ESCENA DOS

(La diapositiva lee .. NBC Studio 1973. Somos bastidores en un programa de noticias de televisión en curso. Lejos eclipsar a un periodista de TV y TV

NEWSWOMAN sit behind a desk, reporting the evening news. A makeup area is DOWNSTAGE LEFT and an interview area is being set up on a platform STAGE RIGHT

We get a sense of the general frantic floor activity of a live TV broadcast as a MAKE-UP ARTIST, FLOOR MONITOR (RU), and STAGE MANAGER and others are all bustling about.

Gradually we bear the sound ofF rank Sinatra singing "Good Thing Going" playing in the background and soon fading out)

TV NEWSWOMAN

And that was Frank Sinatra singing " Good Thing Going"

from the

Broadway and film hit "Musical Husbands." The composers of that show, Franklin Shepard and Charles Kringas, are here in our studio tonight and we'll be meeting and talking with them. But first the news. Hal?

TV NEWSMAN

The lead-in story

from

tonight's edition of "News From New York." Today our

nation is at long last celebrating the cease-fire in Vietnam. The tragic death toll there now having cost nearly forty-six thousand American lives. Judy?

TV NEWSWOMAN On the local front — Mayor Abe Beame...

(Lights down and sound fades out as RU turns to direct the ENTERING MARY to the make-up area. This MARY is very happy, very excited)

MAKE-UP ARTIST

(Holding up a hand mirror to CHARLEY la.INGAS, a bespectacled easily agitated man seated in the make-up chair)

Well, Mr. Kringas, what do you think?

CHARLEY

(Lowering mirror)

I think my worst nightmare has come true_ I look like Richard Nixon. MARY

(MARY hugs him)

CHARLEY Mary, do not speak to me.

(MARY removes her hands)

This whole goddamn thing is your fault. I don't know why in Christ's name I ever let you talk me into this humiliation.

RU

(ENTERING with beverage tray, handing MARY a drink)

Here's the drink you ordered, Miss Flynn. CHARLEY

(Taking the drink from MARY)

Mary, how thoughtful_

MARY Charley, c'mon, I need a drink.

CHARLEY One drink. What would you like?

MARY A bottle of vodka and a straw.

(CHARLEY hands MARY the drink. RU EXITS)

Where's Frank?

(Drinks)

CHARLEY

Oh, Frank. Probably off signing to score another movie. Or closing a record deal.. I can only tell you where Frank never is...that's with me, working on our show.

MARY

Well, when I called KT to set up this interview, I made it very clear that all you two guys were here to talk about was your next show and how long you both have been working on it.

CHARLEY

Grow up, Mary. Since Frank married Gussie, the only 'working' he knows is `working the room.'

MARY

And just where did he learn that, Charley? Off on that goddamn yacht is where. And who was it who sent him off on that goddamn yacht, huh?

CHARLEY

I say to hell with Frank. I've started a play all on my own. And if Frank doesn't show up in the next thirty seconds, me, I am walking right out that door.

(Looks at watch)

MARY

Charley, I know Frank. If you connect with him again, if you commit the guy today publicly, I promise you, by tomorrow you two are going to be back together working again. You gotta help save him, Charley.

#5 Old Friends — Like It Was (Messy, Charley)

(CHARLEY looks at watch: time's up; HE gets up and starts to EXIT. MARY stops him with her hand as well as with the song's first line, as MUSIC begins)

HEY, OLD FRIEND,

WHAT DO YOU SAY, OLD FRIEND? MAKE IT OKAY, OLD FRIEND.

GIVE THE OLD FRIENDSHIP A BREAK.

WHY SO GRIM?

WE'RE GOING ON FOREVER. YOU, ME, HIM,

TOO MANY LIVES ARE AT STAKE.

FRIENDS THIS LONG

HAS TO MEAN SOMETHING'S STRONG, SO IF OUR OLD FRIEND'S WRONG,

SHOULDN'T AN OLD FRIEND COME THROUGH?

IT'S US, OLD FRIEND —

WHAT'S TO DISCUSS, OLD FRIEND? HERE'S TO US,

WHO'S LIKE US?

