Perusal Pack

- PERUSAL PACK -

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

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

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

The DOCTOR also portrays the following characters:

FATHER O’REILLY – Rosemary’s Parish Priest in Maysville ROSEMARY’S MOTHER SOUND TECHNICIAN AT THE WLW RADIO STATION BETTY CLOONEY - Rosemary’s sister UNCLE GEORGE - Rosemary’s Uncle JOSE FERRER - Rosemary’s Husband & Actor VICE PRESIDENT/PARAMOUNT PICTURES DANTE DIPAOLO - Rosemary’s Dance Coach and Future Husband FRANK SINATRA BING CROSBY NEWSMAN

MUSICIANS Jazz Trio Piano, Bass, Drums/Percussion

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

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

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

1 AUTHORS’ NOTES

As longtime fans of Rosemary Clooney, we always knew we wanted to craft a show about her remarkable life and career. Her engaging personality filled the screen in all of her movies, her television shows and appearances, and on her many recordings. Rosemary had an undeniable and beautiful voice which captured a heartfelt genuineness. Her ability to sing and sell a lyric was her hallmark both in her early days and later as she became a jazz artist. We were intrigued by her childhood ties to Kentucky and Cincinnati and how her journey eventually brought her to Hollywood and concert stages across the United States and abroad.

In our research into Rosemary’s life, we visited Maysville and Augusta, Kentucky on several occasions – visiting her childhood home, eating lunch at her favorite restaurants, touring the Russell Theatre, located on Third Street in Maysville, which was the site of the world premiere of Rosemary Clooney’s first film, The Stars Are Singing in 1953, and where she sang as a young child. We walked through the Maysville Opera House, had a slice of Transparent Pie, visiting the church where she and Dante married and where Rosie’s funeral took place. We went the house Dante and Rosie shared together which is now the Rosemary Clooney Museum, and visited her gravesite.

We talked with her friends, family members, attorney, and business associatesPerusal and heard from them wonderful first-hand stories about Rosemary. We read,Production re-read, and outlined both of her autobiographies, watched all of her films, and poured over the many interviews and performances which exist online and – of course – listened to her many, many recordings.

We were moved by the challenges and struggles she faced throughout her life,for and the inspiring way Rosemary rose above them all to enjoy a long and fruitful career, surrounded by the love of family, friends, and the countless Rosemary TRWClooney fans around the world. Her enduring body of work is the way she still touches the hearts and lives of those she worked with, her audiences, and even the most casual acquaintance.

Rosemary’sNot courage, strength and sense of humor in the face of many challenges is an inspiring lesson for all of us. Her ability to re-invent her career and move forward with her life is a wonderful example for people today.

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

All Our Best,

Mark Friedman & Janet Yates Vogt

PerusalProduction for TRW Not

PRODUCTION NOTES

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

THE ROLE OF THE DOCTOR Throughout the play, the Doctor will assume the roles of many of the major figures in Rosemary’s life. This must be done in a way that allows the audience to feel that Rosemary is seeing and conversing with these people – all within the context of her therapy sessions.

Elaborate costumes are not needed. You may choose to simply have him remove his jacket for use as a cape or cloak for his role of the Mother, and pick-up Rosemary’s purse as a prop. Hats, pipes, cigarettes, costume accessories, and other hand-held props may aid in making the Doctor’s many characters recognizable and believable. To maintain the sophistication of the work and the correct dramatic focus of the scenes, do not have the Doctor use any female clothes items – i.e. a women’s coat or hat, etc – to portray the female characters. He should assume the female roles simply by his attitude and body language with perhaps simple re-purposingPerusal of his own wardrobe or use of a single prop. Production PLEASE NOTE: To maintain and build the connection and the closeness of the relationship between Rosemary and the Doctor, we strongly suggest that the Doctor NOT take notes (in a stereotypical Doctor/Patient way), but rather listen intently to Rosemary and be fully engaged in each conversation and session.for

TRWPRE-RECORDED SOUND BITES We have indicated the use of pre-recorded sound bites – fragments of Bobby Kennedy’s campaign speech prior to his assassination, an ambulance siren, the sound of gun shots, and hecklers in the audience at her performance at Harold’s Club Notin Reno on the night she broke down on stage.

THE DRESSING TABLE AND MIRROR The dressing room table and mirror are an important “marker” for Rosemary in the musical. It represents both her angst and her re-birth. It could have a real mirror so

that she sits with her back to the audience or just a frame which would allow her to sit facing the audience. Her facial expressions and mannerisms at the mirror are important as they reflect her mental state.

THE MUSICAL’S BOOKENDED SONGS The musical begins with HEY THERE – a huge number one hit single for Rosemary in 1953. The show ends with THIS OLE HOUSE - the “flip side” of HEY THERE and even bigger number one hit single in 1953. Rosemary references her life as having a “flip side” in the final scene.

A NOTE ABOUT THE BOWS AND MUSICAL CONCLUSION OF THE PIECE You will note that we have given you two options to conclude Tenderly. The first option, BOWS OPTION 1, is to follow Rosemary’s final song, THIS OLD HOUSE, with a vocal reprise of THIS OLD HOUSE which functions as both the Bows and the opportunity for the two actors to sing together again. The second option, BOWS OPTION 2, is to follow Rosemary’s final song, THIS OLE HOUSE, with a short instrumental version of the piece to serve as brief bows, with the Doctor then exiting and Rosemary remaining to sing an ENCORE MEDLEY of three of her biggest hits. She is ultimately joined by the Doctor again at the very end of the medley for a final bow and duet. We encourage you to choose the best option for your production and your audiences. Perusal

A NOTE ABOUT ACCENTS Production Please note that none of the Clooneys (Rosie’s mother, her Uncle George, Betty, etc) spoke with any kind of southern drawl or accent. They all spoke with a normal Midwestern American accent as you will note when researching clips of Rosemary, her brother Nick, as well as her nephew, George, who grew up in nearbyfor Augusta, Kentucky. Maysville, Kentucky is on the northern tip of the state and its TRWresidents do not have any kind of Deep South way of speaking. To maintain the authenticity of the portrayal of these people, actors should use a simple Midwest manner of speaking.

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MUSIC ACKNOWLEDGMENTS

COUNT YOUR BLESSINGS INSTEAD OF SHEEP by Irving Berlin / used by permission of Rodgers & Hammerstein: an Imagem Company. On behalf of the estate of Irving Berlin, www.irvingberlin.com. / All Rights Reserved.

HOW ABOUT YOU by Burton Lane, with lyrics by Ralph Freed. Copyright © 1941 All Rights Reserved. Perusal TENDERLY by Jack Lawrence and Walter Gross / Used by Permission of Range Road Music,Production Inc. / Courtesy of EDWIN H. MORRIS & COMPANY, A DIVISION OF MPL MUSIC PUBLISHING, INC. (ASCAP) / All Rights Reserved.

STRAIGHTEN UP AND FLY RIGHT by Nat King Cole and Irving Mills / Copyright ©1944 American Academy of Music Inc, USA / Warner Chappell forMusic Ltd, London / Used with Permission of Sony ATV / All Rights Reserved. TRW BOTCH-A-ME (Ba-Ba-Baciami Piccina) English lyric and music adapted by Eddie Y. Stanley / Italian Words and Music by R. Morbelli and L. Astore / Copyright ©1952 (Renewed) Edizioni Fono Enic., Milan, Italy / TRO-Hollis Music, Inc., New York,Not controls all publication rights for the USA and Canada / International Copyright secured / Used by Permission / All Rights Reserved.

COME ON-A MY HOUSE by Ross Bagdasarian and William Saroyan / Copyright ©1957 Ross Bagdasarian Music, Adam Bagdasarian Music, Carol BagdasarianPerusal Music, The Saroyan Company and Stanford University / Used with Permission / All Rights Reserved. Production

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TENDERLY Scenes, Musical Numbers, and Pages

ACT I SCENE 1 (Harold's Club, Reno, Nevada 1968)...... 10 #1 Hey There ...... 10 #2 Have I Stayed Too Long At The Fair Fragment ...... 11 #3 Come On-A My House Instrumental 1 ...... 11 #4 Come On-A My House Instrumental 2 ...... 12 SCENE 2 (A Psychiatrist’s Office at Cedar-Sinai Hospital; Beverly Hills, 1968)...... 13 #5 Paper Moon Transition Music ...... 22 SCENE 3 (Sisters)...... 23 #6 Sisters ...... 24 #7 Count Your Blessings ...... 28 #8 Band Tuning ...... 30 SCENE 4 (The Radio Station & On the Road)...... 31 #9 Hawaiian War Chant ...... 32 #10 It’s Only A Paper Moon ...... 35 #11 Before How About You? ...... 39 SCENE 5 (Bing)...... 40 #12 How About You? ...... 44 #13 After How About You? ...... 47 SCENE 6 (Joe)...... Perusal ...... 48 #14 Tenderly ...... 50 SCENE 7 (Contracts & Softball)Production...... 52 #15 Straighten’ Up And Fly Right ...... 52 #16 Softball Underscore ...... 56 #17 Botch-A-Me ...... 57 #18 Pretty Little Pills Transition Music ...... 60 SCENE 8 (Deceptionsfor & Accusations) ...... 61 #19 Are You In Love Again? ...... 63 TRW#20 I Get Along Without You Very Well ...... 65 #21 Down The Hatch ...... 70 #22 Have I Stayed Too Long At The Fair? ...... 71

Not ACT II SCENE 1 (Regrets)...... 75 #23 Pretty Little Pills ...... 75 #24 Tenderly - Reprise ...... 80 #25 I Remember You ...... 83

SCENE 2 (Revelations)...... 85 #26 Sway ...... 86 #27 After Sway ...... 88 #28 Hey There - Reprise ...... 89 #29 Have I Stayed Too Long At The Fair - Reprise ...... 92 #30 Come On-A My House – The Breakdown ...... 93 #31 Come On-A My House – A Cappella ...... 99 #32 Come On-A My House and Overlapping Melodies ...... 100 #33 Before Mambo Italiano ...... 103 SCENE 3 (Dante)...... 104 #34 Mambo Italiano ...... 105 #35 Straighten Up and Fly Right Variations ...... 106 SCENE 4 (Decisions)...... 107 #36 How About You? Instrumental ...... 108 #37 Hawaiian War Chant Instrumental ...... 110 SCENE 5 (Take a Memo)...... 111 #38 Hey There Variations 1 ...... 111 SCENE 6 (The Hollywood Bowl)...... 112 #39 Hey There Variations 2 ...... 112 #40 Count Your Blessings Reprise ...... 115 #41 Hey There Underscoring ...... 116 #42 This Ole House ...... 117 #43 BOWS OPTION 1 - This Ole House Vocal Reprise ...... 118 #44 BOWS OPTION 2 - This Ole House Reprise Instrumental 119 #45 Encore Medley ...... 119 #46 Walk-Off PerusalMusic ...... Production .... 121 for TRW Not

ACT 1

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

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

#1 HEY THERE

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

(ROSEMARY enters and walks to the microphone)

ROSEMARY (singing) LATELY WHEN I’M IN MY ROOM ALL BY MYSELF IN THE SOLITARY GLOOM I CALL TO MYSELF

HEY THERE Perusal- YOU WITH THE STARS IN YOUR EYES LOVE NEVER MADE A FOOL ProductionOF YOU YOU USED TO BE TOO WISE

HEY THERE - YOU ON THAT HIGH FLYIN’ CLOUD THOUGH HE WON'T THROW A CRUMB TO YOU YOU THINK SOMEDAYfor HE'LL COME TO YOU BETTER FORGET HIM TRW HIM WITH HIS NOSE IN THE AIR HE HAS YOU DANCIN´ ON A STRING BREAK IT AND HE WON´T CARE

NotWON’T YOU TAKE THIS ADVICE I HAND YOU LIKE A MOTHER OR ARE YOU NOT SEEIN´ THINGS TOO CLEAR

ROSEMARY (CONT’D) ARE YOU TOO MUCH IN LOVE TO HEAR IS IT ALL GOIN´ IN ONE EAR AND OUT THE OTHER

HEY THERE - YOU WITH THE STARS IN YOUR EYES LOVE NEVER MADE A FOOL OF YOU YOU USED TO BE TOO WISE

WILL YOU TAKE THIS ADVICE I HAND YOU LIKE A MOTHER OR ARE YOU NOT SEEIN´ THINGS TOO CLEAR

ARE YOU JUST TOO FAR GONE TO HEAR IS IT ALL GOIN´ IN ONE EAR AND OUT THE OTHER

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

#2 HAVE I STAYED TOO LONG AT THE FAIR FRAGMENT

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

CLUB EMCEE (pre-recordedfor) Ladies and Gentlemen, let’s welcome back Miss Clooney – singing one of her biggest hits – “Come on-a My House!” TRW #3 COME ON-A MY HOUSE INSTRUMENTAL 1

(knock on door) Not (The CLUB EMCEE calls out to her.)

CLUB EMCEE (pre-recorded) Miss Clooney – it’s time for your next number.

(ROSIE appears to not hear.)

CLUB EMCEE (CONT’D) Miss Clooney!

(ROSIE still gives no reaction.)

Miss Clooney – you’re on!

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

(BLACKOUT followed by silence)

#4 COME ON-A MY HOUSE INSTRUMENTAL 2

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

SCENE 2: A PSYCHIATRIST’S OFFICE AT CEDAR-SINAI HOSPITAL; BEVERLY HILLS, 1968

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

(The DOCTOR enters with files in HIS hand. He checks his watch, obviously waiting for someone.)

(NOTE: It is the intent of the authors that the DOCTOR does not take notes during the “sessions” which can be distracting to the audience as well as keep the DOCTOR from interacting more fully with ROSEMARY. This allows the two actors to clearly focus on one another. See Authors’ Notes for further information.)

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

DOCTOR Hello, Miss Clooney. I’m Doctor Victor Monke. Perusal ROSEMARYProduction If you’re a monk – where’s your robe? (She laughs at her own comment, waiting for his reaction. He ignores her jab.)

(ROSIE is fidgety and impatient, pacing about thefor room.)

TRW DOCTOR I’m looking forward to our working together. Please - (motioning to a chair) have a seat.

Not(ROSEMARY is looking around the office, inspecting it)

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

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

DOCTOR Miss Clooney?

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

ROSEMARY (small talk, stalling) Nice office you got here. But I don’t see any family photos. Do you have kids? (not waiting for his response) Did you know my husband and I had 4 kids in 3 and a half years. Bob Hope called it Vatican Roulette.

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

(She continues to smoke.)

ROSEMARY (reassuringfor him that she has special privileges) TRWOh – it’s okay, Doc. I gave a lot of money to this hospital. My name’s on that big plaque on the wall by the front desk. I’m sure you’ve seen it.

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

(A moment of silence – responds to her pacing)

DOCTOR I know it’s not a couch, but this is a perfectly comfortable chair. (motions to the chair again)

ROSEMARY Oh – I forgot - that’s right. We’re on the clock. Well, I heard you’re the best damn psychiatrist in Beverly Hills – so – let’s get on with it, then - (flip attitude) as fast as possible. I want out.

DOCTOR (calmly, motioning to the door) Well, there’s the door.

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

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

DOCTOR Let’s get some Perusalthings straight here, Miss Clooney. For your information, I normally don’tProduction do one-on-one sessions anymore. I’m head of this department and plenty busy – but I agreed to work with you. I’m well aware of the money you’ve given – but everyone here gets the same treatment – the best treatment possible - with no special privileges. So if you want to get started, sit down for– and (firmly and emphatically) TRWput - out - you r - cigarette.

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

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

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

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

DOCTOR (now down to business) Let’s start with the basics. Why are you here?

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

That’s easy – Father O’Reilly.

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

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

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

Not DOCTOR (as FATHER O’REILLY) Rosemary, you need help – and you need it badly.

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

DOCTOR (as FATHER O’REILLY) Think of your children. They want you to get better. They need you to get better.

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

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

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

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

DOCTOR (as FATHERPerusal O’REILLY) (gently scolding) Production Rosemary -

ROSEMARY I’ve got to keep working, Father. I’m practically broke and I’m certainly not getting any money from Joe. And how can I take care of my kidsfor if I’m in some hospital? Tell me, Father – why should I go? TRW DOCTOR (as FATHER O’REILLY) Rosemary, you should go – (FATHER gestures to ROSEMARY in the Notform of a cross as if blessing her.) - because God wants you to.

