Bombshell Script

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Bombshell

Book by: Patrik Komljenović Music by: Marc Shaiman Lyrics by:

Marc Shaiman and Scott Wittman Based on the life of Marilyn Monroe. Original concept by NBC’s hit TV series Smash. All rights to the creative team of this beautiful concept, I just couldn’t let it sit and wait, so I just did it!

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Bombshell

Characters ● Norma Jeane Mortenson/ Marilyn Monroe

● Shadow selves ● Gladys Baker ● Young Norma Jeane ● Tourists ● Starlets ● Studio Executives ● Darryl F. Zanuck ● Johnny Hyde ● Photographer ● Ben Lyon ● Stage Manager

● 20th Century Fox Staff ● Joe DiMaggio

● Friend

● New York Yankees ● Lovers

● General

● United States Troops ● Assistant ● Executive 1 ● Executive 2 ● News Reporter ● Studio Staff ● Reporters ● Lee Strasberg ● Paula Strasberg ● Students ● Arthur Miller ● Show girls ● Assistants

● Bing Crosby (the host) ● Nat King Cole

● John F. Kennedy

The musical is divided in two acts.

The musical takes place mostly in Los Angeles, California, on movie sets, in homes and studios Time: 1940’s to 1960’s

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Prologue

( Song No. 0, Opening)

SET: The stage is black and empty. Big doors are covering the stage. Kids who are playing on the street and cars driving by can be heard from the left side of the stage. Voices can be heard behind the big doors. The door opens on a black stage by an eerie silence.

After the door slams, a single spotlight slices through the darkness and comes up on a beautiful young woman, standing in the centre of the stage. The beautiful girl is Norma Jeane Mortenson, who is innocent and vulnerable, unaware of what the world has in store for her.

The stage background is pitched black and Norma Jeane is standing in the centre of the stage. Behind her there are figures, women just like her - Shadow selves behind the glass windows on each side of the stage.

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ACT I.

Scene 1

Big doors are slowly opening. Norma is standing behind them. She is confused (spotlight goes on her)

Let me be your star

(Song No. 1, Let me be your star)

Norma:

So another man says that he can’t compete, That he can’t love a moving target,

so another affair gets incomplete. Well it’s time to adjust my plan, Cause when I’m up there on the silver screen it can make the whole world want Norma Jeane!

So I can’t have the love of a single man, But a million or more well that I

can!

As the lights slowly come up, we see the Shadow selves – voices that Norma Jeane hears in her head and her head alone. In our eyes, we see that other young women are just like Norma. Women that are standing behind glasses, present unreal person- an illusion

Shadow self 1: You're nothing.

Shadow self 2: Your father left, because he didn't want you. Shadow self 3: Your mother is crazy. Certifiably nuts.

Shadow self 4: Nobody wants you. Shadow self 3: Nobody wants you. Shadow self 2: Nobody wants you.

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Norma Jeane becomes unsettled by these taunting words and is almost tormented by memories of her childhood. But then something happens - her demeanor changes into one of confidence...and

of hope for the future.

Norma:

Fade in on a girl With a hunger for fame, And a face and a name to remember.

The past fades away Because as of this day,

Norma Jeane’'s gone. She's moving on...

Her smile and your fantasies play a duet That will make you forget where you are.

The music starts playing, It's the beat of her heart saying...

Let me be your star. Flashback to a girl With a song in her heart, As she's waiting to start the adventure.

The fire and drive That make dreams come alive...

They fill her soul. She's in control...

The drama, the laughter, the tears just like pearls-Well, they're all in this girl's repertoire.

It's all for the taking, And it's magic we'll be making;

Let me be your star.

I'll just have to forget the hurt that came before, Forget what used to be.

The past is on the cutting room floor, The future is here with me.

Choose me! Fade up on a star

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With it all in her sights... All the love and the lights

That surround her. Someday she'll think twice

Of the dues and the price She'll have to pay

But not today... Then she'll do all she can

For the love of one man, And for millions who look from afar.

