Original Music by Phillip Scott Lyrics: Opening to camera: The film begins with Tom Conti’s Moses Bornstein upside down on screen. The camera begins a slow swivel and zoom in so that it ends up on Moses’ face the right way up, still talking direct to camera. As the camera does its move, Moses speaks to the viewer. Moses: “Okay, the brother … er, our parents died. We’re orphans. We move into a flat, and I look after him for a year, a year and a half… except I’m going crazy. So I leave him with an uncle for three months, except I can’t look the young boy in the face, because I know it’s … it’s really forever. I go to Europe, I write, I publish, I marry … a son… er, maybe three years, a letter arrives. The brother is coming… er, he’s coming by boat, which is what you did in those days. Terrific. He arrives at the docks, Southampton. We station ourselves at the foot of the gangplank, er, we’re early, we’re the first, no one’s come off .. and they start … a lot of people, a lot of people …er, two, maybe three hundred …and every person that comes off … I can’t see him. I can’t see him … did he come off? He must have! People are milling, you know, I, I, I’m in a real panic. Suddenly Barbara darts into the crowd. She’s, she’s got him … she’s holding his hand! But how, how did you recognise him? She stares at me … Moses … he’s just like you … (almost a whisper) … just like you …” The camera cuts to a Citroën pulling into the driveway of a suburban Melbourne house, and the story begins … It will turn out that Moses is, like his brother, unfaithful, and will lose his wife by end of movie, but his brother will provide him with the ending to the screenplay he keeps telling everybody about throughout the movie, a shaggy dog story with a Jewish hero, who wants to be a thief like his father. Closing to camera and music: After Moses has persuaded his brother to have a cigar with him, and they end up at the beach, his brother Ben Borstein (Ritchie Singer) says he can feel his asthma coming back and he feels woozy. That’s what you’re supposed to feel, Moses explains. At that moment, a Louis Armstrong song begins (the film’s credits don’t reveal the source of this version): Oh when you’re smiling When you’re smiling … (Wide shot of the beach, slow zoom in on the main characters walking along the edge of the water, trousers rolled and shoes in hand) The whole world (smiles with you) … (The lyrics then dive under the dialogue as the two brothers begin to work out the ending to Moses’ screenplay. Ben provides the punchline - he’s going to South America, he told him he wanted to be a thief - and Moses asks “have you seen this picture before?” Ben pinches Moses on the cheek, saying “Moses I’ve seen all your pictures before”. (Moses laughs and pushes him into the sea. Ben reaches out to him and grabs him by the hand, but instead of getting up, pulls Moses into the water beside him. With Armstrong’s song still running underneath the dialogue, we cut to a close up of Moses, talking direct to camera, as he was seen at the beginning of the movie, which began with a slow tilt around and then down on to Moses). Moses: “Moses …you’re just like me… just like you.” (The image freezes, and the final line of Armstrong’s song returns to the foreground): And the whole world smiles for you. (As end credits roll over black, there’s a short piano solo, and then Armstrong’s trumpet runs over the rest of the end credits). Composer Phillip Scott: Scott is too well known and prolific as a performer and creator - with an emphasis on revue comedy and cabaret - to be listed in detail here. At time of writing, Scott’s page with his agent Harry M. Miller as his agent had ceased to work. For the record, Miller’s website provided this short biography: Phil has been performing solo cabaret at the piano since 1983 (A Legend in His Own Mind) and has appeared in all major Australian cities including several previous visits to the Adelaide Cabaret Festival. As a writer, Phil’s cabaret shows include Newley Discovered (starring Hugh Sheridan, written with Dean Bryant), Pop Princess, Fat Swan and Little Orphan Trashley (all with Trevor Ashley). Last year cabaret artist Phil Scott premiered Reviewing the Situation, a show about Bart’s life which played to rave reviews and was nominated for a Sydney Theatre Award for Best Cabaret. With Jonathan Biggins he wrote a new libretto for Offenbach’s Orpheus in the Underworld, produced by South