THE HEREAFTER
Book by Amy Sky and Annabel Fitzsimmons
Music by: Steven MacKinnon and Amy Sky
Lyrics by: Amy Sky
Additional Songs by: Amy Sky,Beth Nielsen Chapman, Olivia Newton-John
Do you believe in love after life?
The Hereafter follows Charlie, a young composer on the brink of her career breakthrough, as she struggles to move on after the loss of her husband.
When she believes he is still with her, love blurs the lines between life and death, reality and imagination, turning the world as she knows it upside down.
The Hereafter follows Charlie, a young composer on the brink of her career breakthrough, as she struggles to move on after the loss of her husband.
When she believes he is still with her, love blurs the lines between life and death, reality and imagination, turning the world as she knows it upside down.
CAST
CHARLIE DAVID a Jewish neurotic thirty-something film composer
HUCK DAVID late 50s/early 60s - Charlie’s Jewish foodaholic jazz pianist Upper west side living but Greenwich-Village spirited Dad
MIRIAM DAVID late 50s/early 60s - Charlie’s Jewish therapist Upper West Side mother, who is constantly dieting and exercising, and chiding Huck about overeating
HUNTER SMYTHE Charlies’ fiancée, A thirty something, he is CEO of a Non-Profit that supports orphanages in the Amazon
JULIA SMYTHE Hunter’s uptight Upper East Side mother, sits on lots of arts boards – the ballet, the Lincoln Centre
F.SCOTT SMYTHE Hunter’s uptight Upper East Side Dad, retired Wall Street guy
MAYA SANCHEZ-ROSENZWEIG A Cuban-Jewish cantor who works at the David’s synagogue (witch doctor/medium)
ZSA ZSA VARGAS Thirty something, Hungarian Film director, Charlie’s best friend
KEN – Late 30s/early 40s - Hunter’s best friend, widower and Doctor at the Orphanage in Cusco, Peru. Father of Alys.
ALYS 10-12 - Ken’s daughter
HUCK DAVID late 50s/early 60s - Charlie’s Jewish foodaholic jazz pianist Upper west side living but Greenwich-Village spirited Dad
MIRIAM DAVID late 50s/early 60s - Charlie’s Jewish therapist Upper West Side mother, who is constantly dieting and exercising, and chiding Huck about overeating
HUNTER SMYTHE Charlies’ fiancée, A thirty something, he is CEO of a Non-Profit that supports orphanages in the Amazon
JULIA SMYTHE Hunter’s uptight Upper East Side mother, sits on lots of arts boards – the ballet, the Lincoln Centre
F.SCOTT SMYTHE Hunter’s uptight Upper East Side Dad, retired Wall Street guy
MAYA SANCHEZ-ROSENZWEIG A Cuban-Jewish cantor who works at the David’s synagogue (witch doctor/medium)
ZSA ZSA VARGAS Thirty something, Hungarian Film director, Charlie’s best friend
KEN – Late 30s/early 40s - Hunter’s best friend, widower and Doctor at the Orphanage in Cusco, Peru. Father of Alys.
ALYS 10-12 - Ken’s daughter
SONG LIST
Act One
1. BIG MAGIC - Charlie, Huck, Miriam, F.Scott, Julia, Maya, Zsa Zsa, Ken, Alys, Ensemble
2. ORDINARY MIRACLES - Huck, Miriam, F.Scott, Julia
3. DO YOU DANCE - Charlie, Huck, Miriam, F.Scott, Julia, Maya, Zsa Zsa, Alys, Ensemble
4. KADDISH/IMMORTALITY/FOREVER BLUE - Maya, Ken
5. DON’T KNOW WHAT TO SAY - Maya, F.Scott, Julia, Huck, Miriam, Ken, Charlie and Company ( Sad Daughter, Whiny Voice, Stoic Girl, Mournful Guy, Mad Guy)
6. ORDINARY MIRACLES - Julia
7. BIG MAGIC -(CHARLIE REPRISE)- Charlie, Miriam, Huck, Maya
8. THE ME I USED TO BE - Huck, Miriam, F.Scott, Julia, Ken, Charlie and Ensemble
9. UNCHAINED - Charlie, Alys
Act Two
10. ABZOLUTELY FABULOUS - Zsa Zsa, Ensemble
11. I’LL TAKE IT - Hunter, Charlie
12. BIG MAGIC ( HUNTER REPRISE) - Hunter
13. DON’T KNOW WHAT TO SAY (UNDERSCORE REPRISE)
Maya, F.Scott, Julia, Huck, Miriam, Ken, Charlie and Company ( Sad Daughter, Whiny Voice, Stoic Girl, Mournful Guy, Mad Guy)
14. SILVER LININGS ARE AS GOOD AS GOLD - Huck, Maya,Miriam Zsa Zsa, Producers
15. HALF LIFE - Charlie, Hunter, Julia, F.Scott
16. I WOULD NOT HOLD BACK - F.Scott, Julia
17. HALF LIFE (CHARLIE REPRISE)- Charlie, Ken
18. THE ME I USED TO BE Reprise - Charlie, Maya, Huck, Miriam, F.Scott, Julia
19. CHARLIE'S BREAKTHROUGH (BIG MAGIC/UNCHAINED MASHUP)- Charlie, Zsa Zsa, Ken, Alys
20. TIME TO MOVE ON - Hunter
21. ABSOLUTELY FABULOUS Reprise - Zsa Zsa, Charlie, Alys
22. AND WE WILL MEET AGAIN (HUNTER/CHARLIE GOODBYE)- Hunter, Charlie
23. BEAUTIFUL BEYOND - Company
1. BIG MAGIC - Charlie, Huck, Miriam, F.Scott, Julia, Maya, Zsa Zsa, Ken, Alys, Ensemble
2. ORDINARY MIRACLES - Huck, Miriam, F.Scott, Julia
3. DO YOU DANCE - Charlie, Huck, Miriam, F.Scott, Julia, Maya, Zsa Zsa, Alys, Ensemble
4. KADDISH/IMMORTALITY/FOREVER BLUE - Maya, Ken
5. DON’T KNOW WHAT TO SAY - Maya, F.Scott, Julia, Huck, Miriam, Ken, Charlie and Company ( Sad Daughter, Whiny Voice, Stoic Girl, Mournful Guy, Mad Guy)
6. ORDINARY MIRACLES - Julia
7. BIG MAGIC -(CHARLIE REPRISE)- Charlie, Miriam, Huck, Maya
8. THE ME I USED TO BE - Huck, Miriam, F.Scott, Julia, Ken, Charlie and Ensemble
9. UNCHAINED - Charlie, Alys
Act Two
10. ABZOLUTELY FABULOUS - Zsa Zsa, Ensemble
11. I’LL TAKE IT - Hunter, Charlie
12. BIG MAGIC ( HUNTER REPRISE) - Hunter
13. DON’T KNOW WHAT TO SAY (UNDERSCORE REPRISE)
Maya, F.Scott, Julia, Huck, Miriam, Ken, Charlie and Company ( Sad Daughter, Whiny Voice, Stoic Girl, Mournful Guy, Mad Guy)
14. SILVER LININGS ARE AS GOOD AS GOLD - Huck, Maya,Miriam Zsa Zsa, Producers
15. HALF LIFE - Charlie, Hunter, Julia, F.Scott
16. I WOULD NOT HOLD BACK - F.Scott, Julia
17. HALF LIFE (CHARLIE REPRISE)- Charlie, Ken
18. THE ME I USED TO BE Reprise - Charlie, Maya, Huck, Miriam, F.Scott, Julia
19. CHARLIE'S BREAKTHROUGH (BIG MAGIC/UNCHAINED MASHUP)- Charlie, Zsa Zsa, Ken, Alys
20. TIME TO MOVE ON - Hunter
21. ABSOLUTELY FABULOUS Reprise - Zsa Zsa, Charlie, Alys
22. AND WE WILL MEET AGAIN (HUNTER/CHARLIE GOODBYE)- Hunter, Charlie
23. BEAUTIFUL BEYOND - Company
THE HEREAFTER SOUNDCLOUD PLAYLIST
SCENE AND SONG BREAKDOWN
ACT ONE
-
Scene 1 – Opening Number
BIG MAGIC
Scene 2 – Welcome party in Peru
Scene 3 – Wedding
ORDINARY MIRACLES
Scene 4 - Wedding Toast
DO YOU DANCE
Earthquake
Scene 5 - Graveside in NYC
KADDISH/IMMORTALITY/FOREVER BLUE
Scene 6 - Bereavement Group
DON’T KNOW WHAT TO SAY
Scene 7- Julia and Charlie call
ORDINARY MIRACLES
Scene 8 - Reprise of BIG MAGIC
Scene 9 - Charlie & Zsa Zsa
Scene 10 - Julia & F.Scott's Apartment - Alys fashion show
Scene 11 - Shabat dinner at Miriam and Huck's
Scene 12 - THE ME I USED TO BE
Scene 13 - Charlie's Apartment - Zsa Zsa
Scene 14 - Alys Music Lesson with Charlie
UNCHAINED
Scene 1 – Opening Number
BIG MAGIC
Scene 2 – Welcome party in Peru
Scene 3 – Wedding
ORDINARY MIRACLES
Scene 4 - Wedding Toast
DO YOU DANCE
Earthquake
Scene 5 - Graveside in NYC
KADDISH/IMMORTALITY/FOREVER BLUE
Scene 6 - Bereavement Group
DON’T KNOW WHAT TO SAY
Scene 7- Julia and Charlie call
ORDINARY MIRACLES
Scene 8 - Reprise of BIG MAGIC
Scene 9 - Charlie & Zsa Zsa
Scene 10 - Julia & F.Scott's Apartment - Alys fashion show
Scene 11 - Shabat dinner at Miriam and Huck's
Scene 12 - THE ME I USED TO BE
Scene 13 - Charlie's Apartment - Zsa Zsa
Scene 14 - Alys Music Lesson with Charlie
UNCHAINED
ACT TWO
ACT TWO
Scene 1 - Zsa Zsa film set
ABZOLUTELY FABULOUS
Scene 2
Charlie/Hunter
I’LL TAKE IT
Scene 3
Ghost Life
BIG MAGIC REPRISE
Scene 4
F.Scott/Alys/Music lesson
Scene 5
Charlie/Maya
Scene 6
Bereavement Group
DON’T KNOW WHAT TO SAY Reprise
Scene 7
Huck’s Final Gig/Zsa Zsa on Set
SILVER LININGS ARE AS GOOD AS GOLD
Scene 8
Charlie/Miriam/Maya argument
HALF LIFE
Scene 9
Zsa Zsa/Charlie - Off the film
Scene 10
Charlie/Hunter discuss Peru
Scene 11
Cusco - Hospital ground breaking - Charlie fiasco
DO YOU DANCE reprise
I WOULD NOT HOLD BACK
Scene 12
Charlie arrives home
HALF-LIFE reprise
SCENE 13
Screening room - Zsa Zsa & Charlie
SCENE 14
Charlie Apologies
THE ME I USED TO BE reprise
Scene 15
Charlie rediscovers her voice
BIG MAGIC/UNCHAINED mashup/into scoring session
SCENE 16
TIME TO MOVE ON
SCENE 17
AB FAB reprise
Scene 18
Red Carpet BIG MAGIC reprise
BLESS THIS BROKEN HEART? REPRISE
Scene 19
Post show reception
BEAUTIFUL BEYOND
Scene 1 - Zsa Zsa film set
ABZOLUTELY FABULOUS
Scene 2
Charlie/Hunter
I’LL TAKE IT
Scene 3
Ghost Life
BIG MAGIC REPRISE
Scene 4
F.Scott/Alys/Music lesson
Scene 5
Charlie/Maya
Scene 6
Bereavement Group
DON’T KNOW WHAT TO SAY Reprise
Scene 7
Huck’s Final Gig/Zsa Zsa on Set
SILVER LININGS ARE AS GOOD AS GOLD
Scene 8
Charlie/Miriam/Maya argument
HALF LIFE
Scene 9
Zsa Zsa/Charlie - Off the film
Scene 10
Charlie/Hunter discuss Peru
Scene 11
Cusco - Hospital ground breaking - Charlie fiasco
DO YOU DANCE reprise
I WOULD NOT HOLD BACK
Scene 12
Charlie arrives home
HALF-LIFE reprise
SCENE 13
Screening room - Zsa Zsa & Charlie
SCENE 14
Charlie Apologies
THE ME I USED TO BE reprise
Scene 15
Charlie rediscovers her voice
BIG MAGIC/UNCHAINED mashup/into scoring session
SCENE 16
TIME TO MOVE ON
SCENE 17
AB FAB reprise
Scene 18
Red Carpet BIG MAGIC reprise
BLESS THIS BROKEN HEART? REPRISE
Scene 19
Post show reception
BEAUTIFUL BEYOND
The Hereafter
Opening
ACT ONE
ACT ONE
SCENE 1
OPENING
(Curtains up –
OVERTURE
CHARLIE DAVID is running along the streets of Manhattan
HUNTER is in Peru, standing outside the orphanage
Charlie calls Hunter.
CHARLIE
I got it! I'm officially the composer on Zsa Zsa's new film!
HUNTER
Way to go, Betty Beethoven!
CHARLIE
Boom! How about you? Is it finished?
HUNTER
It is. The orphanage is so great! Can’t wait for you to see it.
CHARLIE
Three more sleeps! Still want to marry me?
HUNTER
You know it! But I’m more excited to watch your parents handle the Amazon!
(Charlie arrives at the talk, backstage and breathless.)
CHARLIE
I’m more excited to watch your parents handle my parents.
Ok, there’s a cloud of pink smoke and feathers barrelling towards me. You’re on speaker.
(She holds out the phone)
HUNTER
Hey Zsa Zsa!!
ZSA ZSA (shouting)
No time! Goodbye Handsome!
Hangs up her phone. Charlie looks annoyed but accepts it.
CHARLIE
This so surreal – it feels like yesterday we were students in that audience. You fresh from Budapest-
ZSA ZSA
And you fresh from Filene’s Bargain Basement.
CHARLIE
Oh, shut up, you big strudel. You know these are my show shoes.
ZSA ZSA
Your fashion may be questionable but you’ve always been a damn good musician, Madam Composer.
ZSA ZSA & CHARLIE
Ahh!
(they jump and scream)
(He kisses both her cheeks and turns to run out on the stage)
ZSA ZSA
Hello, everyone, I’m Zsa Zsa.
(applause)
It’s my honour to introduce a fellow alumni, one of my favourite collaborators, and a woman I met right here at this school 10 years ago.
CHARLIE (from offstage)
15!
ZSA ZSA
Okay, 15 years ago. Charlie David. Some of you might know her as an extraordinary teacher. Some of you may have grown up with her music on the hit kids show, Kitty Cat Capers (cheers from the audience). But, you heard it here first, I predict that next year at this time she will be an Academy Award nominee for composing the score for Casablanca Reimagined!
(Charlie steps forward to centre stage)
(Curtains up –
OVERTURE
CHARLIE DAVID is running along the streets of Manhattan
HUNTER is in Peru, standing outside the orphanage
Charlie calls Hunter.
CHARLIE
I got it! I'm officially the composer on Zsa Zsa's new film!
HUNTER
Way to go, Betty Beethoven!
CHARLIE
Boom! How about you? Is it finished?
HUNTER
It is. The orphanage is so great! Can’t wait for you to see it.
CHARLIE
Three more sleeps! Still want to marry me?
HUNTER
You know it! But I’m more excited to watch your parents handle the Amazon!
(Charlie arrives at the talk, backstage and breathless.)
CHARLIE
I’m more excited to watch your parents handle my parents.
Ok, there’s a cloud of pink smoke and feathers barrelling towards me. You’re on speaker.
(She holds out the phone)
HUNTER
Hey Zsa Zsa!!
ZSA ZSA (shouting)
No time! Goodbye Handsome!
Hangs up her phone. Charlie looks annoyed but accepts it.
CHARLIE
This so surreal – it feels like yesterday we were students in that audience. You fresh from Budapest-
ZSA ZSA
And you fresh from Filene’s Bargain Basement.
CHARLIE
Oh, shut up, you big strudel. You know these are my show shoes.
ZSA ZSA
Your fashion may be questionable but you’ve always been a damn good musician, Madam Composer.
ZSA ZSA & CHARLIE
Ahh!
(they jump and scream)
(He kisses both her cheeks and turns to run out on the stage)
ZSA ZSA
Hello, everyone, I’m Zsa Zsa.
(applause)
It’s my honour to introduce a fellow alumni, one of my favourite collaborators, and a woman I met right here at this school 10 years ago.
CHARLIE (from offstage)
15!
ZSA ZSA
Okay, 15 years ago. Charlie David. Some of you might know her as an extraordinary teacher. Some of you may have grown up with her music on the hit kids show, Kitty Cat Capers (cheers from the audience). But, you heard it here first, I predict that next year at this time she will be an Academy Award nominee for composing the score for Casablanca Reimagined!
(Charlie steps forward to centre stage)
CHARLIE
(Blows a kiss to Zsa Zsa as he walks off stage. She has a PowerPoint Controller in hand standing in front of First powerpoint screen)
BIG MAGIC
SONG: BIG MAGIC (Charlie speaks over intro)
WHERE DO IDEAS COME FROM
What is inspiration?
(She points at the screen – screen lifts up or is lit differently with action happening behind it – looks like it could be a movie. We see an older female writer (Margaret Atwood-esque) sitting at her desk writing, throwing pieces of paper behind into a massive pile of crumpled papers. Other ensemble characters walking through with notepads or typing into smartphones, someone with a portable typewriter, portable dictation device, and they’re also throwing paper onto the pile.)
HOW DOES A SHEET OF PAPER
Turn into a creation
DOES IT APPEAR LIKE LIGHTNING
DOES IT ALL COME IN A FLASH
OR A SLOW REVEAL
THAT GETS RESCUED FROM THE TRASH?
(A Tolstoy-esque character digs through the pile, and pulls out a crumpled sheet in one hand and holds up War and Peace in the other)
TOLSTOY BEGAN WITH NOTHING
AND GAVE US WAR AND PEACE
(As Tolstoy displays War and Peace, the writer continues to write, and a painter sets up an easel and prepares to create a piece of art stretching his canvas)
ARE YOU A VESSEL
FOR THE WORLD’S NEXT MASTERPIECE?
OR IS IT
BIG MAGIC
(A male dancer enters and begins a warmup)
DOES IT RISE UP FROM WITHIN OR FLOAT DOWN FROM ABOVE
A female dancer flies in and they dance together
Painter frames the dancers with the empty frame and they become his painting)
I CRAVE THAT
BIG MAGIC
(A violin player enters and it’s as if the musician is playing the music for the dancers who are being painted by the artist, and it’s all being written by the writer)
LIKE STORIES
LIKE MUSIC
LIKE LOVE
(dancers move into an embrace - tableaux of artists dissolve)
(Underscore of BIG MAGIC)
(Lights up on Maya, on phone to and Huck and Miriam)
MAYA
A Jewish wedding in Peru.
MIRIAM
Did you ever? Thank god you’ll bring a little bit of kosher to the verkakte jungle.
HUCK
(Ignoring Miriam – takes a big bite of a Danish)
No one else could do this but you, Maya.
(Lights down on Huck and Miriam. F. Scott pouring drinks)
JULIA
A wedding in Peru. Can you imagine anything more romantic?
F.SCOTT
We’ll finally get to see where he spends so much time.
MAYA
It’s going to be pretty special.
JULIA
We’re so grateful to you, Maya, for bringing a dash of Manhattan to the event.
F.SCOTT
So much to celebrate.
(Julia and F.Scott raise their martini glasses to one another.)
CHARLIE
(Back to Charlie with Powerpoint screen of a desert island)
TAKE A MINUTE TO IMAGINE
YOU’RE ON A DESERT ISLE
WITH JUST FOOD AND ART
To keep your soul alive
(Screen dissolves back to the tableaux – Tolstoy character in same outfit but rags carrying an armload of books)
WHAT ARE THE SONGS AND BOOKS
THAT MAKE YOU WHO YOU ARE
LIKE NINA SIMONE?
OR SIMONE DE BEAUVOIR?
(Drops the books and catches the basketball with a face on it)
WHAT DO YOU MAKE OF MOZART?
AND HIS GOLDEN PEN
(Mozart sitting at a piano, writing – throwing his papers in the garbage pile
Charlie clicks the clicker and the screen is backdrop of Starry Starry Night with the stars not quite in the place that they’re supposed to be –
with Van Gogh working on it)
VAN GOGH OR EINSTEIN
(Einstein walks by, rearranges the stars of Starry Starry Night, shuffles them into the right position,
Van Gogh high fives him, and comes up with E=MC2 as a visual across the screen of Starry Starry Night.)
WERE THEY MORE THAN MORTAL MEN?
(Einstein and Van Gogh hug, Mozart is reaching into the inspiration garbage, finds Van Gogh’s ear and throws it to Einstein. Einstein pops it back on Van Gogh’s head
During the second chorus (with full ensemble singing), we see a choreographed montage of all the artists and their work)
OH IS IT
BIG MAGIC
IS IT BORN INSIDE YOUR MIND
OR IS IT IN YOUR BLOOD
(Frida Kahlo floats down)
I CRAVE THAT
BIG MAGIC
LIKE STORIES
LIKE MUSIC
LIKE LOVE
The ensemble artists couple up - The writer and Tolstoy, Frida K & Van Gogh, Mozart and the female dancer, artist and male dancer, Einstein and the basketball .
(End of Charlie’s talk)
(Julia & F.Scott and Miriam & Huck are packing)
F.SCOTT
(Holding up a Brooks Brothers shirt with cardigan tied over the shoulders)
For the ceremony?
JULIA
Too Sunday brunch in the Hamptons.
F.SCOTT
(Holds up IZOD polo shirt)
This?
JULIA
So cocktails in Nantucket.
F.SCOTT
(Holds up a Hawaiian shirt)
Well how 'bout...
JULIA
It’s the Amazon, not Maui!
(She picks up a white linen blazer)
This is perfect.
F.SCOTT
Yes, with my khakis!