(She puts her pinkie finger up. After a beat, Charley links his pinkie to hers)

CHARLEY

MARY CHARLEY,

WHY CAN'T IT BE LIKE IT WAS?

I LIKED IT THE WAY THAT IT WAS, CHARLEY —

YOU AND ME, WE WERE NICER THEN.

WE WERE NICE,

KIDS AND CITIES AND TREES WERE NICE, EVERYTHING...

I DON'T KNOW WHO WE ARE ANY MORE, AND I'M STARTING NOT TO CARE.

LOOK AT US, CHARLEY,

NOTHING'S THE WAY THAT IT WAS. I WANT IT THE WAY THAT IT WAS — HELP ME STOP REMEMBERING THEN.

DON'T YOU REMEMBER'

IT WAS GOOD, IT WAS REALLY GOOD. HELP ME OUT, CHARLEY,

MAKE IT LIKE IT WAS.

Come on. It was so much better, Charley. The three of us.

CHARLEY

And you come on — we're not the three of us any more, Mary. Now we're one and one and one.

MARY CHARLEY,

NOTHING'S THE WAY THAT IT WAS. I WANT IT THE WAY THAT IT WAS.

GOD KNOWS, THINGS WERE EASIER THEN.

TROUBLE IS, CHARLEY,

THAT'S WHAT EVERYONE DOES: BLAMES THE WAY IT IS

ON THE WAY IT WAS

ON THE WAY IT NEVER EVER WAS.

(MARYdowns the drink)

CHARLEY

MARY

(Shrugs)

You gotta help save me then, Charley. KT.

(ENTERING DR)

Charley? Frank? We're on a commercial break, then it's us. Follow me. CHARLEY

Frank isn't here.

KT.

(Panicked)

He isn't here? Where the hell is Frank?

(FRANK GUSSIE, JEROME, TERRY are all hurried in by RU and the MAKE- UP ARTIST. ALL hug. RU EXITS. TERRY and JEROME

move US and confer, whispering)

FRANK

Frank is here. And Frank is sorry. But ever since Gussie and I got married, life is this series of meetings, meetings, meetings.

(Crosses to CHARLEY, hugs him)

Hey, pal.

CHARLEY Hey, pal. Long time, no see.

FRANK

Oh, and I've missed you, buddy. And Mary. Oh, God, Mary.

(Hugs MARY Stands back to look)

You look wonderful. Lost a little weight? MARY A hundred eighty pounds. He still calls, though.

KT.

Please, Frank, Frank — in the chair. And Charley, you come with me.

(As KT and CHARLEY cross to

the interview

area, FRANK sits in the make-up chair, and is made up)

GUSSIE

(Stopping K T)

KT, I think I saw my ex-husband hovering around outside. Could you see to it that nobody is allowed in? He's become the eternal sponge.

KT. Got it. Charley, move, please — we gotta go...

(CHARLEY and K T. continue to interview platform; MAKE-UP EXITS with cart)

RU

Excuse me, Mrs. Shepard. I know this is inappropriate. But I wrote a filmscript, "Darkness Before Dawn," that is so perfect for you.

GUSSIE It is inappropriate, give it to me.

(RU gives it to GUSSIE and crosses around platform to CHARLEY, hooking up his microphone)

I've accepted that if I don't want people handing me scripts then I can never go out. Frank, did you tell Mary about closing the three-picture deal?

MARY Oh, no.

FRANK

But, please let me be the one to tell Charley. I'm waiting to choose the exact moment.

MARY Oh, God.

GUSSIE

I've explained to Frank, you compose a Broadway show you're something in New York. But you produce a movie, you're something all over the world.

(KT scurries back to the make-up area)

KT. Frank, we're up. We got to move.

MARY Oh, hell.

(They headftr the interview area. GUSSIE turns to follow them when JOE JOSEPHSOIV, a seedy-looking man in his late 50's, ENTERS DL During the following we can see RU cross to K T. and whisper in her ear)

JOE Gussie?

JOE You look great_

GUSSIE You caught me in the middle, Joe.