Australian Opera in 2012 and Opera Australia in 2013. He wrote and performed for several ABCTV series including The Gillies Report, Three Men and a Baby Grand, and Good News Week. He has had four novels published in Australia and the US, including One Dead Diva and It’s About Your Friend. Since 2000 he has co-written and co-starred in the annual political satire The Wharf Revue for the Sydney Theatre Company. Also a composer, Phil has written film scores and musicals including Safety in Numbers (Q & Ensemble Theatres) and The Republic of Myopia (Sydney Theatre Company). As an actor he has appeared in the films A Few Best Men (dir. Stephan Elliott), Fat Pizza and Houses vs Authority (dir. Paul Fenech). Phil has worked as an actor and/or composer on many shows at Sydney’s Darlinghurst Theatre, including The Illusion, Love Song, Cloud Nine, A Day in the Death of Joe Egg andTorch Song Trilogy. Phil pens a regular column for Sydney’s free paper SX, and reviews classical recordings for Fanfare, Limelight and Cult magazines. Scott also has a relatively short wiki here. Scott’s personal website had also ceased to work, but for the record it provided this CV for him: Phil began his theatrical career in the late 1970s as Musical Director on The Rocky Horror Show. In 1984 he co-wrote and appeared in the popular musical entertainment Zen and Now at the Adelaide Fringe Festival. At the same time he began working with Max Gillies on his long running shows A Night of National Reconciliation and The Gillies Summit. This led to a decade of programs for ABC Television, where Phil appeared as a comedian, and worked as a writer, composer and musical arranger. These series included The Gillies Report, The Dingo Principle, The Party Machine, Kittson Fahey and The Big Gig. He composed incidental music for the 10 part ABC TV series Gillies and Company. Phil is a founding member of Three Men and a Baby Grand, the musical revue which played for over a year at The Tilbury in Sydney, toured Australia and, in 1992, travelled to The Edinburgh Festival and London. Phil spent two years singing satirical ditties on Channel 9's Today Show, and has also written film scores including one, for Those Dear Departed (1985) which earned him an AFI nomination, and the feature Two Brothers Running. From '88 to '97 he was vocalist/keyboard player and arranger for Ignatius Jones' swing band Pardon Me Boys, touring Australia and South East Asia. In 1996, Phil worked as Musical Director for David Campbell, and made his first fleeting appearance as Liberace in The Stars Come Out. Two years later, a complete show, commissioned by the Sydney Theatre Company, was staged. Wunnerful Liberace was directed by Richard Wherrett and received the seal of approval from The Liberace Foundation in the USA. Also in 1997/8 Phil toured Australia with the revue Abroad with Two Men (which he co-wrote and composed), and appeared in Three Men and a Grand Orchestra with the Sydney Symphony Orchestra. In 1999 he created dance tracks for a show to open the Cairns Casino. Phil was a full time writer for Good News Week (Channel 10) and co- starred in the first late night revue at the Sydney Theatre Company, The End of the Wharf As We Know It. Phil co-wrote, composed and performed in the Sydney Theatre Company's "Wharf Revues": Free Petrol and its return season Free Petrol II. (2001), The Year of Living Comfortably and Much Revue About Nothing (2002), Sunday in Iraq with George (2003), Fast and Loose (2004) and Concert for Tax Relief (2005). Phil is also well known as a solo cabaret performer and, in 2001, premiered his solo show Serious Cabaret at Café 9, going on to play the Sydney Cabaret Convention, Adelaide Cabaret Festival, Darwin Entertainment Centre, Glen Street Theatre, Chapel Off Chapel in Melbourne and the Canberra After-Dark Cabaret Festival. A CD of the live show is available, recorded at the Glen St Theatre. He will present a new cabaret show, Phil Scott goes Underground at Statements in August. In November 2001, Phil was invited by the producers of the Australian production of Oh What A Night! to rewrite and adapt, with Jonathan Biggins, the Australian premiere of the musical, which performed in both Sydney and Melbourne, after opening in January 2002. In 2003 they wrote for David Atkin's The Man From Snowy River Arena Spectacular and for Opera Australia wrote a new performing translation of Offenbach's Orpheus of the Underworld.