JULIA
(Putting one last thing in her Louis Vuitton carryon luggage)
And we’re done.
(They exit)
MIRIAM
(Holds up a cashmere sweater beside her oversized suitcase)
HUCK
What are you taking cashmere to the jungle for?
MIRIAM
What do I know from jungle weather. It could be chilly.
HUCK
(Passes her his Hawaiian shirt, exactly like F.Scott’s.)
This will be perfect. Just make sure to leave some room in the bag for my pastries.
MIRIAM
Oy, you and your over-fressing.
HUCK
Oy, you and your overdressing.
MIRIAM
Never mind with that. Come sit on this bag so I can zip it up.
CHARLIE
(At her piano)
I'M LIKE A FIRE HUNTER
IN SEARCH OF SPARKS INSIDE THE NIGHT
SOMETIMES ITS SNEAKS UP LIKE THE DAWN
SOMETIMES IT BLINDS ME WITH ITS LIGHT
FIRST I AM LOST THEN I'M FOUND
I FEEL MY FEET LIFT OFF THE GROUND
UNTIL I CAN FLY
CHARLIE as the Ensemble sings
Woo! (laughs) That's what I'm talking about!
(BIG MAGIC instrumental insert)
(Ensemble/wedding party getting off the bus in Peru.
Hunter picks Charlie up and swings her around)
ENSEMBLE
BIG MAGIC
HUNTER
YOU ARE MY BIG MAGIC
ENSEMBLE
DOES IT RISE UP FROM WITHIN
JULIA
Isn't this enchanting?
ENSEMBLE
OR FLOAT DOWN FROM ABOVE!
MIRIAM
Would you look at all this dust?
CHARLIE AND ENSEMBLE
I CRAVE THAT BIG MAGIC
CHARLIE
LIKE STORIES
HUNTER
LIKE STORIES
KEN
LIKE MUSIC
ALYS
LIKE MUSIC
HUNTER & CHARLIE & ENSEMBLE
WHEN YOU FIND IT
DON'T YOU LOSE IT
ENSEMBLE
DON’T DOUBT IT
MAYA
DON’T DOUBT IT
ENSEMBLE
JUST CHOOSE IT
ZSA ZSA
Oh- I loooooove Peru!
CHARLIE & HUNTER & ENSEMBLE
LIKE LOVE
(Charlie and Hunter keep kissing long after the ensemble has stopped singing)
SCENE 2
(The Wedding group is greeted by KEN and ALYS.)
KEN
Welcome everyone!
(Hugs and handshakes exchanged. The Davids are all kvetchy. The Smythes are brisk. Alys loops a string of wood beads around each women’s necks. The ensemble wearing huipiles (hoop-ee-lays) do a welcome dance.)
HUNTER (to Charlie)
It's happening!
CHARLIE
We are the luckiest. (to Ken) Thank you for all of this!
KEN
You’re welcome. Alys is so excited you’d think she’s the one getting married.
CHARLIE
She has her mom’s spark.
KEN
I wish Felice could have been here to see this.
(F. Scott shakes Ken’s hand and gives him a back pat, and Julia hugs him through the following dialogue)
F.SCOTT
Good to see you, son.
KEN
You too F.Scott. And my second mom.
JULIA
We’ve missed you. And Alys has grown so much.
ZSA ZSA
Oh my! This is abzolutely out of this world!
HUCK
Maya, you’re a mensch for coming all this way with us.
MIRIAM
How was your week?
MAYA
Unbelievable. Anywhere I hang my chuppah (hoop-uh) feels like home!
ALYS
My aunties made such a beautiful one. They used some of my mom’s own lace!
JULIA
Oh my. We’ve never been under a chuppah before.
MIRIAM
The chuppah isn’t for-
CHARLIE interrupts
Everything is going to be just perfect.
HUNTER
Yes, it is.
As the wedding party heads towards the hotel, Charlie walks ahead with Maya and Basilio)
CHARLIE
How was your Ayahuasca ceremony?
MAYA
It was...powerful. A little more than I expected.
BASILIO
This holy woman, she has the gift.
MAYA
Basilio thinks I spoke to Ken's wife's spirit.
CHARLIE
Felice? Did you tell Ken?
(Maya and Basilio exchange looks but just then Miriam, Huck, Ken and Alys catch up with them and Maya puts her fingers to her lips.)
HUCK
I’m starving. When’s lunch?
MIRIAM (Reaches into her bag and pulls out a dry bagel and hands it to him)
HUCK
What, no schmear?
MIRIAM
What am I, the Carnegie Deli?
(They exit.
Musical transition to the Rainforest wedding scene, choreographed ensemble set up for the wedding.)
KEN
Welcome everyone!
(Hugs and handshakes exchanged. The Davids are all kvetchy. The Smythes are brisk. Alys loops a string of wood beads around each women’s necks. The ensemble wearing huipiles (hoop-ee-lays) do a welcome dance.)
HUNTER (to Charlie)
It's happening!
CHARLIE
We are the luckiest. (to Ken) Thank you for all of this!
KEN
You’re welcome. Alys is so excited you’d think she’s the one getting married.
CHARLIE
She has her mom’s spark.
KEN
I wish Felice could have been here to see this.
(F. Scott shakes Ken’s hand and gives him a back pat, and Julia hugs him through the following dialogue)
F.SCOTT
Good to see you, son.
KEN
You too F.Scott. And my second mom.
JULIA
We’ve missed you. And Alys has grown so much.
ZSA ZSA
Oh my! This is abzolutely out of this world!
HUCK
Maya, you’re a mensch for coming all this way with us.
MIRIAM
How was your week?
MAYA
Unbelievable. Anywhere I hang my chuppah (hoop-uh) feels like home!
ALYS
My aunties made such a beautiful one. They used some of my mom’s own lace!
JULIA
Oh my. We’ve never been under a chuppah before.
MIRIAM
The chuppah isn’t for-
CHARLIE interrupts
Everything is going to be just perfect.
HUNTER
Yes, it is.
As the wedding party heads towards the hotel, Charlie walks ahead with Maya and Basilio)
CHARLIE
How was your Ayahuasca ceremony?
MAYA
It was...powerful. A little more than I expected.
BASILIO
This holy woman, she has the gift.
MAYA
Basilio thinks I spoke to Ken's wife's spirit.
CHARLIE
Felice? Did you tell Ken?
(Maya and Basilio exchange looks but just then Miriam, Huck, Ken and Alys catch up with them and Maya puts her fingers to her lips.)
HUCK
I’m starving. When’s lunch?
MIRIAM (Reaches into her bag and pulls out a dry bagel and hands it to him)
HUCK
What, no schmear?
MIRIAM
What am I, the Carnegie Deli?
(They exit.
Musical transition to the Rainforest wedding scene, choreographed ensemble set up for the wedding.)
SCENE 3
(Ken standing groom side, and Zsa Zsa standing bride side
Julia and F.Scott walk Hunter in, Miriam and Huck walk Charlie in.
As they come in, Alys performs a Peruvian incense smudging ritual on them.
Maya leads the wedding ceremony as the parents sing Ordinary Miracles
(Intro of ORDINARY MIRACLES)
ORDINARY MIRACLES
ORDINARY MIRACLES
HUCK
Hunter we couldn't be more delighted to welcome you into our family. We know you'll take good care of our Charlie.
F.SCOTT
Hunter- Charlie- Cheers to you both!
ALL: L'Chaim
MIRIAM
Our little girl is such a beautiful bride.
HUCK
AT SIX WEEKS YOU LEARNED TO SMILE
AT THREE MONTHS YOU LEARNED TO LAUGH
MIRIAM
AT SIX MONTHS YOU CUT A TOOTH
AND AT TEN MONTHS YOU TOOK A STEP
JULIA
AT TWO YEARS YOU MADE A BEST FRIEND
AT THREE YEARS YOU RODE A BIKE
F.SCOTT
AT FOUR YEARS YOU LEARNED TO SKATE
AND AT FIVE YEARS YOU LEARNED TO WRITE
HUCK AND MIRIAM
JUST ORDINARY MIRACLES
ORDINARY MIRACLES
BUT ALL THE SAME THEY'RE MIRACLES TO ME
MIRIAM
THE DAYS THAT I'LL REMEMBER WELL
HAVE A SIMPLE KIND OF WONDERFUL
OF ORDINARY MIRACLES
F.SCOTT
AND NOW THE DAY HAS COME
YES IT'S TIME FOR YOU TO FLY
JULIA
BUT I'LL TREASURE THESE MOMENTS ALL MY
JULIA AND F.SCOTT
LIFE.
HUCK
EACH TIME I HOLD YOU NEAR
IT’S AN ORDINARY MIRACLE
Hunter we couldn't be more delighted to welcome you into our family. We know you'll take good care of our Charlie.
F.SCOTT
Hunter- Charlie- Cheers to you both!
ALL: L'Chaim
MIRIAM
Our little girl is such a beautiful bride.
HUCK
AT SIX WEEKS YOU LEARNED TO SMILE
AT THREE MONTHS YOU LEARNED TO LAUGH
MIRIAM
AT SIX MONTHS YOU CUT A TOOTH
AND AT TEN MONTHS YOU TOOK A STEP
JULIA
AT TWO YEARS YOU MADE A BEST FRIEND
AT THREE YEARS YOU RODE A BIKE
F.SCOTT
AT FOUR YEARS YOU LEARNED TO SKATE
AND AT FIVE YEARS YOU LEARNED TO WRITE
HUCK AND MIRIAM
JUST ORDINARY MIRACLES
ORDINARY MIRACLES
BUT ALL THE SAME THEY'RE MIRACLES TO ME
MIRIAM
THE DAYS THAT I'LL REMEMBER WELL
HAVE A SIMPLE KIND OF WONDERFUL
OF ORDINARY MIRACLES
F.SCOTT
AND NOW THE DAY HAS COME
YES IT'S TIME FOR YOU TO FLY
JULIA
BUT I'LL TREASURE THESE MOMENTS ALL MY
JULIA AND F.SCOTT
LIFE.
HUCK
EACH TIME I HOLD YOU NEAR
IT’S AN ORDINARY MIRACLE
SCENE 4
MAYA
To symbolize that out of the ashes of tragedy, hope can always rise: Tradition calls for everyone to shout “mazeltov” as the groom stomps the wedding goblet.
(Maya hands Hunter a wineglass wrapped in a napkin
Hunter smashes the wineglass)
COMPANY
Mazel Tov!
(They all dance a Horah, played by the Peruvian musicians (ensemble).
(the dialogue is happening throughout the Horah)
CHARLIE
… Zsa Za -I'm so glad you dragged me to Hunter's fundraiser two years ago.
ZSA ZSA
I told you. He's like a sexy Mother Theresa.
HUCK
You and Julia must be so proud of Hunter.
(Ken and Hunter are listening, and as F.Scott says the "first Smyth" Ken mouths the sentence verbatim)
F.SCOTT
Yes. Can't say I wasn't disappointed he was the first Smythe in four generations that didn't go into the family business. But yes.
HUCK
Four generations ago, my Zaide was sewing caps for the Cossacks in Moscow.
F.SCOTT
You don't say?
HUNTER (dancing with Ken)
Dude, how can I ever thank you for bringing me down here?
KEN
Manhattan didn't need another investment banker. But Peru needed you.
HUNTER
Seriously-
KEN
I'll put it on your tab.
CHARLIE (dancing with Alys)
Thanks for being such a big help to your Dad. Your mom would be so proud of you.
ALYS
Thanks, Charlie.
(The Horah ends. Hunter and Charlie are next to each other on the dance floor for the final toasts)
CHARLIE
Julia and F.Scott, may this be the first of many family celebrations together - here and in New York.
HUNTER
Miriam and Huck, thank you for this one-of-a-kind girl. And to Charlie, may you always be as happy with me as you are with your music. I love you.
(they kiss)
Does everyone have a glass of Pisco?
HUCK
Piss what?
MIRIAM
Oy, Pisco. It’s like Peruvian tequila.
HUNTER & CHARLIE
To the people we love the most...(everyone raises their glasses.)
(Everyone says cheers/L’chaim)
(The ensemble starts playing Do You Dance.)
ALYS
Daddy, come dance! (Alys pulls Ken into the dancing.)
KEN
This was one of your mom’s favourites.
JULIA
Let’s have another!
MIRIAM (toasts Julia with another glass of Pisco.)
Why not?
ZSA ZSA: (Grabs Hunter and Charlie)
C’mon dahlinks- Bailamos! (pronounced By-yah- mose- it means Let’s Dance in Spanish)
HUNTER (moves beside F.Scott)
Uh Zsa Zsa- Smythes don’t…dance.
F.SCOTT
Quite true.
CHARLIE
(laughing) Zsa Zsa- Hunter doesn’t dance!
HUNTER and F.SCOTT
Smythes don’t dance!
JULIA
Speak for yourselves.
ZSA ZSA
(Grabs Julia) Come gorgeous lady- lets shake that Upper East Side fenek
(pronounced fenn-eek) of yours!
(Julia jumps right in)
HUCK (grabs Miriam & they join in)
To symbolize that out of the ashes of tragedy, hope can always rise: Tradition calls for everyone to shout “mazeltov” as the groom stomps the wedding goblet.
(Maya hands Hunter a wineglass wrapped in a napkin
Hunter smashes the wineglass)
COMPANY
Mazel Tov!
(They all dance a Horah, played by the Peruvian musicians (ensemble).
(the dialogue is happening throughout the Horah)
CHARLIE
… Zsa Za -I'm so glad you dragged me to Hunter's fundraiser two years ago.
ZSA ZSA
I told you. He's like a sexy Mother Theresa.
HUCK
You and Julia must be so proud of Hunter.
(Ken and Hunter are listening, and as F.Scott says the "first Smyth" Ken mouths the sentence verbatim)
F.SCOTT
Yes. Can't say I wasn't disappointed he was the first Smythe in four generations that didn't go into the family business. But yes.
HUCK
Four generations ago, my Zaide was sewing caps for the Cossacks in Moscow.
F.SCOTT
You don't say?
HUNTER (dancing with Ken)
Dude, how can I ever thank you for bringing me down here?
KEN
Manhattan didn't need another investment banker. But Peru needed you.
HUNTER
Seriously-
KEN
I'll put it on your tab.
CHARLIE (dancing with Alys)
Thanks for being such a big help to your Dad. Your mom would be so proud of you.
ALYS
Thanks, Charlie.
(The Horah ends. Hunter and Charlie are next to each other on the dance floor for the final toasts)
CHARLIE
Julia and F.Scott, may this be the first of many family celebrations together - here and in New York.
HUNTER
Miriam and Huck, thank you for this one-of-a-kind girl. And to Charlie, may you always be as happy with me as you are with your music. I love you.
(they kiss)
Does everyone have a glass of Pisco?
HUCK
Piss what?
MIRIAM
Oy, Pisco. It’s like Peruvian tequila.
HUNTER & CHARLIE
To the people we love the most...(everyone raises their glasses.)
(Everyone says cheers/L’chaim)
(The ensemble starts playing Do You Dance.)
ALYS
Daddy, come dance! (Alys pulls Ken into the dancing.)
KEN
This was one of your mom’s favourites.
JULIA
Let’s have another!
MIRIAM (toasts Julia with another glass of Pisco.)
Why not?
ZSA ZSA: (Grabs Hunter and Charlie)
C’mon dahlinks- Bailamos! (pronounced By-yah- mose- it means Let’s Dance in Spanish)
HUNTER (moves beside F.Scott)
Uh Zsa Zsa- Smythes don’t…dance.
F.SCOTT
Quite true.
CHARLIE
(laughing) Zsa Zsa- Hunter doesn’t dance!
HUNTER and F.SCOTT
Smythes don’t dance!
JULIA
Speak for yourselves.
ZSA ZSA
(Grabs Julia) Come gorgeous lady- lets shake that Upper East Side fenek
(pronounced fenn-eek) of yours!
(Julia jumps right in)
HUCK (grabs Miriam & they join in)
DO YOU DANCE
DO YOU DANCE - COMPANY
ZSA ZSA
DO YOU LOOK UP AT THE SKY
WHEN THE FULL MOON’S BURNING BRIGHT
AND WONDER WHY THE NIGHT WON’T FADE AWAY
JULIA
DO YOU EVER FEEL THE RAIN
LIKE A THOUSAND DROPS OF PAIN
AND WONDER WHY THE SUN WON’T SHINE TODAY
HUCK
DO YOU WALK
MIRIAM
DO YOU WALK
HUCK
DO YOU RUN
MIRIAM
DO YOU RUN
ZSA ZSA
OR DO YOU FLY IF YOU HAVE THE CHANCE
HUCK MIRIAM ZSA ZSA KEN ALYS
WHEN THE MUSIC STARTS TO PLAY
DO YOU TURN AND WALK AWAY
OR DO YOU DANCE
DO YOU DANCE
CHARLIE ( joins HUCK AND MIRIAM)
WHEN THE RADIO IS ON
DO YOU SING YOUR FAVORITE SONG
OR DO YOU CHANGE THE STATION JUST TO HEAR THE NEWS
MAYA
IN THE SMALL HOURS OF THE NIGHT
DO YOU GIVE IN TO THE FRIGHT
OR DO YOU LET THE SOUND OF SILENT WINGS FREE YOU
CHARLIE (grabs Hunter and moves his arms like a doll)
DO YOU WALK
HUNTER
Usually.
CHARLIE
DO YOU RUN
HUNTER
If I have to.
CHARLIE, MAYA, ZSA ZSA
OR DO YOU FLY IF YOU HAVE THE CHANCE
COMPANY
WHEN THE MUSIC STARTS TO PLAY
DO YOU TURN AND WALK AWAY
OR DO YOU DANCE
ALYS
DO YOU FOLLOW YOUR DREAMS
KEN
DO YOU FOLLOW YOUR BLISS
ZSA ZSA
DO YOU HOLD OUT YOUR HEART
FOR THE ULTIMATE KISS
ZSA ZSA,CHARLIE, HUCK, MIRIAM,KEN, ALYS,JULIA
IF YOU LIVE YOUR LIFE IN BLACK AND WHITE
YOU CAN LET GO OF THE FEAR OF FLIGHT
ZSA ZSA
REMEMBER
SURRENDER LOVE
JULIA
DO YOU WALK
COMPANY
DO YOU WALK
MIRIAM
DO YOU RUN
COMPANY
DO YOU RUN
KEN AND ALYS
OR DO YOU FLY IF YOU HAVE THE CHANCE
COMPANY
WHEN THE MUSIC STARTS TO PLAY
DO YOU TURN AND WALK AWAY
OR DO YOU DANCE
DO YOU DANCE
COMPANY CONTINUES TO REPEAT
II:: DO YOU DANCE
DO YOU DANCE ::II
CHARLIE
I WANNA CLOSE MY EYES
LET GO OF YESTERDAY
I WANNA FEEL THE MUSIC
LET MY HEART BE SWEPT AWAY
CHARLIE
C’MON AND CLOSE YOUR EYES
HUNTER
CLOSE MY EYES
CHARLIE
LET GO OF YESTERDAY
HUNTER
YESTERDAY
ZSA ZSA
DO YOU LOOK UP AT THE SKY
WHEN THE FULL MOON’S BURNING BRIGHT
AND WONDER WHY THE NIGHT WON’T FADE AWAY
JULIA
DO YOU EVER FEEL THE RAIN
LIKE A THOUSAND DROPS OF PAIN
AND WONDER WHY THE SUN WON’T SHINE TODAY
HUCK
DO YOU WALK
MIRIAM
DO YOU WALK
HUCK
DO YOU RUN
MIRIAM
DO YOU RUN
ZSA ZSA
OR DO YOU FLY IF YOU HAVE THE CHANCE
HUCK MIRIAM ZSA ZSA KEN ALYS
WHEN THE MUSIC STARTS TO PLAY
DO YOU TURN AND WALK AWAY
OR DO YOU DANCE
DO YOU DANCE
CHARLIE ( joins HUCK AND MIRIAM)
WHEN THE RADIO IS ON
DO YOU SING YOUR FAVORITE SONG
OR DO YOU CHANGE THE STATION JUST TO HEAR THE NEWS
MAYA
IN THE SMALL HOURS OF THE NIGHT
DO YOU GIVE IN TO THE FRIGHT
OR DO YOU LET THE SOUND OF SILENT WINGS FREE YOU
CHARLIE (grabs Hunter and moves his arms like a doll)
DO YOU WALK
HUNTER
Usually.
CHARLIE
DO YOU RUN
HUNTER
If I have to.
CHARLIE, MAYA, ZSA ZSA
OR DO YOU FLY IF YOU HAVE THE CHANCE
COMPANY
WHEN THE MUSIC STARTS TO PLAY
DO YOU TURN AND WALK AWAY
OR DO YOU DANCE
ALYS
DO YOU FOLLOW YOUR DREAMS
KEN
DO YOU FOLLOW YOUR BLISS
ZSA ZSA
DO YOU HOLD OUT YOUR HEART
FOR THE ULTIMATE KISS
ZSA ZSA,CHARLIE, HUCK, MIRIAM,KEN, ALYS,JULIA
IF YOU LIVE YOUR LIFE IN BLACK AND WHITE
YOU CAN LET GO OF THE FEAR OF FLIGHT
ZSA ZSA
REMEMBER
SURRENDER LOVE
JULIA
DO YOU WALK
COMPANY
DO YOU WALK
MIRIAM
DO YOU RUN
COMPANY
DO YOU RUN
KEN AND ALYS
OR DO YOU FLY IF YOU HAVE THE CHANCE
COMPANY
WHEN THE MUSIC STARTS TO PLAY
DO YOU TURN AND WALK AWAY
OR DO YOU DANCE
DO YOU DANCE
COMPANY CONTINUES TO REPEAT
II:: DO YOU DANCE
DO YOU DANCE ::II
CHARLIE
I WANNA CLOSE MY EYES
LET GO OF YESTERDAY
I WANNA FEEL THE MUSIC
LET MY HEART BE SWEPT AWAY
CHARLIE
C’MON AND CLOSE YOUR EYES
HUNTER
CLOSE MY EYES
CHARLIE
LET GO OF YESTERDAY
HUNTER
YESTERDAY
(Charlie and Hunter kiss)
(Lights start flickering. There’s a deep rumble)
HUNTER
Whoa, did you feel that?
