ve just got one more question Mr Sinatra… 

 

FRANK:              What?

 

At that moment Horace enters and his flash goes off. 

 

FRANK:              (Enraged) Why… you bums!!!

 

Horace and Neil run off. 

 

JOE:                    And now ladies and gentlemen… introducing the divine Miss Ava Gardner… and the divine Miss Grace Graziano.

 

The lights go down to blackout as the band plays an intro while a maze of 

dressing room mirrors is brought on…  

 

Then lights up on Ava and Grace in identical outfits involving Joe in a number 

reaching for what he expects but never finds in the mirrors as Ava sings 

The Stranger In The Mirror. Frank watches along with the rest of the party.

 

THERE’S A STRANGER IN THE MIRROR

WHO STARES INTO YOUR EYES

SHE DARES YOU TO COME NEARER

AND SEE THRU HER DISGUISE

 

WHAT MAKES THAT FACE SEEM SO FAMILIAR

SHADOWS OF SOME OLD SAD AFFAIR

THE SCENT OF DANGER

COMES WITH THE STRANGER

THE SENSE OF SECRETS THERE

 

BUT THE STRANGER IN THE MIRROR

WILL BE THERE NO MATTER WHERE YOU RUN

THE FACE OF YOUR EXPERIENCE

 THE STRANGER YOU’VE BECOME

 

WHAT MAKES THIS SONG FEEL SO FAMILIAR

ECHOES OF SOME OLD SAD AFFAIR

PAINT ON WITH MAKE-UP

A SMILE YOU CAN FAKE UP

THEN TURN AND MOVE AWAY

 

BUT THE STRANGER IN THE MIRROR

WILL THERE NO MATTER WHERE YOU RUN

THE FACE OF YOUR EXPERIENCE

 THE STRANGER YOU’VE BECOME

THE STRANGER YOU’VE BECOME

THE STRANGER YOU’VE BECOME

 

On the last line Frank and Ava make eye contact… and then Frank nods and walks away, motioning to Joe.  

 

The others applaud the song and Ava and Grace do a fun little turn impersonating each other as they take bows. 

 

Meanwhile, Joe joins Frank at the edge of the light. Frank pulls out a flick knife. Joe looks at it, surprised and a bit afraid.

 

JOE:                    Frank??

 

Frank flicks open the blade.

 

JOE:                    (Worried) What’s going on?

 

FRANK:              Here. Take it. 

 

Frank hands the knife to Joe, and takes out another one and flicks the blade open. Joe stares at it… and fears the worst…

 

FRANK:              This time we’re gonna make sure that reporter and his stoopid photographer don’t have a tyre left to drive on. 

 

Joe gets it, nods and grins relief. They exit.

 

As Ava and Grace come offstage, the others kiss and hug them…

 

AVA:                   And… what’s happened to our MC?

 

At the same moment a stage hand comes into the party. 

 

STAGE HAND:    Joe! Phone!

 

There’s no response at first.

 

STAGE HAND:    Joe!!!

 

Joe re-enters at a run and goes off with Stage Hand backstage.

 

GRACE:              What’s going on?

 

AVA:                   No idea… but it sounds a bit serious.

 

He reappears moments later in a state of shock as the others approach.

 

AVA:                   What was all that about? 

 

JOE:                    A body’s… been found… with Gypsy Flip’s wallet in the jacket pocket. We gotta go and identify the body...

 

AVA:                   Jesus…

 

Fred and Greg walk up and join the conversation.

 

JOE:                   We gotta go the morgue…

 

FRED:                 I love a good morgue. Wherever I go I like to visit the morgue. They have a beautiful old Victorian one here.

 

AVA:                   Fred you’re even wonderfully weirder than I thought. What about you Greg? 

 

GREGORY:         I was planning on going to the morgue just the once. With a tag on my toe.

 

FRED:                 Come on Greg… time you lost your morgue virginity.

 

Lights fade to blackout. 

 

End of scene.