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

ROSEMARY For some reason, Doc – that stuck with me.

DOCTOR (himself again) And you believe in God?

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

(DOCTOR looks at her quizzically)

Catholic Irish Alcoholics - I wouldn’t be here today if my dad weren’t one of the lifetime members.

DOCTOR And your mother?

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

DOCTOR Did she? Get out of Maysville?

PerusalROSEMARY Eventually - but first she marriedProduction the handsome and charming Andrew Clooney - eight years older and looking for his dreams at the bottom of some bottle. (with concern) Mama! What’s wrong?

(The DOCTORfor becomes ROSEMARY’S MOTHER. She is walking with intent as if TRWreadying herself to leave.)

(NOTE: It is the authors’ intent that when the DOCTOR becomes any of the female characters, he should not put on Notor use any women’s accessories, jewelry, hats, or clothing items to assume those characters. Instead he should convey his female characters with mannerisms and tone of voice. Taking the time to add these costume

items slows the pace and can create unintentional humor where none is meant.

However - per the director’s discretion – the DOCTOR may re-fashion his jacket to suggest a female usage of clothing, such as a cape, etc, keeping his character changes both swift and subtly achieved.)

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

ROSEMARY (as a TEENAGE ROSEMARY) Yes he will – he told me he would!

DOCTOR (as ROSEMARY’S MOTHER) Your father’s a liar - a ladies’ man. He has another child, you know - but it’s his child, not mine. Never trust him!

ROSEMARY (as aPerusal TEENAGE ROSEMARY) But – Mama – where are you going?Production

DOCTOR (as ROSEMARY’S MOTHER) I’m leaving – I’m going to California. As soon as I get settled, I’ll send for you girls. Oh – and Rosemary - your father will be comingfor to live with you and your sister -

TRW ROSEMARY (as a TEENAGE ROSEMARY) (alarmed) But what about Nicky?!

Not DOCTOR (as ROSEMARY’S MOTHER) I’m taking your brother with me.

ROSEMARY (as a TEENAGE ROSEMARY) You’re taking Nicky - and leaving us with Dad? We hardly know him! Why, Mama, why?

DOCTOR (as ROSEMARY’S MOTHER) (dismissing her) Take care of Betty.

ROSEMARY (as a TEENAGE ROSEMARY) But Mama –

DOCTOR (as ROSEMARY’S MOTHER) You’re the oldest, you’ll manage.

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

DOCTOR (himself again) Did you – manage?

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

DOCTOR Did you cry?

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

DOCTOR Well, you made the decision to be here. That was good. You committed yourself. Not ROSEMARY Screw that, Doctor. When they asked me to sign the papers, I put a big “X” there instead of my name. I told them I couldn’t write. I don’t need to be here. I don’t need therapy. Only weak people need therapy.

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

DOCTOR Did you stop?

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

DOCTOR That was a remarkable thing that you did.

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

DOCTOR Sure, that’s fine.Perusal Production ROSEMARY Well, I guess I’ll just go back to my dreary little cell.

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

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

DOCTOR Well,Not get some rest, Miss Clooney. And can I give you some advice?

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

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

ROSEMARY Apple?

DOCTOR Pecan.

ROSEMARY My Grandmother Guilfoyle taught me how to make a piecrust so flaky you’d swear it was nothing but air. But the truth is Doc, I can get pie at Chasen’s any time I want. (beginning to exit) See you tomorrow. But, I’ll warn you, Doctor Monke. I still want out of here.

(ROSEMARY exits briefly.)

#5 PAPER MOON TRANSITION MUSIC

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

SCENE 3: SISTERS

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

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

ROSEMARY HMMMMM...

(She stops humming.)

DOCTOR Good morning. How did you sleep?

ROSEMARY Snug as a baby – (pause) in a strait-jacket.

DOCTOR I’ve always liked that song you were humming. It’s called – uh... (He tries to remember the name.)

PerusalROSEMARY Paper Moon. My sister BettyProduction and I used to sing it together on the road.

DOCTOR Have you always been a singer, Miss Clooney?

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

Not(The D OCTOR becomes ROSEMARY’S MOTHER)

DOCTOR (as ROSEMARY’S MOTHER) Don’t leave those holes in the songs when you’re singing, Rosemary.

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

DOCTOR (as ROSEMARY’S MOTHER) You’re not supposed to pause like that.

ROSEMARY (as a YOUNG ROSEMARY) But Mama, that’s how the song goes. I’m supposed to do it that way.

DOCTOR (as ROSEMARY’S MOTHER) Why do you have to?

ROSEMARY (as a YOUNG ROSEMARY) I don’t know why. I just have to.

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

Perusal#6 SISTERS

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

THERE WERE NEVER SUCH DEVOTED SISTERS NEVER HAD TO HAVE A CHAPERONE NotNO SIR

(Music changes to up-tempo)

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

mimic the dance scene from “White Christmas”)

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

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

DOCTOR (as BETTY CLOONEY) WHEN A CERTAIN GENTLEMAN ARRIVED FROM ROME

ROSEMARY SHE WORE THE DRESS - AND I STAYED HOME

BOTH ALL KINDS OF WEATHER WE STICK TOGETHER THE SAME IN THE RAIN OR SUN

TWO DIFFERENT FACES BUT IN TIGHT PLACES WE THINK AND WE ACT AS ONE UH – HUH Perusal THOSE WHO’VE SEEN US KNOW THAT NOT A THING CANProduction COME BETWEEN US MANY MEN HAVE TRIED TO SPLIT US UP BUT NO ONE CAN

LORD HELP THE MISTER WHO COMES BETWEEN ME AND MY SISTER

AND LORD HELPfor THE SISTER WHO COMES BETWEEN ME AND MY MAN TRW Sisters! Sisters!

SISTER DON’T COME BETWEEN ME AND MY MAN Not (ROSEMARY and the DOCTOR are back in the session)

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

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

ROSEMARY (a little skeptical) Really?

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

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

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

ROSEMARY Exactly - and later with Betty, too. We recorded that song together for ColumbiaPerusal Records. And lik e typical sisters - when we got into the studio Productionwe started to argue. I had some ideas about harmony. Betty had some ideas about phrasing. She started calling me (formally) Rosemary - and I began to say (formally) Betty Ann. for (fondly) TRWBut on the ride home we looked at each other and burst out laughing. 'Betts,' I said. 'Rosie,' she answered. And we giggled all the way home. It was like old times.

DOCTOR Old times?Not

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

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

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

DOCTOR You tell me –

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

DOCTOR Who looked after you?

ROSEMARY That was easy. Mama just left us with whoever had room, whoever wasn’t rock-bottom broke and looking for work – (thoughtful) - whoever said “yes.”

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

TRW DOCTOR So - where was home?

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

#7 COUNT YOUR BLESSINGS

DOCTOR Sounds like times were hard back then.

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

DOCTOR How did you cope?

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

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

(singing) WHEN I'M WORRIED AND I CAN'T SLEEP I COUNT MY BLESSINGS INSTEAD OF SHEEP AND I FALL ASLEEP COUNTING MY BLESSINGS for WHEN MY BANKROLL IS GETTING SMALL TRWI THINK OF WHEN I HAD NONE AT ALL AND I FALL ASLEEP COUNTING MY BLESSINGS

(music continues)

Not DOCTOR (as a YOUNG BETTY CLOONEY) Oh, Rosie – the Orient Express! Will we stay overnight on the train?

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

DOCTOR (as a YOUNG BETTY CLOONEY) What about Nicky?

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

DOCTOR (as a YOUNG BETTY CLOONEY) Oh, Rosie – I’m scared - it’s so far from home! Promise you’ll stay with me tonight!

ROSEMARY (as a YOUNG ROSEMARY) Sure, Betty – I’ll never leave you - ever!

ROSEMARY (as herself) (singing)Perusal WHEN YOU’RE WORRIED Production AND YOU CAN'T SLEEP

JUST COUNT YOUR BLESSINGS INSTEAD OF SHEEP

AND YOU’LL FALLfor ASLEEP COUNTING YOUR BLESSINGS TRW (music continues)

(The DOCTOR rises, resuming his role as DOCTOR.) Not ROSEMARY Wherever Mama unloaded us, I was very careful never to say or do the wrong thing.

DOCTOR (as himself) You’re still pretty good at that – I’m starting to see.

ROSEMARY (smiling at his response) Oh yes. I figured out very early what people wanted from me - and then I’d make sure I was just what they expected.

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

#8 BAND TUNING

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

SCENE 4: THE RADIO STATION & ON THE ROAD

DOCTOR (as a SOUND TECHNICIAN) (demonstrating) All right girls, now - turn your heads away from the microphone when you’re sounding a p or a b. Otherwise – (He blows a PUH and BUH.)

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

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

DOCTOR Cincinnati?

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

ROSEMARY (as a TEENAGE ROSEMARY) (to BETTY)for Okay, Betts! Now how much do we have between us? TRW (The DOCTOR becomes BETTY CLOONEY)

DOCTOR (as a TEENAGE BETTY CLOONEY) ThirtyNot cents.

ROSEMARY (as a TEENAGE ROSEMARY) Right - so what would you rather do – take the bus downtown to WLW and ask for an audition, or (tempting HER) get a soda? DOCTOR (as a TEENAGE BETTY CLOONEY) Audition, of course!

ROSEMARY (as a TEENAGE ROSEMARY) Come on, Betts - I really want a soda.

DOCTOR (as a TEENAGE BETTY CLOONEY) How about we flip for it. Heads, we audition. Tails, we split a soda.

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

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

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

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

(ROSEMARYfor walks over to a 1940/50’s style microphone.) TRW #9 HAWAIIAN WAR CHANT

We walked in there and picked out the first song we could think of – Not (ROSEMARY transitions back into her teenage-self.)

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

ROSEMARY & DOCTOR (as TEENAGE ROSEMARY & TEENAGE BETTY CLOONEY) THERE'S A SUNNY LITTLE FUNNY LITTLE MELODY THAT WAS STARTED BY A NATIVE DOWN IN WAIKIKI

HE WOULD GATHER A CROWD DOWN BESIDE THE SEA AND THEY'D PLAY HIS GAY HAWAIIAN CHANT

TA-HU-WA-I LA A TA-HU-WA-I WA-I LA E-HU HE-NE LA-A PI-LI KO-O LU-A LA PU-TU-TU-I LU-A I-TE TO-E LA HA-NU LI-PO I-TA PA-A-LAI

AU WE TA HU-A-LA AU WE TA HU-A-LA

(THE DOCTOR becomes THE DOCTOR again)

ROSEMARY (as herself) (speaking) The truth is – Betty and I actually made up most of the words to replace the real lyrics we didn’t know – just a bunch of vowels, anyway! Perusal (half-singing, half-talking) AU WE TA HU-A-LA – Production

(speaking - musing) What the hell does that mean?

DOCTOR (as himselffor) (chuckling) TRWDon’t ask me. (pausing, then) So - did you get the job?

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

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

(ROSEMARY pauses for a moment. Silence.)

DOCTOR What are you thinking about, Rosie?

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

DOCTOR How old were you then?

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

PerusalDOCTOR Well, how did you end up on Productionthe road?

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

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

DOCTOR Sounds like he was just as excited as you were.

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

DOCTOR (amused) No – can’t say that I knew that.

#10 IT’S ONLY A PAPER MOON

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

(The DOCTOR becomes UNCLE GEORGE and checks the microphone downstage) Perusal DOCTOR (as UNCLE GEORGE) Production You’re all set, girls!

ROSEMARY Thanks, Uncle George.

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

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

Not ROSEMARY (CONT’D) Betty and I think Tony Pastor’s band is just about the best on the planet. How about you?

(applause from audience)

ROSEMARY (CONT’D) It’s great to be here in – in – (trying to remember where she is – looking over at the musicians and they call out “Baltimore” to her. She laughs it off, then says:) Baltimore! Sorry, folks, we’ve been on the road for a little while now.

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

Sing it, Betty!

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

ROSEMARY WITHOUT YOUR LOVE IT'S A HONKY TONK PARADE Perusal DOCTOR (as BETTY CLOONEY)Production WITHOUT YOUR LOVE IT'S A MELODY PLAYED IN A PENNY ARCADE

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

ROSEMARY IF YOU BELIEVED IN ME

Not(The DOCTOR becomes UNCLE GEORGE)

DOCTOR (as UNCLE GEORGE) But I’ve always believed in you, Rosie!

ROSEMARY (to UNCLE GEORGE) If I stay – (hesitating) If I stay with you, Uncle George, I’ll always be small time.

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

ROSEMARY Yes.

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

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

DOCTOR (as UNCLE GEORGE) (interrupting)Perusal And now you want to leave yourProduction sister and me behind. Just like that. Get yourself a brand new, fancy New York manager?

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

TRW DOCTOR (as UNCLE GEORGE) Rosie?!

ROSEMARY Not(singing - solo) WITHOUT YOUR LOVE IT'S A HONKY TONK PARADE

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

(music continues)

(THE DOCTOR becomes BETTY CLOONEY)

DOCTOR (as BETTY CLOONEY) It’s all right Rosie, really it is.

ROSEMARY But, Betty – I –

DOCTOR (as BETTY CLOONEY) I know the record company asked you – not me. It’s a chance of a lifetime, Rosie – of a lifetime! You have to do it. I’ll be fine. (pausing) Besides – I – (pausing) I’m tired of being the girl in the band. I just want to be the girl in the beautiful dress out on the dance floor - dancing.

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

(music pauses)

(THE DOCTOR becomes UNCLE GEORGE. He and ROSIE are in mid-conversation) for DOCTOR TRW(as UNCLE GEORGE) I want to hear it from you, Rosie. You want to leave your sister and me behind and be on your own?

ROSEMARY Not(reflecting a memory out loud – offstage focus) I looked at my Uncle George - and I looked at the corner of the ceiling where a fine crack had made a sort of semi- circle.

DOCTOR (as UNCLE GEORGE) (back in the moment with UNCLE GEORGE) Rosie! Are you sure that’s what you want?

ROSEMARY (tears in her eyes – to UNCLE GEORGE) Yes.

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

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

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

DOCTOR (as himself) So how did you feel about ending the “Clooney Sisters” act?

ROSEMARY We had a scrapbook we started when we first went on the road. (announcing the title) “The Clooney Sisters,Perusal Our Life with Tony Pastor’s Orchestra” – I wrote down JulyProduction 1946 to – then I put in a big question mark. When I signed with new manager Mr. Shribman and Columbia Records, I couldn’t bring myself to write the ending date on the cover.

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

TRW #11 BEFORE HOW ABOUT YOU?

(SCENE TRANSITIONS)

Not

SCENE 5: BING

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

DOCTOR So, you like the hospital you helped build? (good-natured teasingly) Are you enjoying your stay here?

ROSEMARY (sarcastically) Yeah, this place is a regular four-star hotel.

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

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

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

for DOCTOR I have to admit – I haven’t – TRW(whimsically) - but I’ll be sure to bring it up to the hospital board. Now let me ask you something.

ROSEMARY Ask away.Not

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

DOCTOR (CONT’D) in Reno.

ROSEMARY What’s there to talk about?

DOCTOR You know, Rosie.

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

DOCTOR And?

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

DOCTOR (pausing, frustrated but giving in) It’s all right - I can appreciate it – so what do you want to talk about?

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

(The PerusalDOCTOR looks at HER quizzically) Production DOCTOR (then interested and amused) All right – who’s Cuddles?

ROSEMARY My dog - my 150 poundfor Great Dane –

TRW DOCTOR Now that’s a big dog.

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

DOCTOR Have you seen Bing?

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

DOCTOR Safari?

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

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

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

DOCTOR Sounds like a good friend.

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

(The DOCTOR becomes BING CROSBY.)

(NOTE: the Director may choose to have the DOCTOR/BING use his classic pipe as a prop andfor affect his voice to sound like BING’s.) TRW DOCTOR (as BING CROSBY) Well - hello, Miss Clooney. On your way over to the studio? (kindly) I thinkNot you’re a very good singer, you know.

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

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

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

DOCTOR (as BING CROSBY) Ahh – in the twenties, huh? Well – see you in a while.