CHARLIE
What?
HUNTER & KEN
Earthquake!
HUNTER
Everyone head for the hotel doorway!
(Lights go out)
ALYS
Daddy?!
KEN
Hunter, grab Alys!
HUNTER
I’ve got her! Charlie, Zsa Zsa, help our parents.
(Rumbling intensifies, there’s a deafening crash, then silence.)
KEN
Alys?
ALYS
Daddy!
Flashlights pierce the darkness. Flashlights pass by the wedding party, who are standing under the intact doorway, all in shock. The
adjoining wall has come down.
CHARLIE
Hunter?
(No answer. She grabs a flashlight, points it behind her.)
No!
(Lights start flickering. There’s a deep rumble)
HUNTER
Whoa, did you feel that?
CHARLIE
What?
HUNTER & KEN
Earthquake!
HUNTER
Everyone head for the hotel doorway!
(Lights go out)
ALYS
Daddy?!
KEN
Hunter, grab Alys!
HUNTER
I’ve got her! Charlie, Zsa Zsa, help our parents.
(Rumbling intensifies, there’s a deafening crash, then silence.)
KEN
Alys?
ALYS
Daddy!
Flashlights pierce the darkness. Flashlights pass by the wedding party, who are standing under the intact doorway, all in shock. The
adjoining wall has come down.
CHARLIE
Hunter?
(No answer. She grabs a flashlight, points it behind her.)
No!
SCENE 5
(GRAVESIDE at the CEMETERY in NYC - HUNTER’S FUNERAL
An echo of the wedding party getting off the bus in Peru, the wedding party arrives. The coffin is already on the rails. Maya and Ken are there Graveside. Charlie enters, with Miriam and Huck on either side of her, holding her steady. F. Scott and Julia enter stiffly. Zsa Zsa enters.)
KEN
(Reads the poem as the coffin lowers and the Intro to the Kaddish plays - as he speaks, Charlie, Julia and F.Scott each lay something on the coffin - rose, book, cap)
Do not stand at my grave and weep
I am not there I do not sleep
(Maya sings the KADDISH.)
(As Maya sings, Miriam, Huck, Zsa Zsa, Charlie shovels and falls into Zsa Zsa's arms. As Maya continues to sing, the family & friends leave in a recessional with Ken who continues to shovel.)
We see a split stage with Ken shovelling, the other Manhattanites returning to their lives. Miriam and Huck taking Charlie home to her empty apartment, she won’t let them in, they walk home dejectedly. They walk by a deli and Miriam gestures that they go in and Huck shakes his head. Charlie covers her mirrors; Julia and F.Scott sitting separately staring out the window, their unpacked suitcases in the middle of the living room, Charlie sits at her piano, bereft)
KADDISH INTO FOREVER BLUE
KEN
Do not stand at my grave and weep
I am not there I do not sleep
MAYA
YITGADAL V'YITKADASH SH'MEI RABA.
KEN
I am a thousand winds that blow
And the diamond’s glint on snow
MAYA
B'ALMA DI V'RA CHIRUTEI,
KEN
When you awake in the morning’s hush
I am the swift uplifting rush
MAYA
V'YAMLICH MALCHUTEI,
B'CHAYEICHON UV'YOMEICHON
KEN
Of quiet birds in circled flight
MAYA
UV'CHAYEI D'CHOL BEIT YISRAEL,
I am the soft stars that shine at night
MAYA
B’AAGALA UVIZ'MAN KARIV. V'IM'RU: AMEN.
KEN
Do not stand at my grave and cry
I am not there I did not die
The Kaddish segues into FOREVER BLUE
CHARLIE
YOU WERE THE SUN THAT WARMED THE EARTH
YOU WERE THE RAIN THAT SLAKED MY THIRST
YOU WERE THE ONE WHO WOKE MY HEART
AND YOU ARE THE ONE WHO TORE IT APART
SO I'M FOREVER BLUE
YOUR BODY AND SOUL MY TATTOO
SAY IT'S NOT THE END
THAT IT'S JUST PRETEND
TELL ME I WILL SEE YOUR FACE AGAIN
OR I'M FOREVER BLUE
I AM FOREVER BLUE
I AM INSIDE AND OUTSIDE OF YOU
AND I ACHE FOR YOU
I BREAK FOR YOU
FOR THE LOVE I‘LL NEVER MAKE WITH YOU
I AM FOREVER BLUE
CHARLIE
YOU WERE THE SUN THAT WARMED THE EARTH
YOU WERE THE RAIN THAT SLAKED MY THIRST
YOU WERE THE ONE WHO WOKE MY HEART
AND YOU ARE THE ONE WHO TORE IT APART
SO I'M FOREVER BLUE
YOUR BODY AND SOUL MY TATTOO
SAY IT'S NOT THE END
THAT IT'S JUST PRETEND
TELL ME I WILL SEE YOUR FACE AGAIN
OR I'M FOREVER BLUE
I AM FOREVER BLUE
I AM INSIDE AND OUTSIDE OF YOU
AND I ACHE FOR YOU
I BREAK FOR YOU
FOR THE LOVE I‘LL NEVER MAKE WITH YOU
I AM FOREVER BLUE
SCENE 6
Maya is setting up for her Bereavement Group
Zsa Zsa enters with Charlie.
MAYA
I’m so glad you’re here.
CHARLIE (Crumples into Zsa Zsa’s arms)
I can’t- I don’t know if I can do this.
ZSA ZSA
It’s okay dahlink, it’s okay. This will help. I’ll be waiting for you right outside.
MAYA (she takes Charlie’s hand)
We’ve got you.
(JULIA and F.SCOTT, MIRIAM and HUCK are in their own spaces)
DON'T KNOW WHAT TO SAY
SONG: DON’T KNOW WHAT TO SAY
MAYA
Welcome, everyone. We have some new faces. (the lights flicker on and off) Just give it a second.
(she waits for lights to stop flickering) I like to start each sharing session with the thought that though we miss our loved ones every day, as time goes on, they will be closer than you know. (she squeezes Charlie’s hand)
MAYA
YOU DON’T KNOW WHAT TO SAY
JULIA
People say I'm holding up so well.
MAYA
YOU DON’T KNOW WHAT TO DO
F.SCOTT
Julia’s been a rock. But I...I’m not sure…
MAYA
WHEN LIFE DELIVERS THIS
F.SCOTT
I don’t…
MAYA
THE RIGHT WORDS DON’T EXIST
F.SCOTT
I can’t…
MAYA
THE FAULT IS NOT WITH YOU
JULIA
I do find it’s best to keep myself busy
JULIA
EVERYBODY’S COME
BEREAVED YOUNG MOTHER
Why do people say “at least you can have another baby?”
JULIA
MY LOVED ONES FILE BY
BEREAVED YOUNG MOTHER
She’s not replaceable
F.SCOTT
I STAND THERE FEELING NUMB
WHINY VOICE
I never kissed him goodbye
F.SCOTT
WHILE FAMILY AND FRIENDS
MOURNFUL GUY
If I get one more casserole
F.SCOTT
HUG ME AS THEY CRY
MAD GUY
I’m not a hugger. Where’s social distancing when you need it?
JULIA
THERE IS NO LANGUAGE FOR THIS LOSS
F.SCOTT
GRIEF IS A BRIDGE THAT CAN’T BE CROSSED
MAYA (to the bereavement group)
UNTIL YOU'VE HAD SOMEONE YOU LOVE TAKEN AWAY
YOU DON’T KNOW WHAT TO SAY
F.SCOTT
I wish it had been me. It should have been me.
SAD DAUGHTER
SO MUCH TIME HAS PASSED
MAD GUY
If one more person asks, “Aren’t you over it by now?
SAD DAUGHTER
FOR ME IT’S STANDING STILL
MAD GUY
Over it? OVER IT? Are you fucking kidding me?
KEN
EVERYBODY ASKS
SAD DAUGHTER
I should give her clothes away…
KEN
WHEN I'LL STOP LOOKING BACK
SAD DAUGHTER
...but I just can’t.
KEN
I HOPE SOMEDAY I WILL
WHINY VOICE
I miss him but I’m actually happier. Am I a monster?
STOIC GIRL
THANKS FOR BEING HERE
MIRIAM
I keep telling her she’s in denial. She just has to go through it.
STOIC GIRL
AND LISTENING TO ME
HUCK
I can’t stand to see my own daughter in such pain.
WHINY VOICE
AND LETTING ME BE SAD
MOURNFUL GUY
(mournfully) My life sucks.
WHINY VOICE
AND LETTING ME BE MAD
MAD GUY
(angrily) My life sucks!!!
WHINY VOICE
JUST LETTING ME BE
SAD DAUGHTER
I resent anyone who’s still happy
HUCK AND MIRIAM
THERE IS NO LANGUAGE FOR THIS LOSS
KEN
We miss her every day.
HUCK AND MIRIAM
GRIEF IS A BRIDGE THAT CAN’T BE CROSSED
KEN
Every single day.
HUCK AND MIRIAM
UNTIL YOU'VE HAD SOMEONE YOU LOVE
MAYA
TAKEN AWAY
KEN
TAKEN AWAY
MIRIAM AND JULIA
YOU DON’T KNOW WHAT TO SAY
MAYA
BUT KNOW THAT IT’S OK
MAYA MIRIAM AND HUCK
LOVE’S THE ONLY WAY
CHARLIE
WHEN YOU DON’T KNOW WHAT TO SAY
I’m sorry, I… (She runs out of the group - the lights flicker on and off again)
SCENE 7
- CHARLIE’S APT/JULIA & F.SCOTT’S PENTHOUSE Her apartment messier than when we last saw it. Julia is sitting on the bed in Hunter’s childhood bedroom. Julia dials the phone, then hangs up before it rings. Waits a bit longer, then dials again.)
CHARLIE (The phone rings)
Hi Julia.
JULIA
Charlie. It’s so good to hear your voice. F.Scott and I had the meeting with our foundation today about building a hospital in Hunter's name. We were hoping to see you there.
CHARLIE
I’ve been swamped.
JULIA
Well, we’d love you to come to dinner on Thursday. We thought you could help us choose a name for the hospital. And maybe you could take a look through Hunter’s things?
CHARLIE
This isn’t a good week for me.
JULIA
What about next Thursday, then? We can get takeout from Sfoglia. You and F.Scott always like their ravioli.
CHARLIE
I don’t know about next week. I’ve got a big deadline.
JULIA
Why don’t you call me then. (silence) Or I’ll keep trying.
(silence)
JULIA
Okay then...I suppose I’ll talk to you soon.
CHARLIE
Bye. (Charlie curls up in a ball on the couch)
(Julia hangs up, and picks up Hunter’s childhood teddy bear. As she sings, F.Scott stands outside the door to the bedroom, listening)
CHARLIE (The phone rings)
Hi Julia.
JULIA
Charlie. It’s so good to hear your voice. F.Scott and I had the meeting with our foundation today about building a hospital in Hunter's name. We were hoping to see you there.
CHARLIE
I’ve been swamped.
JULIA
Well, we’d love you to come to dinner on Thursday. We thought you could help us choose a name for the hospital. And maybe you could take a look through Hunter’s things?
CHARLIE
This isn’t a good week for me.
JULIA
What about next Thursday, then? We can get takeout from Sfoglia. You and F.Scott always like their ravioli.
CHARLIE
I don’t know about next week. I’ve got a big deadline.
JULIA
Why don’t you call me then. (silence) Or I’ll keep trying.
(silence)
JULIA
Okay then...I suppose I’ll talk to you soon.
CHARLIE
Bye. (Charlie curls up in a ball on the couch)
(Julia hangs up, and picks up Hunter’s childhood teddy bear. As she sings, F.Scott stands outside the door to the bedroom, listening)
ORDINARY MIRACLES REPRISE
JULIA
YOUR SILKY HEAD BENEATH MY CHIN
FOR BEDTIME BOOKS AND LULLABIES
YOUR ANGEL KISS UPON MY CHEEK
YOUR TEDDY BEAR CLUTCHED TO YOUR SIDE
HOW SOON THE BIKE WHEELS TURNED TO CAR WHEELS
THE LULLABIES TO ROCK AND ROLL
THE TEDDY BEARS TO PRETTY GIRLS
AND INSTEAD OF YOU THESE THOUGHTS I’LL HOLD
(Julia breaks down, muffling her cries into the teddy bear.)
F.SCOTT (from the hallway)
Julia?
JULIA (straightens herself up as he comes in)
I was just thinking we should do something with this room.
(A trophy falls off the edge of a bookshelf, startling them. F.Scott picks it up and holds it for the rest of the scene)
F.SCOTT
I suppose so. But there’s no rush.
JULIA
I spoke to Charlie. She’s…busy right now.
F.SCOTT
Busy? Oh, well, we could- what if...ravioli?
(F.Scott tries to reach for Julia, but she leaves the room)
YOUR SILKY HEAD BENEATH MY CHIN
FOR BEDTIME BOOKS AND LULLABIES
YOUR ANGEL KISS UPON MY CHEEK
YOUR TEDDY BEAR CLUTCHED TO YOUR SIDE
HOW SOON THE BIKE WHEELS TURNED TO CAR WHEELS
THE LULLABIES TO ROCK AND ROLL
THE TEDDY BEARS TO PRETTY GIRLS
AND INSTEAD OF YOU THESE THOUGHTS I’LL HOLD
(Julia breaks down, muffling her cries into the teddy bear.)
F.SCOTT (from the hallway)
Julia?
JULIA (straightens herself up as he comes in)
I was just thinking we should do something with this room.
(A trophy falls off the edge of a bookshelf, startling them. F.Scott picks it up and holds it for the rest of the scene)
F.SCOTT
I suppose so. But there’s no rush.
JULIA
I spoke to Charlie. She’s…busy right now.
F.SCOTT
Busy? Oh, well, we could- what if...ravioli?
(F.Scott tries to reach for Julia, but she leaves the room)
SCENE 8
Charlie’s apartment - Charlie is sitting at the piano. She’s a visual mess, and so is the apartment. Montage of family and friends checking in on her from their own spaces.
CHARLIE
WHERE DO IDEAS COME FROM
MIRIAM
Maybe you should go back to teaching. Just until you’re feeling more yourself.
CHARLIE
WHAT IS INSPIRATION
ZSA ZSA
Darling, just checking in on you. I’ll drop by in the morning.
CHARLIE
HOW DOES A SHEET OF PAPER
Turn into a creation
MAYA
You’re going to go through it the way you go through it. But I’m here.
CHARLIE
I CRAVE THAT
BIG MAGIC
HUCK
Keep playing, ketseleh. You’ll find your fingers again. Trust me.
CHARLIE
I NEED THAT BIG MAGIC
LIKE STORIES
LIKE MUSIC
LIKE ...
(Charlie stands up, pacing her apartment.)
What if there are no more stories?
(The lights go out. Then come on again.
Something slides off the piano bench and makes a loud noise. Charlie jumps. She goes to clean up the mess and there is a single white gym sock hanging out of the end of the bench. She opens the bench to get it out, and sees a wrapped rectangular package with a card. She sees Hunter’s handwriting, and opens it)
CHARLIE
(She can’t breathe)
You always knew exactly what to say. What to do .
(She puts the sheet music on the piano and the card on top of the piano. She starts to play, reprising Big Magic through her tears)
BIG MAGIC
DOES IT RISE UP FROM WITHIN
OR FALL DOWN FROM ABOVE
OH IS IT BIG MAGIC
LIKE STORIES
LIKE MUSIC
LIKE LOVE
SCENE 9
ZSA ZSA
Delivery! I’m back for a week and I am all yours. What do you need?
CHARLIE
Nothing.
ZSA ZSA
Is it a day of 80s rom-coms or shopping and shvitzing?
CHARLIE
I don't know. Tell me about the shoot. How’s it going?
ZSA ZSA
The shooting is the easy part. The devil's in the details. They want me to shoot both endings just in case the happy one doesn't test well. Imagine! Once we have the last two locations wrapped we’ll be knee deep in post. I’m off to London next week but I’ll still do our daily checkin.
CHARLIE
I’m sorry I haven’t given you the theme for the ending yet. I'm blank.
ZSA ZSA
No, no, no, no no! That is not why I am here. I’m here for you. Does it help to play?
CHARLIE
You would think...
ZSA ZSA
Play me something.
(She plays the theme Forever Blue)
ZSA ZSA
Well that was depressing.
They laugh
CHARLIE
I told you. I can’t do this.
ZSA ZSA
Just keep showing up. It will come.
CHARLIE
I don’t even know what I’m showing up for.
ZSA ZSA
It’s not what. It’s who. (He takes a sheet off one of the mirrors and shows her her reflection.) This is who you need to show up for. I miss my badass sidekick.
CHARLIE
I don't know that person anymore.
ZSA ZSA
She's there, she's just gone underground.
ZSA ZSA
Delivery! I’m back for a week and I am all yours. What do you need?
CHARLIE
Nothing.
ZSA ZSA
Is it a day of 80s rom-coms or shopping and shvitzing?
CHARLIE
I don't know. Tell me about the shoot. How’s it going?
ZSA ZSA
The shooting is the easy part. The devil's in the details. They want me to shoot both endings just in case the happy one doesn't test well. Imagine! Once we have the last two locations wrapped we’ll be knee deep in post. I’m off to London next week but I’ll still do our daily checkin.
CHARLIE
I’m sorry I haven’t given you the theme for the ending yet. I'm blank.
ZSA ZSA
No, no, no, no no! That is not why I am here. I’m here for you. Does it help to play?
CHARLIE
You would think...
ZSA ZSA
Play me something.
(She plays the theme Forever Blue)
ZSA ZSA
Well that was depressing.
They laugh
CHARLIE
I told you. I can’t do this.
ZSA ZSA
Just keep showing up. It will come.
CHARLIE
I don’t even know what I’m showing up for.
ZSA ZSA
It’s not what. It’s who. (He takes a sheet off one of the mirrors and shows her her reflection.) This is who you need to show up for. I miss my badass sidekick.
CHARLIE
I don't know that person anymore.
ZSA ZSA
She's there, she's just gone underground.
SCENE 10
JULIA
Well, she’s gone up two shoe sizes!
KEN
Oh wow. Did you get everything you need for school?
ALYS
I think so.
JULIA
And a few extras. They laugh. Why don’t we get sorted, and you can show your dad?
They leave
F.SCOTT
It's good to see her laugh… I'm glad you and Alys came.
KEN
When Julia called, I- She's always been so good to me. Is she doing okay?
F.SCOTT
Hard to know really.
KEN
And you?
F.SCOTT
Oh, keeping on. The hospital foundation is going well. We were certainly thankful to have you on the ground there.
KEN
It’s important work. Hunter would have appreciated it.
F.SCOTT
Well it's become Julia's baby now.
(awkward pause)
Julia enters
JULIA
She’s almost ready for her parade.
KEN
Great!
(Julia and F.Scott say the next two lines at the same time)
JULIA
You know our place is yours as long as you need to get settled.
F.SCOTT
We’re hoping you’ll stay…
JULIA
...Yes, as long as you’d like.
ALYS
There were so many clothes, Dad! Alys parades one outfit.
KEN
Nice! A little different than our Cusco shopping.
ALYS
I met a girl who’s going to the same dance classes! Right, Julia?
She runs out to try on another outfit
JULIA
Yes, in the lobby. (to F.Scott) It’s Nadira’s granddaughter. We’re going to plan something. Once school gets started.
KEN
Have you heard from Charlie?
Julia and F.Scott exchange a look
JULIA
We invited her for dinner again this week, but-
F.SCOTT
Have you spoken to her?
KEN
I’ve left messages.
JULIA
Well, she has to be involved in the hospital plans. We're all grieving, but this- it's not right.
F.SCOTT
Julia-
JULIA
She shuts us out, she..it's like we don't exist.
F.SCOTT
This isn't the time to-
JULIA
When then? She lost her husband, but we lost our son!
KEN (consoling Julia)
Just give her a bit more time.
JULIA
(to Ken) You never did that. With Felice. Shut people out.
KEN
I did in my own way, but this, it's...different. We had time with Felice. We knew what we were facing. Charlie didn’t- None of us had a chance to say goodbye.
Alys comes running in and shows off an outfit
ALYS
This! This is my favourite!
KEN
Very colourful!
Alys exits
F.SCOTT
Maybe we could convince Charlie to give Alys some music lessons?
(Julia shakes her head, exasperated)
KEN
I’ll reach out to her again. It’s probably hard-
Julia is visibly upset and gets up to leave
JULIA
Alys might need my help with the next one.
KEN
I’m sorry.
F.SCOTT
No, no. It’s just a time. For all of us.
Alys rushes in with another outfit. Julia following behind.
ALYS
Okay, maybe this one is my favourite. She hugs Ken
KEN
Definitely.
SCENE 11
.
(Underscore of Silver Linings) Huck and Miriam’s apartment
(Charlie is curled up on their couch. Miriam starts preparing Sabbath dinner. Huck sits at the piano. He plays, and he and Miriam sing as they go through the Sabbath rituals of lighting the candles, pouring the wine and cutting the challah. As they light the candles, the candles keep blowing out. They drag Charlie over to the table. She’s still unkempt, and clearly hasn’t showered for a while)
Charlie hardly touches her food)
MIRIAM
You need to eat.
CHARLIE
I’m not hungry.
HUCK
You should thank your mother for organizing Shabat dinner, ketseleh. She’s trying, you know.
CHARLIE
Maybe she should try listening when I tell her I want to be left alone.
HUCK
You know her - fixing people is her thing.
CHARLIE
She can’t fix this. We shouldn’t have got married in Peru. We should have waited and got married here.
(Miriam re-enters)
MIRIAM
You can’t torture yourself with “what ifs…" We were right there. There’s nothing you could’ve done differently.
CHARLIE
Spare me the analysis. I’m your daughter, not one of your patients.
MIRIAM
I’m talking to you as your mother.
HUCK
Oy, bargaining with God is about as useful as a fartsn in der vint.