 

 

  

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

    Scene Six

 

 

The city morgue. There are slabs on the floor, one with a body under a sheet.

The glamorous looking group gets ushered in by a neat, composed 

Assistant… Joe, and Ava and Grace (still in identical costumes) Fred, Gregory, 

Bella, Joy as well as the Cats carrying their instruments. 

 

ASSISTANT:       And… who will be identifying the body?

 

The others all look at Ava.

 

AVA:                   Me, I guess. I knew him a bit.

 

ASSISTANT:       Thank you madam. And your name, please?

 

JOE:                    (Amazed) Really? Oh… come on…

 

AVA:                   (Simply) Ava Gardner.

 

ASSISTANT:       Relationship to the deceased?

 

AVA:                   Friend. 

 

ASSISTANT:       Thank you. Go ahead then please, Miss Gardner.

 

The others cluster around as Ava takes a deep breath and prepares herself, and 

then slowly draws back the covering from the face. But it’s not Gypsy Flip.

 

AVA:                   Hey… that’s… not him!!

 

ASSISTANT:       What???

 

At that moment Flip walks in. The others all rush to him.

 

JOE:                    Flip!! Flip!! You’re alive!!

 

OTHERS:             Flip!! What happened???

 

AVA:                   (Hugging him) We were so worried… We thought…

 

FLIP:                   (Smiles) After the other night… I ran off and got horribly drunk… I lost my wallet… and ended up sleeping on the beach at Frankston… 

 

AVA:                   Oh, Flip…

 

FLIP:                   Spent a while wandering, kind of dazed… Then a nice person brought me back to the city… and the police sent me here to get my wallet… and now I find you all here!

 

Lighting change to “dream/heightened sequence”, and the Cats start playing 

while top hats and canes are tossed in for Fred and Gregory who sing and do a

soft shoe shuffle routine around the morgue as Joe and Flip sing Right On The

Night. As they dance, they’re joined in the routine by two of the bodies, with 

tags on their toes. The others join the dance.

 

DON’T YOU WORRY YOUR LIFE AWAY

TRYIN’ TO FIGURE WHAT NOTES TO PLAY

HOW YOU’RE GONNA FIND YOUR WAY

FROM A TO G…C’MON

 

IT’S GONNA BE RIGHT, IT’S GONNA BE RIGHT

IT’S GONNA BE RIGHT ON THE NIGHT

AND THERE’LL BE PLENTY’A TIME

FOR ALL OF THAT WORRYIN’

WHEN WE’RE GONE, WHEN WE’RE DEAD AND GONE

WHEN WE’RE GONE

 

WHY GET HUNG UP ON SOME OLD ROMANCE

WHY WOULD YOU PUT ON THOSE ANXIOUS PANTS

TAKE A CHANCE AND BABY

DANCE YOUR ANGST AWAY…C’MON

 

IT’S GONNA BE RIGHT, IT’S GONNA BE RIGHT

IT’S GONNA BE RIGHT ON THE NIGHT

AND THERE’LL BE PLENTY‘A TIME

FOR ALL OF THAT WORRYING

WHEN WE’RE GONE, WHEN WE’RE DEAD AND GONE

 

‘CAUSE TIME’S TOO PRECIOUS AND LIFE’S TOO PRECIOUS

AND TIME KEEPS TICKING AWAY

GRAB EVERY MINUTE AND LIVE IT TO THE LIMIT

AND TO HELL WITH JUDGEMENT DAY

 

WHEN THE REAPER KNOCKS AT YOUR DOOR

OR WHEN YOUR HEART DON’T WANNA BEAT NO MORE

OR WHEN THEY TELL YOU THEY STARTED

WORLD WAR THREE…C’MON

 

IT’S GONNA BE RIGHT, IT’S GONNA BE RIGHT

IT’S GONNA BE RIGHT ON THE NIGHT

AND THERE’LL BE PLENTY’A TIME

FOR ALL OF THAT HOOEY

WHEN WE’RE GONE, WHEN WE’RE GONE

DEAD AND GONE

 