I’m what you've been needing It's all here and my heart's bleeding,

Let me be your star!

Shadow self 1: Norma Jeane Dougherty. No, not anymore. Baker... Shadow self 2: Or Mortenson...

Shadow self 3: Left, to be on her own.

Shadow self 4: Left to be and stay in shadows.

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Scene 2

SET: We turn back time 10 years in the past. On stage there is a green wall in Glady’s apartment.

Norma Jeane is visiting her mother. She would like to be adopted by the family in which she is staying in.

Norma Jeane comes from the left of the stage; Gladys is sitting on the bed.

Young Norma: Hi Mamma! I came to you... Gladys: Oh, darling, hello! How are you?

Young Norma: Oh, I’m great and I wanted to see you mum. Gladys: Oh, yes come here, give your Mamma a big hug!

Young Norma goes to her mother and hugs her.

Young Norma: Mamma I wanna talk with you about something. Gladys: Is something wrong, darling?

Young Norma: Well, you know, this family, where I am now is very, truly nice. They love me so

much...

Gladys: (incoherent) What are you talking about?

Young Norma: They want to adopt me and I really want them to. They sent you the papers many

times, but you’ve never even looked at them. I really like them Mamma and I would like them to adopt me.

Gladys: Sweetheart, I won't let them adopt you. I'm your family, they're not. Young Norma: But you never treated me like family. They do. Please let me go. Gladys: I'm not just something you can cut out of your life.

Young Norma: But you were never there.

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Young Norma: (almost crying) And? You were out with, with men and you came home drunk

most of the time, I was so lonely...

Gladys: Norma Jeane! Stop it! Don’t say that! Who told you that? That old hag? I loved you and

I still do, and I want us to have a wonderful life together.

Young Norma: But, you’ve never played with me, never bought me an ice cream, we’ve never

gone to the park.

Gladys: Norma, you don’t know how I tried. Norma you can’t imagine how it is to be a mother.

I had to work harder to get more money for you, for us. And I was out late, because I was looking for a father for you, a real one not just ... a picture.

She gets on her knees, and puts her arms on young Norma’s shoulders.

And before I tell anyone, I am buying a house, a little white cute house for us. We’ll have everything together. I’ll find a new work. I love you darling, don’t think that I don’t. Norma is looking at the floor.

Young Norma: not very happy I love you too, Mamma.

Gladys: Now, stop with the sad face. Let’s get our little girl an ice cream.

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Scene 3

SET: This scene is in Los Angeles. The scene takes place at Grauman’s Chinese Theatre. There are many people on the streets walking up and down on walk of fame. Gladys in on the left of the stage. Young Norma Jeane runs to her with an ice cream from right of the stage.

Young Norma: Mamma?

Gladys:(takes Young Normas hands) Baby, here you go. We have had a lot of fun, didn’t we?

Now, I have to go.

Yang Norma: But Mamma! Please wait. I want to spend more time with you...

Gladys: Listen Norma Jeane, I want to stay with you, but the work is waiting and there is

nobody who’s gonna pay me for not beeing there.

Young Norma: Mamma, please, stay. I’ve been so lonely without you. Where did you go

mum?

Gladys: Oh, darling. Please, it wasn’t that long, I was just a little bit stressed, ill! I should

say, and I see that you have learned how to play piano very well.

Young Norma: I guess. But it is really hard. Gladys: You’ll get better my darling.

Young Norma: I just don’t like being away from you.

Gladys: Don’t worry. Everything is gonna change now. I am working and we’ll be together

soon, so my dear Norma Jeane, you don’t have to worry about that. You are still my little darling, my little Baby Grand.

Gladys kisses young Norma.

Gladys: Now I have to go Norma... Young Norma: Mamma don’t go!

Gladys: Oh, darling! Look at you, you’re in the best place on this little Earth. Look, all the

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Young Norma: Yeah mamma?

Gladys: And someday your hands will be here too! And it’ll say Norma Jean Mortenson Young Norma: You really think so?