CHARLIE
A what?
MIRIAM (whacks Huck on the shoulder)
A fart in the wind?
CHARLIE
Way to keep it classy, Dad.
HUCK
Keep it gassy? Well, with your mother's cooking… But I guess being able to eat Friday night dinner together is one good thing about losing my weekend gig at The Bistro.
MIRIAM
Can you believe after 25 years they told him his last gig is next month?
HUCK
I guess no-one’s really interested in the kind of jazz I play anymore.
MIRIAM
Charlie, you know how the business works. Tell him that’s not true.
CHARLIE
I'm the last person you should be talking to about music right now. I can't write, I can't play, I can't think...
MIRIAM
It takes time, honey.
(Underscore of Silver Linings) Huck and Miriam’s apartment
(Charlie is curled up on their couch. Miriam starts preparing Sabbath dinner. Huck sits at the piano. He plays, and he and Miriam sing as they go through the Sabbath rituals of lighting the candles, pouring the wine and cutting the challah. As they light the candles, the candles keep blowing out. They drag Charlie over to the table. She’s still unkempt, and clearly hasn’t showered for a while)
Charlie hardly touches her food)
MIRIAM
You need to eat.
CHARLIE
I’m not hungry.
HUCK
You should thank your mother for organizing Shabat dinner, ketseleh. She’s trying, you know.
CHARLIE
Maybe she should try listening when I tell her I want to be left alone.
HUCK
You know her - fixing people is her thing.
CHARLIE
She can’t fix this. We shouldn’t have got married in Peru. We should have waited and got married here.
(Miriam re-enters)
MIRIAM
You can’t torture yourself with “what ifs…" We were right there. There’s nothing you could’ve done differently.
CHARLIE
Spare me the analysis. I’m your daughter, not one of your patients.
MIRIAM
I’m talking to you as your mother.
HUCK
Oy, bargaining with God is about as useful as a fartsn in der vint.
CHARLIE
A what?
MIRIAM (whacks Huck on the shoulder)
A fart in the wind?
CHARLIE
Way to keep it classy, Dad.
HUCK
Keep it gassy? Well, with your mother's cooking… But I guess being able to eat Friday night dinner together is one good thing about losing my weekend gig at The Bistro.
MIRIAM
Can you believe after 25 years they told him his last gig is next month?
HUCK
I guess no-one’s really interested in the kind of jazz I play anymore.
MIRIAM
Charlie, you know how the business works. Tell him that’s not true.
CHARLIE
I'm the last person you should be talking to about music right now. I can't write, I can't play, I can't think...
MIRIAM
It takes time, honey.
SCENE 12
We see the characters in their own spaces HUCK AND MIRIAM start at their apartment and we later see them on a subway. Julia & F. Scott are on a commuter train. ZSA ZSA is walking along the streets of NYC towards CHARLIES a apartment. KEN is in NYC. MAYA is at the bereavement group setting.
THE ME I USED TO BE
MIRIAM
YOU GO ALONG LIKE ALL IS WELL
AND IN A MOMENT IT’S ALL SHOT TO HELL
HUCK: It’s in pieces on the ground
CHARLIE
I...I'm sorry...I can't be here.
She runs out of the apartment and slams the door.
KEN
ONE MINUTE YOU ARE RIDING HIGH
AND THEN YOUR HEAD IS IN YOUR HANDS
AND YOU’RE ASKING
ZSA ZSA: Tell me why
F.SCOTT
THERE’S A STONE IN MY POCKET
AND ICE IN MY VEINS
MAYA
THERE’S A DISTANT THUNDER CALLING OUT FOR RAIN
F.SCOTT
MY SHOES ARE LEAD
AND MY HANDS ARE CLAY
KEN AND MAYA
AND THE SKY IS EVERY SHADE OF GREY
HUCK
MY BRAIN’S A FOG MY HEART IS NUMB
ZSA ZSA
A STRANGER’S WORDS ROLL OFF MY TONGUE
JULIA
WHAT I SHOULD HAVE DONE
MIRIAM
WHAT I COULD HAVE DONE
KEN AND MAYA and ENSEMBLE
ONE FOOT IN FRONT OF THE OTHER
F. SCOTT AND JULIA and ENSEMBLE
SOMEHOW I’VE GOT TO DISCOVER
ZSA ZSA AND MAYA
HOW TO MAKE IT THROUGH THIS HELL I’M IN
HUCK AND MIRIAM and ENSEMBLE
SO I TAKE ONE BREATH AND THEN TAKE ANOTHER
KEN and ENSEMBLE
I’VE GOT TO FIND MY WAY BACK TO
KEN , MAYA, ZSA ZSA HUCK , MIRIAM, F. SCOTT AND JULIA and ENSEMBLE
THE ME I USED TO BE
ZSA ZSA
ROUND AND AROUND LIKE A CRUEL CAROUSEL
MAYA
NO BEGINNING OR END NO RELIEF NO REPRIEVE
F.SCOTT AND JULIA
JUST REPEAT
HUCK AND MIRIAM
AND REPEAT
KEN,ZSA ZSA, MAYA
AND REPEAT
KEN
YOU HAVE A MAP INSIDE YOUR HANDS
MAYA
BUT GOD JUST LAUGHS WHEN WE MAKE PLANS
MIRIAM
THE SUN IS STUCK BEHIND A CLOUD
F.SCOTT
THAT’S LIFE WHEN LIFE HAS GONE AND LET YOU DOWN
HUCK
NOW THE MUSIC’S GONE AND I’VE LOST THE BEAT
ZSA ZSA
I CAN’T HEAR THE SONG OR THE MELODY
MIRIAM
THE SILENCE DRONES AN ENDLESS DRUM
JULIA
REGRET’S A REEL OF HIT AND RUN
KEN
NO PEACE NO CEASEFIRE FOR THIS BLAME
F.SCOTT
I’M A HOPELESS HOSTAGE IN THIS GAME
F.SCOTT AND JULIA
BECAUSE YOU’RE GONE
KEN, ZSA ZSA and MAYA
ONE DAY TURNS INTO ANOTHER
F.SCOTT, JULIA and HUCK
IT'S TOUGH I’VE GOT TO BE TOUGHER
ZSA ZSA and ENSEMBLE
DON’T THINK DON’T FEEL AND DON’T LOOK BACK
HUCK, MIRIAM and KEN
IT’S LIKE I’M STRANDED NO CLUE NO DIRECTION
KEN and ENSEMBLE
TRYING TO FIND THE ROAD BACK TO
ALL
THE ME I USED TO BE
INSTRUMENTAL DANCE BREAKDOWN 32 BARS
KEN, ZSA ZSA and MAYA
ONE TEAR DROPS INTO ANOTHER
F.SCOTT, JULIA and HUCK
RAIN FALLS AND I RUN FOR COVER
ZSA ZSA and ENSEMBLE
TIL I’M SINKING LIKE I’M GONNA DROWN
HUCK, MIRIAM and KEN
I’VE GOT TO HOLD ON AND REACH FOR A LIFELINE
MAYA,JULIA and MIRIAM
STRONG ENOUGH TO PULL ME BACK TO
ENSEMBLE
ONE FOOT IN FRONT OF THE OTHER
ONE BREATH AFTER ANOTHER
THE ME I USED TO BE
THE ME I USED TO BE
ONE FOOT IN FRONT OF THE OTHER
ONE BREATH AFTER ANOTHER
THE ME I USED TO BE
THE ME I USED TO BE
THE ME I USED TO …
JULIA
BE
MAYA/HUCK/MIRIAM
ONE FOOT IN FRONT OF THE OTHER
KEN/ /ZSA ZSA / F. SCOTT
AND LIFE GOES ON
KEN/ /ZSAZSA / F. SCOTT/ JULIA
AND LIFE GOES ON
MAYA/HUCK/MIRIAM
ONE BREATH AFTER ANOTHER
KEN/ /ZSA ZSA / F SCOTT/ JULIA
AND LIFE GOES ON
AND LIFE GOES ON
HUCK/MIRIAM
ONE FOOT IN FRONT OF THE OTHER
KEN/ / F SCOTT/ JULIA
LIFE GOES ON
KEN/MAYA
AND LIFE GOES ON
F SCOTT/ JULIA
ONE BREATH AFTER ANOTHER
KEN/MAYA
AND LIFE GOES ON
KEN/MAYA
AND LIFE GOES ON
KEN
AND LIFE GOES ON
KEN
AND LIFE GOES ON
Piano riff segues into Charlies apartment
SCENE 13
CHARLIE is sitting at her piano playing a version of the riff from ''THE ME I USED TO BE" aimlessly as ZSA ZSA listens.
CHARLIE
See, Zsa Zsa? Listen to this crap. I can’t do this.
ZSA ZSA (indicates the state of the apartment)
What...? Your life? Your hair? The four food groups? (picks up the top box of a stack of twenty pizza boxes and moves them off the sofa so he can sit down) Talk to me.
CHARLIE
I can’t score the movie. My mind's a frickin' blank. It's like someone turned off the tap in my brain.
ZSA ZSA
You're the idea machine. It will come. It always has.
CHARLIE
You don't understand.Hunter, he was my big magic.
ZSA ZSA
It breaks my heart to see you like this.
CHARLIE
This- this is why I can't write you a happy ending. You need to ask someone else.
ZSA ZSA
I don't want someone else. I chose you.
CHARLIE
No, you chose the Charlie you used to know.
ZSA ZSA
Well, if you see her, tell her I'm looking for her. I'm flying out tomorrow. I'll check in from London. Kisses! (he air kisses her, leaves, and Charlie tries to play)
CHARLIE
See, Zsa Zsa? Listen to this crap. I can’t do this.
ZSA ZSA (indicates the state of the apartment)
What...? Your life? Your hair? The four food groups? (picks up the top box of a stack of twenty pizza boxes and moves them off the sofa so he can sit down) Talk to me.
CHARLIE
I can’t score the movie. My mind's a frickin' blank. It's like someone turned off the tap in my brain.
ZSA ZSA
You're the idea machine. It will come. It always has.
CHARLIE
You don't understand.Hunter, he was my big magic.
ZSA ZSA
It breaks my heart to see you like this.
CHARLIE
This- this is why I can't write you a happy ending. You need to ask someone else.
ZSA ZSA
I don't want someone else. I chose you.
CHARLIE
No, you chose the Charlie you used to know.
ZSA ZSA
Well, if you see her, tell her I'm looking for her. I'm flying out tomorrow. I'll check in from London. Kisses! (he air kisses her, leaves, and Charlie tries to play)
SCENE 14
Ken knocks
CHARLIE
Zsa Zsa, I'm serious. I can't do this--
KEN (cautiously opening the door)
Charlie?
CHARLIE
Oh. Ken?
Awkward pause, then Alys steps out from behind Ken.
Alys!
(Charlie leans down to give Alys a hug.)
CHARLIE AND KEN talk over one another as Charlie tries to clean up the messy apartment.
CHARLIE KEN
How are you?... How is everything?...
CHARLIE KEN
I’m…okay… Doing okay…
KEN
Is this a bad time? Zsa Zsa...
CHARLIE
Yeah, Zsa Zsa... (shakes her head)
KEN
Look, we'll come back later.
ALYS
I'm going to school here now!
CHARLIE
School? Here?
ALYS
And I'm going to take dance! Just like my mom!
CHARLIE
Oh, wow.
KEN
We thought it would be a good change of scenery for us. Look, if you're in the middle of something...
ALYS (Charges in and goes straight to the piano.)
I told you she'd have a piano, Daddy. She’s a teacher.
KEN
She used to be a teacher. She’s a composer now. (to Charlie)Sorry for just barging in, I left you a few messages.
We need a good music teacher. Any thoughts?
ALYS
Or maybe you could teach me?
KEN
I'm sure Charlie's busy.
ALYS
Please?
KEN
Really, don’t worry about it. We’ll let you get back to –
ALYS
Charlie…?
CHARLIE
Alys, I'm sorry...Manhattan's got lots of great teachers.
ALYS (to Ken)
I guess you and F.Scott were right. (pulls $5 out of her pocket and hands it to Ken)
CHARLIE
Whoa! Wait a second! You bet against me?
ALYS
I bet them you’d teach me if we just showed up.
KEN
I…no…it was just a joke. I- I wasn’t sure you’d be ready to...
CHARLIE
Alys, I can’t let those guys take your money. Come on.
ALYS
Yes!!! (Puts her hand out to get her $5 back. He gives it to her,) Ahem.
(Ken pulls out another five dollar bill and hands it to her)
KEN (to Charlie)
Are you sure?
CHARLIE
Yeah. Come back in an hour? (Alys goes over to the piano)
KEN (Picks up a picture of Hunter and Charlie - to Charlie.)
You doing okay?
I know how hard this is-
CHARLIE
We’re fine.
(Alys grabs the picture frame.)
ALYS
We’re fine, Dad. See you in an hour.
(Pushes Ken out the door. She looks at the picture, holds it to her chest)
Charlie, are you mad at me?
CHARLIE
What?
ALYS
(Long pause. Alys won’t look at Charlie)
If Hunter hadn’t been trying to save me- (Alys falls apart. Charlie takes the picture frame and puts it back on the table. She hugs Alys)
CHARLIE
You think I blame you for what happened? Alys, no, no. It’s not your fault. It was never your fault.
Alys sobs
ALYS
Do you miss him like I miss-
CHARLIE
Your mom? Do you miss her so much you think of her every day and it hurts so bad?
ALYS
Yes. How do you make the hurt go away?
CHARLIE
I’m not sure it ever will. But you know how when something bad happens and you eat ice cream and it feels better just for a little bit? Music can do that for me. Especially when I'm writing it.
ALYS (sits at the piano and looks at the piano books)
In all my school music books, it’s always boys names. Why aren’t there any girl writers?
CHARLIE
I know, right? Where are Susie Bach, Mary Mozart, or Betty Beethoven? I used to think that girls were only allowed to play music, not write it. But you know what? I wrote it anyway. I felt like I was trespassing- almost like I stepped into the boy’s locker room at school.
ALYS
Ew! (they laugh) Are you ever nervous to show your ideas to other people?
CHARLIE
Only every single time.
ALYS
When a teacher asks me to make up a dance, I get so embarrassed. I nail stuff at home but I can never pull it off with people watching. Like the stupid triple pirouette. Everyone else seems so much braver than me.
I lose my nerve in front of people. I wish I was as brave as you.
CHARLIE
Just because I do it, doesn’t mean I’m not scared. Hey, put your hand right here. (She motions to her heart. Alys copies her and puts her hand on her own heart)
UNCHAINED
SONG: UNCHAINED
CHARLIE
WE ARE BORN WITH DESIRE AND A FIRE
AND A WILDNESS THAT’S BEATING IN US
WE ARE BORN WITH THE WILL TO BELONG
WHERE THE HEART KNOWS THE WAY
THERE ARE THOSE WHO WILL TEAR AT OUR DREAMS
TIL THEY BLIND US TO OUR DESTINY
BUT THEY CAN’T TAKE OUR VOICE
OR THE CHOICE
THAT WE ALWAYS REMAIN
UNTAMED
UNNAMED
UNCLAIMED
UNCHAINED
DEFY EXPECTATIONS
AND DON’T SUFFER FOOLS
IF IT’S YOUR CREATION
THEN YOU MAKE THE RULES
CAUSE THE WORLD’S JUST A BIG BALL OF CLAY
DEEP INSIDE LIKE A RIVER OF GOLD
CAN YOU FEEL THE POWER GLOWING IN YOU
ALYS
I’ll try.
WELL ITS YOURS AND ITS MINE
AND IT’S RUNNING TO SHOW US THE WAY
ALYS
I think I feel it. (Alys starts to move in time to the music)
DEEP INSIDE JUST BELIEVE AND BEHOLD
THAT THERE'S ALWAYS A KNOWING IN YOU
ALYS
Always?
CHARLIE
Always!
NO THERE’S NEVER A TIME
WHEN WE CAN'T FIND WHO WE’RE MEANT TO BE
(Charlie brings Alys to the piano again and plays the melody as she and Alys sing.)
CHARLIE
Can you sing it with me?
ALYS
Okay
CHARLIE AND ALYS
UNTAMED
CHARLIE
That’s great, Alys. (Alys plays the notes for the next three lines.)
CHARLIE AND ALYS
UNNAMED
CHARLIE
Exactly.
UNCLAIMED
Now you play it.
UNCHAINED
(Alys and Charlie move away from the piano.)
ALYS
UNREINED (Alys does one pirouette)
CHARLIE
ON A HORSE STRONG AND FREE WE WILL RIDE
ALYS
UNMAIMED (Alys does one pirouette)
CHARLIE
WITH THE SOUL OF AN EAGLE WE’LL FLY
ALYS
UNSHAMED (Alys does one pirouette)
CHARLIE
WHERE THE BOLD AND THE BRAVE KNOW THE WAY
ALYS
UNCHAINED (Alys does two pirouettes)
CHARLIE
TRUST YOUR INTUITION
AND FEEL WHAT YOU FEEL
YOUR IMAGINATION…..
IS YOURS TO MAKE REAL
(Alys does a triple pirouette)
ALYS
I did it! I did a triple pirouette in front of somebody else!
(Knock at the door. Alys runs to the door and opens it for Ken)
Dad, I did a triple pirouette in front of Charlie!
KEN
I told you you could. Pay up!
ALYS
Ugh. (She pulls out a five dollar bill and hands it to him.)
CHARLIE
Maybe I need to get in on some of this action.
KEN
F.Scott started it. And she seems to have all the odds…So…
CHARLIE
Should we say next week, same time?
KEN
Thank you, Charlie.
(Alys hugs Charlie)
ALYS
That was so fun.
(Ken and Alys leave)
CHARLIE goes to the piano, plays
Ok I’m gonna trust my intuition
I’m gonna feel what I feel
Hello, Imagination!
Come out come out wherever you are
DOESN’T PAY TO PLAY IT SAFE
TO CATCH A TIGER BY THE TAIL
TIME TO TAKE A FLYING LEAP
AND GRAB ON TO THE HOLY GRAIL
I DON’T HAVE TO SUFFER FOOLS
THIS IS MY HOUSE AND THESE ARE MY RULES
Spoken:
AND I’M GONNA BREAK THE DAMN RULES
ENSEMBLE
UNTAMED
CHARLIE
UNTAMED
ENSEMBLE
UNNAMED
CHARLIE
UNNAMED
ENSEMBLE
UNCLAIMED
CHARLIE
UNCHAINED
ENSEMBLE
UNREINED
CHARLIE
GIMME THE STRENGTH
GIMME THE NERVE
GIMME THE DRIVE
ENSEMBLE
UNMAIMED
CHARLIE
GIMME THE HEAT
GIMME THE LIGHT
GIMME THE FIRE
ENSEMBLE
UNSHAMED
GIVE ME THE GRIT
GIVE ME THE GRACE
GIVE ME THE HEART
DON’T CARE WHAT THEY DO OR SAY
CAUSE WE ARE WILD AND WE ARE BORN THIS WAY
ENSEMBLE
GIMME THE STRENGTH
GIMME THE NERVE
GIMME THE DRIVE
GIMME THE HEAT
GIMME THE LIGHT
GIMME THE FIRE
CHARLIE
UNTAMED
ENSEMBLE
GIVE ME THE GRIT
GIVE ME THE GRACE
GIVE ME THE HEART
TO BE UNTAMED
CHARLIE AND ENSEMBLE
GONNA TRUST MY INTUITION
GONNA FEEL WHAT I FEEL
IT’S MY IMAGINATION….
AND IT’S MINE TO MAKE REAL
ENSEMBLE
GONNA FEEL WHAT I FEEL
TIME TO MAKE IT REAL
(On the last note, Hunter appears, and CHARLIE sees him)
END OF ACT ONE
ACT TWO
SCENE 1
ABZOLUTELY FABULOUS SCENE
FILM SET OF CASA BLANCA
Big ensemble number
ZSA ZSA
Busy Film Set. Grips hanging lights.Camera Men positioning cameras. Crew rushing around. Zsa Zsa sitting on a director’s chair.
ASSISTANT
Mr. Varga – Are you ready to review the leading lady wardrobe choices?
ZSA ZSA
Ah certainly. Dazzle me!
A number of people from the costume department wheel out rolling racks and mannequins,dressed in the proposed costumes.
Zsa Zsa walks quickly around the collection.
ZSA ZSA
Looks at the first one
No.
ZSA ZSA
Looks at the second one
No.
ZSA ZSA
Walks quickly around the rest of the collection.
No No NO !
FILM SET OF CASA BLANCA
Big ensemble number
ZSA ZSA
Busy Film Set. Grips hanging lights.Camera Men positioning cameras. Crew rushing around. Zsa Zsa sitting on a director’s chair.
ASSISTANT
Mr. Varga – Are you ready to review the leading lady wardrobe choices?
ZSA ZSA
Ah certainly. Dazzle me!
A number of people from the costume department wheel out rolling racks and mannequins,dressed in the proposed costumes.
Zsa Zsa walks quickly around the collection.
ZSA ZSA
Looks at the first one
No.
ZSA ZSA
Looks at the second one
No.
ZSA ZSA
Walks quickly around the rest of the collection.
No No NO !
ABZOLUTELY FABULOUS
WHY BE SO BLAND - WHY SO PREDICTABLE
SHE’S NOT ON SALE -SHE’S A COLLECTABLE
SHE IS NOT A MOUSE-SHE MUST OWN THE FLOOR
TURN THAT SQUEAK INTO ROAR
WHY SO UN-GRAND- DON'T BE EXPECT-ABLE
AN AMUSE BOUCHE SHOULD BE DELECTABLE
(To one designer)
MINI MINNOW GO BE A WHALE
(To another designer)
MR. PEACOCK - FLICK YOUR TAIL
(Goes to a costumes on mannequins and adjusts them)
HIKE UP THE GIRLS
CINCH IN THE PANTS
KICK UP THE HEELS
(To a designer)
AND GO TAKE A CHANCE
DON'T BE THE FLOWER
THAT HOLDS UP THE WALL AT THE DANCE
( Eyes land on a very mousy assistant)
Spoken: And where did you come from?