‘CAUSE TIME’S TOO PRECIOUS AND LIFE’S TOO PRECIOUS

AND TIME KEEPS TICKING AWAY

GRAB EVERY MINUTE AND LIVE IT TO THE LIMIT

AND TO HELL WITH JUDGEMENT DAY

 

SO WHEN THE REAPER KNOCKS AT YOUR DOOR

OR WHEN YOUR HEART DON’T WANNA BEAT NO MORE

OR WHEN THEY TELL YOU THEY STARTED

WORLD WAR THREE…WATCH OUT

 

IT’S GONNA BE RIGHT, IT’S GONNA BE RIGHT

IT’S GONNA BE RIGHT ON THE NIGHT

IT’S GONNA BE RIGHT, IT’S GONNA BE RIGHT

IT’S GONNA BE RIGHT ON THE NIGHT

 

AND THERE’LL BE PLENTY’A TIME

FOR ALL OF THAT HOOEY

WHEN WE’RE GONE, WHEN WE’RE DEAD AND GONE

WHEN WE’RE GONE, WHEN WE’RE DEAD AND GONE

WHEN WE’RE GONE, WHEN WE’RE DEAD AND GONE

WHEN WE’RE GONE

 

They are stopped by the wail of an Italian woman who has identified the body thought to be of Flip as that of her son. 

 

WOMAN:            Oh my boy!! My Gianni!!

 

The dancing bodies slip back under sheets on their slabs. Lights snap back to former “normal” state. 

 

JOE:                    Oh. Oh. We’re sorry madam. 

 

AVA:                   Our deepest sympathies ma’am…

 

WOMAN:            Oh… (squints) Mamma mia! Aren’t you Ava Gardner?? Oh, my Gianni, he was such a fan. And now he’s gone! (Wails) What am I gonna do?? (Beat) Miss Gardner I know this sounds strange. But could you possibly see your way clear to… sign his foot?

 

AVA:                   Sign… his foot…

 

WOMAN:            Per favore, Signorina Ava. It’s what… Gianni would have wanted.

 

STANLEY:          Well, go on Ava…

 

PECK:                 It won’t hurt… 

 

FRED:                 …Him. 

 

WOMAN:            On the sole, please... 

 

FRED:                 God rest his soul. (Shrugs at weak joke.)

 

The Assistant gives Ava a pen. She signs the sole of Gianni’s foot. As she does,

he starts to giggle.

 

GIANNI:              Hey! That tickles!!

 

WOMAN:            Gianni...?? Gianni!!!!

 

Gianni sits up. The Assistant faints.

 

WOMAN:            My boy!!

 

He sees Ava at his feet.

 

GIANNI:              Mamma… and… and… Ava Gardner?? No, I must have died and gone to heaven!

 

Ava grins and gives him a kiss on the cheek.

 

AVA:                   Welcome back Gianni!

 

GIANNI:              Oh! I really am in heaven!

 

WOMAN:            Oh thank you Miss Gardner!! Millegrazie!!

 

The others revive the Assistant, who gets to his feet shakily. 

 

They hug everyone and say their goodbyes to Gianni and his mother and start to

walk off to the door. Lighting change… 

 

GRACE:              So Ava… is this goodbye? When are you leaving? 

 

AVA:                   Tomorrow. But we can’t say our goodbyes in the city morgue. Why don’t you all come out to the airport at midday, to say goodbye? (Thinks) And maybe bring your passports… and your swimming trunks… just in case. 

 

ALL:                   (Confused) What??

 

AVA:                   And ladies… bring your teensiest bikinis.

 

The all laugh excitedly. The band pick at a few notes of the tune as they walk 

out. Fred and Gregory dance on to the sketched tune.

 

GREGORY:         Charming, Mr Astaire.

 

FRED:                 Charmed, Mr Peck.

 

Flip dances with Ava…  as Frank turns up out of nowhere and takes her hand from Flip, and gives her a twirl...