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

ROSEMARY Uhh – Mr. Crosby - (regaining her composure) Look, I want to apologize to you. I wasn’t expecting to meet you right now and I normally don’t make stupid statements. “Sometimes in the twenties” didn’t come out right.

DOCTOR (as BINGPerusal CROSBY) (BING chuckles, amusedProduction – tries to get a word in) Well – I –

ROSEMARY (not allowing him) I meant toward thefor end of the month. I promise you I’ll try not to think of you as a big star and I won’t make dumb TRWremarks like that anymore.

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

Not DOCTOR (as BING CROSBY) Want to go get a drink?

(The DOCTOR becomes the DOCTOR again.)

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

ABC TV ANNOUNCER (pre-recorded) The ABC Television Network proudly presents – The Bing Crosby Show.

#12 HOW ABOUT YOU?

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

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

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

ROSEMARY Mr. Crosby, it Perusalwould be my pleasure.

DOCTORProduction (as BING CROSBY) You start, my dear.

ROSEMARY WHEN A GIRL MEETS BOY - LIFE CAN BE A JOY for DOCTOR TRW(as BING CROSBY) BUT THE NOTE THEY END ON - WILL DEPEND ON LITTLE PLEASURES THEY WILL SHARE

TOGETHER NotSO LET US COMPARE

DOCTOR (as BING CROSBY) I LIKE NEW YORK IN JUNE, HOW ABOUT YOU?

ROSEMARY I LIKE A GERSHWIN TUNE, HOW ABOUT YOU?

DOCTOR (as BING CROSBY) I LOVE A FIRESIDE WHEN A STORM IS DUE

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

DOCTOR (as BING CROSBY) Shall I get my hat?

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

ROSEMARY AND FRANK SINATRA’S LOOKS GIVE ME A THRILL

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

ROSEMARYProduction I LIKE JACK BENNY’S JOKES TO A DEGREE

DOCTOR (as BING CROSBY) I LOVE THE COMMONfor FOLKS

TRW ROSEMARY THAT INCLUDES ME I LIKE TO WINDOW SHOP ON FIFTH AVENUE

DOCTOR Not(as BING CROSBY) I LIKE BANANA SPLITS LATE SUPPER AT THE RITZ HOW ABOUT YOU?

ROSEMARY May I join you?

THAT MARLON BRANDO’S SMILE MAKES ME FEEL TALL

DOCTOR (as BING CROSBY) Helps ya, huh? I tell ya’ Bob Hope – now he’s more my style –

ROSEMARY Really –

DOCTOR (as BING CROSBY) Poky nose and all!

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

ROSEMARY LONG AS THOSE STARS STILL SHINE

DOCTOR (as BINGPerusal CROSBY) LONG AS YOUR LOVE IS MINEProduction

TOGETHER I LIKE IT FINE – HOW ABOUT YOU?

ROSEMARY LONG AS YOU KISSfor SO WELL

TRW DOCTOR (as BING CROSBY) LONG AS YOU CAST THAT SPELL

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

#13 AFTER HOW ABOUT YOU?

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

SCENE 6: JOE

ROSEMARY Do you believe in fate, Doc?

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

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

DOCTOR (with a bit of awe) Frank - Sinatra?

ROSEMARY Yeah, Doc – (referring to the DOCTOR being star struck at the mention of FRANK - chuckling) He had that effect on me too, at first.

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

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

ROSEMARY He did? What did he say, Frank?

Not DOCTOR (as FRANK SINATRA) He asked if you were married.

ROSEMARY What did you tell him?

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

ROSEMARY No you didn’t!

DOCTOR (as FRANK SINATRA) Be careful, Rose. Mr. Ferrer runs fast with the ladies – and he’s married.

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

(The DOCTOR becomes the DOCTOR again)

DOCTOR Tell me about, Jose.

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

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

TRW DOCTOR But Frank warned you about him.

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

DOCTOR Were you in love?

#14 TENDERLY

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

THE EVENING BREEZE CARESSED THE TREES TENDERLY THE TREMBLING TREES EMBRACED THE BREEZE TENDERLY

THEN YOU AND I CAME WANDERING BY AND LOST IN A SIGH WERE WE

THE SHORE WAS KISSED BY SEA AND MIST TENDERLY I CAN’T FORGET HOW TWO HEARTS MET BREATHLESSLY

YOUR ARMS OPENED WIDE AND CLOSEDPerusal ME INSIDE

YOU TOOK MY LIPS Production YOU TOOK MY LOVE SO TENDERLY

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

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

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

DOCTOR (as JOSE FERRER) I want you to know how I feel about you, Rosie, and this is for you -

(DOCTOR/JOSE FERRER shows her a small RING BOX opening it for her, revealing a ring.) ROSEMARY (gasping) Oh Joe – it’s beautiful – so beautiful –

DOCTOR (as JOSE FERRER) Look what it says inside.

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

Te amo - I love you.

(DOCTOR/JOSE FERRER stays at her side or behind her embracing her throughout the rest of the song.)

ROSEMARY THE SHORE WAS KISSED BY SEA AND MIST TENDERLY Perusal I CAN’T FORGET HOW TWO ProductionHEARTS MET BREATHLESSLY

YOUR ARMS OPENED WIDE AND CLOSED ME INSIDE YOU TOOK MY LIPS YOU TOOK MY LOVE SO TENDERLY for

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

(SCENE TRANSITIONS)

Not

SCENE 7: CONTRACTS & SOFTBALL

#15 STRAIGHTEN’ UP AND FLY RIGHT

(ROSEMARY is rehearsing with the band.)

BAND LEADER/PIANO PLAYER (voiced by one of the musicians) Hey Rosie - let’s try the bridge.

ROSEMARY (in a slow tempo) THE BUZZARD TOLD THE MONKEY - YOU ARE CHOKIN' ME RELEASE YOUR HOLD - AND I WILL SET YOU FREE

Boys, I’m sorry –

(MUSIC PAUSES)

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

(music resumes at a faster tempo)

That’s good – IPerusal like that.

A BUZZARD TOOK A MONKEYProduction FOR A RIDE IN THE AIR THE MONKEY THOUGHT THAT EVERYTHING WAS ON THE SQUARE THE BUZZARD TRIED TO THROW THE MONKEY OFF HIS BACK THE MONKEY GRABBED HIS NECK AND SAID NOW LISTEN, JACK

STRAIGHTEN UP AND FLY RIGHT STRAIGHTEN UPfor AND FLY RIGHT STRAIGHTEN UP AND FLY RIGHT TRWCOOL DOWN, PAPA, DON'T YOU BLOW YOUR TOP

AIN'T NO USE IN DIVIN' WHAT'S THE USE IN DIVIN' STRAIGHTEN UP AND FLY RIGHT NotCOOL DOWN, PAPA, DON'T YOU BLOW YOUR TOP

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

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

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

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

DOCTOR (as PARAMOUNT VICE PRESIDENT) (waving contract papers at her) Miss Clooney - Excuse me, Miss Clooney – I have to ask – have you read your contract here with Paramount Pictures?

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

(DOCTOR/PARAMOUNT VICE PRESIDENT tries to respond)

And I can’t talk to you right now - we’re rehearsing. Perusal (ROSEMARY sings asProduction the DOCTOR/VICE PRESIDENT waits impatiently)

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

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

DOCTOR (as PARAMOUNT VICE PRESIDENT) Well, you don’t have to be the Vice President of Paramount PicturesNot to figure out Jose Ferrer is a married man. Nobody likes a home wrecker, Rosie.

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

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

DOCTOR (as PARAMOUNT VICE PRESIDENT) Well, you should have read your contract first - especially the morals clause. (sarcastically) Oh - let me enlighten you!

(music modulates)

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

(music pauses)

DOCTOR (as PARAMOUNT VICE PRESIDENT) (angry andfor loud and waving the contract) TRWOR – if she flies to Paris with somebody else’s husband!!

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

Not ROSEMARY COOL DOWN, PAPA DON'T YOU BLOW

(ROSEMARY shoves the contract back into his hands)

ROSEMARY (CONT’D) YOUR

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

TOP

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

(speaking) Fly Right!

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

(ROSEMARY is back in therapy)

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

ROSEMARY I liked being part of Joe’s world – for DOCTOR TRWThat doesn’t sound very convincing, Rosie. And you didn’t answer my question. Was it what you wanted?

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

DOCTOR Well, who could you be yourself with?

ROSEMARY Dante –

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

#16 SOFTBALL UNDERSCORE

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

DOCTOR (as DANTE DIPAOLO) So you’re the team Captain?

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

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

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

DOCTOR (as DANTE DIPAOLO) Dance, actually. I’m going to be your dance instructor on “Here Come the Girls.”for I’m Dante DiPaolo.

TRW ROSEMARY And I’m Rosie Clooney.

(DOCTOR/DANTE takes her HAND, and brings it up to his lips, kissing it Notwith passio n)

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

DOCTOR (as DANTE DIPAOLO) (tenderly) And I’ll call you Rosella. That’s what we would call you in Abruzzi.

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

DOCTOR (as DANTE DIPAOLO) (speaking) Ahh – Botch-a-me. In Italian, that means “Kiss me.”

ROSEMARY Exactly!

#17 BOTCH-A-ME

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

BAH-BAH - PerusalBOTCH-A-ME, BAMBINO BAH-BAH-BO - BO - BOCA PICCOLINO WHEN-A YOU KISS ME - ANDProduction I´M A-KISSA YOU TRA LA - LA - LA - LA – LA- LA - LA - LOO

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

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

NotBEE-OO - BYE -OH - BEE-OO - BOO WON´T YOU BOTCH-A-BOTCH-A-ME? BEE-OO - BYE-OH - BEE-OO - BOO WHEN YOU BOTCH-A-ME - I’LL BOTCHA YOU AND EV´RYTHING GOES CRAZY

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

ROSEMARY Well, here’s my dressing room.

DOCTOR (as DANTE DIPAOLO) I’ll see you at dance rehearsal later.

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

(instrumental dance break)

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

ROSEMARY BAH-BAH - BOTCH-A-ME, MY BABY BAH-BAH-BO - BO - JUST SAY YES AND MAYBE IF-A YOU SQUEEZEPerusal ME - AND I´M A-SQUEEZA YOU TRA LA - LA - LA - LA – LA- LA - LA - LOO Production DOCTOR (as DANTE DIPAOLO) BEE-OO - BYE-OH - BEE-OO - BOO WON´T YOU BOTCH-A - BOTCH-A-ME?

for ROSEMARY Kiss me! TRW DOCTOR (as DANTE DIPAOLO) BEE-OO - BYE-OH - BEE-OO - BOO WHEN YOU BOTCH-A-ME, I’LL BOTCHA YOU

Not(ROSEMARY motions to DOCTOR/DANTE)

ROSEMARY C´mon a-you, kiss-a me, eh?!

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

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

BOTH AND THEN WE WILL RAISE A GREAT BIG FAMILY

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

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

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

ROSEMARY That’s-a nice!

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

(After applause, the DOCTOR resumes his role Perusalas the DOCTOR.) Production DOCTOR (as himself) So what happened with you and Dante?

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

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

ROSEMARY That’s true – it’s just that – (pause) I didn’t find myself very interesting.

#18 PRETTY LITTLE PILLS TRANSITION MUSIC

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

SCENE 8: DECEPTIONS & ACCUSATIONS

(The DOCTOR becomes ROSEMARY’S MOTHER.)

DOCTOR (as ROSEMARY’S MOTHER) (accusingly) What have you been talking about with that Doctor lately? Talking about me again?

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

DOCTOR (as ROSEMARY’S MOTHER) Oh really. Tell me then – just how does it work?

ROSEMARY (pausing, trying to speak calmly) Look – Mama - I know all those weeks on the road – hell, the months that I was gone - you took care of my children. But Mama - I want - no - I need to ask you: (pausing) ...all those years ago, Mama – why didn’t you take care of me. Why? Perusal DOCTORProduction (as ROSEMARY’S MOTHER) That’s not important now –

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

TRW(looks pleadingly at DOCTOR/MOTHER)

DOCTOR (as ROSEMARY’S MOTHER) (accusingly) Is thatNot what that doctor told you? You’ve been paying him all that money to hear crap like that?

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

DOCTOR (as ROSEMARY’S MOTHER) (sarcastically) Try telling your children you’re fit to take charge – see what they have to say about it.

(back in therapy, to the DOCTOR)

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

(The DOCTOR becomes the DOCTOR again)

DOCTOR (as himself) What was Joe like?

ROSEMARY Well - when he got nervous, he drank. And when he drank, he drank gin. PerusalAnd when he drank gin - (pausing) Production he got mean.

(THE DOCTOR becomes JOSE FERRER who is drunk.)

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

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

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

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

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

(The DOCTOR becomes THE DOCTOR again)

#19 ARE YOU IN LOVE AGAIN?

ROSEMARY (musing) There’s no place like home.

DOCTOR (as himself) What do you mean?

ROSEMARY That was the name of our Ferrer Holiday TV Special. Ironic – huh? Joe andPerusal I laughed our way through it – we even sang together – (feeling the futilityProduction of the action) smiled lovingly at each other-

DOCTOR Like the perfect couple?

for ROSEMARY (nodding “yes”) TRWIt’s hard work, Doc –

DOCTOR What?

Not ROSEMARY Covering up a mess of a marriage and always being what everyone else wants you to be.

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

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

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

(reflecting) One night sitting in a bungalow in France, I listened as my husband and one of his friends talked in another room. Joe clearly didn’t know I could hear them and as their words drifted up to me, I could hear Joe say “she” and “her” and I knew he wasn’t talking about me. He was sharing raw details of a sexual episode in his dressing room in New York – the very room he had been calling me from every night. Perusal THERE’S A SMILE I SEE BUT IT’S NOT FOR ME Production IT’S NOT THE SMILE I KNEW WON’T YOU TELL ME WHO

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

(THE DOCTOR becomes JOSE FERRER)

DOCTOR Not(as JOSE FERRER) (matter-of-factly) You knew what kind of man I was when you married me, Rosie. I can’t change. Look - I’ll call your agent and arrange to get you home.

ROSEMARY (starting to cry, humiliated) No. I’m sorry. No - no, don’t call him. Don’t send me away.

DOCTOR (as JOSE FERRER) (dispassionately) Will you be all right?

(THE DOCTOR become THE DOCTOR again.)

DOCTOR (as himself) How did you answer him?

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

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

ROSEMARY Fear – it was paralyzing. Perusal DOCTORProduction Fear of what?

ROSEMARY Fear of not being loved.

for DOCTOR But did Joe really love you? TRW ROSEMARY I think so – but it was never a love I could depend on.

#20 I GET ALONG WITHOUT YOU VERY WELL Not ROSEMARY (thoughtfully) I GET ALONG WITHOUT YOU VERY WELL OF COURSE I DO EXCEPT WHEN SOFT RAINS FALL

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

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

Damn - I sold a lot of soap for that company!

I'VE FORGOTTEN YOU, JUST LIKE I SHOULD OF COURSE I HAVE

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

I was pregnant twice during that show – except no one knew because they would stick me behind a big bouquet of flowers or a sign advertising a car – a really big car – one time I introduced Frank Sinatra from behind our singing group the HI-LO’s – (laughing)Perusal all you could see was my head – and all America could see was that I was the perfect wifeProduction – and I even got Joe on the show a few times – hoping it would help things – but it only seemed to upset him. He was out of work most of that time –

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

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

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

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

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

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

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

DOCTOR (CONT’D) So when did you actually start taking them?

ROSEMARY (somewhat flustered, feeling caught) I - I don’t remember.Perusal It wasn’t that many anyway.

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

ROSEMARY Dammit, Doc. I just told you about my bad marriage and my family falling apart. Why can’t you just help me feel better about that?for Isn’t that what this thing is supposed to be about? TRW DOCTOR You tell me what this thing is all about. I think it has a lot to do with pills.

Not ROSEMARY (increasingly upset – doesn’t want to go there) All anybody ever wants to talk to me about is the pills. Even my brother Nicky would go through my dresser and night

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

DOCTOR I think they were just terribly worried about you.

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

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

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

DOCTOR (as FRANK SINATRA) You gotta stop taking those pills, Rose. I know you – and you don’t need them.

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

DOCTOR (as FRANKPerusal SINATRA) You’re hurting yourself – badly.Production Life’s hurtful enough. Why do you have to bring more pain into it?