ASSISTANT: Long Island!
E-mer-gency!!!
You can’t know glamour til you feel glamour!
( Sirens, Ambulance ,Caution Tape and a quick fashion triage happens- turning mousy assistant into a glamazon with some of the accessories from the rack)
YOU SHOULD BE
ABZOLUTELY FABULOUS
THE SECRET TO ALL HAPPINESS
WHY BE DULL AND DRAB-ULOUS
WHEN WE CAN ALL BE ABZOLUTELY FABULOUS
ABZOLUTELY FABULOUS
NO NEED TO BE BACK STAB-U-LOUS
FLASH A DASH OF CLASSINESS
AND WE CAN ALL BE ABZOLUTELY...
FABULOUS
I HAVE A SHOT I MUST DESIGN
I DON’T CHOOSE DREARY – I CHOOSE DIVINE
SO DITCH THE STRAIGHT EMBRACE THE BENT
PASSION'S NOT A PUNISHMENT
NO THOUGHT TOO BIG
DON’T GO DOWNSCALE
GOD AND CHANEL
BOTH LOVE DETAILS
SO DAZZLE THEM WITH EVERY FRAME
IF IT’S BORING WHOSE TO BLAME?
LIFE IS TOO SHORT
TO LIVE IN THE SHADE
SQUEEZE YOUR DAMN LEMONS
SPIKE YOUR LEMONADE!
IT IS YOUR DUTY
TO BRING ALL THE BEAUTY TO LIGHT
Spoken: ( approvingly ) Well- where did you come from?
PROP STYLIST: The East Village
E-mer-gency!!!( Swoons from happiness)
( Ambulance comes in and revives him)
YOU SHOULD BE ABZOLUTELY FABULOUS
LET A FAIRY ZAP YOUR DRESS
SALESPERSON ONE:SASHAY
SALESPERSON TWO:SLAY
SALESPERSON THREE: POP YOUR CHEST
OH DARLING YOU'LL BE ABZOLUTELY FABULOUS
ABZOLUTELY FABULOUS
ALL HANDS CLAP CLAP CLAP-INESS
STRIKE A POSE - YES YES YES!!!
AND WE CAN ALL BE ABZOLUTELY...
FABULOUS
DANCE BREAK
(Spies the straightest of straight men)
ABZOLUTELY FABULOUS
PUT YOUR TESTES TO THE TEST
GROW A PAIR AND TAKE A RISK
AND EVEN YOU'LL BE ABZOLUTELY FABULOUS
ABZOLUTELY FABULOUS
LET THE GODS OF FASHION BLESS
STRUT YOUR STUFF - YOU ARE THE BEST!
AND WE CAN ALL BE ABZOLUTELY...
SALESPERON ONE: GUCCI GOWN
SALESPERSON TWO:SHOES BY LOUBY
SALESPERSON THREE: SPRAY THAT HAIR
SALESPERSON FOUR :WERK THAT BOOTY
...FABULOUS
He finishes the song and all of the assistants and himself are now glammed up from costumes he has ripped up and reassembled, or that have been rushed in from the wings.
SHE’S NOT ON SALE -SHE’S A COLLECTABLE
SHE IS NOT A MOUSE-SHE MUST OWN THE FLOOR
TURN THAT SQUEAK INTO ROAR
WHY SO UN-GRAND- DON'T BE EXPECT-ABLE
AN AMUSE BOUCHE SHOULD BE DELECTABLE
(To one designer)
MINI MINNOW GO BE A WHALE
(To another designer)
MR. PEACOCK - FLICK YOUR TAIL
(Goes to a costumes on mannequins and adjusts them)
HIKE UP THE GIRLS
CINCH IN THE PANTS
KICK UP THE HEELS
(To a designer)
AND GO TAKE A CHANCE
DON'T BE THE FLOWER
THAT HOLDS UP THE WALL AT THE DANCE
( Eyes land on a very mousy assistant)
Spoken: And where did you come from?
ASSISTANT: Long Island!
E-mer-gency!!!
You can’t know glamour til you feel glamour!
( Sirens, Ambulance ,Caution Tape and a quick fashion triage happens- turning mousy assistant into a glamazon with some of the accessories from the rack)
YOU SHOULD BE
ABZOLUTELY FABULOUS
THE SECRET TO ALL HAPPINESS
WHY BE DULL AND DRAB-ULOUS
WHEN WE CAN ALL BE ABZOLUTELY FABULOUS
ABZOLUTELY FABULOUS
NO NEED TO BE BACK STAB-U-LOUS
FLASH A DASH OF CLASSINESS
AND WE CAN ALL BE ABZOLUTELY...
FABULOUS
I HAVE A SHOT I MUST DESIGN
I DON’T CHOOSE DREARY – I CHOOSE DIVINE
SO DITCH THE STRAIGHT EMBRACE THE BENT
PASSION'S NOT A PUNISHMENT
NO THOUGHT TOO BIG
DON’T GO DOWNSCALE
GOD AND CHANEL
BOTH LOVE DETAILS
SO DAZZLE THEM WITH EVERY FRAME
IF IT’S BORING WHOSE TO BLAME?
LIFE IS TOO SHORT
TO LIVE IN THE SHADE
SQUEEZE YOUR DAMN LEMONS
SPIKE YOUR LEMONADE!
IT IS YOUR DUTY
TO BRING ALL THE BEAUTY TO LIGHT
Spoken: ( approvingly ) Well- where did you come from?
PROP STYLIST: The East Village
E-mer-gency!!!( Swoons from happiness)
( Ambulance comes in and revives him)
YOU SHOULD BE ABZOLUTELY FABULOUS
LET A FAIRY ZAP YOUR DRESS
SALESPERSON ONE:SASHAY
SALESPERSON TWO:SLAY
SALESPERSON THREE: POP YOUR CHEST
OH DARLING YOU'LL BE ABZOLUTELY FABULOUS
ABZOLUTELY FABULOUS
ALL HANDS CLAP CLAP CLAP-INESS
STRIKE A POSE - YES YES YES!!!
AND WE CAN ALL BE ABZOLUTELY...
FABULOUS
DANCE BREAK
(Spies the straightest of straight men)
ABZOLUTELY FABULOUS
PUT YOUR TESTES TO THE TEST
GROW A PAIR AND TAKE A RISK
AND EVEN YOU'LL BE ABZOLUTELY FABULOUS
ABZOLUTELY FABULOUS
LET THE GODS OF FASHION BLESS
STRUT YOUR STUFF - YOU ARE THE BEST!
AND WE CAN ALL BE ABZOLUTELY...
SALESPERON ONE: GUCCI GOWN
SALESPERSON TWO:SHOES BY LOUBY
SALESPERSON THREE: SPRAY THAT HAIR
SALESPERSON FOUR :WERK THAT BOOTY
...FABULOUS
He finishes the song and all of the assistants and himself are now glammed up from costumes he has ripped up and reassembled, or that have been rushed in from the wings.
SCENE 2
SCENE 2
ASSISTANT
Mr. Varga! Urgent!
CHARLIE
Zsa Zsa!
ZSA ZSA
Is everything okay?
CHARLIE
I think I just saw Hunter.
ZSA ZSA
What? Where?
CHARLIE
Here, in the apartment.
pause
I know, I know, it’s sounds crazy.
ZSA ZSA
Just a little bit.
CHARLIE
I was playing and then Hunter was there and- it felt like- I thought it was him. But now there’s nothing.
ZSA ZSA
Are you alone? Can you call someone – your parents?
CHARLIE
It’s the middle of the night. And what would I say, I think I’m seeing ghosts? I’m- I’ll be fine. I just needed to tell somebody.
ZSA ZSA
How can I-
The lights in Charlie’s apartment go out.
CHARLIE
Goddamnit!
ZSA ZSA
What? What happened?
CHARLIE
It’s my lights again. I have to call the front desk.
ZSA ZSA
Are you sure you're alright?
CHARLIE
I think so.
ZSA ZSA
Try and get some sleep.
CHARLIE
Sleep would be good. Zsa Zsa...thanks (She hangs up, calls the front desk.)
Hi. It’s Charlie, in 608 – my lights went out again.
Well, it’s happening in my apartment.
All right, thanks, I’ll be here.
(She picks up a picture frame with a picture of her and Hunter. The lights go bright.
She grabs the phone.)
They’re back on again.
(Hangs up the phone, looks at the picture, then puts it down. As she puts the picture down, the lights dim.)
Fuck!
(She looks around, a thought dawning on her. Picks up the picture slowly, and lights slowly come back up. She tentatively puts the picture down and the lights go down, she repeats this a few more times, getting quicker each time and the lights follow her actions.
She finally stops, with the picture in her hand, and the lights fully up -)
Hunter?
(Lights flicker.
She is dumbfounded. She puts the picture on the piano and sits down.
She plays the same chords that she was playing when she saw Hunter. She’s looking to the place where she saw him last as she plays. He comes up behind her and puts his hands over her hands. She stops playing, turns, and jumps back)
CHARLIE
Are you... here?
Beat.
HUNTER
I’m here.
CHARLIE
Oh my god. (He reaches for her and she falls into him, then stops herself.)
No you’re not. You’re not! (backing away)
HUNTER
Charlie, it’s…me.
CHARLIE
No. (She holds up the picture and points at him). This is you! This! Not you. You’re you’re-
HUNTER
I’m here.
CHARLIE
What do you mean? What...
HUNTER
Charlie… he moves towards her
CHARLIE
Don’t! God, I’m such an idiot. (she puts her head in her hands)
(he reaches out to her again)
No! Whatever this is...This...isn’t you. I don't want you here.
I'LL TAKE IT
SONG: I’ll TAKE IT
HUNTER
WHATEVER THIS IS
CHARLIE
And… what is this?
HUNTER
WHATEVER WE ARE
CHARLIE
There is no we anymore!
HUNTER
HOWEVER THIS WORKS
CHARLIE
It can't work.
HUNTER
I’LL TAKE IT
CHARLIE
Not me.
HUNTER
WHATEVER IT TAKES
EACH LITTLE EARTHQUAKE
CHARLIE
Seriously?
HUNTER
YEAH IT’S SURREAL
I’LL ADMIT
AND A LITTLE BIT WEIRD TO READ
YOUR OWN OBITUARY
HUNTER
Very nice writing, by the way.
CHARLIE
You're welcome.
HUNTER
WHATEVER THIS IS
I’LL TAKE IT
CHARLIE
You can't pay the bills, you can't pick up the dry cleaning.
CHARLIE
WHATEVER YOU SAY
HUNTER
Boo!
CHARLIE
OR WHAT YOU THROW MY WAY
IT’S STILL NOT OK
HUNTER
I think it’s OK…
CHARLIE
I can’t take it!
HUNTER
WE BOTH MAY BE NUTS
CHARLIE
I FEEL LIKE A PUTZ
YOU SHOWED UP
I DIDN’T ASK
AND SUDDENLY YOU’RE STANDING HERE LIKE CASPER
CHARLIE
You know…? The friendly ghost?
HUNTER
I just met him the other day.. just the sweetest little guy.
Me and him, and the Ghost of Christmas past… we were gonna go out and get a drink together…
CHARLIE
WHATEVER THIS IS
I CAN’T TAKE IT
CHARLIE
(she's shooing him out the door) Buh-bye now! Say hi to Elvis for me!
HUNTER
I KNOW IT’S NOT RATIONAL, I
DON’T EVEN UNDERSTAND IT MYSELF
BUT IF THIS IS HAPPENING
C’MON DARLING TAKE A LEAP OF FAITH
CHARLIE
OMG
JUST WAIT A MINUTE, I
HUNTER
You’re so theatrical
CHARLIE
I KNOW YOU
YOU TRY TO SPIN IT, BUT
DON’T SELL WHAT I CAN’T BUY
CAUSE YOU’RE A GHOST AND I’M ALIVE
HUNTER
NO I’M NOT THE MAN I USED TO BE
BUT I SEE YOU AND YOU SEE ME
CHARLIE
BUT I’M STILL THE GIRL WHOSE WORLD BURNT DOWN
I CAN’T LET YOU HANG AROUND
HUNTER
I PROMISE I’LL TAKE CARE
OH CHARLIE DON’T BE SCARED OF ME
CHARLIE
IF YOU WANT TO PROTECT ME
HUNTER PLEASE JUST LET ME BE
HUNTER
CHARLIE I’M HERE
CHARLIE
IT’S TOO LATE
AND IT HURTS TOO MUCH
HUNTER
WHATEVER YOU’VE GOT
IT’LL BE ENOUGH
CHARLIE
WHATEVER I’VE GOT- I’VE GOTTA HOLD ON TO
BOTH
I MISS YOU SO MUCH I COULD DIE
CHARLIE
Wait- you’re still dead right?
HUNTER (Pulls out his waistband and looks down)
Yeah.. still dead.
CHARLIE
All I wanted was to see you one more time. But now...I don’t think I could take it if you just go… poof!
HUNTER
EVEN IF I’M HERE FOR JUST AN HOUR OR TWO
THEN I’M GONE FOREVER
BACK INTO THE BLUE
THERE’S STILL SO MUCH I WANT TO SAY TO YOU
CHARLIE PLEASE
CHARLIE
HUNTER PLEASE
HUNTER
CAN’T YOU SEE
CHARLIE
CAN’T YOU SEE
HUNTER
ONE MORE NIGHT
CHARLIE
ONE MORE NIGHT
HUNTER
WITH ME
CHARLIE
WITH YOU
I’ll take it
HUNTER
WHATEVER THIS IS
CHARLIE
And… what is this?
HUNTER
WHATEVER WE ARE
CHARLIE
There is no we anymore!
HUNTER
HOWEVER THIS WORKS
CHARLIE
It can't work.
HUNTER
I’LL TAKE IT
CHARLIE
Not me.
HUNTER
WHATEVER IT TAKES
EACH LITTLE EARTHQUAKE
CHARLIE
Seriously?
HUNTER
YEAH IT’S SURREAL
I’LL ADMIT
AND A LITTLE BIT WEIRD TO READ
YOUR OWN OBITUARY
HUNTER
Very nice writing, by the way.
CHARLIE
You're welcome.
HUNTER
WHATEVER THIS IS
I’LL TAKE IT
CHARLIE
You can't pay the bills, you can't pick up the dry cleaning.
CHARLIE
WHATEVER YOU SAY
HUNTER
Boo!
CHARLIE
OR WHAT YOU THROW MY WAY
IT’S STILL NOT OK
HUNTER
I think it’s OK…
CHARLIE
I can’t take it!
HUNTER
WE BOTH MAY BE NUTS
CHARLIE
I FEEL LIKE A PUTZ
YOU SHOWED UP
I DIDN’T ASK
AND SUDDENLY YOU’RE STANDING HERE LIKE CASPER
CHARLIE
You know…? The friendly ghost?
HUNTER
I just met him the other day.. just the sweetest little guy.
Me and him, and the Ghost of Christmas past… we were gonna go out and get a drink together…
CHARLIE
WHATEVER THIS IS
I CAN’T TAKE IT
CHARLIE
(she's shooing him out the door) Buh-bye now! Say hi to Elvis for me!
HUNTER
I KNOW IT’S NOT RATIONAL, I
DON’T EVEN UNDERSTAND IT MYSELF
BUT IF THIS IS HAPPENING
C’MON DARLING TAKE A LEAP OF FAITH
CHARLIE
OMG
JUST WAIT A MINUTE, I
HUNTER
You’re so theatrical
CHARLIE
I KNOW YOU
YOU TRY TO SPIN IT, BUT
DON’T SELL WHAT I CAN’T BUY
CAUSE YOU’RE A GHOST AND I’M ALIVE
HUNTER
NO I’M NOT THE MAN I USED TO BE
BUT I SEE YOU AND YOU SEE ME
CHARLIE
BUT I’M STILL THE GIRL WHOSE WORLD BURNT DOWN
I CAN’T LET YOU HANG AROUND
HUNTER
I PROMISE I’LL TAKE CARE
OH CHARLIE DON’T BE SCARED OF ME
CHARLIE
IF YOU WANT TO PROTECT ME
HUNTER PLEASE JUST LET ME BE
HUNTER
CHARLIE I’M HERE
CHARLIE
IT’S TOO LATE
AND IT HURTS TOO MUCH
HUNTER
WHATEVER YOU’VE GOT
IT’LL BE ENOUGH
CHARLIE
WHATEVER I’VE GOT- I’VE GOTTA HOLD ON TO
BOTH
I MISS YOU SO MUCH I COULD DIE
CHARLIE
Wait- you’re still dead right?
HUNTER (Pulls out his waistband and looks down)
Yeah.. still dead.
CHARLIE
All I wanted was to see you one more time. But now...I don’t think I could take it if you just go… poof!
HUNTER
EVEN IF I’M HERE FOR JUST AN HOUR OR TWO
THEN I’M GONE FOREVER
BACK INTO THE BLUE
THERE’S STILL SO MUCH I WANT TO SAY TO YOU
CHARLIE PLEASE
CHARLIE
HUNTER PLEASE
HUNTER
CAN’T YOU SEE
CHARLIE
CAN’T YOU SEE
HUNTER
ONE MORE NIGHT
CHARLIE
ONE MORE NIGHT
HUNTER
WITH ME
CHARLIE
WITH YOU
I’ll take it
SCENE 3
Charlie and Hunter continue to discover each other in their ghost-life – as other characters in their own lives react to Charlie’s absence. Time lapses - Charlie is back to herself visually and the apartment is in order again.
MIRIAM
We’ve never gone this long without seeing her.
HUCK
You have to give her some space. She’ll call when she needs us.
MIRIAM
The least she could do is let us know she's alive. She better show up for your gig.
ZSA ZSA
Charlie, I’m back from London. There have been some developments. We need to talk.
ALYS
Daddy, doesn't Charlie like me anymore? Why does she keep cancelling my lessons?
KEN
Of course she still likes you.
JULIA
How can she not want to be a part of Hunter’s hospital?
F.SCOTT
Not everyone deals with grief by getting busy.
MAYA
We’re missing you at Bereavement group. Please give it another try. Maybe we could just have a coffee? (she hangs up phone. To herself) Or you could just call me back.
CHARLIE playing the chords of I’ll Take It
God, I’ve missed playing like this!
HUNTER
That song is to die for.
They laugh.
CHARLIE
I can’t get used to this. Can anyone else see you?
HUNTER
No, I can’t get through.
CHARLIE
I’m the only one?
HUNTER
You... and Maya.
CHARLIE
Maya?
HUNTER
Yes.
CHARLIE following lines overlap
When did she…
HUNTER
...It was in the beginning…
CHARLIE
...Why didn’t you…
HUNTER
...I was trying to get to you…
CHARLIE
Why didn’t she-?
HUNTER
She couldn’t see me.
CHARLIE
Did you talk to her?
HUNTER
Only once. And then I couldn’t anymore.
CHARLIE
What's it like when you're…out there?
HUNTER
It's hard to explain...
IT’S LIKE IM FLOATING IN A HALO
AND THERE’S A HUNDRED SHADES OF LIGHT
I FEEL AN ENTRANCE BECKON TO ME
THERE’S PEOPLE CLOSE BUT OUT OF SIGHT
AND THERE’S NO SHRED OF FEAR IN MY HEART
BUT IF I'M NOT THERE WHERE YOU ARE
NO, I CAN'T LET GO
(There’s a knock at the door -Charlie goes to see who it is- it’s F.Scott and Alys at the door.)
CHARLIE
It’s your father, and Alys. Shit, I forgot our music lesson. Should I tell him to go away?
HUNTER
No, no. I want to see him. Well, you know..
Charlie opens the door.
SCENE 4
F.SCOTT
Charlie.
ALYS
Hi Charlie!
CHARLIE
Hi (They hug She looks behind her. Hunter shakes his head.)
F.SCOTT
You look well.
CHARLIE
Yes, I’m..fine!
ALYS
Wow, you cleaned up in here! It looks really nice.
F.SCOTT
Ken suggested I drop Alys for her lesson.
(Charlie doesn’t respond - Hunter is trying to reach out past Charlie to touch F.Scott)
CHARLIE
Oh, yeah.
(Hunter walks to the couch, defeated. Charlie watches him)
Right, your lesson. That's today!
F.SCOTT
Should I get Ken to reschedule? Again?
ALYS
No! We’re working on that special part, right Charlie? (She clings to Charlie. Charlie looks at Hunter, who’s still sitting on the couch. He nods at Charlie)
CHARLIE
No need to reschedule. It’s fine.
ALYS
I’ve been practising!
(Alys runs over to the piano and starts warming up.)
F.SCOTT
(He turns to go, then comes back.) Julia has been pouring herself into the hospital plans. It’s the only thing keeping her going. I want to make sure you’ll be in Cusco for the ground breaking.
Charlie looks at Hunter questioningly. F.Scott looks to see what she’s looking at. Hunter shrugs.
CHARLIE
I really don’t know. I can’t think that far ahead.
F.SCOTT
If it’s a question of money-
CHARLIE
No, no. Just...let me get back to you on that.
F.SCOTT
Oh, okay.
Silence
Well, I’ll leave you both to it. Please consider coming.
CHARLIE
I will.
F.Scott leaves
Charlie looks for Hunter. He’s standing by Alys.
Alys has the card Hunter wrote Charlie.
ALYS
I’m sorry. Everyone says I’m too nosy.
CHARLIE
It’s okay.
ALYS
I like that he called you Betty Beethoven.
CHARLIE
Me too.
ALYS
I’ve been learning some of your songs.
CHARLIE
Really? Let’s hear them.
Alys begins to play some of Charlie’s music. Charlie looks at Hunter.
CHARLIE
That’s one of Hunter’s favourites.
ALYS
I like it. You know, you’re happier when you talk about him. Julia and F.Scott just get more sad.
CHARLIE
Everyone is just trying to figure out how to live without him.
ALYS
I wish we didn’t have to.
CHARLIE looks at Hunter
I know. Let’s keep playing so we can get some work in before your Dad gets here.