 

AVA:                   Frank… fancy meeting you here!

 

FRANK:              I always find my way to the best joints in town, baby. You know that.

 

She laughs. They dance off…

 

Lights fade to blackout. End of scene.

 

 Scene Seven

 

 

Ava and Frank sit on a beachside bench, looking out at the audience as if at Port Phillip Bay. She gestures to the audience.

 

AVA:                   See all that water out in the bay? So pretty with the moonlight on it. Well, there’s that water, and then more water, and then there’s Tasmania. Which is a big island. And, after that, last stop, Antarctica. Which is OK. If you like living with penguins.

 

FRANK:              Well call me nuts but I prefer women. One woman in particular.

 

AVA:                   Don’t you think they’re cute?

 

FRANK:              Penguins? No. But we could go over there… to… Tas…mania.

 

AVA:                   It’s probably just full of Tasmaniacs… 

 

FRANK:              (Pause) Ava. I got you something special.

 

He hands her a jewellery box. She opens it. It’s the emerald necklace.

 

AVA:                   Oh. It’s pretty. (She takes it out and hands it to him.) Well… Put it on me please.

 

He does, looking into her eyes.

 

AVA:                   So how’s it look?

 

FRANK:              Perfect. 

 

AVA:                   Thank you Frank.

 

He kisses her.

 

FRANK:              I have a confession to make…

 

AVA:                   Well you are Italian.

 

FRANK:              I… lost it. At the Mocambo Club. But luckily… Grace found it… and brought it to me… 

 

AVA:                   And I guess you tried it on her.

 

FRANK:              Only the necklace.

 

AVA:                   Bullshit Frank.

 

FRANK:              And what about you and Joe?

 

AVA:                   Oh, screw Joe! 

 

FRANK:              You did?

 

AVA:                   Nah. We just fooled round a bit. He’s a kid. 

 

She pauses and looks out at the Bay.

 

FRANK:              Ava. I’m not going back without you.

 

AVA:                   (Pause) Yes you are.

 

FRANK:              Goddam it, I’ve tried it before It’s no good! This is nuts! You know you want to come back with me!! Because where it matters most, it’s me! Just say yes. And let’s go home.

 

AVA:                   (Emotional) It may be home for you but it’s not home for me. (Pause) I just can’t do it Frank.

 

FRANK:              Why not??

 

AVA:                   Because it’s not right. It’s just not. There’s got to be… more than just fucking and fighting. And we ain’t got that more. Not even a sniff. I wish we did. But we don’t.

 

FRANK:              How can it be “not right”… when it feels so right! 

 

AVA                    I love you like life its goddam self. But, we can’t do this. It’s the hardest thing. It’s the ball game Frank. 

 

FRANK:              So what do you want me to say? “It’s been nice, Ava.”

 

AVA:                   Yeah. I do. 

 

FRANK:              It was meant to be till death us do part.

 

AVA:                   This is death, Frank. This is how it feels. 

 

They sing We Can’t Seem to Make It Fly.

 

IT’S ALL SO HARD IT’S ALL SO TOUGH

WHEN YOU REALISE THAT ENOUGH’S ENOUGH

IN SPITE OF BEING OH SO MUCH IN LOVE

WE CAN’T SEEM TO MAKE IT FLY

 

IT’S ALL SO SAD IT’S ALL TOO MUCH

HOW’M I GONNA LIVE WITHOUT YOUR LOVING TOUCH

TRYING TO MAKE DO WITH SOME SUCH AND SUCH

BECAUSE WE CAN’T SEEM TO MAKE IT FLY

 

BACK IN THE AGES SO THE GOOD BOOK SAYS

THAT MOSES HE PARTED THE SEA

WHAT KIND OF GOD

WOULD LOOK DOWN FROM HIS HEAVEN

AND TAKE YOU AWAY FROM ME

 

OH-OH I’M NO ANGEL AND YOU’RE NO SAINT

 WE BOTH DO SUFFER FROM THE SAME COMPLAINT

BEING TOO PIG-HEADED TO BE ANYTHING WE AIN’T

 

BUT WE CAIN’T SEEM TO MAKE IT FLY

WE CAN’T SEEM TO MAKE IT FLY

CAN’T SEEM TO MAKE IT FLY

NO MATTER HOW WE TRY

WE CAN’T SEEM TO MAKE IT FLY

 

Frank goes to walk away. He stops then returns to Ava, holds out his arm. She takes it and they stroll away together with Frank whistling.