At your feet

(Song No. 2, At your feet) Gladys:

Darling, every Saturday it's our tradition I give you a nickel for a days admission

Then Mommy has to run, ah, but that won't stop your fun 'Cause you get to see whose shoes you fit

Hey, Grauman, can you babysit? Young Norma:

Mom, do you have to leave me alone here?

Gladys:

Norma Jeane, you know I have to work. And what do you mean alone? This place is full of people! And not just people - stars.

Nothing bad could ever happen to you here. Some folks wish on stars above They want money, fame and love

We like our stars more concrete

So the stars that you're wishin' on are at your feet Some like night to dream what's not

We prefer this sunny spot To see the light and feel the heat

When the stars that you're wishin' on are at your feet

I have to work each Saturday So my baby sees the matinee You watch the movie, then rush out And put your left foot and your right foot in

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Most girls dream to touch the sky Wide awake is when we fly

Down the boulevard, where it's hard to not feel high When you hear the song and feel the beat 'Cause the stars that you're wishin' on are at your feet Now, go on Norma Jeane, go see whose hands match yours.

Young Norma:

Mamma, who is your favourite?

Gladys:

Mary Pickford, Clara Bow Their impressions make a show

And you're in a front row seat

Where the stars that you're wishin' on are at your feet Tap in time with Fred Astaire

Maybe someday you'll be there Ginger Rogers can't compete

When the stars that you're wishin' on are at your feet We don't watch the skies for a star's ascent

We prefer a square of wet cement With famous names that fill the screen

And maybe some day one will spell out "Norma Jeane"!

Young Norma:

Maybe someday one will spell out "Norma Jeane"!

Gladys:

It's showtime, let the dream begin With each star who's ever been

Step inside the footsteps that you should follow in So, I leave you in the best of hands

In this most Chinese of wonderlands Your dreams will truly be complete

When the stars that you're wishin' on are at your feet! Ain't she sweet!

(spoken) Here you go baby. Here are your tickets and you are fully ready and I have to be going.

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Young Norma: Ok, bye Mamma, see you soon! Gladys: Bye, bye baby!

Gladys runs off the stage on left, Norma is standing alone looking after her mother and then she goes in the theater.

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Scene 4

SET: The stage is black and empty. Spotlight goes to the right of the stage. Young Norma Jeane runs to the center of the stage. She is alone. Her mother was taken away, because she had a metal breakdown

Young Norma: frightened Mum?! Were are you going? Mum? Where are you taking her?

Lights goes to the Shadow selves, which are standing behind Young Norma Jeane

Shadow self 1: Norma Jeane! Come here! Young Norma: Where is my Mamma? Shadow self 2: She is gone. Come with us.

Screaming is heard from the left of the stage

Young Norma: What is happening? What is wrong with my mum? Shadow self 3: She is a little bit ill, darling...

Shadow self 4: She is crazy, Shadow self 1: She is nuts. Now...

Shadow self 3: Shhh! Come here Norma. Everything will be alright. Don’t worry. Shadow self 2: You’ll live in the orphanage.

Young Norma: But I have a mother and I have a... father! I’m not an orphan! Shadow self 4: Of course you’re not.

Shadow self 1: Just for a while.

Shadow self 2: ‘till your mother is feeling alright. Young Norma: Ok? Will my mother be alright soon?

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Shadow selves: Yes, she will be. Shadow self 3: Come now, child!

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Scene 5

SET: On the stage there is the desk and three couches. On two of them there are sitting diferent Starlets and when the music starts Norma Jeane enters the stage. Mr. Zanuck comes in the casting room, where starlets are waiting to attack him.

Darryl F. Zanuck: I need somebody new, somebody blonde, somebody hot. So please for God’s

sake find me some fresh flesh! Bring on the tomatoes: heirloom, cherry, plum I know that script stinks, but we’ll hit the road if we get the right SEX MATERIAL! Now girls what are you willing to do for the part?