Their music lesson continues, and as they play we see Hunter leave and go to his parent’s penthouse. lights fade on Charlie’s apartment. Julia is boxing up things in Hunter’s room. He tries to get her attention by taking things out of the box and she puts them back in again. F.Scott comes home and pokes his head in the door, acknowledges Julia, but there is clearly tension between them. She turns her back and he picks up the trophy from earlier out of the box and leaves the room with it. Hunter watches all of this. Ken picks Alys up. Charlie is working with the screen images, writing and furiously playing the piano - up tempo.
CHARLIE
Oh, man, Zsa Zsa's gonna be psyched. I got my mojo back!
SCENE 5
Charlie runs up to MAYA going into Bereavement group and hands her a coffee.
CHARLIE
Long overdue!
MAYA
Well look at you! Coming to group tonight?
CHARLIE
I can see him, Maya!
MAYA
Oh. (pause) Okay.
CHARLIE
He said you heard him.
MAYA
I did. Once. Look, I didn’t say anything because I didn’t want-
CHARLIE
It’s okay. He called you his “tester. I just need to tell somebody. Talk to someone who gets it.
MAYA
So you see him? All the time?
CHARLIE
I didn’t think this was possible! But I feel more like me than I have in months, and I'm finally playing again-
MAYA
It’s not normal though. You know that.
CHARLIE
Of course! I know. I mean- but It’s like hope again. Maya, I'm happy! Isn't that great?
MAYA
These things are…delicate. I need you to know it can change.
People start coming into bereavement group.
MAYA
Please stay. It might help.
CHARLIE
I need to get back. (Charlie starts to exit) I'm sending Zsa Zsa the score.
MAYA
Charlie- she goes to say something, then stops herself.
It’s good to see you happy. See you at your Dad’s farewell gig next week?
CHARLIE
Of course. I wouldn’t miss it for anything!
CHARLIE
Long overdue!
MAYA
Well look at you! Coming to group tonight?
CHARLIE
I can see him, Maya!
MAYA
Oh. (pause) Okay.
CHARLIE
He said you heard him.
MAYA
I did. Once. Look, I didn’t say anything because I didn’t want-
CHARLIE
It’s okay. He called you his “tester. I just need to tell somebody. Talk to someone who gets it.
MAYA
So you see him? All the time?
CHARLIE
I didn’t think this was possible! But I feel more like me than I have in months, and I'm finally playing again-
MAYA
It’s not normal though. You know that.
CHARLIE
Of course! I know. I mean- but It’s like hope again. Maya, I'm happy! Isn't that great?
MAYA
These things are…delicate. I need you to know it can change.
People start coming into bereavement group.
MAYA
Please stay. It might help.
CHARLIE
I need to get back. (Charlie starts to exit) I'm sending Zsa Zsa the score.
MAYA
Charlie- she goes to say something, then stops herself.
It’s good to see you happy. See you at your Dad’s farewell gig next week?
CHARLIE
Of course. I wouldn’t miss it for anything!
SCENE 6
BEREAVEMENT GROUP with underscore of I Don’t Know What to Say (faster tempo). Julia and F.Scott, and Miriam and Huck are in their own spaces.
During Bereavement Group Charlie and Hunter are back at her apartment playful & happy.
MAYA
How's everyone today?
WHINY VOICE
Sometimes I feel like he’s right here with me.
NEW MEMBER
Can we talk about the casseroles?
MOURNFUL GUY
My casseroles have stopped! I got used to not cooking.
SAD DAUGHTER
Aside from all of you, my Uber Eats driver is the only person I see.
STOIC GIRL
You should think about dating again.
MAD GUY
Dating? Dating again? Are you fucking kidding me?
SAD DAUGHTER
I finally cleaned out her closet.
BEREAVED YOUNG MOTHER
We decided to start trying for another baby.
JULIA
I need to keep his memory alive.
F.SCOTT
The hospital takes all her time. ALL her time.
KEN
I miss you, brother. Not a day goes by...
ZSA ZSA
I got your files, darling. They're...they're...Just call me back.
STOIC GIRL
I know he would want me to move on.
MAD GUY
So, this hugging thing. It actually works.
MIRIAM
She can’t go on like this. It’s like she’s standing still.
HUCK
She’s not one of your clients, Miriam. Let her grieve in her own way.
MIRIAM
I help everyone else. I should be able to help my own daughter.
HUCK
Give her time.
ZSA ZSA
Stop playing with ghosts, and call me back.
CHARLIE
I don’t want this to end.
HUNTER
Let’s make time stand still.
ZSA ZSA
No answer. No answer. Goddamnit, no answer.
WHINY VOICE
The days are endless. What if I never get over it?
SAD DAUGHTER
You won’t ever get over it. But it might get easier.
CHARLIE
It’s easier with you here.
MAYA
They’re always with us in some way.
SCENE 7
HUCK'S FINAL GIG/ZSA ZSA ON SET
Jazz Nightclub
Miriam, Ken, Julia & F.Scott are seated at a table at the club.
HUCK (at the mic)
Hey everyone- thanks for coming out for my final round. (looking around the audience)
MIRIAM
Ah, c’mon!
Huck is noodling at the piano
(attention moves to film set)
ZSA ZSA’S ASSISTANT (former mousy assistant, now stylish)
The producers are here.
ZSA ZSA
Come in, come in!
Jazz Nightclub
Miriam, Ken, Julia & F.Scott are seated at a table at the club.
HUCK (at the mic)
Hey everyone- thanks for coming out for my final round. (looking around the audience)
MIRIAM
Ah, c’mon!
Huck is noodling at the piano
(attention moves to film set)
ZSA ZSA’S ASSISTANT (former mousy assistant, now stylish)
The producers are here.
ZSA ZSA
Come in, come in!
SILVER LININGS ARE AS GOOD AS GOLD
HUCK
WHEN THE LAST RAY OF SUN
DISAPPEARS FROM THE SKY
AND THE DUST OF THE DUSK
BRINGS A TEAR TO MY EYE
BUT YOU KNOW OF A PLACE
TO ESCAPE FROM THE COLD
WHEN I FEEL YOU AT MY SIDE
THEN SILVER LININGS ARE AS GOOD AS GOLD
(door opens, everyone expects Charlie, but it’s Maya. Miriam pulls out a chair for her)
MAYA
So sorry.
(Huck winks at Maya)
MAYA (leans over to MIRIAM)
Where’s Charlie?
(MIRIAM shrugs)
(Focus moves to Zsa Zsa)
ZSA ZSA (to assistant)
Where's Charlie?
(ASSISTANT shakes her head.)
MIRIAM
I’m worried about that girl
HUCK
WHEN WHAT GLITTERS AND SPARKLES
AIN’T AS REAL AS IT SEEMS
AND THE END OF THE RAINBOW
IS A BITTERSWEET DREAM
THERE'S A LIGHT DOWN THE ROAD
AND IT'S CALLING ME HOME
IF YOU'RE WAITING THERE FOR ME
THEN SILVER LININGS ARE AS GOOD AS GOLD
(Focus to Zsa Zsa)
PRODUCER
The score isn't working. This doesn't sound like the Charlie David we hired.
ZSA ZSA
I know, I know. I’m on it. It's just a temp track. You can be sure she's rewriting it.
(Back to nightclub)
HUCK
NO NEED TO SAY GOODBYE MY DARLING
NO NEED TO SAY GOODBYE MY FRIENDS
AND JUST AS NIGHT MELTS INTO MORNING
WE’LL BID FAREWELL AND THEN
I KNOW WE’LL MEET AGAIN
(Zsa Zsa walking the producers to the door.)
ZSA ZSA
Not to worry, we'll still be on schedule. The Casablanca happy ending will be the talk of the town. (Closes the door behind them, and is devastated. Calls Charlie)
Charlie, you NEED to call me. Please.
(Back to nightclub. We see lights up on Charlie/Hunter together in the apartment - clearly Charlie has chosen to be with Hunter instead of her dad)
HUCK
COME AND LIE NEXT TO ME
ON THIS SWEET FIELD OF GREEN
WHERE THE CLOUDS IN THE SKY
PAINT A MAGICAL SCENE
AND AS THE DAYS FALL LIKE RAIN
WE’RE ANOTHER YEAR OLD
BUT MY DARLING WE’RE STILL HERE
HEART TO HEART AND SOUL TO SOUL
WHEN I FEEL YOU AT MY SIDE
THEN SILVER LININGS ARE AS GOOD AS GOLD
SCENE 8
CHARLIE’S APARTMENT.
(Charlie and Hunter are there. There is a knock on the door. Charlie ignores it. Miriam knocks again)
MIRIAM
Charlie. Open up. I know you’re there. And you know why I’m here.
Silence.
I have had it up to here with you.
CHARLIE (to Hunter)
I better get that.
(She answers the door and Miriam charges in . Hunter moves to a corner of the room).
MIRIAM
How could you? How could you let your father down like that ?
CHARLIE
I..I just….
MIRIAM
Your father has always been there for you. And for you not show up for his last show… He was devastated.
CHARLIE
It...It was an accident ..We…I just lost track of time.
MIRIAM
We? WE? Oy- this is too much. I didn’t believe it when Maya told me you believe you can to talk to Hunter?
But now I’m hearing- you are letting this… this ghost…run your life? This is not right Charlie. This is not like you.
CHARLIE
I’m not the same person anymore, Mom. Can’t you see that?
MIRIAM
I’ll say you’re not.
Maya knocks on the door.
MAYA
Charlie? Miriam? (sees the door is open so walks in)
CHARLIE
I don’t want to talk about this. Whatever Maya said to you- I am fine. I’m dealing with this in my own way.
MAYA
Charlie, I-
MIRIAM
Hearing voices isn’t normal. You need real help Charlie. I…your father and I want you to go on medication. Just for a while. Until the voices stop.
CHARLIE
The voices?
MAYA
…I told you, it’s not like that…
CHARLIE
…Listen, Dr. Miriam, you have no idea what you are talking about. You think I’m losing it? I’ll tell you what- you are what’s making me nuts. Go. Just go.
MIRIAM
Charlie…
CHARLIE
(Rising and going to the door)
No. I mean it. Go. And stop calling me.
(Miriam gets up and goes to the door which Charlie is holding open.
(to Maya) And you! How could you?
Miriam walks through- turns back to say something- and turns away and leaves.)
You told my mother!
MAYA
I’m trying to protect you.
CHARLIE
From what? Happiness?
MAYA
It’s not just about you. It’s about protecting Hunter too.
CHARLIE
Yeah, because he could die, right?
MAYA
This isn’t his home anymore. If he doesn’t leave soon, he’ll never be able to move on.
HALF LIFE music starts
CHARLIE
This is his home. He belongs here.
MAYA
Not any more. There’s more to this than any of us can understand.
You're not thinking straight.
(Charlie and Hunter are there. There is a knock on the door. Charlie ignores it. Miriam knocks again)
MIRIAM
Charlie. Open up. I know you’re there. And you know why I’m here.
Silence.
I have had it up to here with you.
CHARLIE (to Hunter)
I better get that.
(She answers the door and Miriam charges in . Hunter moves to a corner of the room).
MIRIAM
How could you? How could you let your father down like that ?
CHARLIE
I..I just….
MIRIAM
Your father has always been there for you. And for you not show up for his last show… He was devastated.
CHARLIE
It...It was an accident ..We…I just lost track of time.
MIRIAM
We? WE? Oy- this is too much. I didn’t believe it when Maya told me you believe you can to talk to Hunter?
But now I’m hearing- you are letting this… this ghost…run your life? This is not right Charlie. This is not like you.
CHARLIE
I’m not the same person anymore, Mom. Can’t you see that?
MIRIAM
I’ll say you’re not.
Maya knocks on the door.
MAYA
Charlie? Miriam? (sees the door is open so walks in)
CHARLIE
I don’t want to talk about this. Whatever Maya said to you- I am fine. I’m dealing with this in my own way.
MAYA
Charlie, I-
MIRIAM
Hearing voices isn’t normal. You need real help Charlie. I…your father and I want you to go on medication. Just for a while. Until the voices stop.
CHARLIE
The voices?
MAYA
…I told you, it’s not like that…
CHARLIE
…Listen, Dr. Miriam, you have no idea what you are talking about. You think I’m losing it? I’ll tell you what- you are what’s making me nuts. Go. Just go.
MIRIAM
Charlie…
CHARLIE
(Rising and going to the door)
No. I mean it. Go. And stop calling me.
(Miriam gets up and goes to the door which Charlie is holding open.
(to Maya) And you! How could you?
Miriam walks through- turns back to say something- and turns away and leaves.)
You told my mother!
MAYA
I’m trying to protect you.
CHARLIE
From what? Happiness?
MAYA
It’s not just about you. It’s about protecting Hunter too.
CHARLIE
Yeah, because he could die, right?
MAYA
This isn’t his home anymore. If he doesn’t leave soon, he’ll never be able to move on.
HALF LIFE music starts
CHARLIE
This is his home. He belongs here.
MAYA
Not any more. There’s more to this than any of us can understand.
You're not thinking straight.
HALF LIFE
CHARLIE
I DON’T WANT TO BE PRACTICAL
MAYA
Listen to me. You have to be logical.
CHARLIE
I DON’T WANT TO BE LOGICAL
SENSIBLE
MAYA
But, Charlie-
CHARLIE
NO-I DON’T WANT TO HEAR ‘ EM SAY
HUNTER(spoken)
They don’t know what they’re talking about
CHARLIE
THAT IT’S IRRATIONAL
HUNTER
IT’S RATIONAL TO ME
MAYA
I’m trying to help you.
(Charlie runs out the door and slams it behind her. Hunter is with her. They take to the streets)
CHARLIE
I DON’T CARE IF IT’S MAKE BELIEVE
IF I’VE LOST MY FREAKING MIND
HUNTER AND CHARLIE
WHO GIVES A DAMN
HUNTER
WHO CARES IF IT’S RADICAL
OR IT’S FANATICAL
NO I DON’T WANT TO KNOW THE TRUTH
CHARLIE
DON’T TELL ME IF IT’S CRASHABLE
CAUSE IF IT’S SMASHABLE
I DON’T WANT TO LOOK FOR PROOF
HUNTER
NOBODY’S GONNA STEAL OUR DREAM
CAUSE THEY DON'T HAVE A CLUE
HUNTER AND CHARLIE
AND IF I’M LIVING IN A HALF-LIFE
IF I’M WALKING IN THE TWILIGHT
I DON’T CARE IF IT’S A BIG LIE- BIG LIE
HUNTER
AND ALL I KNOW IS THAT IT’S ALL MINE
CHARLIE
ALL I KNOW IS IT’S A LIFELINE
HUNTER AND CHARLIE
FOR ME
F.SCOTT
Dinner was good. (Julia is looking elsewhere)
Julia?
JULIA
Yes. Delicious.
F.SCOTT
I’ve sent Charlie the ticket. It’s all we can do.
HUNTER
Think of all we can do!
CHARLIE
I’m scared. I don’t want to lose you again.
HUNTER
I DON’T WANNA DOUBT- DON'T WANNA BE THAT GUY
I JUST WANNA SHOUT- MY GIRL’S STILL MINE
WE’VE STILL GOT TIME
HUNTER
I DON’T WANNA WATCH THE CLOCK
CHARLIE(spoken)
You never did...
THAT’S NOT FOR ME
CHARLIE(spoken)
Why start now?
HUNTER
C’MON BABE LETS BREAK EVERY RULE
YOU AND I ARE NO-ONES FOOL
CHARLIE AND HUNTER
WHO GIVES A DAMN
CHARLIE
WHO CARES IF WE CRASH AND BURN
IF WE LIVE AND LEARN
IT’S ONLY ALCHEMY
HUNTER
WHO CARES IF IT’S DANGEROUS
CAUSE WE’VE STILL GOT US
AND THIS FEELINGS ALL I NEED
CHARLIE
DON’T CARE IF I AM CRAZY NOW
OH CAUSE YOU’RE CRAZY HERE WITH ME
HUNTER AND CHARLIE
AND IF I’M LIVING IN A HALF-LIFE
IF I’M WALKING IN THE TWILIGHT
I DON’T CARE IF IT’S A BIG LIE- BIG LIE
CHARLIE
ALL I KNOW IS THAT IT’S ALL MINE
CHARLIE
ALL I KNOW IS IT’S A LIFELINE
CHARLIE & HUNTER
FOR ME
JULIA
IT’S BEEN 47 WEEKS
FOUR DAYS THREE HOURS
SINCE I TOOK A SINGLE BREATH - WITHOUT YOUR NAME
WITHOUT THIS PAIN
F. SCOTT
I’M WRAPPED INSIDE A CLOUD
WATCHING THE WORLD BELOW
AND I DON’T WANT TO SCREAM AND SHOUT
SHE’S MUCH TOO NEAR
I CAN’T LET HER HEAR
JULIA
I DON’T WANT TO KNEEL AND PRAY
DON’T GIVE A DAMN AT ALL
ABOUT ETERNITY
F. SCOTT
I DON’T WANT TO LET HER KNOW
THAT I AM HURTING SO
BECAUSE SHE’S BEEN SO STRONG FOR ME
JULIA
I JUST WANT MY DARLING BOY
ALIVE AND WELL AGAIN
F. SCOTT
ALIVE AND WELL AGAIN
JULIA
ALIVE AND WELL AGAIN
HUNTER AND CHARLIE
AND IF I’M LIVING IN A HALF-LIFE
IF WE’RE HIDING IN THE MOONLIGHT
IN THE SHADOWS ON A NIGHT RIDE - IT’S ALRIGHT
F. SCOTT
HAVE I GONE OR AM I ALIVE
JULIA
AND SO I’M LIVING IN A HALF–LIFE
I’VE BEEN ACTING LIKE I’M ALRIGHT
BUT I KNOW THAT IT’S A BIG LIE - BIG LIE
HUNTER
I DON’T CARE IF ITS DANGEROUS
CHARLIE
ALL I KNOW IS WE’VE GOT US
F SCOTT
IT’S LIKE I’M LIVING IN A HALF-LIFE
HUNTER
HALF-LIFE
HUNTER AND CHARLIE
IF WE’RE HIDING FROM THE DAYLIGHT
TAKING SHELTER AFTER MIDNIGHT-MIDNIGHT
JULIA
I WAKE UP AND HE’S NOT THERE AGAIN
TWILIGHT
MY LIFE
HUNTER
AND ALL I KNOW IS THAT IT’S ALL MINE
F. SCOTT
OH AM I I’M LIVING IN A HALF-LIFE
CHARLIE
ALL I KNOW IS IT’S A LIFELINE
FOR ME
HUNTER
FOR ME
F. SCOTT AND JULIA
I WANT HIM ALIVE AND WELL AGAIN
CHARLIE AND HUNTER
I’M ALIVE AGAIN
SCENE 9
(Charlie and Hunter have come back to outside their apartment building.)
ZSA ZSA is standing outside her apartment building and sees Charlie sing the last line. He can't see or hear Hunter)
ZSA ZSA
Charlie? So, you are alive!
CHARLIE
Hi! What are you doing here? (She's looking for Hunter but he's disappeared)
ZSA ZSA
Seems to be the only way to reach you.
CHARLIE
Zsa Zsa, I'm sorry. You have no idea. My mom- and Maya, it's just been a- Wait, how did you like the score? I've been so inspired!
ZSA ZSA
Yes, yes, you've been really cranking it out. Can we talk inside?
CHARLIE
No, no, no! Tell me everything!
ZSA ZSA
So...
CHARLIE
Zsa Zsa, what? Spit it out!
ZSA ZSA
The producers- they're not happy with the sound. I know it's been so hard for you, but-
CHARLIE
No, its been feeling so right lately! The tap is flowing again...I don't even know where all this stuff is coming from.
ZSA ZSA
That's the problem. I don't either. This is not the sound we sold them.
CHARLIE
What? But it's happy, like you wanted.
ZSA ZSA
They've decided to go in a different direction. You know this isn't what I want. But Charlie, your sound- it is different.
CHARLIE
No, it's not, Zsa Zsa. It's me. I'm back. I'm-
ZSA ZSA
You're back. But it's not you. I'm sorry, darling. I'm so sorry.
CHARLIE
Sorry? What about believing in me? I can’t even...(She runs inside.)
SCENE 10
SCENE 10
(back in their apartment)
CHARLIE
There you are. I- Did you see Zsa Zsa? He-
HUNTER
No, I've just been- (Hunter is holding up a FedEx envelope)
CHARLIE
Zsa Zsa just...
HUNTER
Your ticket to Cusco.
CHARLIE
Oh.
HUNTER
Better get packing, Betty B.
CHARLIE
I can't go. Zsa Zsa just fired me from the film.
HUNTER
It's Zsa Zsa! You can smooth things over with him from Cusco.
CHARLIE
No. I need to stay here and make this right.
HUNTER
No. You have to go.
CHARLIE
Why?
HUNTER
For my parents.
CHARLIE
Yeah, it’s so important to them now. It took you dying for them to care about what you do.
HUNTER
That’s not fair.
CHARLIE
Fair? What's fair? We were supposed to be living a life together. Not this, this... I can’t go.
HUNTER
They really need you there.
CHARLIE
What about what I need? Will you be there?
HUNTER
I don’t know.
CHARLIE
I don’t want to do this alone.
HUNTER
You won’t be alone.
CHARLIE
What if I go and you’re not here when I come back?
HUNTER
I’ll be here.
CHARLIE
You can’t promise that.
HUNTER
You need to go. For them. For me.
CHARLIE
Why for you? It doesn’t even matter what I do. It won’t change anything. I’m still here. And you’re…you’re…
HUNTER
What?
CHARLIE
I don’t even know what you are!
SCENE 11
CUSCO - Ceremony Breaking ground for the hospital
JULIA
Thank you to all of you for being part of this. It means the world to F.Scott and I to break ground for EL HOSPITAL DE CORAZON DE HUNTER- The Hunter’s Heart Hospital. We hope to give some meaning to his passing by helping to keep life alive in the Amazon that he loved so much.
CHARLIE (has a glass of champagne in her hand. She's looking around for Hunter. She's clearly been drinking)
Hear hear!
JULIA
I invite you all to follow F. Scott and break some ground. And please join us for a reception.