 

Lights fade to blackout.

 

End of scene.

 

 

  

 

Scene Eight

 

 

The empty rehearsal room. This time there are only two chairs, facing each other. Stanley Kramer walks in sipping a coffee. A moment later Ava enters, in a white trench coat, and white scarf and sunglasses.

 

STANLEY:          I’m really sorry to call you so early.

 

AVA:                   You viewed my last scene again and I still didn’t get it.

 

STANLEY:          No. You got it. It was me. I asked you for a tear… you cried on cue… But now I don’t want the tear.

 

AVA:                   So we re-shoot? I got a plane to catch… 

 

STANLEY:          This won’t take long. The crew’s ready. Just one shot, in profile. Costume looks fine.

 

AVA:                   How about the woman in it?

 

STANLEY:          A little hungover maybe. Perfect.

 

They stand. He moves her to the pose he wants her in, staring into the distance 

(3/4 to audience) and stands back and looks at angles.

 

STANLEY:          There’ll be music over it.

 

AVA:                   Could you maybe hold the violins a little?

 

STANLEY:          I’ll try to restrain myself. So, yes, it’s the final scene of the film. She’s had to let go of the man she loves. And now she’s standing on a windswept headland, looking out at the bay as he sails away, up on the conning tower of his sub. And she knows there’s nothing she can do about it. It’s just the way it is. And now she’ll be alone, and die alone.

 

AVA:                   But… she doesn’t cry…

 

STANLEY:          No. She’s stronger than that. She knows it’s just fate.

 

AVA:                   All that, just in my face.

 

STANLEY:          He’ll be looking back from the sub. They can’t see each other of course… too far… but the angles will suggest it. 

 

AVA:                   (Pause) I’m ready. 

 

She stands looking out into the distance. Stanley slowly circles her, looking 

closely. 

 

STANLEY:          She’s calm. Strong. Accepting. It’s good Ava. You can still see his face in your mind. You know you still love him. But this is it. The end.

 

A tiny hint of a smile comes to her lips.

 

STANLEY:          Is that a hint of a smile? Oh, keep it, keep it! It’s good! In the face of loss, death itself, everything… Yes… that’s the woman she is.

 

She holds it a moment longer.

 

STANLEY:          (Gently) And… cut.

 

Lights slowly fade on them.

 

End of scene.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   

 Scene Nine

 

 

Lights up on the Essendon Airport Departure Lounge. Ava arrives dressed to travel. Grace and her sisters and the Cats are also there.

 

AVA:                   Good morning everyone!!

 

There are hugs and kisses.

 

AVA:                   Now listen. My dear friend Howard Hughes has sent a nice big TWA Super Constellation plane… just for me. So I thought, maybe a few of my friends would like to come with me… to Hawaii!

 

OTHERS:             (Cheers) Hey!! Yeah!!!

 

AVA:                   And I’m sure Grace, Bella and Joy would sure like to see…. where their papa came from!

 

GRACE:              Thank you Ava!

 

BELLA & JOY:    Yes!! And learn to surf too!!!

 

AVA:                   I can’t believe I’m saying this… I think I’m actually gonna miss Melbourne, but at least I’ll have you all with me for a few days… (Pause) Oh, and Joe…

 

She takes him aside and hands him the emerald necklace in tissue paper.

 

AVA:                   A little something for Grace. When you get to Honolulu.

 

JOE:                    Oh… wow… thanks Ava. But it’s… so… so kind.