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

for DOCTOR (as FRANK SINATRA) TRWCome out of it, Rose! I know you feel trapped but losing you would be a terrible loss.

ROSEMARY Yeah – right. Not (THE DOCTOR sits - becomes THE DOCTOR again)

DOCTOR Did you feel trapped, Rosie?

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

DOCTOR The whole nation was in shock.

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

DOCTOR Of course, I understand.

ROSEMARY Do you?! I don’t think so.

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

ROSEMARY Don’t preach to me, Doc. You sound just like Father O’Reilly. The Perusalnext thing you know – you’ll have me saying a few “Hail Mary’s” and absolveProduction me of my sins – like that’s gonna’ help anything! (stands, begins to pace, becoming more agitated, more irritated with THE DOCTOR) You don’t know the half of it. for DOCTOR TRWTell me, then.

ROSEMARY I was stuck in Vietnam and Martin Luther King was assassinated. Not(pause) I cabled Bobby Kennedy and told him, “You’re my last hope.” I’ll be back in time to help you and Ethel with the California primary –

(THE DOCTOR becomes ROSEMARY’S MOTHER)

ROSEMARY DOCTOR (as ROSEMARY’S MOTHER) (overlapping HER) it was the only thing I For the love of God - could think of to do… for the love of God, Rosie,

DOCTOR (as ROSEMARY’S MOTHER) (agitated - frightened) how many did you take this time? (ROSEMARY sits, lost in her memory. Her speech starts to slow, “feeling” the effects of taking drugs)

ROSEMARY (very slurred speech) Uh - I don’t know, Mama - what I always take, I guess. (looks into her hand as if she’s holding pills) Never such a pretty sight like a handful of Percodan or Seconal –

#21 DOWN THE HATCH

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

(ROSEMARY mimes swallowingProduction the “pills”)

Down - the - hatch!

DOCTOR (as ROSEMARY’S MOTHER) (frightened)for I’m going to get you some coffee – TRW(screaming) Rosemary!

ROSEMARY (still very groggy) No – NotMama - I just want to sleep.

DOCTOR (as ROSEMARY’S MOTHER) (still agitated, urgently helping her up) Rosie - snap out of it! Jesus - you promised Bobby and Ethel you’d be in LA! It’s Bobby’s big campaign speech –

ROSEMARY (sleepy – groggy) My kids – do they ask about me? Do they know about me? What you’d tell them, Mama? What you’d tell them?

DOCTOR (as ROSEMARY’S MOTHER) I told them that everything that happens in this house stays in this house.

(ROSEMARY is trying to make her MOTHER believe she is in control. SHE stands, very slowly, woozy, trying to regain composure)

ROSEMARY Look - I’m - I’m okay – (indignantly) I feel fine. Perusal #22 HAVE I STAYED TOO LONG AT THE FAIR? Production I WANTED THE MUSIC TO PLAY ON FOREVER HAVE I STAYED TOO LONG AT THE FAIR?

I WANTED THE CLOWN TO BE CONSTANTLY CLEVER HAVE I STAYEDfor TOO LONG AT THE FAIR?

I BOUGHT ME BLUE RIBBONS TO TIE UP MY HAIR TRWBUT I COULDN'T FIND ANYBODY TO CARE

THE MERRY-GO-ROUND IS BEGINNING TO SLOW NOW HAVE I STAYED TOO LONG AT THE FAIR?

NotTHE MUSIC HAS STOPPED AND THE CHILDREN MUST GO NOW

(spoken) Mama. You can go now. That’s what you were good at after all! Yeah - you can go.

ROSEMARY (CONT’D) (defiantly) Just get the hell out!

(DOCTOR/ROSEMARY’S MOTHER exits)

OH, MOTHER DEAR I KNOW YOU'RE VERY PROUD YOUR LITTLE GIRL IN GINGHAM IS SO FAR ABOVE THE CROWD NO, DADDY DEAR YOU NEVER COULD HAVE KNOWN THAT I WOULD BE SUCCESSFUL - YET SO VERY MUCH ALONE

(THE DOCTOR re-enters as himself and sits, listening)

I WANTED TO LIVE IN A CARNIVAL CITY WITH LAUGHTER AND LOVE EVERYWHERE

I WANTED MY FRIENDS TO BE THRILLING AND WITTY I WANTED SOMEBODY TO CARE

I FOUND IT WAS EASY TO CAPTURE SUCCESS BUT NOW I’DPerusal BE WILLING TO SETTLE FOR LESS Production (ROSEMARY – frustrated, overwhelmed, and lost – lashes out at THE DOCTOR)

ROSEMARY (to the DOCTOR) What’s the use anyway?for Maybe Mama’s right – I’m paying you all this money to hear total crap! TRW DOCTOR (as himself) If that’s what you really think, Rosie – then I’d say we put an end to this right here and now. Not ROSEMARY Why not?! You said I could leave any time I want. Besides – what haven’t I told you? What’s the big mystery, Doc?

DOCTOR You’ve never really told me why you’re here – what really brought you here.

ROSEMARY You’ve got to be kidding me! You know why I’m here. It’s all in my chart! Lousy childhood, lousy marriage - drug- induced psychosis, neurosis – whatever ends with “osis.” And you want to know about Reno? I’m sure it’s in there, too. (angry – and raising her voice now as she walks over to the desk, picks up her file)

Read all about it! Just read it! (she throws the file at him) We keep going over the same damn things! Nothing’s ever going to change!

DOCTOR I agree. Change is a choice, obviously one you’re not ready to make.

(THE DOCTOR picks up the file closes his file and begins to walk away)

ROSEMARY Perfect – you’rePerusal leaving too. Just like all the rest. Production DOCTOR It’s up to you. When you’re ready to be honest with me – then let me know. Right now we’re just wasting each other’s time.

(THE DOCTORfor exits and ROSEMARY calls out frantically) TRW ROSEMARY Doc – wait! (quiet, almost to herself, defeated – with regret) Doc. Not

(singing a capella) THERE'S NOTHING TO WIN AND THERE'S NO ONE TO WANT ME

ROSEMARY (CONT’D) (accompaniment returns) HAVE I STAYED TOO LONG AT THE FAIR?

(Lights slowly fade on ROSEMARY as she breaks down.)

(END OF ACT 1.)

PerusalProduction for TRW Not

ACT 2

SCENE 1: REGRETS

(lights up on ROSEMARY down center)

#23 PRETTY LITTLE PILLS

ROSEMARY PRETTY LITTLE PILLS THE COLORS OF THE RAINBOW LOST IN A DISTANT, MISTY NIGHT

WITH NO END IN SIGHT AND NOTHING TO DO BUT HIDE A HOST OF PROBLEMS AND YOUR ILLS

FIRST THEY ARE YOUR FRIENDS THEY COMFORT AND CONSOLE YOU

THEY LEAD YOU TO A PLACE SO HIGH YOU STUMBLE BUT YOU TRY TO FIND WHERE NORMAL LIES SOMEWHERE BETWEEN DESPAIR AND ALL THE THRILLS Perusal (light come up on THE DOCTOR who has been sitting at hisProduction desk)

IS THE ME I USED TO BE NOW A FADING MEMORY BEFORE ALL THESE PRETTY - LITTLE PILLS for DOCTOR How many pills were you taking? TRW ROSEMARY It got to the point where I lost count. It wasn’t so much about how many I had – but where I could get more. When I was on the road, any hotel doctor would give you drugs. Not DOCTOR I see.

ROSEMARY I’m having trouble sleeping I’d say – and they’d send them right up. No questions asked. Oh yeah - you’d be surprised how many people like to give Rosemary Clooney drugs.

DOCTOR I guess that made it easy, then.

ROSEMARY And did you know that in anybody’s medicine cabinets – you could find some good stuff – really good stuff. But funny – the more I took, the less they worked.

DOCTOR Oh, they were working – just not as you had planned or wanted.

ROSEMARY HAVE I LOST EVERYTHING IS IT TOO LATE TO RECALL THE LOOK OF SUCCESS I THOUGHT I HAD IT ALL

I THOUGHT IT WAS ME IN EV’RY PHOTO ON THE WALL

DOCTOR What do you mean,Perusal Rosie? Production ROSEMARY (remembering) I had a box of newspaper clippings and photographs. I spread them all out on the floor, looked at the pictures of myself and said – “is that me?” “No wait- that’s me over there.” “Or - is thatfor one really me?” I didn’t know who I was anymore. TRW(pausing) You know, Doc, when I did a show at the Olympia Theatre in Miami – the owner was a very stern and religious man. He posted a sign in the dressing rooms. It said – “Keep it clean. No hells or damns in your act.” Not(pausing, then commenting wryly to the DOCTOR) I just want to know - what the hell am I going to do now with the damn mess I’ve gotten myself into?

ROSEMARY (CONT’D) AND IN THE MANIC HIGHS YOU’RE CAUGHT UP IN THE LIES OF THESE PRETTY LITTLE PILLS THESE PRETTY LITTLE PILLS THESE PRETTY LITTLE PILLS

ROSEMARY Doc, I’m sorry – I – I don’t know what came over me. I didn’t mean to scream at you. I –

DOCTOR Don’t worry about it – it’s all right.

ROSEMARY (half-heartedly teasing) Still no couch, I see? I think at this point I might need it. Or YOU might need it more than I do – after working with me. So you haven’t given up on me?

DOCTOR Never! Don’t ever think that, Rosie – not for a minute. Say anything you want – anytime you want to say it – and I’ll listen.

(ROSEMARY is gazing out a “window” with off-stagePerusal focus) Production ROSEMARY Beautiful day – I really need to call Bobby – I feel like I’ve let him down being stuck in here and not helping out with his campaign.

for DOCTOR Bobby – Kennedy? TRW ROSEMARY Of course, Doc – Senator Kennedy. (correcting him, stating the obvious – good naturedly, like he should know Notthis) I hope he understands. (returns her gaze to the “window”) Doc – is that my Cadillac in the parking lot?

DOCTOR Yes – I had it brought here to make you feel a little more at home. ROSEMARY (grateful) Oh, Doc – DOCTOR I thought you might like seeing it.

ROSEMARY I love that car. I’m trying to remember what it felt like to drive it up Rodeo Drive on a day like today. You’d love it, Doc. I could take you shopping at Giorgio Beverly Hills. You could use a new suit.

DOCTOR (defending himself) I have plenty of good suits.

(She gives him a “you’ve got to be kidding me” look.)

Rosie – (pausing – then asking) when was the last time you spoke with Senator Kennedy?

(ROSEMARYPerusal turns to gaze once again out the window – almostProduction in a daze as she answers ignores his question with the following – still looking out the window)

ROSEMARY They let us out today,for you know. We took a little walk together – in a little line, like kids at recess. Today we TRWwent past Chasen’s.

(She snaps back into reality – now more animated)

Hey DocNot – ever had chili at Chasen’s?

DOCTOR (amused) Can’t say I have.

ROSEMARY My favorite! Even better when you eat it with Gregory Peck.

DOCTOR Never done that, either.

ROSEMARY Oh my god – everybody eats there! I was so humiliated walking past, thinking people might see me – so I crossed on the other side of the street - but damned if I didn’t walk right into Richard Burton who was out walking his dog. He said “How are you?”. I said “fine” – and I got back in my line - hoping like hell he wouldn’t notice I was walking in a line of crazy people.

DOCTOR What are you afraid of - that someone might see the real you?

ROSEMARY Hmppff!

DOCTOR Did you let anyone know when you were hurt - or upset? Like Joe, for instance.

PerusalROSEMARY Well, I did inherit a touch Productionof the famous Clooney temper –

(THE DOCTOR becomes JOSE FERRER)

Joe – you’re never home.

for DOCTOR (as JOSE FERRER) TRWI have things to do. People I need to see!

ROSEMARY Yeah - women to see.

Not DOCTOR (as JOSE FERRER) What do you mean?

ROSEMARY I mean - Like some young starlet you swept of her feet – or maybe you don’t want that much emotional attachment, or some barmaid, or the stripper du jour?

DOCTOR (as JOSE FERRER) I’m talking about business meetings – meetings with directors, producers.

ROSEMARY The kids ask me - “When’s Daddy coming home?”. I’m sick of making excuses for you. I’m sick of pretending like everything’s okay.

(JOE starts to leave.)

Where are you going?

DOCTOR (as JOSE FERRER) I told you – I have a meeting tonight - an important meeting with people that matter. (the DOCTOR/JOSE exits)

#24 TENDERLY - REPRISE Perusal ROSEMARY Joe – please don’t leave... ProductionJoe...

HIS ARMS OPENED WIDE AND HELD ME INSIDE HE TOOK MY LIPS HE TOOK MY LOVE SO – for

TRW DOCTOR (as himself) So when he’d leave like that, leave you alone – what happened next?

Not ROSEMARY Nothing. I’d take a shower and try to cool down. After a while I’d be fine. Nobody ever knew anything was wrong.

DOCTOR Just like back in Maysville.

ROSEMARY In Maysville?

DOCTOR Doing what you thought people expected of you –

ROSEMARY (defensive) Damn right. Don’t make waves.

DOCTOR Or?

ROSEMARY (struggling) I’m not sure. I was – maybe just – afraid they’d leave.

DOCTOR But you just told me Joe left.

ROSEMARY Yes, I know – but I mean - I mean -

DOCTOR What do you mean?Perusal Production ROSEMARY I mean - like Dad – or Mama –

DOCTOR They left too, Rosie. for ROSEMARY TRW(silent, reflecting a moment) Maybe that’s who I learned it from –

DOCTOR (inquiring, not accusing) Are youNot talking about when you left Betty and Uncle George?

ROSEMARY (silent then regretful) And Dante -

(ROSEMARY is pondering this as THE DOCTOR turns and he becomes DANTE DIPAULO)

DOCTOR (as DANTE DIPAULO) (sweetly) Well, look who it is. Rosella.

ROSEMARY Dante! It’s – it’s – it’s good to see you. How are you? How’ve you been?

DOCTOR (as DANTE DIPAULO) Okay, I guess. And you? How are the kids?

ROSEMARY Oh, fine. Each one funnier and sweeter than the next. They certainly keep me on my toes.

DOCTOR (as DANTE DIPAULO) And Joe? How is – (pausing) Joe?

PerusalROSEMARY (cheerful, coveringProduction up her true feelings) Oh, same as always. Flying off to who-knows-where, working on some play – he’s waiting to see if he’s going to be in a new movie. We should hear soon.

for DOCTOR (as DANTE DIPAULO) TRWWhat about you? How are you? Are you - (pausing) happy?

ROSEMARY Not(still falsely cheerful) Yes! Yes, of course. Very happy. (awkward pause – then offering more of an explanation) I’m going to London to play the Palladium!

DOCTOR (as DANTE DIPAULO) (finally saying what he wants to say – but still kindly) I was shattered when you left. Just shattered.

ROSEMARY (searching for how to respond) I – I don’t know what to say. I wasn’t sure if I – (she stumbles for words) If I should – I mean –

DOCTOR (as DANTE DIPAULO) (interrupting her – saving her from the awkwardness, then resolved) It’s okay. Really. The important thing is – you’re happy now. I’m glad to hear it. (pausing again) Well, I’ve got to go – I have a rehearsal. It was great to see you - you look wonderful, by the way.

(turns to leave, begins to walk off)

ROSEMARY Dante?

(He turnsPerusal back to ROSEMARY waiting for her to say more – Productionshe doesn’t.)

DOCTOR (as DANTE DIPAULO) (resolved) Ciao, Rosella. (DANTE/DOCTORfor exits )

TRW #25 I REMEMBER YOU

ROSEMARY I REMEMBER YOU YOU'RE THE ONE WHO MADE MY DREAMS COME TRUE NotA FEW KISSES AGO

I REMEMBER YOU YOU'RE THE ONE WHO SAID "I LOVE YOU, TOO" I DO DIDN'T YOU KNOW?

ROSEMARY (CONT’D) I REMEMBER, TOO A DISTANT BELL AND STARS THAT FELL LIKE RAIN OUT OF THE BLUE

WHEN MY LIFE IS THROUGH AND THE ANGELS ASK ME TO RECALL THE THRILL OF THEM ALL

THEN I SHALL TELL THEM I REMEMBER YOU

(lights down)

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

SCENE 2: REVELATIONS

(Lights up)

(We hear the famous “NBC Three-Note Chime”)

(DOCTOR becomes a NEWSMAN)

DOCTOR (as a NEWSMAN) (reciting – in quoting fashion) Weeping uncontrollably on the witness stand, singer Rosemary Clooney, thirty-three, and mother of five, accused her husband, Jose Ferrer, age forty-nine of having affairs with other women since the beginning of their marriage and violent acts of temper.”