(F.Scott grabs a shovel and digs a few spadefuls of earth. Everyone does the same in an echo of Hunter's funeral. Charlie is digging a little too hard. F.Scott notices and he approaches her, takes her shovel and passes it to another person. )
F.SCOTT
This can't be an easy day for you either.
CHARLIE
I'm here for Hunter.
F.SCOTT
We all are.
CHARLIE
It's so nice for you to be finally doing something for him! Isn't this great?! He's gonna be so happy.
JULIA
Who's going to be happy?
(F.Scott and Charlie talk over each other)
F.SCOTT
It's okay, Julia...
CHARLIE
Hunter! This hospital is named after him. 'Cause he's dead! That was such a good idea, Julia. You're so smart. Just like Hunter. I know everyone thinks F.Scott is the brains of this operation, but it's you. It's you.
F.SCOTT (grabs Charlie's glass)
I really think you should-
CHARLIE
You know, F. Scott, Hunter really liked you. You never had much time for him, but he really, really...looked up to you. (she falls over)
(F.Scott goes to get Ken. Reception music starts playing)
JULIA (goes to help Charlie up)
This is not the time, Charlie.
(Charlie starts dancing with Julia)
CHARLIE
Oh, this is our wedding song. She's singing "Do you dance..." Ken, listen, listen! This was one of Felice's favourite songs. And Felice is dead too! Oh my god!
KEN (grabs Charlie and dances her away)
Okay, Charlie, let's just...
CHARLIE
Did you even know that Felice talked to Maya? Does she talk to you too?
KEN
I don’t know if she talks to me, but I sure talk to her. (Alys comes over.)
ALYS
Charlie, are you okay?
CHARLIE
You look so much like your mom.
KEN
Alys, can you bring us some water? (to Charlie) Let's get you some food too. (they go off)
CHARLIE
Hunter? Hunter!! See! Your Dad really does love you! They named a frickin' hospital after you! (Ken takes Charlie off)
awkward silence
JULIA
A little too much champagne, I think.
F.SCOTT
I thought...I thought...
JULIA (She takes his hand)
You don't need to-
JULIA
Thank you to all of you for being part of this. It means the world to F.Scott and I to break ground for EL HOSPITAL DE CORAZON DE HUNTER- The Hunter’s Heart Hospital. We hope to give some meaning to his passing by helping to keep life alive in the Amazon that he loved so much.
CHARLIE (has a glass of champagne in her hand. She's looking around for Hunter. She's clearly been drinking)
Hear hear!
JULIA
I invite you all to follow F. Scott and break some ground. And please join us for a reception.
(F.Scott grabs a shovel and digs a few spadefuls of earth. Everyone does the same in an echo of Hunter's funeral. Charlie is digging a little too hard. F.Scott notices and he approaches her, takes her shovel and passes it to another person. )
F.SCOTT
This can't be an easy day for you either.
CHARLIE
I'm here for Hunter.
F.SCOTT
We all are.
CHARLIE
It's so nice for you to be finally doing something for him! Isn't this great?! He's gonna be so happy.
JULIA
Who's going to be happy?
(F.Scott and Charlie talk over each other)
F.SCOTT
It's okay, Julia...
CHARLIE
Hunter! This hospital is named after him. 'Cause he's dead! That was such a good idea, Julia. You're so smart. Just like Hunter. I know everyone thinks F.Scott is the brains of this operation, but it's you. It's you.
F.SCOTT (grabs Charlie's glass)
I really think you should-
CHARLIE
You know, F. Scott, Hunter really liked you. You never had much time for him, but he really, really...looked up to you. (she falls over)
(F.Scott goes to get Ken. Reception music starts playing)
JULIA (goes to help Charlie up)
This is not the time, Charlie.
(Charlie starts dancing with Julia)
CHARLIE
Oh, this is our wedding song. She's singing "Do you dance..." Ken, listen, listen! This was one of Felice's favourite songs. And Felice is dead too! Oh my god!
KEN (grabs Charlie and dances her away)
Okay, Charlie, let's just...
CHARLIE
Did you even know that Felice talked to Maya? Does she talk to you too?
KEN
I don’t know if she talks to me, but I sure talk to her. (Alys comes over.)
ALYS
Charlie, are you okay?
CHARLIE
You look so much like your mom.
KEN
Alys, can you bring us some water? (to Charlie) Let's get you some food too. (they go off)
CHARLIE
Hunter? Hunter!! See! Your Dad really does love you! They named a frickin' hospital after you! (Ken takes Charlie off)
awkward silence
JULIA
A little too much champagne, I think.
F.SCOTT
I thought...I thought...
JULIA (She takes his hand)
You don't need to-
I WOULD NOT HOLD BACK
F.SCOTT
F.SCOTT
I THOUGHT TIME WAS ON MY SIDE
JULIA
None of us could have known
F.SCOTT
I THOUGHT TIME WOULD BE MY FRIEND
TOO MANY THINGS I SHOULD HAVE SAID
TOO MANY PLANS I LEFT UNDONE
SO MANY BRIDGES LEFT TO MEND
IF I KNEW THEN WHAT I KNOW NOW
I’D TELL YOU ( spoken) How sorry I am
IF I HAD KNOWN WHAT LAY AHEAD
IF I HAD KNOWN HOW SHORT THE TRACK
WHAT I WOULDN’T GIVE TO TURN TIME BACK
AND IF I HAD KNOWN YOU WAITED THERE
TOO PROUD TO ASK FOR WHAT YOU LACKED
OH MY SON TOO LATE I FIND- I WAS SO BLIND
IF YOU WERE HERE RIGHT NOW
I WOULD NOT HOLD BACK
AND IF WE EVER MEET AGAIN
IF THERE’S A WORLD THAT’S OUT OF SIGHT
GOD ONLY KNOWS IF HEAVEN GRANTS
A MAN LIKE ME A SECOND CHANCE
TO OWN MY WRONGS AND MAKE THEM RIGHT
IF I KNEW THEN WHAT I KNOW NOW
I’D TELL YOU ( spoken) How proud of you I am
IF YOU WERE HURT YOU HID IT WELL
YOU’RE SO LIKE ME IN JUST THAT WAY
WHAT I WOULDN’T GIVE FOR ONE MORE DAY
AND IF I’D KNOWN A FATHERS PLACE
WAS TO SHOW EACH FLAW AND CRACK
MY SON, I’D HAVE SHOWN YOU WHO I TRULY AM
IF I HAD ONLY KNOWN
I WOULD NOT HOLD BACK MY PRAISE
I WOULD NOT HOLD BACK MY TRUST
I WOULD OPEN WIDE MY ARMS
I WOULD SHOW YOU ALL MY LOVE
I NEVER DREAMED THE CLOCK WOULD STOP
ALL OUR TOMORROWS SWEPT AWAY
WHAT I WOULDN’T GIVE TO TAKE YOUR PLACE
IF I HAD KNOWN THE PATH TO YOU
WAS MADE OF FEELINGS NOT OF FACTS
I WOULD HAVE BEEN THE FATHER YOU DESERVED
IF YOU WERE HERE RIGHT NOW
OH MY SON (spoken) My darling one
I WOULD NOT HOLD BACK
F.SCOTT
F.SCOTT
I THOUGHT TIME WAS ON MY SIDE
JULIA
None of us could have known
F.SCOTT
I THOUGHT TIME WOULD BE MY FRIEND
TOO MANY THINGS I SHOULD HAVE SAID
TOO MANY PLANS I LEFT UNDONE
SO MANY BRIDGES LEFT TO MEND
IF I KNEW THEN WHAT I KNOW NOW
I’D TELL YOU ( spoken) How sorry I am
IF I HAD KNOWN WHAT LAY AHEAD
IF I HAD KNOWN HOW SHORT THE TRACK
WHAT I WOULDN’T GIVE TO TURN TIME BACK
AND IF I HAD KNOWN YOU WAITED THERE
TOO PROUD TO ASK FOR WHAT YOU LACKED
OH MY SON TOO LATE I FIND- I WAS SO BLIND
IF YOU WERE HERE RIGHT NOW
I WOULD NOT HOLD BACK
AND IF WE EVER MEET AGAIN
IF THERE’S A WORLD THAT’S OUT OF SIGHT
GOD ONLY KNOWS IF HEAVEN GRANTS
A MAN LIKE ME A SECOND CHANCE
TO OWN MY WRONGS AND MAKE THEM RIGHT
IF I KNEW THEN WHAT I KNOW NOW
I’D TELL YOU ( spoken) How proud of you I am
IF YOU WERE HURT YOU HID IT WELL
YOU’RE SO LIKE ME IN JUST THAT WAY
WHAT I WOULDN’T GIVE FOR ONE MORE DAY
AND IF I’D KNOWN A FATHERS PLACE
WAS TO SHOW EACH FLAW AND CRACK
MY SON, I’D HAVE SHOWN YOU WHO I TRULY AM
IF I HAD ONLY KNOWN
I WOULD NOT HOLD BACK MY PRAISE
I WOULD NOT HOLD BACK MY TRUST
I WOULD OPEN WIDE MY ARMS
I WOULD SHOW YOU ALL MY LOVE
I NEVER DREAMED THE CLOCK WOULD STOP
ALL OUR TOMORROWS SWEPT AWAY
WHAT I WOULDN’T GIVE TO TAKE YOUR PLACE
IF I HAD KNOWN THE PATH TO YOU
WAS MADE OF FEELINGS NOT OF FACTS
I WOULD HAVE BEEN THE FATHER YOU DESERVED
IF YOU WERE HERE RIGHT NOW
OH MY SON (spoken) My darling one
I WOULD NOT HOLD BACK
SCENE 12
(Charlie comes home to her apartment)
CHARLIE
Hunter? Hunter?
(She looks for him all over the apartment, but he's not there.)
(She picks up the picture frame of them, and lifts it up and down, trying to conjure him.)
(Tries to play a bit of Unchained.)
Look, I know I was an asshole. But you gotta admit, I was the life of the party...
(She lifts the piano bench lid up and down. Nothing)
I'm going to apologize to your parents.
(No answer)
Really. Really? You told me you'd be in Peru. If you'd been there, pretty sure I wouldn't have lost my shit on them. You promised you'd be here when I got back. You're not here. You're not here. Goddamnit, you're not even here! (She smashes their picture on the floor)
(knock at the door)
Seriously, you're knocking?
(She throws open the door)
KEN
Whoa, whoa. You okay?
CHARLIE
Do I look like I'm okay?!
HALF LIFE- CHARLIE REPRISE
IT’S BEEN 57 WEEKS
FIVE DAYS
SIX HOURS
SINCE I TOOK A SINGLE BREATH
WITHOUT HIM NEAR
NOW HE’S NOT HERE
KEN
I get it.
CHARLIE
I DON’T WANNA HEAR YOU SAY
THAT IT’S TIME TO MOVE ON
NO ONE KNOWS WHAT’S IN MY HEAD
I’M LIVING EACH DAY
LIKE THE WALKING DEAD
KEN
No one can tell you it's time to move on.
(silence)
Charlie?
CHARLIE
I can't do this anymore
I'M LIVING IN A HALF LIFE
WALKING IN THE TWILIGHT
WILL I EVER SEE THE DAYLIGHT
AGAIN
KEN
I know that half-life. After Felice, I checked out. If it wasn't for Alys....
CHARLIE
He's gone. He's really gone.
KEN
I miss him too. (Charlie bursts into tears and Ken hugs her) Don't check out.
IT’S BEEN 57 WEEKS
FIVE DAYS
SIX HOURS
SINCE I TOOK A SINGLE BREATH
WITHOUT HIM NEAR
NOW HE’S NOT HERE
KEN
I get it.
CHARLIE
I DON’T WANNA HEAR YOU SAY
THAT IT’S TIME TO MOVE ON
NO ONE KNOWS WHAT’S IN MY HEAD
I’M LIVING EACH DAY
LIKE THE WALKING DEAD
KEN
No one can tell you it's time to move on.
(silence)
Charlie?
CHARLIE
I can't do this anymore
I'M LIVING IN A HALF LIFE
WALKING IN THE TWILIGHT
WILL I EVER SEE THE DAYLIGHT
AGAIN
KEN
I know that half-life. After Felice, I checked out. If it wasn't for Alys....
CHARLIE
He's gone. He's really gone.
KEN
I miss him too. (Charlie bursts into tears and Ken hugs her) Don't check out.
SCENE 13
THE ME I USED TO BE- CHARLIE REPRISE
CHARLIE,MAYA, HUCK, MIRIAM & ENSEMBLE
Charlie leaves Zsa Zsa and is walking the streets of NYC
ONE FOOT IN FRONT OF THE OTHER
SOMEHOW I’VE GOT TO DISCOVER
ONE FOOT IN FRONT OF THE OTHER
SOMEHOW I’VE GOT TO DISCOVER
CHARLIE
I know you were trying to help.
MAYA
I wish I had all the answers.
CHARLIE
I can’t see him anymore
MAYA
It doesn’t mean he’s not still there.
CHARLIE
DID I CREATE THIS HELL I’M IN?
I'LL TAKE ONE BREATH AND THEN TAKE ANOTHER
I’VE GOT TO FIND MY WAY BACK TO
THE ME I USED TO BE
ROUND AND AROUND LIKE A CRUEL CAROUSEL
NO BEGINNING OR END NO RELIEF NO REPRIEVE
CHARLIE
I’m so sorry, Dad I can’t believe I missed your last gig!
ENSEMBLE JUST REPEAT
AND REPEAT
CHARLIE
Mom, you were there for me and I pushed you away.
ENSEMBLE
REPEAT AND REPEAT
to Julia & F.Scott
Can you ever forgive me?
REPEAT AND REPEAT AND REPEAT
CHARLIE
I’M NOT SURE WHERE TO BEGIN
WISH I COULD BLAME IT ON AN EVIL TWIN- I KIND OF LOST MY MIND
IT’S CLEAR I’VE BEEN A BIT…UNSTRUNG- JUST A BIT
IS THERE A WAY FOR ALL THE DAMAGE TO BE UNDONE
I’VE BEEN SHADOW BOXING EVERY DAY
I’VE BEEN MAD I’VE BEEN SAD AND I LOST MY WAY
I TOOK IT OUT ON THE ONES I LOVE
WHO WERE ONLY TRYING TO LIFT ME UP
OH GOD,I FEEL SO DUMB
CAUSE WHAT I SHOULD HAVE DONE
IS PUT
ONE FOOT IN FRONT OF THE OTHER
DUG DEEP AND TRIED TO DISCOVER
HOW TO FACE THE THINGS I CANNOT CHANGE
AND THEN TAKE
ONE BREATH AND THEN TAKE ANOTHER
TRY TO FIND MY WAY BACK TO
THE ME I USED TO BE
AND LIFE GOES ON
(She’s teaching Alys piano lessons, Ken picks her up)
LIFE GOES ON
ONE FOOT IN FRONT OF THE OTHER
AND LIFE GOES ON
CHARLIE
Where are you?
ENSEMBLE
ONE TEAR DROPS INTO ANOTHER
RAIN FALLS AND I RUN FOR COVER
TIL I’M SINKING LIKE I’M GONNA DROWN
I’VE GOT TO HOLD ON AND REACH FOR A LIFELINE
MIRIAM
Thanks for having us for Shabat dinner honey.Huck- Where's my coat?
CHARLIE
STRONG ENOUGH TO PULL ME BACK TO
HUCK
We’ll see you next week.
CHARLIE
THE ME I USED TO BE
CHARLIE & ENSEMBLE
ONE FOOT IN FRONT OF THE OTHER
ONE BREATH AFTER ANOTHER
CHARLIE
I’VE GOTTA FIND MY WAY BACK TO
ENSEMBLE
THE ME I USED TO BE
CHARLIE
THE ME I USED TO BE
ENSEMBLE
THE ME I USED TO BE
ONE FOOT IN FRONT OF THE OTHER
CHARLIE
ONE FOOT
ENSEMBLE
ONE BREATH AFTER ANOTHER
CHARLIE
ONE BREATH
ENSEMBLE
THE ME I USED TO
CHARLIE & ENSEMBLE
THE ME I USED TO
CHARLIE
BE
CHARLIE,MAYA, HUCK, MIRIAM & ENSEMBLE
Charlie leaves Zsa Zsa and is walking the streets of NYC
ONE FOOT IN FRONT OF THE OTHER
SOMEHOW I’VE GOT TO DISCOVER
ONE FOOT IN FRONT OF THE OTHER
SOMEHOW I’VE GOT TO DISCOVER
CHARLIE
I know you were trying to help.
MAYA
I wish I had all the answers.
CHARLIE
I can’t see him anymore
MAYA
It doesn’t mean he’s not still there.
CHARLIE
DID I CREATE THIS HELL I’M IN?
I'LL TAKE ONE BREATH AND THEN TAKE ANOTHER
I’VE GOT TO FIND MY WAY BACK TO
THE ME I USED TO BE
ROUND AND AROUND LIKE A CRUEL CAROUSEL
NO BEGINNING OR END NO RELIEF NO REPRIEVE
CHARLIE
I’m so sorry, Dad I can’t believe I missed your last gig!
ENSEMBLE JUST REPEAT
AND REPEAT
CHARLIE
Mom, you were there for me and I pushed you away.
ENSEMBLE
REPEAT AND REPEAT
to Julia & F.Scott
Can you ever forgive me?
REPEAT AND REPEAT AND REPEAT
CHARLIE
I’M NOT SURE WHERE TO BEGIN
WISH I COULD BLAME IT ON AN EVIL TWIN- I KIND OF LOST MY MIND
IT’S CLEAR I’VE BEEN A BIT…UNSTRUNG- JUST A BIT
IS THERE A WAY FOR ALL THE DAMAGE TO BE UNDONE
I’VE BEEN SHADOW BOXING EVERY DAY
I’VE BEEN MAD I’VE BEEN SAD AND I LOST MY WAY
I TOOK IT OUT ON THE ONES I LOVE
WHO WERE ONLY TRYING TO LIFT ME UP
OH GOD,I FEEL SO DUMB
CAUSE WHAT I SHOULD HAVE DONE
IS PUT
ONE FOOT IN FRONT OF THE OTHER
DUG DEEP AND TRIED TO DISCOVER
HOW TO FACE THE THINGS I CANNOT CHANGE
AND THEN TAKE
ONE BREATH AND THEN TAKE ANOTHER
TRY TO FIND MY WAY BACK TO
THE ME I USED TO BE
AND LIFE GOES ON
(She’s teaching Alys piano lessons, Ken picks her up)
LIFE GOES ON
ONE FOOT IN FRONT OF THE OTHER
AND LIFE GOES ON
CHARLIE
Where are you?
ENSEMBLE
ONE TEAR DROPS INTO ANOTHER
RAIN FALLS AND I RUN FOR COVER
TIL I’M SINKING LIKE I’M GONNA DROWN
I’VE GOT TO HOLD ON AND REACH FOR A LIFELINE
MIRIAM
Thanks for having us for Shabat dinner honey.Huck- Where's my coat?
CHARLIE
STRONG ENOUGH TO PULL ME BACK TO
HUCK
We’ll see you next week.
CHARLIE
THE ME I USED TO BE
CHARLIE & ENSEMBLE
ONE FOOT IN FRONT OF THE OTHER
ONE BREATH AFTER ANOTHER
CHARLIE
I’VE GOTTA FIND MY WAY BACK TO
ENSEMBLE
THE ME I USED TO BE
CHARLIE
THE ME I USED TO BE
ENSEMBLE
THE ME I USED TO BE
ONE FOOT IN FRONT OF THE OTHER
CHARLIE
ONE FOOT
ENSEMBLE
ONE BREATH AFTER ANOTHER
CHARLIE
ONE BREATH
ENSEMBLE
THE ME I USED TO
CHARLIE & ENSEMBLE
THE ME I USED TO
CHARLIE
BE
SCENE 14
Screening room - end of movie happy music playing.
CHARLIE
I got fired for this?
ZSA ZSA
That bad?
CHARLIE
I thought you were gonna break ground with the happy ending, but-
ZSA ZSA
I know, I know. It doesn't work. I wanted to show the world you could look at things with beauty instead of sadness. But now I need to show there is beauty in sadness.
CHARLIE
And the producers - what do they think?
CHARLIE/ZSA ZSA
Emer-gen-cy!!!
ZSA ZSA
Thank god they made me shoot it both ways. But now I need my sad beautiful music. Would you give it another try?
CHARLIE
Who did you say is directing again?
(they laugh)
I don't know.
ZSA ZSA
I believe in you. Go find your magic.
SCENE 15
ACT TWO SCENE 15
Charlie is at her piano in her apartment.
CHARLIE'S BREAKTHROUGH ( BIG MAGIC/UNCHAINED MASHUP)
CHARLIE
( spoken) Where do ideas come from? What is inspiration?
I'M LIKE A FIRE HUNTER
IN SEARCH OF SPARKS INSIDE THE NIGHT
SOMETIMES ITS SNEAKS UP LIKE THE DAWN
(lights go down)
SOMETIMES IT BLINDS ME IT’S SO BRIGHT
(lights come up)
Hunter? Is that you?
GIMME THE STRENGTH
GIMME THE NERVE
GIMME THE DRIVE
Lights flicker
She tentatively picks out the notes of the first few notes of the theme on the piano
(Spoken) Okay
GIMME THE HEAT
GIMME THE LIGHT
GIMME THE FIRE
She plays seven more notes of the theme
(lights flicker)
GIVE ME THE GRIT
GIVE ME THE GRACE
GIVE ME THE HEART
She starts to sing the melody she is playing
( sings) DA DA DA DA DA DA DA
( Spoken) Yes! Oh !
( sings) DA DA DA DEE DA DA DA
( Spoken) Oh God- yes!
( sings) DA DEE DA DA DA DA
( Spoken ) Thank you!
She steps away from the piano and turns and the scene transforms to the Scoring stage where she is conducting the theme played by a Full Orchestra.
We see the film footage that she is scoring projected on a large screen.
ZSA ZSA KEN AND ALYS are standing by watching
ENSEMBLE ( offstage)
BIG MAGIC
BIG MAGIC
AH AH AH AH AH
ALYS ( turns to Ken):
Daddy- this is what she was teaching me about!