 

AVA:                   No it’s not. You are.

 

She kisses him on the cheek. The band starts Island Time with Ava, Grace and Joe smiling and singing.

 

GONNA LEAVE THIS JOB

GO SOME PLACE OUT OF REACH

A TROPICAL ISLE

WHERE I CAN GET REALLY ON THE BEACH

 

AND ONTO ISLAND TIME

GET BACK ON ISLAND TIME

 

GONNA LOSE MY BLUES

IN SOMETHING LONG AND COOL

GONNA THROW OFF MY SHOES

AND JUMP INTO THE POOL 

 

AND INTO ISLAND TIME

  GET BACK ON ISLAND TIME

 

DON’T WANT TO WAIT ANOTHER DAY

COUNTING DOWN THE HOURS ‘TIL I GO AWAY

DREAMING OF ISLAND NIGHTS

AND FRANGIPANI BREEZES

 

GROWN SO TIRED OF MELBOURNE TOWN

I WANNA GO AND SMILE AWAY MY FROWN

SLOWING DOWN, TURNING BROWN, GETTING SANE

 

SOME TROPICAL RAIN

TO RINSE AWAY THIS DUST

AND WHEN I GET ON THAT ‘PLANE

 I’M GONNA INSTANTLY ADJUST TO

 

ISLAND TIME

 GET BACK ON ISLAND TIME

OH ISLAND TIME

I’LL GET BACK ON ISLAND TIME

I SAID ISLAND TIME

YES I’LL GET BACK ON ISLAND TIME

 

They all form a conga line which snakes onto the plane. Neil Jillett enters and tries to join the line. Joe kicks him off the line and he falls. 

 

Screen projection of the Constellation taking off into the blue sky. As it does, Frank, in suit and hat, enters at the edge of the stage and watches it fly off… and he tips his hat in salute.

 

Frank slowly realises that Neil is on the other side of the stage getting to his feet and dusting himself off.

 

FRANK:              Not you again… What do you want?

 

NEIL:                  I’ve just got one more question Mr Sinatra…

 

FRANK:              Oh, no… What do you want from me?

 

NEIL:                  What do really think of Melbourne?

 

Frank roars with frustration and fury.

 

FRANK:              AARGH!!

 

He chases Neil off the stage.

 

End of Scene. 

 

CURTAIN.

      

      

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

    

       

 

 

Finale

 

Spot on Ava sitting writing a letter on a writing pad…

 

AVA:          Ava Gardner, Madrid, Spain.

To: Joe Lane, C/o Muttering Lodge, Alma Rd, St Kilda, Melb-boring, Victoria, Australia. (Pause) Dear Joe…

 

She stands and sings At The End of the World directly to the audience .

 

I FOUND MYSELF  

AT THE END OF THE WORLD

JUST AS FAR FROM HOME AS A GIRL COULD GO

 

I FOUND MYSELF 

 ALONE IN A CROWD

ALL ALONE IN THE CAMERA’S GLARE

 

I NEEDED A FRIEND 

WHO WAS FUNNY AND KIND

WHO’D LEND ME A HAND 

AND A SHOULDER FOR LEANIN’

 

YOU SANG ME YOUR SONG 

SUCH A BEAUTIFUL SOUND

AND YOU CAUGHT ME BEFORE I FELL

 

I FOUND MYSELF 

AT THE END OF THE WORLD

WITH NO WAY OUT BUT TO FACE MY FEARS

 

AND I ASTOUNDED MYSELF 

AT THE END OF IT ALL 

BY MAKING IT THROUGH UNSCATHED

 

NOW I’VE ALLOWED MYSELF 

TO BE PROUD OF MYSELF

A WOMAN NOW AND NOBODY’S GIRL

SINCE I FOUND MYSELF

AT THE END OF THE WORLD

AT THE END OF THE WORLD

 

LOVE, AVA

 

She blows a kiss to the audience.

 

Lights fade on her.

 

END.

 

 

 

 

 

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