ROSEMARY Our kids were two, three, four, five and seven at the time.

(THE DOCTOR becomes THE DOCTOR.)

DOCTOR I remember it was pretty big news.

PerusalROSEMARY Yeah, my favorite headline wasProduction in the Times: (pausing, quoting)

(singing a capella) STAY OUTTA’ MY HOUSE – A-MY HOUSE! (laughs) for DOCTOR TRWSo when was the divorce final?

ROSEMARY Well – I didn’t pick up my divorce decree – so under California law it didn’t become final. You know, Doc – when I toldNot Joe it was over, he waged a full-time campaign to get me back. And when Joe called – and called – and called, I felt myself giving in. Loving him was a powerful drug.

(THE DOCTOR becomes JOE)

#26 SWAY

DOCTOR (as JOSE FERRER) Rosie – you don’t really want a divorce, do you?

ROSEMARY I’m not going to change my mind, Joe.

DOCTOR (as JOSE FERRER) But the children – our family – Rosie – we can make it work. I’m tired of living in that hotel.

ROSEMARY I just don’t know, Joe.

(JOE begins to lure her into the DANCE)

DOCTOR (as JOSE FERRER) (singing) WHEN MARIMBA RHYTHMS START TO PLAY DANCE WITH ME - MAKE ME SWAY LIKE A LAZY OCEAN HUGS THE SHORE HOLD ME CLOSE - SWAY ME MORE Perusal ROSEMARY LIKE A FLOWER BENDING INProduction THE BREEZE BEND WITH ME - SWAY WITH EASE WHEN WE DANCE YOU HAVE A WAY WITH ME STAY WITH ME - SWAY WITH ME

DOCTOR (as JOSEfor FERRER) OTHER DANCERS MAY BE ON THE FLOOR TRWDEAR - BUT MY EYES WILL SEE ONLY YOU

ROSEMARY (speaking) Do you mean it, Joe? Not DOCTOR (as JOSE FERRER) (singing) ONLY YOU HAVE THAT MAGIC TECHNIQUE

TOGETHER WHEN WE SWAY I GO WEAK

ROSEMARY I CAN HEAR THE SOUNDS OF VIOLINS LONG BEFORE IT BEGINS MAKE ME THRILL AS ONLY YOU KNOW HOW SWAY ME SMOOTH - SWAY ME NOW

(dance break - ROSEMARY and JOE dance seductively together)

OTHER DANCERS MAY BE ON THE FLOOR DEAR - BUT MY EYES WILL SEE ONLY YOU

DOCTOR (as JOSE FERRER) (speaking with passion) Rosie. Mi amor!

ROSEMARY (singing) ONLY YOU HAVE THAT MAGIC TECHNIQUE

TOGETHER WHEN WE SWAY I GO WEAK

PerusalROSEMARY I CAN HEAR THE SOUNDS OFProduction VIOLINS LONG BEFORE IT BEGINS MAKE ME THRILL AS ONLY YOU KNOW HOW SWAY ME SMOOTH, SWAY ME NOW

DOCTOR (as JOSEfor FERRER) YOU KNOW HOW TRW ROSEMARY SWAY ME SMOOTH

TOGETHER NotSWAY ME NOW

ROSEMARY YOU KNOW HOW

DOCTOR (as JOSE FERRER) SWAY ME SMOOTH

TOGETHER SWAY ME NOW

(THE DOCTOR becomes himself again)

#27 AFTER SWAY

ROSEMARY So I asked Joe back - for three more years. It was just like being a family again – the picture was complete – except for one thing - I was in love with someone else.

(THE DOCTOR looks at ROSEMARY – waiting)

ROSEMARY (CONT’D) With Nelson Riddle - my arranger and conductor. You see, when I thought my marriage was over, I let myself love again. And I hadn’t felt that way since – well, since Dante.

DOCTOR Did you talk toPerusal your friends – ask for advice?

ROSEMARYProduction Sure – don’t we all? But we don’t always listen, do we? I talked a lot to Frank. I love Frank. He’d always tell it like it is – even when it hurt.

(ROSEMARY is now in a conversation with the DOCTORfor who becomes FRANK SINATRA)

TRWFrank, you’ve got to help me. You’re close to Nelson. Persuade him to get a divorce.

DOCTOR (as FRANK SINATRA) Can’tNot do it, Rose. It wouldn’t work, anyway. You’ve got five kids. Nelson’s got six. Let’s see – oh yeah - that makes eleven kids.

ROSEMARY I can count, Frank. I know how many kids there are.

DOCTOR (as FRANK SINATRA) You can’t break up families with so many kids, baby. Nelson can’t get a divorce.

ROSEMARY Mine’s already broken up, Frank – you know I ordered Joe out of the house again. It’s over this time - completely over - and I want to marry Nelson.

DOCTOR (as FRANK SINATRA) (pausing, studying her carefully) You gonna tell me about those pills you’re taking?

ROSEMARY (countering him) Well, you gonna tell me about you and Dean and Sammy and how much you guys drink?

DOCTOR (as FRANK SINATRA) (ignoring that comment) It’s not the same thing, - just tell me about the pills!

ROSEMARY I’ve got it underPerusal control. Production DOCTOR (as FRANK SINATRA) Those pills will hurt your voice, Rose. They’re already hurting your voice.

(the DOCTORfor becomes himself again)

TRW #28 HEY THERE - REPRISE

ROSEMARY Well, he was right about that. I sounded like I was underwater when I sang. But Frank was wrong about Nelson. NelsonNot did get a divorce, but - he didn’t marry me. He married Naomi, Joe’s secretary and Joe married Stella Magee, Nelson’s secretary. I guess it was just one of those secretarial-pool jokes God loves to play.

ROSEMARY (CONT’D) HEY THERE YOU WITH THE STARS IN YOUR EYES LOVE NEVER MADE A FOOL OF YOU YOU USED TO BE TOO WISE HEY THERE YOU ON THAT HIGH FLYIN’ CLOUD THOUGH HE WON'T THROW A CRUMB TO YOU YOU THINK SOMEDAY HE'LL COME TO YOU BETTER FORGET HIM

HIM WITH HIS NOSE IN THE AIR HE HAS YOU DANCIN´ ON A STRING BREAK IT AND HE WON´T CARE

If that wasn’t bad enough, a little thing called Rock-and- Roll was making me a has-been. A guy named Elvis was making his way up the charts. I remember Mitch Miller saying, “this rock and roll stuff will never last.”

DOCTOR (as himself) Boy – was HE wrong!

ROSEMARY Don’t tell that to Mitch! Perusal (THE DOCTOR chuckles.) Production ROSEMARY (CONT’D) One newspaper called me, “everything rock and roll isn’t.” And the Times said “Her voice is only a shadow of what it was.”

for DOCTOR That must have been hard on you. TRW ROSEMARY It didn’t matter. I had to keep working – no manager would have me – so I booked my own jobs – no matter how small. Hell - at Vinny’s Bar and Grill I took home a whopping $47 afterNot I paid the band. It was bad, Doc.

DOCTOR Rosie?

ROSEMARY I began missing whole days of my life – at times I couldn’t get out of bed at all. Some days I’d wake up just enough to buzz my mother on the intercom and tell her, “I’m slipping.”

(The DOCTOR becomes FATHER O’REILLY.)

DOCTOR (as FATHER O’REILLY) Rosemary, I’m very worried about you.

ROSEMARY (suspicious – a bit groggy) Father O’Reilly – tell me the truth - did my mother tell you to come and see me?

DOCTOR (as FATHER O’REILLY) No – I came because I care about you. I always have – you know that.

ROSEMARY I thought you were going to yell at me, Father.

DOCTOR (as FATHER O’REILLY) Of course not, PerusalRosemary. I admire you for trying to take care of your family, your kids,Production maintain this house – but first you need to take care of yourself – and maybe you need to simplify your life a bit. Take some financial pressure off yourself. Maybe get a smaller place.

ROSEMARY (now morefor resolved – in control) I can’t do it, Father. This is the only place my kids have TRWever called home . And if I leave here, nobody will want to talk to me anymore. I have to have this address on Roxbury Drive in Beverly Hills. This is where I have to live.

DOCTOR Not(as FATHER O’REILLY) (pausing, then offering) The bigger the house - the emptier the heart, Rosemary.

(THE DOCTOR becomes THE DOCTOR again.)

#29 HAVE I STAYED TOO LONG AT THE FAIR FRAGMENT - REPRISE

ROSEMARY (thoughtful to the DOCTOR) Father O’Reilly was right.

DOCTOR About what?

ROSEMARY About my heart being empty.

DOCTOR What was missing?

ROSEMARY Everything. I felt more alone than I ever felt in my life.

DOCTOR I’m sorry.

ROSEMARY It was a terrible loneliness - especially when I was getting ready to go out on stage.

(ROSEMARYPerusal is lost in her thoughts. Lights begin to fade on THE DOCTOR as the same dressing Productiontable and mirror that we saw at the beginning of Act One is revealed. ROSEMARY stands and slowly walks to the table as if drawn to it. Although she is still speaking to THE DOCTOR, he is in darknessfor now – it’s as if she is talking to herself) TRW (ROSEMARY sits at the table and looks blankly into the mirror)

You sit alone in a dressing room and you look at a face in a mirrorNot that you think you know all too well, but then the person looking back at you is someone you don’t even know.

(ROSEMARY continues to stare into the mirror – her face is stressed – in obvious pain)

ROSEMARY (CONT’D) And sometimes the only friend you have is a pill – a goddamn pill! Because a pill doesn’t talk back to you or desert you, a pill doesn’t hurt you or try to make you do anything you don’t want to do.

CLUB EMCEE (pre-recorded) Ladies and Gentlemen – Harold’s Club in Reno, Nevada, welcomes back to the stage, Miss Clooney, singing one of her biggest hits – “Come On-a My House!”

#30 COME ON-A MY HOUSE – THE BREAKDOWN

CLUB EMCEE (pre-recorded) Miss Clooney! It’s time for your next set.

(ROSEMARY ignores him.)

Miss Clooney – you’re on! (ROSEMARY looks up, barely aware of the sounds around her. She reluctantly gathers herself, stands and slowly walks to the microphone. THE DOCTOR is offstage now as the lights come up. A microphonePerusal is down center - the following offstage voices are heard) Production MALE VOICE 1 (pre-recorded) C’mon, Rosie – what are you waiting for?

forMALE VOICE 2 (pre-recorded) Yeah, Rosie, give us what we want - sing “Come on-a My TRWHouse!”

(ROSEMARY is distraught as she stands at the microphone and begins to sing:)

Not ROSEMARY COME ON-A MY HOUSE A-MY HOUSE I´M GONNA GIVE-A YOU CANDY COME ON-A MY HOUSE, A-MY HOUSE I´M GONNA GIVE-A YOU APPLE A PLUM AND APRICOT-A TOO EH

(ROSEMARY seems disoriented and begins to falter as she sings)

ROSEMARY (CONT’D) COME ON-A MY HOUSE - MY HOUSE A COME ON

MALE VOICE 3 (pre-recorded) Sing it, Rosie!

ROSEMARY COME ON-A MY HOUSE - MY HOUSE-A COME ON

MALE VOICE 2 (pre-recorded) That’s what we came to hear!

ROSEMARY COME ON-A MY HOUSE – A-MY HOUSE I´M GONNA GIVE-A YOU FIGS AND DATES AND GRAPES AND CAKES – EH COME ON-A MY HOUSE - MY HOUSE-A COME ON COME ON-A MY HOUSE - MY HOUSE-A COME ON

(ROSEMARY searches for the next line)

COME ON- APerusal MY HOUSE – A MY HOUSE – A – A Production (ROSEMARY is faltering – staring off into space)

MALE VOICE 1 (pre-recorded) What’s the matter,for Rosie – you forget the words?

TRW (Suddenly, ROSEMARY becomes belligerent and sarcastic, aiming her anger at the audience.)

Not ROSEMARY You want to know something? I told Mitch Miller, “I don’t want to record this stupid song, Mitch.” But he didn’t care. He told me to sing it – or take a walk.

ROSEMARY (CONT’D) COME ON-A MY HOUSE – A-MY HOUSE I´M GONNA GIVE-A YOU CHRISTMAS TREE

COME ON-A MY HOUSE – A-MY HOUSE I´M GONNA GIVE-A YOU – MARRIAGE RING AND A – AND A –

(she’s had it – changing her mind – interrupting herself:)

No! No! Screw Mitch! Screw all of you! This time – we’re doing it MY way. I’m holding a press conference - right here and now, and I’m announcing my retirement – effective immediately. And secondly -

(ROSEMARY turns toward the musicians who – not knowing what she is doing continue vamping on the song)

(with anger) Why are you playing that stupid song again?

(ROSEMARY turns back to the audience as THE DOCTOR enters as FRANK.)

Sinatra told mePerusal I was doing it all wrong -

(She sarcasticallyProduction mimics SINATRA as he enters and they say in synch with one another:)

ROSEMARY & DOCTOR (as FRANK SINATRA) Look baby – it’s anfor Armenian song – enough with the Italian accent, already – TRW

DOCTOR (as FRANK SINATRA) You’re lousy at it! Not(He stares at ROSEMARY – she is losing it.)

ROSEMARY It’s the only kind of accent I can DO, Frank. Sorry – a girl’s gotta’ make a buck!

DOCTOR (as FRANK SINATRA) And Rose – honey – get rid of the pills. Get some help, for God’s sake!

ROSEMARY (very irritated) It’s under control – Frank - okay? (screams) Just leave me alone.

(DOCTOR/FRANK SINATRA exits - ROSEMARY is trying to sing but she is spiraling down.)

PEACH AND PEAR AND I LOVE YOUR HAIR - AH I LOVE YOUR – YOUR – I LOVE –

(In ROSEMARY’S mind, she is back at the ambassador hotel in june of 1968 - the night Robert F. Kennedy was shot.)

(speaking to the AUDIENCE:) What are you people doing here?! You weren’t invited to LA for Bobby’s speech.

PerusalROSEMARY (she is there - genially – in direct address – thinkingProduction she sees the KENNEDYS:) Bobby – Ethel – you remember my kids, don’t you? We’re so happy you invited us to be here on such an important night for you! Kids – look - this is Senator Robert F. Kennedy, your next President! for MALE VOICE 2 TRW(pre -recorded) Bobby Kennedy? What the hell is she talking about? Just sing the song, Rosie!

ROSEMARY NotPEACH AND PEAR AND I LOVE YOUR HAIR - AH I LOVE YOUR HAIR – I LOVE –

(SENATOR KENNEDY’S voice – a snippet of his iconic speech – is heard. The DOCTOR is still offstage.)

PRE-RECORDED VOICE OF BOBBY KENNEDY Ethel and I want to thank you all. Now on to Chicago, and let’s win there!

(Suddenly, 4 pre-recorded gun shots are heard. ROSEMARY jumps/reacts at the shots – very confused and disoriented. She is delirious and frantic.)

No! Please - please help! There’s a man with a gun running around! Someone – stop him!

(Momentarily snapping into reality, ROSEMARY tries to regain composure and sing again:)

COME ON-A MY HOUSE – A-MY HOUSE A COME ON

(She stumbles over the words, unable to concentrate. Hysterical - very pointed - to the band:)

Will you stop playing that stupid song!! (screaming)Perusal Stop it! Production (The band awkwardly stops, followed by a moment of silence, before ROSEMARY speaks again - very pointed, agitated and pacing, to the audience:)

You can’t imagine forthe price I’ve paid to be here and sing a bunch of dumb songs for you. You just sit there and refuse TRWto believe the truth. Am I the only person that knows that Bobby Kennedy is NOT dead?! You’re all so stupid! Oh – my – god!

(THE DOCTOR becomes FATHER O’REILLY, Notbut remains in darkness of stage, yet still somewhat visible to the audience – his voice is clearly heard – part of her hallucinations)

DOCTOR (as FATHER O’REILLY) God wants you to go to that hospital, Rosemary. (still calmly, reassuring) What you’re thinking isn’t real.