CHARLIE
It’s my imagination
And it’s mine to make real
CHARLIE wraps up the cue with a flourish of her baton
ZSA ZSA , ALYS AND KEN clap enthusiastically
ZSA ZA
Bravo! Bravo Maestra!
ALYS
This was the best lesson ever!
KEN
Wow!
ZSA ZSA
Beautiful! Dahlink! Everybody that’s a wrap( turns to the orchestra)
You’re all dismissed but back tomorrow 9 a.m sharp.
( To Ken and Alys)
I’m so happy you were here to see this.
Alright everyone – we have a big day tomorrow. I must get the Maestra home.
( ZSA ZSA and CHARLIE exit)
Dahlink- You were magnificent!
Lights up as Charlie enters her apartment and collapses on her couch.
CHARLIE
I'm back.
ACT TWO SCENE 15
Charlie is at her piano in her apartment.
CHARLIE'S BREAKTHROUGH ( BIG MAGIC/UNCHAINED MASHUP)
CHARLIE
( spoken) Where do ideas come from? What is inspiration?
I'M LIKE A FIRE HUNTER
IN SEARCH OF SPARKS INSIDE THE NIGHT
SOMETIMES ITS SNEAKS UP LIKE THE DAWN
(lights go down)
SOMETIMES IT BLINDS ME IT’S SO BRIGHT
(lights come up)
Hunter? Is that you?
GIMME THE STRENGTH
GIMME THE NERVE
GIMME THE DRIVE
Lights flicker
She tentatively picks out the notes of the first few notes of the theme on the piano
(Spoken) Okay
GIMME THE HEAT
GIMME THE LIGHT
GIMME THE FIRE
She plays seven more notes of the theme
(lights flicker)
GIVE ME THE GRIT
GIVE ME THE GRACE
GIVE ME THE HEART
She starts to sing the melody she is playing
( sings) DA DA DA DA DA DA DA
( Spoken) Yes! Oh !
( sings) DA DA DA DEE DA DA DA
( Spoken) Oh God- yes!
( sings) DA DEE DA DA DA DA
( Spoken ) Thank you!
She steps away from the piano and turns and the scene transforms to the Scoring stage where she is conducting the theme played by a Full Orchestra.
We see the film footage that she is scoring projected on a large screen.
ZSA ZSA KEN AND ALYS are standing by watching
ENSEMBLE ( offstage)
BIG MAGIC
BIG MAGIC
AH AH AH AH AH
ALYS ( turns to Ken):
Daddy- this is what she was teaching me about!
CHARLIE
It’s my imagination
And it’s mine to make real
CHARLIE wraps up the cue with a flourish of her baton
ZSA ZSA , ALYS AND KEN clap enthusiastically
ZSA ZA
Bravo! Bravo Maestra!
ALYS
This was the best lesson ever!
KEN
Wow!
ZSA ZSA
Beautiful! Dahlink! Everybody that’s a wrap( turns to the orchestra)
You’re all dismissed but back tomorrow 9 a.m sharp.
( To Ken and Alys)
I’m so happy you were here to see this.
Alright everyone – we have a big day tomorrow. I must get the Maestra home.
( ZSA ZSA and CHARLIE exit)
Dahlink- You were magnificent!
Lights up as Charlie enters her apartment and collapses on her couch.
CHARLIE
I'm back.
SCENE 16
TIME TO MOVE ON
(Hunter is there, and has been all along, but Charlie hasn't seen him)
TIME TO MOVE ON
HUNTER
THERE'S NO USE PRETENDING THAT SHE CAN'T MAKE IT WITHOUT ME
THERE'S NO USE PRETENDING IT'S FOR HER
I'M SCARED THAT IF I LEAVE HER SHE'LL FORGET WHAT WE COULD BE
SHE SAYS SHE WANTS ME
TO STAY
THERE'S NO USE DENYING I’M AFRAID OF WHAT COMES NEXT
I CAN HEAR IT WHISPER IN THE DARK
ONCE I ROUND THAT CORNER THERE CAN BE NO TURNING BACK
BUT I STILL NEED HER
IS IT TIME TO LET GO
IS IT TIME - TIME TO MOVE ON
I DON'T WANT TO BE THAT BRAVE
I DON'T WANT TO BE THAT STRONG
CAUSE IF I TURN AND WALK AWAY
EVERYTHING I LOVE IS GONE
IF IT'S TIME TO MOVE ON
I'LL MOVE ON
THERE'S A QUIET THUNDER
THAT IS DRUMMING OUT MY NAME
THERE'S A RIVER I KNOW I MUST CROSS
BUT WHEN I SURRENDER
THINGS WILL NEVER BE THE SAME
THOUGH SHE MIGHT WANT ME
TO STAY
THERE'S A PART OF HER THAT IS STILL RUNNING IN MY VEINS
WILL IT SLIP AWAY WHEN I AM GONE
WILL I FEEL THE FIRE BURNING IN THE GREAT BEYOND
OR WILL I LOSE HER
IS IT TIME TO LET GO
IS IT TIME - TIME TO MOVE ON
I DON'T WANT TO BE THAT BRAVE
I DON'T WANT TO BE THAT STRONG
CAUSE IF I TURN AND WALK AWAY
EVERYTHING I LOVE IS GONE
IF IT'S TIME TO MOVE ON
(Hunter is close to Charlie for the next verse as she looks in the mirror at herself. She senses him but doesn’t see him)
SO LET ME MEMORIZE YOUR SMILE
LET ME MEMORIZE YOUR EYES
IT’S ONLY CAUSE I LOVE YOU SO
I’VE GOT TO SAY GOODBYE
GOODBYE MY LOVE GOODBYE
NO I DON'T WANT TO BE THAT BRAVE
I DON'T WANT TO BE THAT STRONG
CAUSE IF I TURN AND WALK AWAY
EVERYTHING I LOVE IS GONE
BUT IF IT'S TIME TO MOVE ON
I’LL MOVE ON
THERE'S NO USE PRETENDING THAT SHE CAN'T MAKE IT WITHOUT ME
THERE'S NO USE PRETENDING IT'S FOR HER
TIME TO MOVE ON
HUNTER
THERE'S NO USE PRETENDING THAT SHE CAN'T MAKE IT WITHOUT ME
THERE'S NO USE PRETENDING IT'S FOR HER
I'M SCARED THAT IF I LEAVE HER SHE'LL FORGET WHAT WE COULD BE
SHE SAYS SHE WANTS ME
TO STAY
THERE'S NO USE DENYING I’M AFRAID OF WHAT COMES NEXT
I CAN HEAR IT WHISPER IN THE DARK
ONCE I ROUND THAT CORNER THERE CAN BE NO TURNING BACK
BUT I STILL NEED HER
IS IT TIME TO LET GO
IS IT TIME - TIME TO MOVE ON
I DON'T WANT TO BE THAT BRAVE
I DON'T WANT TO BE THAT STRONG
CAUSE IF I TURN AND WALK AWAY
EVERYTHING I LOVE IS GONE
IF IT'S TIME TO MOVE ON
I'LL MOVE ON
THERE'S A QUIET THUNDER
THAT IS DRUMMING OUT MY NAME
THERE'S A RIVER I KNOW I MUST CROSS
BUT WHEN I SURRENDER
THINGS WILL NEVER BE THE SAME
THOUGH SHE MIGHT WANT ME
TO STAY
THERE'S A PART OF HER THAT IS STILL RUNNING IN MY VEINS
WILL IT SLIP AWAY WHEN I AM GONE
WILL I FEEL THE FIRE BURNING IN THE GREAT BEYOND
OR WILL I LOSE HER
IS IT TIME TO LET GO
IS IT TIME - TIME TO MOVE ON
I DON'T WANT TO BE THAT BRAVE
I DON'T WANT TO BE THAT STRONG
CAUSE IF I TURN AND WALK AWAY
EVERYTHING I LOVE IS GONE
IF IT'S TIME TO MOVE ON
(Hunter is close to Charlie for the next verse as she looks in the mirror at herself. She senses him but doesn’t see him)
SO LET ME MEMORIZE YOUR SMILE
LET ME MEMORIZE YOUR EYES
IT’S ONLY CAUSE I LOVE YOU SO
I’VE GOT TO SAY GOODBYE
GOODBYE MY LOVE GOODBYE
NO I DON'T WANT TO BE THAT BRAVE
I DON'T WANT TO BE THAT STRONG
CAUSE IF I TURN AND WALK AWAY
EVERYTHING I LOVE IS GONE
BUT IF IT'S TIME TO MOVE ON
I’LL MOVE ON
THERE'S NO USE PRETENDING THAT SHE CAN'T MAKE IT WITHOUT ME
THERE'S NO USE PRETENDING IT'S FOR HER
SCENE 17
ABZOLUTELY FABULOUS REPRISE
ABZOLUTELY FABULOUS reprise
DON'T HIDE YOUR LIGHT
UNDER A BUSH
SLAP ON THE SPANX -TIGHTEN THE TUSH
TIME TO LEAVE THIS MESS BEHIND
YOUR INNER INGRID WANTS TO SHINE
YOUR IQ'S HIGH -YOUR HEMS ARE LOW
YOUR PORES ARE DOORS- LET GET THEM CLOSED!
SEXY IS AS SEXY DOES
LET'S GIVE THE PAPARAZZ A BUZZ!
(to Alys)
LOOK AT THOSE BONES
THEY ARE TO DIE!
LOOK AT THESE GAMS
GRABLE WOULD CRY!
HEY CINDERELLA
YOU'RE MAKING THIS FELLA GET HIGH!
ZSA ZSA
Looks at Charlies underwear label
Ugh- Where did these come form?
CHARLIE
ummm...Walmart?
ZSA ZSA
E-mer-gency!!! (Whips out a Victoria Secret bag and pulls out a thong)
YOU SHOULD BE
ABZOUTELY FABULOUS
ENOUGH WITH JUNIOR MISS
WOW THE CROWD AND TAKE A RISK
OH DARLING YOU'LL BE ABZOLUTELY FABULOUS
YES
ABZOUTELY FABULOUS
YOU'RE NOT A DAMSEL IN DISTRESS
SHOW THE WORLD YOUR SWEET SUCCESS
AND DARLING YOU'LL ABZOLUTELY ...
ELEGANT
WITH A TWIST
TAKE A BOW
BLOW A KISS
MY GOD
SHE'S FABULOUS
they walk the red carpet outside the movie theatre for the opening night of Casablanca Reimagined
DON'T HIDE YOUR LIGHT
UNDER A BUSH
SLAP ON THE SPANX -TIGHTEN THE TUSH
TIME TO LEAVE THIS MESS BEHIND
YOUR INNER INGRID WANTS TO SHINE
YOUR IQ'S HIGH -YOUR HEMS ARE LOW
YOUR PORES ARE DOORS- LET GET THEM CLOSED!
SEXY IS AS SEXY DOES
LET'S GIVE THE PAPARAZZ A BUZZ!
(to Alys)
LOOK AT THOSE BONES
THEY ARE TO DIE!
LOOK AT THESE GAMS
GRABLE WOULD CRY!
HEY CINDERELLA
YOU'RE MAKING THIS FELLA GET HIGH!
ZSA ZSA
Looks at Charlies underwear label
Ugh- Where did these come form?
CHARLIE
ummm...Walmart?
ZSA ZSA
E-mer-gency!!! (Whips out a Victoria Secret bag and pulls out a thong)
YOU SHOULD BE
ABZOUTELY FABULOUS
ENOUGH WITH JUNIOR MISS
WOW THE CROWD AND TAKE A RISK
OH DARLING YOU'LL BE ABZOLUTELY FABULOUS
YES
ABZOUTELY FABULOUS
YOU'RE NOT A DAMSEL IN DISTRESS
SHOW THE WORLD YOUR SWEET SUCCESS
AND DARLING YOU'LL ABZOLUTELY ...
ELEGANT
WITH A TWIST
TAKE A BOW
BLOW A KISS
MY GOD
SHE'S FABULOUS
they walk the red carpet outside the movie theatre for the opening night of Casablanca Reimagined
SCENE 18
(The Final Scene of the movie appears up on the screen. The scene at the airport - we hear the music for new Casablanca theme. Charlie leaves the theatre and is in the lobby. She sees Hunter. She's shocked. They rush into each other's arms)
HUNTER
Miss Beethoven. Could I get an autograph?
CHARLIE
Hunter- where were you?
HUNTER
You don't need me.
CHARLIE
But I miss you. Will I see you again?
HUNTER
Miss Beethoven. Could I get an autograph?
CHARLIE
Hunter- where were you?
HUNTER
You don't need me.
CHARLIE
But I miss you. Will I see you again?
AND WE WILL MEET AGAIN (HUNTER/CHARLIE GOODBYE)
HUNTER
THOUGH THE LOVE WE HOLD AND LOSE
CAN NEVER BE REPLACED
CHARLIE
IF WE LET IT HOPE ARRIVES
TO BE OUR SAVING GRACE
HUNTER & CHARLIE:
TELL ME THIS IS NOT GOODBYE
HUNTER
OH I KNOW IT’S NOT THE END
CHARLIE:
I WILL KEEP YOU IN MY HEART
HUNTER
UNTIL WE MEET AGAIN
HUNTER & CHARLIE:
AND WE WILL MEET AGAIN
THOUGH THE LOVE WE HOLD AND LOSE
CAN NEVER BE REPLACED
CHARLIE
IF WE LET IT HOPE ARRIVES
TO BE OUR SAVING GRACE
HUNTER & CHARLIE:
TELL ME THIS IS NOT GOODBYE
HUNTER
OH I KNOW IT’S NOT THE END
CHARLIE:
I WILL KEEP YOU IN MY HEART
HUNTER
UNTIL WE MEET AGAIN
HUNTER & CHARLIE:
AND WE WILL MEET AGAIN
HUNTER
(Ken and Alys poke their heads out the door. The following scene imitates the final scene in Casablanca)
They need you.
ALYS
Are you ready?
CHARLIE
(She takes a moment) Yes, I'm ready. (she looks back at Hunter)
Goodbye, Hunter. God bless you.
HUNTER
You'd better go. You'll miss the curtain call.
(Ken holds the door and the three of them walk through the doors together through a puff of fog mirroring what is happening on the screen. Hunter watches them go, then leaves through a different cloud of fog. The movie ends and there is massive applause.)
(Ken and Alys poke their heads out the door. The following scene imitates the final scene in Casablanca)
They need you.
ALYS
Are you ready?
CHARLIE
(She takes a moment) Yes, I'm ready. (she looks back at Hunter)
Goodbye, Hunter. God bless you.
HUNTER
You'd better go. You'll miss the curtain call.
(Ken holds the door and the three of them walk through the doors together through a puff of fog mirroring what is happening on the screen. Hunter watches them go, then leaves through a different cloud of fog. The movie ends and there is massive applause.)
SCENE 19
POST-SHOW THEATRE RECEPTION
The Parents, Maya, Ken and Alys are standing together. Everyone is excited about how the movie has been received. Chitter chatter. They are all grabbing glasses of champagne.
MAYA
That was phenomenal! (Raises her glass)
HUCK & MIRIAM
L’chaim!
JULIA & F.SCOTT push through the crowd to see Charlie
CHARLIE
You came!
F.SCOTT (opens his arms wide)
You are wonderful.
(The three of them hug)
ALYS
That was amazing.
KEN
You did it!
CHARLIE
Thank you for making sure I didn't check out.
ZSA ZSA bursts onto the scene. The crowd cheers and gives salutations. Zsa Zsa takes a deep curtsy.
ZSA ZSA
Thank you, everybody. This is my happy ending after all. But I could not have done it without this genius. (he takes Charlie's hand)
JULIA
Hunter would be so proud of you. As we are.
(the audience sees Hunter hovering around. Hunter moves to give his father a big kiss on the cheek.)
F.SCOTT
(Touches his face)
I somehow feel he's here with us tonight.
MAYA
Who's to say he's not?
BEAUTIFUL BEYOND
BEAUTIFUL BEYOND
MAYA,CHARLIE, KEN, HUNTER,HUCK, MIRIAM, JULIA &F.SCOTT,ALYS, ZSA ZSA
MAYA
WHAT IF YOU COULD KNOW
THAT LIFE BEGINS AGAIN
WHAT IF YOU COULD SEE
THERE’S AN END BEYOND THE END
WHAT IF YOU COULD TRUST
BENEATH THE TEARS WE CRY
THERE’S A BEAUTIFUL BEYOND
AND IT LIVES IN YOU AND I
CHARLIE
IT’S A PLACE WITHOUT A NAME
IT’S A NAME WITHOUT A SOUND
AND WHEN I FEEL ALONE
I STILL FEEL IT ALL AROUND
WHEN THE MOON HAS LOST HER WAY
AND THE STARS REFUSE TO SHINE
CHARLIE AND MAYA
THERE’S A BEAUTIFUL BEYOND
AND IT LIVES IN YOU AND I
CHARLIE AND ZSA ZSA
THERE’S A WHISPER DEEP INSIDE
YOU CAN LET IT BE YOUR GUIDE
LOVE IS NEVER REALLY GONE
IN THE BEAUTIFUL BEYOND
ENSEMBLE
HOLD ON HOLD ON
CHARLIE AND ZSA ZSA
DON’T EVER LET IT LEAVE
UNTIL YOUR HEART BELIEVES
KEN
THERE’S A RIVER IN MY MIND
LIKE A RIBBON IN THE SKY
IT IS WONDERFUL AND WILD
KEN AND ENSEMBLE
AND IT MAKES ME FEEL ALIVE
KEN AND ALYS
IT’S AN EVERLASTING FLAME
ENSEMBLE
EVERLASTING
KEN AND ALYS
IT’S A NEVER-ENDING LIGHT
ENSEMBLE
NEVER ENDING
ENSEMBLE
THERE’S A BEAUTIFUL BEYOND
AND IT LIVES IN YOU AND I
JULIA AND F.SCOTT
THERE’S AN ANGEL AT YOUR SIDE
EVERY TIME YOU CLOSE YOUR EYES
MIRIAM AND HUCK
NEVER DOUBT THAT LOVE LIVES ON
MIRIAM AND HUCK AND ENSEMBLE
IN THE BEAUTIFUL BEYOND
ENSEMBLE
HOLD ON HOLD ON
DON’T EVER LET IT LEAVE
UNTIL YOUR HEART BELIEVES
HUNTER
THE LOSS MAY LINGER ON
THE PAIN MAY NEVER FADE
BUT THOUGH YOUR HEART MAY BREAK
LOVE WILL FIND A WAY
ENSEMBLE
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
HOLD ON TO THE BEAUTIFUL BEYOND
HOLD ON TO THE BEAUTIFUL BEYOND
HOLD ON TO THE BEAUTIFUL BEYOND
LOVE WILL ALWAYS FIND A WAY
LOVE WILL ALWAYS FIND A WAY
TO THE BEAUTIFUL BEYOND
HUNTER
CAUSE IT LIVES IN YOU AND
CHARLIE
LIVES IN YOU AND
ALL
I
MAYA,CHARLIE, KEN, HUNTER,HUCK, MIRIAM, JULIA &F.SCOTT,ALYS, ZSA ZSA
MAYA
WHAT IF YOU COULD KNOW
THAT LIFE BEGINS AGAIN
WHAT IF YOU COULD SEE
THERE’S AN END BEYOND THE END
WHAT IF YOU COULD TRUST
BENEATH THE TEARS WE CRY
THERE’S A BEAUTIFUL BEYOND
AND IT LIVES IN YOU AND I
CHARLIE
IT’S A PLACE WITHOUT A NAME
IT’S A NAME WITHOUT A SOUND
AND WHEN I FEEL ALONE
I STILL FEEL IT ALL AROUND
WHEN THE MOON HAS LOST HER WAY
AND THE STARS REFUSE TO SHINE
CHARLIE AND MAYA
THERE’S A BEAUTIFUL BEYOND
AND IT LIVES IN YOU AND I
CHARLIE AND ZSA ZSA
THERE’S A WHISPER DEEP INSIDE
YOU CAN LET IT BE YOUR GUIDE
LOVE IS NEVER REALLY GONE
IN THE BEAUTIFUL BEYOND
ENSEMBLE
HOLD ON HOLD ON
CHARLIE AND ZSA ZSA
DON’T EVER LET IT LEAVE
UNTIL YOUR HEART BELIEVES
KEN
THERE’S A RIVER IN MY MIND
LIKE A RIBBON IN THE SKY
IT IS WONDERFUL AND WILD
KEN AND ENSEMBLE
AND IT MAKES ME FEEL ALIVE
KEN AND ALYS
IT’S AN EVERLASTING FLAME
ENSEMBLE
EVERLASTING
KEN AND ALYS
IT’S A NEVER-ENDING LIGHT
ENSEMBLE
NEVER ENDING
ENSEMBLE
THERE’S A BEAUTIFUL BEYOND
AND IT LIVES IN YOU AND I
JULIA AND F.SCOTT
THERE’S AN ANGEL AT YOUR SIDE
EVERY TIME YOU CLOSE YOUR EYES
MIRIAM AND HUCK
NEVER DOUBT THAT LOVE LIVES ON
MIRIAM AND HUCK AND ENSEMBLE
IN THE BEAUTIFUL BEYOND
ENSEMBLE
HOLD ON HOLD ON
DON’T EVER LET IT LEAVE
UNTIL YOUR HEART BELIEVES
HUNTER
THE LOSS MAY LINGER ON
THE PAIN MAY NEVER FADE
BUT THOUGH YOUR HEART MAY BREAK
LOVE WILL FIND A WAY
ENSEMBLE
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
LOVE WILL FIND A WAY
HOLD ON TO THE BEAUTIFUL BEYOND
HOLD ON TO THE BEAUTIFUL BEYOND
HOLD ON TO THE BEAUTIFUL BEYOND
LOVE WILL ALWAYS FIND A WAY
LOVE WILL ALWAYS FIND A WAY
TO THE BEAUTIFUL BEYOND
HUNTER
CAUSE IT LIVES IN YOU AND
CHARLIE
LIVES IN YOU AND
ALL
I