JOE

I was just hoping maybe you could spare a hundred or so. GUSSIE

Joe, Joe. I —

(Surrenders. Into purse. Hands him money)

You can't keep doing this to me, Joe. Now this is the last time. JOE

I'm lining up backers for my next play — GUSSIE

(Backing away)

Excuse me, Joe. They're waiting for me. I'm sorry.

(SHE turns and EXITS into the control room OFFSTAGE. JOE, after a beat shuffles off in another direction)

TV NEWSMAN

And now our evening's top news story: Today the Supreme Court made its final

ruling legalizing abortion. The court stated, "Abortion should be a decision between a woman and her physician." A longtime controversy now ended. Judy?

(We hear a few bars of Sinatra singing "Good Thing Going"• RU has been attaching Frank's microphone)

TV NEWSMAN

For those who have tuned in late, we are hearing Frank Sinatra singing the hit song by Franklin Shepard and Charles Kringas, our next guests, live from New York.

(Lights up on the interview platform where FRANK CHARLEY and KT. have been chatting, laughing, having a reunion)

KT.

Oh, and Frank, I cannot thank you enough for this favor. FRANK

Favor? After what you did for me during my divorce — CHARLEY

That's why we're here.

KT. Oh, and how's your son?

FRANK

(Taking out wallet)

Want to see a picture?

KT.

No. But do that on the air and I'll coo and tear and I'll carry on like a mad thing. People love cheap sentiment. And I understand congratulations are in order. I hear you've signed a three-picture deal to produce movies.

(Mimes applauding FRANK)

FRANK

(Uncomfortable)

Where'd you hear that?

KT.

Oh, I have my spies_ Now, don't worry. I understand that I'm not supposed to bring it up on the air.

CHARLEY

(Containing rage)

I think you weren't supposed to bring it up in front of me_ KT.

FRANK

Charley, I was waiting for the exact moment to tell you. But see, it doesn't change our plan. It's only two or three months at a time.

CHARLEY

(Overlapping)

Frank, it's always two or three months at a time. FRANK I haven't even signed the contract yet.

CHARLEY

(Overlapping)

Do you know how long I've sat and waited for you to finish this project? KT.

(Overlapping)

Guys, hold it for one second, can ya?

(Looking at watch)

We're just about on —

FRANK

Charley, I have a son to support. I have an ex-wife draining me_ What happens if we finish this show, we get it on, and they say it's no good?

CHARLEY

Frank, I have four kids to support. And I don't give a rat's ass what "they" say. If I say it's good. If you say it's good. That's what's important. That's all that's

important.

KT

(Overlapping)

Okay, fellows, we're just about to start.

CHARLEY

He only knows it's good if it makes a fucking fortune! KT

(The "On The Air" sign lights up. Quickly smiling into the camera)

Hi_ We're back. And welcome to "Today in New York's" Celebrity Spot. And here next to me we have two brilliantly talented people. The gentleman on my right is —

(A delay as FRANK, sitting smiling into the camera, is suddenly shocked to find KT is waiting for him)

FRANK Oh. Uh — Franklin Shepard. I almost forgot.

KT.

(Looking at, then pointing to Charley)

And — ?

CHARLEY

(Also frozen by the camera)

And he is. Why should he lie. And I have no idea who I am. FRANK

This is my great friend and even greater collaborator, Charley Kringas. KT.

They are the songwriters for "Musical Husbands," both the show and the movie. They also wrote —

(Hand over heart)

"Sweet Sorrow"...and their newest collaboration will be called "Take A Left," but more about that later.

CHARLEY Apparently much later.

KT.

(Throughout, KT directs all her questions to FRANK)

And you recently married the star of those shows, Gussie Carnegie, did you not? FRANK

Yes, that's correct.

CHARLEY

(Feeling left out)

And I'm married to Evelyn.

KT.

Now all of Broadway says you two are the next Rodgers and Hammerstein, Lerner and Loewe —

CHARLEY — Irving and Berlin.

KT.

Let's start at the beginning. You're both from Chicago and you both went to the same school and the same college.

CHARLEY

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