Smash

(Song No. 3, Smash)

One of the Starlets:

You ask me, how far will I go You ask me what I wouldn't do

For the sight of my name As it fills every frame Yes, I want to be more than a flash Norma:

I ask you, what lies should I tell I tell you I'm willing to learn

So enroll me in school In your kidney-shaped pool In a two-piece I make Quite a splash

'Cause I wanna be a smash

All:

Yes, I wanna be a hit and run Till I've won every heart Be a queen to each king Or mechanic

Plus you, Mr. Zanuck But first, mister You have to give me the part I know all the tricks of the trade

I've even invented a few

One of the Starlet:

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And soon we'll be counting The lights

Norma:

and the nights

All:

And the cash

'Cause I'm gonna be a Smash! Yes, I'm gonna be a smash

Won't you help me be a... Smash!

The number ends with Norma Jeane in Zanuck’s arms. He looks at the other blond girl and points at the blonde one.

Zanuck: You’re all great and I had fun. But I need just one, just blonde, just hot!

He drops Norma Jeane on the couch and the blonde goes away. Blackout.

Spot light goes on Norma

Shadow self 1: What are you doing? Sex won’t lead you anywhere.

Shadow self 2: You’re just another dumb model, with new bathing suit, jumping up and

down in front of the camera.

Shadow self 3: You have no career.

Shadow self 4: All you have, it’s just a miserably face, with nothing special to offer. Norma: There is a big life ahead of me, and nobody can stop me! Nobody! And if I they

want to have a blonde, I’ll give them blonde.

Scene 6

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In the background we see a sign of the 20th Century Fox. Stage Manager and Assistant of the director are talking

Norma is led into a 20th Century Fox screen test room by a Stage manager.

Stage Manager: What do people want? Not every person can be an actor, why don’t people

finally get that.

Assistant: Well you know, directors need someone besides theirs wives. If you know what I

mean?

Stage Manager: Thank god for the doors! Oh! Look the new flesh...

Norma Jean comes on the stage, she is lost and frightened, but she knows, how she must look

Norma: Hello! I’m Norma Jeane. I’m here for the meeting. Stage Manager: Oh, mr. Lyon is waiting for you in his office.

He brings her to the office table on the left of the stage

Ben Lyon: Hello, Norma Jeane, isn’t it? Norma: Yes I am.

Ben Lyon: Well, you’re just a girl, who wants to be a movie star, hm? Norma: Well...

Ben Lyon: I saw your pictures...

Norma: Oh, yes! Well, I was modeling. They used me in every magazine they could put me in, I

believe.

Ben Lyon: Well, you are quite a girl, aren’t you? Norma: I guess so?

Ben Lyon: Any experience? Norma: Well, I was...Juliette... Ben Lyon: Really?

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Norma: ...No...they didn’t accept me, because...I...was. Not that I didn’t learn the script,

I...couldn't move in the character’s situation.

Ben Lyon: Shakespeare?

Norma: I wish, but it was some lame work from nobody... but I wanted the part so much... And

I've tried to pick as much experience as I could from photographers, who took photos of me.

Ben Lyon: Well, I...

Norma: No please, just listen... I think that I have a talent, I know that I’ve never been to acting

classes before, but I can do it, I can do anything...

Ben Lyon: All I wanted to say is that, the face you have, Hollywood will not forget! Norma: Oh really?

Ben Lyon: Now you are finally getting that contract! Who will shine now?! What about you

Norma Jeane?

Norma: They will ask for it. I didn’t know that my body is such a treasure! I guess that true

work begins now. And Ben...

Ben Lyon: Yes?

Norma: You’re my angel! I can’t believe that you did so much for me already! Ben Lyon: Go and make them blush and get that contract at last...

He goes and 20th Century Staff comes to stage

One from the crowed: Oh, look it’s her!

Stage Manager: Norma Jeane Mortenson, screen test for 20th_{Century Fox. Are you ready to}

Fox-trot, Miss Mortenson?