ROSEMARY Father – I’m not going and I’m telling you – (insistent and screaming) Bobby is not dead. (agitated pacing) Just believe me, Father! Can’t you just bless me and God will make it right. (then to the audience) None of it’s true!

(Then turning – then THE DOCTOR becomes MOTHER, again in the dark)

(horrified, frantic) Mother - what are you doing?

DOCTOR (as MOTHER) (at her wit’s end) I’m taking these ridiculous candles out of the window. Rosemary – you’rePerusal going to burn down the whole house!

ROSEMARYProduction You can’t do that! That’s the only way Bobby can find me! He needs to see them! (THE DOCTOR as BETTY is still in the background in the dark) Oh my God, Betty, they even put Bobby’s face on the cover of goddamn Time magazinefor with the years 1925-1968.

TRW DOCTOR (as BETTY) Oh, Rosie...

ROSEMARY Isn’tNot that a joke?! (looks frantically about – as if looking for help) You know me better than anyone, Betty. You believe me, don’t you?

DOCTOR (as BETTY) (pleading, gently) Please, Rosie. You can’t go on like this, Rosie – none of us can!

ROSEMARY I just need more time, Betts, time to figure it all out.

(One last time ROSEMARY tries to regain her composure)

#31 COME ON-A MY HOUSE – A CAPPELLA

(singing, a cappella, trembling and frightened) COME ON-A MY HOUSE, A-MY HOUSE I´M GONNA GIVE-A YOU CANDY – COME ON-A MY HOUSE, A-MY HOUSE I’M GONNA - I’M GONNA -

(ROSEMARY looks at the audience with contempt. Then, quickly regaining her defensive, accusingly:)

Why don’t you allPerusal just get the hell out of here? You don’t deserve to hear me sing. (now completely agitatedProduction and angry) WHAT ARE YOU STARING AT? I’m not a monkey in a cage - (screaming) I’M A PERSON! I’M A PERSON!

(ROSEMARYfor looks around the stage – nervously pacing – laughing maniacally - she is completely broken, in her own TRWreality)

OK – you wanna’ hear Come On-a My House? Fine! Wanna’ hear it without my voice? (to the band) Play Notit, gentlemen. (angrily) I said play it!

(She walks over to the piano and takes a stack of music and throws it angrily onto the stage floor)

(Lights focus on ROSEMARY. THE DOCTOR is still in shadow - the sound of an ambulance siren is heard softly in the distance.)

#32 COME ON-A MY HOUSE AND OVERLAPPING MELODIES

ROSEMARY (CONT’D) (ROSEMARY collapses to the floor as if all this is happening around her. Growing more and more insistent and frantic:)

No – No – I’m not going with you! I don’t need to go to some hospital! You can’t make me! I’m Rosemary Clooney. (demanding) Take these straps off me!! I – I can’t move! (frightened) Look - it’s all right – I’m all right! Just take me to my car. I just didn’t know what I was saying. I made it all up! Don’t believe anything I said. It was all lies. (pause)Perusal I just need to go home and get some sleep. Production (The siren continues as the music is played as an underscore to the following dialogue:)

No – wait! Open afor window, please! I can’t breathe. I can’t breathe! (calling out above the sounds) TRWI’m being kidnapped! What – are – you – doing? You’ll never get away with this!

(The siren is fading.)

WhereNot is everyone?! It’s so dark in here. (pause) Doc? (pause) Please! Doc - I need you! (pause)

100

ROSEMARY (CONT’D) Where are you, Doc?

Doc! (As the lights gradually come up – THE DOCTOR is right behind her and puts his arm or arms around her to calm her)

DOCTOR (as himself) I’m right here, Rosie. I’m right here.

ROSEMARY (startled and amazed) I remember now. I remember everything, Doc. I was on stage – I screamed at the audience.

DOCTOR I know, Rosie.

ROSEMARY And then I was in an ambulance. They were strapping me down - but I threw my wallet and anything I could find out the window to leave a trail so I’d be rescued – (pausing) I put those candles in the windows of my house so Bobby would find me –Perusal I was sure he would come for me - but he couldn’t – because he – because – Production DOCTOR Yes, Rosie – (encouraging her, prompting her to remember)

for ROSEMARY Because he was dead. He was killed that night at the TRWAmbassador Hotel, wasn’t he?

DOCTOR That’s right. And you were there with your children.

Not ROSEMARY We heard the shots and I shoved my kids under the table. People were screaming and I was clutching at my rosary, praying. There was blood everywhere – on the floor, on the hands of the nurse who tried to stop the bleeding. And they wheeled him past me. Somebody was holding Ethel up –

101

ROSEMARY (CONT’D) rushing her alongside her husband. So much blood. I tried to call out to him – but nothing came out of my mouth.

DOCTOR What did you try to say?

ROSEMARY I wanted to tell him – hold on – it will be all right. (pause) Don’t leave us. Don’t leave - (pause) me. (ROSEMARY breaks down, crying. THE DOCTOR once again comforts her – putting his arms around her)

DOCTOR I’m sorry, Rosie. I’m really sorry.

ROSEMARY (very remorseful) None of it made any sense to me. I even called Ethel. I told her – her husband wasn’t dead.

DOCTOR Do you remember what she said? Perusal ROSEMARYProduction She told me, “Just know that Bobby was really happy because he got to spend the last day of his life with you.” I didn’t believe her. I didn’t believe any of it. (then) Doc – can you tell me what happened? What the hell happened to me? for

TRW DOCTOR Rosie, you’ve been through so much – and everything that had been seething and repressed in you – just exploded. But the best way I can explain it is – you were like a mouse trapped in a maze, looking for an exit and taking all the wrongNot turns.

ROSEMARY (smiling at the DOCTOR) Until now.

102

ROSEMARY (CONT’D) I remember that I couldn’t breathe. It was like the river outside our little house in Maysville had risen up and covered over me. DOCTOR Well – that’s all over now. The river’s gone back down. It’s gonna be all right, Rosie. You found your way out.

(Lights down – ROSEMARY exits)

#33 BEFORE MAMBO ITALIANO

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

103

SCENE 3: DANTE

(The scene opens a few months later.)

DOCTOR (as himself) Rosie! What a surprise! I didn’t expect to see you today!

ROSEMARY Yeah - I know it’s not our regular out-patient appointment, Doc, but I have something wonderful to tell you.

DOCTOR About?

ROSEMARY Well -

(THE DOCTOR becomes DANTE DIPAOLO)

DOCTOR (as DANTE DIPAOLO} Rosella – is that you? I was just thinking about our days at Paramount. (he laughs, very good-natured) How’s your pitching arm? Perusal ROSEMARYProduction Oh, I think I could still take on MGM.

DOCTOR (as DANTE DIPAOLO} (wryly) Well - you always forhad a pretty good curve ball.

TRW ROSEMARY Oh, Dante – about those days – there’s something I’ve been wanting to tell you. I know I hurt you – I’m sorry.

DOCTOR Not(as DANTE DIPAOLO) That was a long time ago, but I thank you for saying it. Rosella, I’ve been worried about you. How are you – really?

104

ROSEMARY Better. Much better now. I took a big step and finally got the help I needed.

DOCTOR (as DANTE DIPAOLO} That’s good – good to hear. Well, it’s great to see you again - (DANTE/DOCTOR starts to leave – as does ROSEMARY – then simultaneously they both turn around, saying each other’s names at the same time – each not wanting to let the other go)

DOCTOR ROSEMARY (as DANTE DIPAOLO} Rosella – Dante -

(They both laugh at this. ROSEMARY speaks first:)

ROSEMARY Hey “Whirlwind” – (slight pause) Wanna come on-a my house for dinner tonight – and let me be your dance partner again?

PerusalDOCTOR (as DANTE DIPAOLO}Production Ah – that’s my Rosella from Abruzzi!

#34 MAMBO ITALIANO

ROSEMARY (singingfor – very freely - flirting) A GIRL WENT BACK TO NAPOLI TRWBECAUSE SHE MISSED THE SCENERY

THE NATIVE DANCES AND THE CHARMING SONGS BUT WAIT A MINUTE, SOMETHING’S WRONG

NotHEY MAMBO! MAMBO ITALIANO HEY MAMBO! MAMBO ITALIANO

(DANTE joins her to dance. They playfully flirt together,)

105

ROSEMARY (CONT’D) GO – GO – GO - YOU MIXED UP SICILIANO ALL YOU CALABRIASE DO THE MAMBO LIKE-A CRAZY WITH A - HEY MAMBO! DON’T WANT A TARANTELLA HEY MAMBO! NO MORE - A MOZZARELLA HEY MAMBO! MAMBO ITALIANO TRY AN ENCHILADA WITH DA FISH ABACALAH

AND THEN-A HEY GOOMBAH - I LOVE-A HOW YOU DANCE A RHUMBAH BUT TAKE A SOME ADVICE PAISANO LEARN HOW TO MAMBO IF YOU GONNA BE A SQUARE YOU AIN'T-A GONNA GO NOWHERE

HEY MAMBO! MAMBO ITALIANO HEY MAMBO! MAMBO ITALIANO HO – HO - HO YOU MIXED UP SICILIANO

IT’S A - SO DELISH–A EVERYBODY COME COPEESH-A HOW TO MAMBO ITALIANO!

(TheyPerusal come together for a kiss)

DOCTORProduction (as DANTE DIPAOLO} That’s-a nice!

#35 STRAIGHTEN UP AND FLY RIGHT forVARIATIONS

(SCENE TRANSITIONS) TRW

Not

106

SCENE 4: DECISIONS

ROSEMARY Doc, can you keep a secret?

DOCTOR (as himself) (funny - playing along) I would hope so.

ROSEMARY (under her breath a bit) I kinda’ miss scrubbing the hospital floors every day. Oh - and breakfast at the hospital cafeteria - eggs and bacon – toast and coffee – just add grits and it’s almost as good as the counter at Dee-Lights Diner back home in Maysville.

DOCTOR Maybe I’ll just have to make a trip there myself sometime and try it.

ROSEMARY Not necessary, Doc. Remember – (mimicking his voice) “We’ve got a great cafeteria here at this hospital! Try the pie!” (thenPerusal adding) But – I have to admit - it ISProduction nice to be out – but a little scary.

DOCTOR Scary? In what way?

for ROSEMARY Well, first off - starting all over again – with everything TRW- everyone. Perusal (then offering) I called Ethel Kennedy this week – I told her I was sorry for what I did – the things I said.

Not for DOCTORProduction And?

ROSEMARY She was just as sweet as ever – and glad I was feeling better. And Betty – I talked to her too - I know I put her

107 10

3 ROSEMARY (CONT’D) through so much. When I told her I was moving on with my life, she said “drug free?” and I said never again.

DOCTOR I’m proud of you, Rosie - I knew from the start that you could face up to some pretty difficult things – that you were strong.

ROSEMARY I don’t get it, Doc. Don’t you remember when I told you only weak people needed therapy?

DOCTOR (fondly) Oh, I remember! You had yourself and half the hospital convinced of it – but you didn’t fool me.

ROSEMARY Well - I hope you’re right, Doc - because Bing paid me a surprise visit a few days ago.

(THE DOCTOR becomes BING CROSBY)

#36 HOW ABOUT YOU? INSTRUMENTAL

PerusalROSEMARY I don’t know, Bing, I don’t think so. Production DOCTOR (as BING CROSBY) That’s not Rosemary Clooney I hear talking. At least not the Rosie I know.

for ROSEMARY I don’t think I’m ready. TRW DOCTOR (as BING CROSBY) Well - I think you’re ready. I talked to my manager and he thinks it’s a great idea. You joinNot me at the concert – I introduce you – you come out and sing a duet or two with me – maybe even a couple of solos – your favorites. The audience will love it.

108

ROSEMARY I don’t know if I can do it, Bing. You might have to cover for me while I’m going over the wall.

DOCTOR (as BING CROSBY) (gives her a smile, knowing full well she has quoted him) Now, Miss Clooney, where in the world would you get an idea like that?

ROSEMARY Bing -

DOCTOR (as BING CROSBY) I’m not going to let the world forget about you, Rosie. My suggestion is get off your rear end and do it. Just call my manager to confirm you’ll be there.

(THE DOCTOR becomes THE DOCTOR again.)

ROSEMARY I just don’t know what to do, Doc. Hell - if it were a $47 gig at Vinny’s Bar and Grill with 50 people eating dinner and clanging silverware – I might say yes – but – good Lord – singing with Bing at a major concert? Perusal DOCTORProduction (as himself) Tell you what – let’s flip for it. Like you and Betty used to do when you were kids. Heads, you call Bing’s manager and do the show – and tails – you finally take me to Chasen’s for a soda. for ROSEMARY TRWBut Doc -

DOCTOR No arguments! Not (He pulls out a quarter and tosses it in the air. He looks at it and smiles.)

Well - it looks like you’re gonna’ be singing with Bing.

109

ROSEMARY Let me see that quarter.

(THE DOCTOR gives her a look and then quickly puts it back in his pocket – not sharing it with her.)

Alright, Doc – I’ll do it - but let’s go to Chasen’s anyway.

DOCTOR First – make that call.

(He picks up the phone’s handset and hands it in her direction. Blackout. They exit.)

#37 HAWAIIAN WAR CHANT INSTRUMENTAL

(SCENE TRANSITIONS)

PerusalProduction for TRW Not

110

SCENE 5: TAKE A MEMO

(The DOCTOR is seated alone in his office which is lit in half light. HE looks thoughtful. After a few moments HE pushes a button on his desk Dictaphone and takes the microphone. HE speaks)

DOCTOR Memo. Case File 254. Client – Clooney - Rosemary. (pauses)

In our last session, our dialogue was spirited. Rosemary showed a willingness to perform again – an almost anxious need to get back on stage. A major step forward. Out- patient sessions continue to go well with patient’s ongoing determination to face problems, both past and present, with honesty, strength – and her usual Clooney candor – no make that - (pauses a moment, chuckling a bit) Attitude – (pause – smiling - adding) in a good way. I am encouraged that as we move forward that Rosemary will overcome the obstacles she believes stand in her way.Perusal (begins to put microphone down, then draws it back to hisProduction mouth, clicking it back on) Personal note – Stop at Giorgio’s of Beverly Hills – buy a new suit.

#38for HEY THERE VARIATIONS 1

(SCENE TRANSITIONS) TRW

Not

111

SCENE 6: THE HOLLYWOOD BOWL

HOLLYWOOD BOWL ANNOUNCER (pre-recorded) Ladies and gentlemen – let’s give one more round of applause for Miss Rosemary Clooney. She’ll be back after a short intermission.

(the sound of applause, prerecorded)

#39 HEY THERE VARIATIONS 2

(Lights up. We are backstage at the Hollywood Bowl. There is the same dressing table and mirror that has appeared in past scenes. ROSEMARY is not on stage. THE DOCTOR enters and looks around. He walks over to the dressing table. He looks at it - puts his hand on it - and smiles. ROSEMARY enters. The time is sometime in the 1980’s with ROSEMARY in a long flowing gown and a shorter hair style. AUTHORS’ NOTE: Costuming and wig should only reflect passage of time into the futurePerusal and not suggest weight gain.) Production ROSEMARY Doc! Oh Doc - I’m so glad you got the tickets I sent. Thanks for coming backstage.

(ROSEMARY walks over to the DOCTOR – they happilyfor embrace)

TRW DOCTOR I had to come see you, Rosie. I’m really enjoying the show by the way!

ROSEMARY You reallyNot like it?

DOCTOR Yes! You sound wonderful! And the audience loves you. And most important – (with a grin) - my wife loves it too.

112

ROSEMARY Thanks, Doc. Can you believe I’m at the Hollywood Bowl?

DOCTOR Absolutely! And now look at you – you’ve become a jazz singer, Rosie!

ROSEMARY I have to tell you, Doc – a week after Bing died, I got a call from a new jazz label - Concord. The voice on the other end said, “You wanna’ make a record?” That was over 20 records ago! (tenderly, with nostalgia) I think it was Bing - still looking out for me.

DOCTOR And Rosie - the concert tours, the appearances on TV – I can’t keep up with you.

ROSEMARY Really Doc - I’ve always been just a girl singer after all – and – I distinctly remember someone once said they thought I was strong enough to re-invent myself!