20th Century Fox Mambo

(Song No. 5, 20th Century For Mambo

Norma:

At Paramount, it's "ooh la la" The Warner Brothers "cha cha cha" And L.B. Mayer loves his schmaltz So MGM made The Great Waltz

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It's precious -- but precious, it's not hot To make the big boys hire me Please make that rhythm fiery

Come on, boys and girls Make me over!

In this factory where dreams can come true Are you ready to make someone new? You're the team that must teach me to do

The 20th Century Fox Mambo! Done the homework, and I'll pass the test

I'll do whatever my teachers suggest I can do it clothed or undressed The 20th Century Fox Mambo!

Make it up, shake it up

Norma with 20th Century Fox Staff:

Let the fantasies begin

Norma:

Here's the dope: To get cast, change the past

Make the light just right for Cin...

Norma:

-emaScope!

Take a gamble, 'cause it's safe to bet Mr. Zanuck ain't seen nothing yet When we're finished, he'll never forget

This 20th Century Fox

20th Century Fox Staff:

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Play the game Change your name To the 20th Century Fox!

Make it up! Shake it up!

Marilyn:

Make me feel like the main attraction Change the clothes, fix the nose And then five, six, seven, eight, action!

Now I'm blonde, but I ain't so dumb Hollywood will be under my thumb I'll change partners until I become

Marilyn with 20th Century Fox Staff:

The 20th Century Fox

Marilyn:

Mambo!

Marilyn: What do you think of...

20th Century Fox Staff: AAAAAAAAH?

Stage Manager: Mason, Mary,...Marilyn sounds great... Marilyn: Can I at least have Norma in it.

Ben Lyon: Miller, I want that m-m sound in it, you know you are a piece of a candy... What was

your grandma’s last name again?

Marilyn: From now on, Marilyn Monroe in standing in front of you! 20th Century Fox Staff: You’re perfect! Sexy, you are hot!

They go off the stage on the right. From the left of the stage we see a guy and a girl coming, who have just seen Marilyn on wallpapers and magazines.

Girl: Who’s that?!

Guy: They call her Marilyn Monroe.

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Guy: Oh please! Blondes are a dime a dozen in this town. You’ll probably never hear from her

again.

Girl: I don’t know. They say that the history is made at night. And a girl like her can hit it any

time, you know it’s a man’s world.

Guy: I’m not like that.

Girl: I’m sure you’re not...I’ll ask you that after 5 years.

Scene 7

SET: In the centre of the stage there is a big photograph on the white background. The spotlight goes to photo studio.

Photographer: Norma Jeane, hello! You’re back, I knew it! Calendar is it? Will we go nude... Marilyn: It’s Marilyn now. Wait! You sure that I’m ready to take the “big boys”? You know my

ex-husband and that.

Photographer: Oh, don’t worry darling. Just relax and think of the sad boys across the pond.

You do wanna help in the war. Don’t ya?

Marilyn: Oh, think of the boys... you know, I know a lot of them now. I tell you that I gave them

too much of me already. I wasn’t loved by them... I gave them love and they mocked it. I was never loved by them.

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Never give all the heart

(Song No. 4, Never give all the heart)

As Marilyn is singing that, she remembers all the boys she met in her life. They come and dance with her, but at the and they disappear as she pushes the memory away

Marilyn:

As a girl, I lived in a million homes So I always would keep to myself

And my lessons were learned From the stories and poems I would steal from a library shelf

Yes the books, like the rooms Weren't mine to keep But the words weren't left behind And I think of them all now when I can't sleep

And a poet who read my mind As the wise man once wrote

Never give all the heart Well, it's easy to see He was writing for me I just wish I could play that part

Yes, he scribbled that love Isn't worth thinking of That it fades out from kiss to kiss

If I just learned those lines Well, just think of the misery I'd miss

As the Irishman said Don't put your heart up to play

When he warned of the cost And the heart that he lost Mr. Yeats really paved the way

For the men that I've known Who have clearly shown

They've been reading him from the start 'Cause when it comes to me Well, their kisses come free

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But they never give all the heart When he warned of the cost

And the heart that he lost Mr. Yeats really paved the way

For the men that I've known Well, they've clearly shown They've been reading him from the start

'Cause each time that I fall They never give all the heart

Mmmmm-mmmmm...