DOCTOR So what else are you doing – besides taking the world by storm? Perusal

ROSEMARYProduction Taking the grandchildren by storm! They keep me very busy these days – and – oh, they’re beautiful – and my kids are very well – and so successful.

for DOCTOR It’s great to hear about you and Dante – finally.

TRW ROSEMARY Yes – the “Whirlwind” landed on my doorstep for good this time! (pausing) Doc –Not Do you remember the first thing you said to me?

DOCTOR I think the exact words were “We don’t allow smoking in here!”

113

[They both laugh]

ROSEMARY I remember everything you said to me, Doc... (pausing) You changed my life.

DOCTOR (quickly countering) No, Rosie – you did all the work – I was just –

ROSEMARY (interrupting) Let me finish, Doc. It’s important. I want to tell you something that I never told you before. Remember that day in Reno when I fell apart on stage?

DOCTOR I remember.

ROSEMARY On the way there, when I drove up the mountain road to Harold’s Club – (this is hard to say) I drove on the wrong side of the road, Doc – all the way! I – I wanted to test God. Perusal DOCTOR Test God? Production

ROSEMARY Every time one of those poor people would swerve out of my way, I’d shout: (slightlyfor raises HER voice) “That one’s for YOU God!” (pausing – then thoughtful and ashamed) TRWDoc - I was hopin g someone would hit me – I wanted to end my life - right then.

DOCTOR Rosie.Not

ROSEMARY I was lost when we first met, but you taught me to see life as something to live for. You know, other than when I was singing, nobody ever really listened to me. But you were

114

ROSEMARY (CONT’D) the first person who did – who really heard me. And I’ll always be grateful to you for that.

(DOCTOR smiles, somewhat shyly, nodding to acknowledge her words)

ROSEMARY Funny though – all these years later- sometimes I still wonder – do all those people out there think less of me because of all that I’ve been through – how I had to go to the hospital and get help?

DOCTOR They should think more of you because of that, Rosie. Because you had the courage to go through it all.

ROSEMARY That still doesn’t mean I don’t worry about it, Doc.

DOCTOR Rosie, remember?

#40 COUNT YOUR BLESSINGS REPRISE Perusal (singing a cappella) IF YOU’RE WORRIED AND YOUProduction CAN’T SLEEP

(ROSIE joins HIM holding HIS hands)

ROSEMARY & THE DOCTOR I COUNT MY BLESSINGS INSTEAD OF SHEEP for (They embrace.) TRW DOCTOR Now it’s my turn to tell you something, Rosie, I’ve never told you. When I first met you, I was a bit intimidated by you. Not

ROSEMARY By me? (She laughs.)

115

DOCTOR Oh, yes! The big star with an attitude. “I want out!” you said.

ROSEMARY But you never gave up on me.

DOCTOR And I never will.

STAGE MANAGER VOICE (OFFSTAGE) Two minutes, Miss Clooney.

(The DOCTOR begins to exit.)

#41 HEY THERE UNDERSCORING

ROSEMARY Hey Doc – (He hesitates – ROSEMARY says sincerely) Love you.

(He turns back to her.)

PerusalDOCTOR (smiling) Me, too, Rosie – me too - Production

ROSEMARY (skeptical – still wanting to know) Oh, Doc – one more thing – way back when Bing asked me to do that concert with him – when we flipped for it – it was heads, wasn’t it? for

TRW DOCTOR (smiling) Knock ‘em dead, Rosie.

Not(THE DOCTOR exits.)

STAGE MANAGER VOICE (OFFSTAGE) You’re on, Miss Clooney.

(ROSEMARY walks downstage to the microphone.)

116

#42 THIS OLE HOUSE

(Music begins slowly – rubato)

ROSEMARY Ladies and gentlemen: back in 1954, I had the great fortune to have my version of “Hey There” reach number one on the Billboard charts. But can you imagine how thrilled we were when “This Ole House”, the flip side of that record, also hit number one in that same year? It was amazing! And we knew it would never happen again. (pause) I think it’s the same way with people. There are those who come around only once in a lifetime – who never stop believing in you – even when you stop believing in yourself. (pausing – she looks out into the audience as if to THE DOCTOR out there) Thanks, Doc – for showing me that my life had a flip side!

THIS OLE HOUSE ONCE KNEW HIS CHILDREN THIS OLE HOUSE ONCE KNEW HIS WIFE THIS OLE HOUSE WAS HOME AND COMFORT AS THEY FOUGHT THE STORMS OF LIFE

(musicPerusal moves up-tempo)

THIS OLE HOUSE ONCE RANGProduction WITH LAUGHTER THIS OLE HOUSE HEARD MANY SHOUTS NOW HE TREMBLES IN THE DARKNESS WHEN THE LIGHTNIN' WALKS ABOUT

AIN'T A-GONNAfor NEED THIS HOUSE NO LONGER AIN'T A-GONNA NEED THIS HOUSE NO MORE TRWAIN'T GOT TIME TO FIX THE SHINGLES AIN'T GOT TIME TO FIX THE FLOOR

AIN'T GOT TIME TO OIL THE HINGES NOR TO MEND THE WINDOWPANE NotAIN'T A-GONNA NEED THIS HOUSE NO LONGER HE'S A-GETTIN' READY TO MEET THE SAINTS

(ROSEMARY moves out toward the audience – gets them to clap along)

117

ROSEMARY (CONT’D) THIS OLE HOUSE IS GETTIN' SHAKY THIS OLE HOUSE IS GETTIN' OLD THIS OLE HOUSE LETS IN THE RAIN THIS OLE HOUSE LETS IN THE COLD

OH HIS KNEES ARE GETTIN' CHILLY BUT HE FEELS NO FEAR OR PAIN 'CAUSE HE SEES AN ANGEL PEEKIN' THROUGH A BROKEN WINDOWPANE

AIN'T A-GONNA NEED THIS HOUSE NO LONGER AIN'T A-GONNA NEED THIS HOUSE NO MORE AIN'T GOT TIME TO FIX THE SHINGLES AIN'T GOT TIME TO FIX THE FLOOR

AIN'T GOT TIME TO OIL THE HINGES NOR TO MEND THE WINDOWPANE AIN'T A-GONNA NEED THIS HOUSE NO LONGER HE'S A-GETTIN' READY TO MEET THE SAINTS HE'S A-GETTIN' READY TO MEET THE SAINTS

(applause – lights out)

#43 BOWS OPTION 1 - THIS OLE HOUSE VOCAL REPRISE Perusal (Lights up. The actors take their bows and sing:) Production

BOTH AIN'T A-GONNA NEED THIS HOUSE NO LONGER AIN'T A-GONNA NEED THIS HOUSE NO MORE for ACTOR (ROSEMARY) ACTOR (DOCTOR) TRWAIN'T GOT TIME TO FIX THE SHINGLES AIN’T GOT TIME AIN'T GOT TIME TO FIX THE FLOOR AIN’T GOT TIME

BOTH AIN'T GOT TIME TO OIL THE HINGES NotNOR TO MEND THE WINDOWPANE AIN'T A-GONNA NEED THIS HOUSE NO LONGER HE'S A-GETTIN' READY TO MEET THE SAINTS HE'S A-GETTIN' READY TO MEET THE SAINTS

(THE END.)

118

Director’s Note: Use the following BOWS OPTION 2 (#44) if you choose to perform the ENCORE MEDLEY (#45) as shown below.

#44 BOWS OPTION 2 - THIS OLE HOUSE REPRISE INSTRUMENTAL

(Blackout. ROSEMARY exits. Lights up as ACTOR/DOCTOR enters and takes his bows. Then ACTOR/ROSEMARY enters, takes her bows. Then they bow together.)

(ACTOR/ROSEMARY remains on stage as the ACTOR/DOCTOR exits.)

(Music segues to...)

#45 ENCORE MEDLEY

Director’s Note: ACTOR/ROSEMARY may encourage the audience to sing along.

ACTOR/ROSEMARY BOTCH-A-MEPerusal - I´LL-BOTCHA YOU AND EV´RYTHING GOES CRAZYProduction

BAH-BAH - BOTCH-A-ME, BAMBINO BAH-BAH-BO, BO - BOCA PICCOLINO

WHEN-A YOU KISS ME AND I´M A-KISSA YOU TRA LA - LA -for LA - LA – LA- LA - LA – LOO

TRWBEE-OO, BYE-OH, BEE-OO, BOO WON’T YOU BOTCH-A-BOTCHA-ME BEE-OO, BYE-OH, BEE-OO, BOO WHEN YOU BOTCH-A-ME, I’LL BOTCHA YOU

Not(spoken to the audience or an audience member) C´mon a-you, kissa’ me, eh?!

119

ACTOR/ROSEMARY (CONT’D) BAH-BAH - BOTCH-A-ME, BAMBINO BAH-BAH-BO, BO - BOCA PICCOLINO AND THEN WE WILL RAISE A GREAT BIG FAMILY

TRA LA - LA - LA - LA - LA - LA BEE-OO, BYE-OH BEE-OO, BOO BOTCH-A-ME – BAMBINO - BOTCH-A-ME

That’s-a nice!

HEY MAMBO! MAMBO ITALIANO HEY MAMBO! MAMBO ITALIANO

GO – GO – GO - YOU MIXED UP SICILIANO TRY AN ENCHILADA WITH DA FISH ABACALAH

AND THEN A-HEY GOOMBAH I LOVE-A HOW YOU DANCE A RHUMBAH BUT TAKE A SOME ADVICE PAISANO LEARN HOW TO MAMBO IF YOU GONNA BE A SQUARE YOU AIN'T A GONNA GO NOWHERE

HEY MAMBO!Perusal MAMBO ITALIANO HEY MAMBO! MAMBO ITALIANO HO – HO - HO Production YOU MIXED UP SICILIANO

IT’S A - SO DELISH – A EVERYBODY COME COPEESH -A HOW TO MAMBO forITALIANO!

That’s-a nice! TRW COME ON-A MY HOUSE A-MY HOUSE I´M GONNA GIVE-A YOU CANDY COME ON-A MY HOUSE, A-MY HOUSE NotI´M GONNA GIVE -A YOU APPLE A PLUM AND AN APRICOT-A TOO EH

(The ACTOR/DOCTOR enters to join ACTOR/ROSEMARY)

120

ACTOR/ROSEMARY COME ON-A MY HOUSE - MY HOUSE-A COME ON

ACTOR/DOCTOR COME ON-A MY HOUSE - MY HOUSE-A COME ON

TOGETHER COME ON-A MY HOUSE – A-MY HOUSE I´M GONNA GIVE-A YOU FIGS AND DATES AND GRAPES AND CAKES – EH

COME ON-A MY HOUSE – MY HOUSE-A COME ON COME ON-A MY HOUSE - MY HOUSE-A COME ON COME ON-A MY HOUSE - A-MY HOUSE I´M GONNA GIVE-A YOU CANDY COME ON-A MY HOUSE – A-MY HOUSE I´M GONNA GIVE-A YOU –

ACTOR/ROSEMARY EVERYTHING

ACTOR/DOCTOR EVERYTHING

TOGETHER EVERTHING Perusal ACTOR/ROSEMARY Come on-a my house! Production

(ACTOR/ROSEMARY and the ACTOR/DOCTOR take their final bows together)

for#46 WALK -OFF MUSIC

TRW Not

121

PerusalProduction for TRW Not - SCORE SAMPLER -

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

PerusalProduction for TRW Not

9/22/17 Hey There 1 Pre-Recorded announcement (over drum roll) (male voice) "Ladies and Gentlemen, Harold's Club in Reno, Nevada, proudly presents Miss Rosemary Clooney (go pno. gliss)

Maestoso ã64 (rosemary enters) Rit. 1 b b 4 & b b 4 ∑ ∑ ∑ ∑ > œ œ œ œ œ b b 4 œ œ g œ œ gœ œ œ & b b 4 ∑ œ g œ œ gœ œœ œœ œœ œ ˙ œn g œ > œ œ œ œn g Piano Dr. f > g soft mallets U ˙ ˙ g Ó. ˙˙ ˙˙ g˙ ˙ œ ? b b 4 æ ˙ g˙ ˙ œ œ œ œ b b 4 w g˙ ˙ œ > œ ~~~~~~~~~~~~~~~~~ g œ Í œ Freely, but with movement ã82 5 b b rosie: & b b Ó Œ œ ‰ j œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ. œ w Late-- ly when I'm in my room all by my self, in the sol- i- ta- ry gloom, I bb b g wn g ˙ g ˙ g ˙ g ˙ g œ g œ g œ g œ & b g g ˙ g ˙n˙ g ˙ g ˙n˙ g œ g œnœ g œbœ g œ g g g g g g g g œn p Perusalg g g g g g g g Pno. g g g g g g g g g g g g g g g g nnww g ˙ g ˙Productiong ˙ g ˙ g œ g œ g œ g œ ? b b g ˙ g ˙n g ˙b g ˙n g œ g œn g œb g œn b b g g g g g g g g g g g g g g g g Rit. 9 b b Moderately ã100 & b b œ for∑ ∑ Œ TRWœn œ ˙ œ œ ˙ call to myself, Hey there, ˙ √˙ bbbb ˙n ˙ œ g œ œ œ Œ œ & œ g œ g ˙˙ g œ œ œ œ œ g œ g ˙˙ Not g œ g ˙ g œ g œ g ˙ Pno. +Bs. n˙ Œ Œ Œ œ Œ Œ Œ ? b n˙ ? œ œ œ œ œ œ b bb b ˙ & n ˙ ˙ ˙ ˙ ˙ ˙ ˙

©Arrangements and Orchestrations by Scot Woolley 1 2 Hey There - Tenderly 13 bb b 3 & b œ Œ œ Œ œ œ œ œ œ ˙. œ œ œ œ. œ œn œ œ ˙ you with the stars in your eyes, love never made a fool of you. g œ œ œ œ b b g œ gœœ g œ œg œ œ œ & b b ˙ ˙ Œ g g g œ ˙ ˙ gnœœ. Jg œ ˙ ˙˙ ˙ ˙˙ g œ . g œ Pno. Œ œ Œ Œ Œ Œ œ Œ Œ ? b b œ œ œ œ œ œ nœœ ˙ b b ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙

17 b b & b b j Œ Œ œ œ œ œ. œ w ˙. œ ˙ You used to be too wise. Hey there, œ. œ œ œ œ œ n œ. œ œ. b b œ g˙ œ œ. œ g œ œ œ n œœ. J œ. & b b œœ g˙ Œ œ œ. œ g œ œ œ œœ œ œ œ. œ. œ œ œ œ g˙ J g J j 3 3 Pno. œ œ. œ œ œ ? Œ œ œ. œœ œœ œœ ˙˙ nœœ œœ bb b ˙ nœ b ˙ Perusalw œ œn ˙ Productionœ

21 b b 3 3 & b b œ Œ œ j œ œn œn forœ œn ˙. œ œn œn . œ you on that high flyin' cloud, though he won't throw a TRW j bb b œ. œ . œn œ œn œ œ. œ . & b nœ. nœ. J ˙ œn . œ nœ. nœ. œ n œ. J n œn . ˙n ˙n˙ n œ. J n œn . J Pno. ŒNot Œ œ Œ œ Œ ? b nœ ˙ œ œn nœ ˙ b bb ˙ ˙n ˙n ˙ ˙n ˙

2 Hey There - Tenderly 3 24 b b 3 3 & b b ‰ j j Ó j j œn œ œ œ œ œ œ œ œ. œ œ œ œ ˙ œ œ œ crumb to you, you think someday he'll come toj you. Bet- ter for b b œœ. œ œœ. œ. œ œ & b b ˙˙. bœœ nJœ. œ. œ œ. œ œ ŒÓ ˙n . œ J œ. œ œ nœœ bbnœ œ œn . Pno. ˙ Œ œ Œ œ Œ œ Œ ? b . nœ œn œ œ b bb ˙. b œ œ œ ŒÓ ˙ ˙ ˙ œ œb œ.

28 bb b ŒÓ 3 3 & b œ Œ œ j œ œ. œ œ œ œ œ œ ˙. œ œ œ. œ get him, him with his nose in the air. He has you dancin' œ g œ g œ œ œ bb b Œ œ Œ g œ gœœ g œ & b g œ g ˙˙ ˙ ˙˙ g g g œ ˙ ˙˙ g œ g ˙ ˙ ˙ ˙ ˙ Pno. Œ Œ Œ œ Œ Œ Œ Œ œ Œ ? b œ œ œ œ œ œ œ œ b bb ˙ œ ˙ œ ˙ Perusal˙ ˙ Production ˙ ˙ ˙ 32 bb b 3 ‰j & b Œ œ œ w Ó œ œn œ œ ˙ œ œ œ œ on a string, forbreak it and he won't care. won't you j 3 j TRWb b œœg œ œ œn œb œn œb œ œ. œ œ œ œ œ. œ œ œ & b b gnœœ. Jg œ œ œ œ œ œ œn œbœ. œ œ œœ œœ œbœ. œ œœ g œ . g œ œœ œ œ œ œ Pno. Œ Notnœ Œ œ œœ œ g œ ? b b œœ œ œ œ œ bœ g œ b b ˙ œ œ œ w ˙ g œ g œ œ œ g œ g

3 4 Hey There - Tenderly 36 portamento b b 3 j & b b ‰ œ œ Œ œœœ œ œ œ œœ œ œ œ œ ˙ œœœ œ take this advice i hand you like a mother? Or, are you ˙ œ g ˙ œ. œ œ œ bœ. bb b œ œ g ˙ n œ œ œ œ œ. œ ˙ œ œ. œ œ œ œ œ & b œ œ g n œœ œ œJ. ˙ œ œ œ œb . Jnœ

3 Pno. œ n ˙ œ œ ˙ ? b g ˙ œœ œœ n ˙˙ œœ œ œ ˙ œb œ n˙ b bb g ˙ œ œ œ œ ˙ g ˙ œ ˙

Rit. 40 b b 3 & b b ‰ j Œ j Œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ. œ ˙ œ œ not seein' things too clear? are you too much in love to hear? Is it œ b b œ œ ˙ œ œ œ œ œ ˙ & b b Œ. j œ œ œ œ œ ˙. œ bœ n˙ œ œ ˙. œ œ œ œ ˙ Pno. ˙ ˙ œ ? œ ˙. ˙˙b ˙ ˙ œ œ œ œb œn bbbb œw Perusal˙ œ œ œ œ Productionœ vox 44 a Tempo bbbb ‰ 3 Ó Œ & œœœ œ œ œ. forœ œ œ œ ˙. ˙ œ œ ˙ all go-- in' in one ear, and out the oth er? Hey there, TRWb œ ˙ ˙ œ b bb ˙. ˙ nn˙ œ g œ œ œ Œ œ & ˙. œ ˙ œ g œ g ˙˙ g œ œ œ œ œ g œ g ˙˙ . g œ g ˙ g œ g œ g ˙ Pno. Not ˙ Ó Œ Œ Œ œ Œ Œ Œ ? b œ ˙. w˙˙ œ œ œ œ œ œ b bb œw ˙ ˙ ˙ ˙ ˙ ˙

4 Tenderly 14

Rosie: Well that's the way it's supposed to be, right - when you're in love? Doc : Were you in love? (music go) Rosie: Mitch Miller once explained love to me as the way you hear it in most American songs - you know: Sweetly 1 œ œ œ œ œ œb j œ œ b 3 œ œ œ œ nœ bœœœ œ œ œ œ œ œ# œ œn & b 4 ˙œ œ œ œ œ œ œ P Piano œ œ ˙ œ œ œ bœ bœ˙. ˙ ˙. ˙. 3 ˙ œ# n œ ˙n . ˙œb . ˙n ˙b ˙. ? bb 4

*I love - **you love - ***we all love - we do we love - how much do we love - where do we love - and why did you stop loving me? 6 I think I had them all with Joe. Rosie: bb ∑ ∑ ∑ Œ‰j œ Vox. & œ œ , , * ** *** , simile ˙ The evening œ œb œ œ# œn j Œ ˙ b # œ œn n œ œb œ œ# œn œn œ# œ & b n œ œb nœœ # œ# œ n œn œ # œ# œ œn œb œ ˙. œb œ œ g˙. g . Pno. rit. g œ bœ œ nœ bœ œ n˙ g œ œb Perusalœ œ# œn nb ˙ œ g ? bb œn ˙b œ g˙. Productiong˙. 10 bb j œ ‰ Vox. & œ. œ œ ˙ œ j œb ˙. œ œ œ œ breeze ca- ressedfor the trees Ten- der - ly. The trembling √ +Bs, Dr. √ TRWŒ œ œ Œ œ œ loco bb ˙ œ ˙˙ ˙ œ ˙b ‰ j œ & ˙. b˙. bœ œ œ œbœ ˙ ˙. ˙. œbœ œ œ œ œ ˙ Pno. Not Œ ˙ ? b ˙. . œ b ˙. ˙. œ ˙. ˙. ˙ œ ˙. *Line up dialogue with each eighth note piano phrase.

14 bb Œ Vox. & œ. j œ ˙ œ œ œ œb ˙. œ œ trees embraced the breeze tender - ly. Then

œ Œ œ Œ œ œ b œ ˙ œ & b Œ ˙ Œ œ œ ˙ ˙ œ œ œ œ ˙œ œ œ œ œ œ ˙b œ œ ˙. Pno. bn˙. ? b n ˙b˙. bœ Œ œ œ n˙. b ˙. œb bœ bœ ˙. ˙. ˙b b œ b œ ˙. 18 bb Vox. & œ ˙ œ ˙ ˙b œ œb œ œ you and I came wan-- der ing by and œ œ œ œ œb œ bb œn œb ˙ œ œ œ & ˙œb œ œ œbœ œ œ ˙. œ ˙œ œ œ œ Pno. j ˙˙ ‰ œ ˙ Œ ˙ œ ˙b ? bb ˙. Perusalœ ˙ œ œ œ œ œ Productionœ œ# NOT in strict time 22 molto rit. bb œ ‰ 4 ‰ œ 3 Vox. & ˙ j ˙ 4 ˙ œ œ 4 œ œ œ . lost in a sigh were we. The shore was for œ œ œ œ ˙ b œ g #˙ œ œ 4 œ ˙ 3 TRW& b œ œ Œ g ˙ Œ 4 ˙ 4 œ˙œ Pno. ˙˙ ˙ œ œ Œ n˙ œ bbœ œ œ ? bNotœ œ gn˙. Œ œ œbœ 4 œ œ œ 3 b œ˙. g ˙. 4 œ 4 g ˙.

44 Tenderly - Tenderly 3 26 bb 3 j œ ‰ Vox. & 4 œ. œ ˙ j œ œ œb ˙. œ œ œ œ kissed by sea and mist Ten-- der ly. I can't for - √ √ Œ œ œ Œ œ œ loco b œ œ b 3 ˙ ˙˙ ˙ ˙b ‰ j œ & 4 ˙. b˙. bœ œ œ œbœ ˙ ˙. ˙. œbœ œ œ œ œ ˙ Pno. Œ ? b 3 ˙. œ ˙ b 4 ˙ ˙. œ ˙. ˙. ˙ œ ˙.

30 bb Œ Vox. & œ. j œ ˙ œ œ œ œb ˙. œ œ get how two hearts met breath-- less ly. Your

œ Œ œ Œ œ œ b œ œ & b Œ ˙ Œ œ œ ˙ ˙ œ œ œ œ ˙œ œ œ œ œ œ ˙b œ œ ˙. Pno. bn˙. ? b n ˙b˙. bœ Œ œ œ n˙. b ˙. Perusalœb bœ bœ ˙. ˙. Production˙b b œ b œ ˙. 34 U ( deliberately ) bb œ ‰ œ- Vox. & œ œ œ œ- ˙b œ ˙ œ œ œ J - arms op- enedforwide and closed me in - side you took my Œ œ Uœ b œœ œ œ œ œ œ œ g#œ TRW& b bœ œ ˙ #œ ˙œ g œ ŒŒ ˙. œ œ ˙. g ˙b . g Pno. g g U ? b ˙ œ . gnœ b Not ˙. g ŒŒ ˙. ˙ œ# ˙ œ

45 4 Tenderly - Tenderly

38 rit. a tempo bb ‰ j ‰ Vox. & œ œ œ~~~ j - œ- - œ œ œ œ ˙. ˙. lips, you took my love so Ten- der - ly. U œ b ˙ Œ œn œ & b œ bn˙˙ œ œ œ n#˙˙ œ nbœ ˙ ˙˙. œ œ œ œn ˙. œ Pno. F U P œ ˙ ? b œ ˙ œ ˙ ˙. ˙ b ˙ œ ˙ ˙. œ œ ˙ ˙. œ˙.

Doc (as Jose Ferrer) : Rosie - you've been waiting so patiently - it won't be long now 42 underscore b œ œ œ œ & b ˙ ˙b œ œ ˙ œ œ œ ˙ œ

Pno. œ œ œ œ œ ? b œ œ œ œ œ œ œ œ b œ˙. œ œ˙ œ œ œ˙. . œ˙.

before Phyllis gives me that divorce. Rosie: I know, Joe - it's all right - we're together. 46 b b Perusalbœ & œ œ œ bœ œ œ ˙. œ œ ˙ œ ProductionŒ œ œ ˙ œ Pno. ˙ ? b ˙ œ Œ œ bbœ ˙ Œ b œ œ˙. œ ˙ œ˙. for

TRWJose : I want you to know how I feel about you, Rosie, and this is for you - ( she opens the box ) 50 b j b œ œ œ œ & œ ˙ œ #˙. bnœœ œb œ ˙. œ ˙œ. ˙ œ Pno. Not ? b ˙ ˙ . n˙ b ˙. . ˙. #œ ˙ œ# ˙ ˙ œ#

46 Mambo Italiano 34 Doc (as Dante): Ah - that's my Rosella from Abruzzi! (music go) colla voce 1 4 ∑ Ó Œ j ‰j Rosie & 4 œ~~~~ œ œ. œ ˙ œ œ œ œ A girl went back to na-- po li be -

L.H.˙ Œ æ ˙. œ œ œ 4 œ œ ˙ w ˙. œ & 4 œ œ œ. œœœ œ ˙ œ œ# w Œ‰ æ +Dr. (right hand a la mandoline) Piano +Bs. Œ œ œ œ ˙ w w ? 4 w œ œ# w w 4 w w F P 5 j ‰ ‰ Rosie & œ ˙ j j œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ cause she missed the scen-- e ry. The na-- tive danc es and the charming songs, but æ ˙. œ œ æ æ & w ˙. œ œœ w w æ œ Pno. w w w w ? #w Perusalw w ww Productionw

9 U Œ 2 4 Œ Rosie & 4 œ# 4 ˙# . œ œ# œ# œ œ wait a min--for ute! some thing's wrong!! > U œ~~~~~~~~~~~~ # œ # ˙. TRWg #˙˙. Œ 2 œ # œ 4 gn ˙˙. &g # ˙ . 4 œ# œ 4 g . g g g g f Pno. g g U g ˙. œ œ g ?g #˙. Œ 2 #œ #œ 4 g #˙. Œ g Not˙. 4 œ 4 g ˙. g g ˙

126 2 Mambo Italiano -Tenderly

Tempo di mambo ã146 12

Rosie & ∑ ∑ ∑ ∑

+Bs, Dr. œ œ œ > 3 œ œ œ œ œ œ œ œ œ œ œ œœ œ œ >œ œ œœœœ. œœœ & œ œ œ œ œ ‰ œœ #œ œ œ œ œ œ œ œ# œ. œ œ œ œ J œ œ œœ œ œ œ > œ 3 3 3 Pno. b 3 b Amin Bmin7( 5) E7 Amin Bmin7( 5) E7 ? ‰ j œ œ ‰ j œ ‰ j œ œ ‰ j œ œ œ œ œ œ œ œ œ œ œ œ œ f Vocal 16 œ Œ œ Œ Rosie & œ œ œœœ œ œ œ œ œ œ œœœ œ œ œ œ Hey Mam-- bo, mam bo I- tal- i- an--- o. Hey Mam bo, mam bo I- tal- i- an- o.

‰ ‰ ‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ #œœ œ œ œ œ œ œ œ œ œ œ œ #œœ œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ œ#œ œ Pno. b b Amin Bmin7( 5) E7 Amin Bmin7( 5) E7 ? ‰ jœ œ ‰ j œ ‰ jœ œ ‰ j œ œ œ Perusalœ œ œ œ œ œ œ œ œ œ 20 Production ‰ j Rosie & œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Go, go, go you mixed up Si---- ci li a no. all you ca-- la brais - e do the mam - bo like - a craz - y with a

& œ œ ‰ œ œ for ‰# œ ŒÓ ∑ œ œ œ œ œ œ œ œ œ œ œ œœ œ TRW œ œ œ# œ > Pno. b Amin Bmin7( 5) E7 Amin ? jœ œ jœ œ œ ‰ œ œ œ ‰ œ œ ŒÓ Ó . œ. œ. œ Not œ > .

127 Mambo Italiano -Tenderly 3

24 œ Œ œ Œ Rosie & œ œ œœœ œ œ œ œ œ œ œœœ œ œ œ œ Hey mam-- bo! Don't want to ta ran- tel- la. Hey mam-- bo! No more a mozz- a- rel- la

‰ ‰ ‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ #œœ œ œ œ œ œ œ œ œ œ œ œ #œœ œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ œœ# œ Pno. b b Amin Bmin7( 5) E7 Amin Bmin7( 5) E7 ? j j ‰ jœ œ œ ‰ œ œ ‰ jœ œ œ ‰ œ œ œ œ œ œ œ œ œ œ

28 Œ Rosie & œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Hey mam--- bo! mam bo I tal- i- an-- o. Try an en chi- la-- da with da fish a ba- ca-- lah and then a

& œ œ ‰ œ œ œ œ œ ‰#œœ œ ŒÓ ŒŒ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# > > œ Pno. b Amin Bmin7( 5) E7 Amin ? j j œ ‰ œ œ œ œ œ ‰ œ œ œ ŒÓ œ ŒÓ œ > œ Perusal > 32 Production j Œ‰j œ Œ‰j Rosie & œ. œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ Hey goom--- bah, I love a how you dance a rhum bah But take a some ad-

3 œ œ 3 œ œœ œ œ forœ œ# œ œ œœœ & œ œœ œœœ œ# œ œœ œ œ œ œ œ œœ œ œ œœ œœ œ œ œ œ TRWœ œ# œ œ œ œ œ œ œ œ# œ Pno. 3 3 # C A7 Dmin G7 E7/G ? ‰ j ‰ j œ œ‰j œœ ‰ j œ œ# œNotœ œ œ œb œ œ œ# œ œ œ œ

128 4 Mambo Italiano -Tenderly

36 Rosie & œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ vice pai-- san o, learn how to mambo. If you gonna be a square, you ain't a gon-- na go no where œ œ œ œ > œ œ œ œ œ œ œ œ œ œ & œ œ œ œ ŒÓ œ Œ #˙˙ œ ˙ > Pno. # Amin (maj7) Am/G Am6/F Dmin/F Bmin7-5 E7 œ. œ œ# . œ œn . œ œ# . œ >œn ? J J J ŒÓ œ Œ œ J > œ

40 (Doc/Dante may join in on this chorus on the "hey mambo" parts) œ Œ œ Œ Rosie & œ œ œœœ œ œ œ œ œ œ œœœ œ œ œ œ Hey mam-- bo! mam bo I- tal- i- an--- o. Hey mam bo! mam bo I- tal- i- an- o œ & œ œ œ Œ œœ œœ #œœ œ œ œ œ Œ œœ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ #œœ œ > > > > > > Pno. b b Amin Bmin7( 5) E7 Amin Bmin7( 5) E7 ? >œ j >œ j Œ œ ‰ œ œ Œ œ ‰ œ œ œ œ Perusalœ œ œ œ > > Production> > 44 ‰ j Rosie & œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ho, ho, ho, you mixedfor up Si---- ci li a no, it's - a so de - lish - a ev - 'ry -bod - y come co - peesh - a how to >œ >œ >œ & œ œ œ Œ ‰# œ ŒÓ ∑ TRW œ œ œ œ œœ œ œ œ œ# œ > Pno. b Amin Bmin7( 5) E7 Amin ? >œ j Œ œ ‰ œ œ ŒÓ Ó Œ Notœ œ œ œ ~~~~~~~~~~~~ > > œ œ >

129