Photographer: That was beautiful and fully true, but now let’s make some money. Take off that

dress!

Marilyn: Please... just don’t make me into joke.

Photographer: (scornfully) Darling, this whole business is a joke. Marilyn: What? You really think that?

Photographer: Of course not.

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Scene 8

SET: Racquet Club in Palm Springs; Pin-up shoot with Marilyn, when she meets with Johnny Hyde. Hyde is sitting on a chair and he is talking on the phone, Marilyn and her acting coach Natasha are coming from the right of the stage

Johnny Hyde: Don’t worry. I’ll find her! She’ll be here... Yeah! You know me, I always find the

right one! Hahaha! I heard she’s good looking, I mean those pictures...You’re right! I just hope she’s not dumb as others. Blonde is beautiful, but blonde usually means empty head... Haha we’ll be on the top again!

Marilyn comes on the stage she is wearing bathing suite and talking to Natasha

Johnny Hyde: Miss Monroe? Marilyn: Yes?

She goes to him and sits on a chair opposite his.

Johnny Hyde: Do you know who am I?

Marilyn: I’m not sure, but I guess you must be somebody...

Johnny Hyde: I am Johnny Hyde. I know you from the photos, I believe that you know mr.

Bernard. Do you know he is very strict?

Marilyn: Don’t worry, I know him very well. And It’s just a photo shoot.

Johnny Hyde: JUST a photo shoot? You need to have a good... No, a great agent, like... me. Marilyn: Really! You would like to be my agent!

Johnny Hyde: Well, you never know, what life brings us!

He gives her a business card.

Marilyn: I will meet with you, ok?

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Marilyn: Are you sure, you want me? Johnny Hyde: Positive!

She stands up and goes toward the centre of the stage, but then she turns around.

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Scene 9

SET: We see a cafe. There are the best baseball player Joe Dimaggio and his friend James, sitting and enjoying the coffee. James is reading the magazine (Marilyn is in it-playing the baseball)

Joe DiMaggio: I can’t do that anymore. Divorce was enough, I can’t think, I can’t sleep...

DiMaggio’s friend sees a picture of Marilyn on a ball field in the magazine

Friend: What about this one? Look at her! Joe DiMaggio: What?

Friend: Her, a girl. You need someone, believe me.

Joe takes a look in the magazine

Friend: What do you think?

Joe DiMaggio: I don’t know, who, who is she?

Friend: That’s Marilyn...Marilyn Monroe, you don’t know her? Joe DiMaggio: Should I?

Friend: Movie star...still doesn't ring a bell? Do you read newspapers? Joe DiMaggio: My wife...

Friend: You don’t have a wife anymore. You and her are going on a date on Saturday. A dinner

date. Your agent will bring some articles about her. You and her: big love! He shows that with his fingers

Joe DiMaggio: Ok, let’s meet her.

Friend: She’s not into baseball, so talk about something else.

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SET: The ball field. Players are waiting for her.

Marilyn: Those boys, haven’t seen a blonde yet, I guess. And they can be lucky ‘cuz I’m in the

mood.

Let’s see if this date is going to work!

One of the Yankees: Oh look! There she is! A magazin girl! She is coming to us in the flesh!

The National Pastime

(Song No. 6, The National Pastime)

Marilyn:

Fellas!

New York Yankees:

Yeah?

Marilyn:

Fellas!

Is it?

Marilyn:

Hey team!

Off the benches, it's Marilyn!

Marilyn:

I just got a date

She just got a date

Marilyn:

With baseball's Joltin' Joe

That lucky so-and-so

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So run me 'round the bases Put me through my paces

And teach me all the things a slugger's lover Should know!

What's that there?

That's the pitcher's mound!

Marilyn:

Have you ever seen a shape that is so perfectly round?

Batter up!

Marilyn:

Play ball!

You better give it your all!

Marilyn with New York Yankees:

'Cause all men like to play at

Marilyn:

The national pastime Who's that man?

That's the first base coach!

Marilyn:

Have you noticed that he signals every time I approach?

Kill the ump!

Marilyn:

Throw him out!

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Because there isn't a doubt

That all men like to play at

Marilyn:

The national pastime When I was just a little girl I liked being dainty and purty But now that I'm giving sports a whirl

I find I kinda like to get dirty

Yeah!

Baby, what's that there?

Marilyn:

That's the team bullpen

And I like the odds I'm seeing: no girls, all men!

Hit the deck, look alive! Beware the lady's line drive!

Marilyn:

Yes, my skill and my passion'll Elevate the national...

Peanuts! Hot dogs! Crackerjack!

I don't care, I don't care if I ever get back!

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When the season's over, the play won't end

Marilyn:

'Cause a baseball diamond is a girl's best friend

Marilyn (New York Yankees:

Yes, my style and my fashion'll

Yes, her style and her fashion'll

Elevate the national Pastime!

Scene 11

SET: The stage is black, spotlight goes to the Shadow selves; then we see the Hollywood hills in the beck, we hear people talking in the back;

Shadow self 1: Hollywood hills, Shadow self 2: Called lover’s pond!

Shadow self 3: Love birds meet there, live together for the rest of their’s life. Shadow self 4: You never forget that moment.

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Shadow self 1: Even if you take the long ride, Shadow self 2: Even if the driver is a little bit shy. Shadow self 3: But the love will lead you ,

Shadow self 4: Love will put you to the right place.

Lights fade out on Shadow selves. The spotlight goes to the centre of the stage, where’s a car. From the left of the sage we see Marilyn in a beautiful pink dress and DiMaggio in black suite with a brown hat walking by and several people - sweethearts are walking behind the car. Then Marilyn and DiMaggio sit on the car and enjoy the end of their date.

Marilyn: Oh, Joe! All that drivin’ in circles...I thought you'd never ask! My head is in a true

whirl right now!

DiMaggio: Let’s go up there!

Marilyn: I’ve never been on the hill before!

DiMaggio: Come! There’s the true love story happening, like ours.

They sit on the car

Marilyn: Kiss me, Joe... DiMaggio: Wait, what?

Marilyn: You heard me: Kiss me, Joe... Oh, darling! Don’t be shy. We’re not in the school

anymore. Do I have to teach you?

History is made at night

(Song No. 7, History is made at night)

Lovers:

(scatting)

Marilyn:

Put down the playbook

'Cause the things I wanna show you can't be written down Let my lips do the teaching

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DiMaggio:

Turn off the camera

Kick your shoes off for this scene, you should be sitting down Yeah, sitting close enough for reaching

Marilyn:

Turn down the lamp For the last page has been turned

DiMaggio:

When the dawn's breaking through

Marilyn:

We can stop and review all the lessons you'll have learned

Marilyn and DiMaggio with Lovers:

'Cause history is made at night

So close the books, turn off the light, and listen

Marilyn and DiMaggio:

Let my heart be the teacher

No one here to disapprove

As we review the lessons you've been missing

Let the moon be our only light 'Cause history is made at night

Lovers:

(scatting)

DiMaggio:

I see the questions burning in your eyes, or is it just reflections Mm, of the stars high above you

Marilyn:

(33)

Yeah, on the sweetest way to love you

DiMaggio:

Come whisper close, tell me just when to say when

Marilyn:

Then we'll sleep through the day

DiMaggio:

Then whenever you say, that's when school begins again

'Cause history is made at night

So close the books, turn off the light, and listen

Let my heart be the teacher

Let the moon be our only light 'Cause history is made at night

Lovers:

(scatting)

Marilyn:

Oh, oh, yes, someday, they'll write lots of books About our fame and glory

DiMaggio:

But if all their reports are just movies and sports They'll be missing the whole story

Lovers:

Missing the whole story

(34)

So close the books, turn off the light, and listen Let my heart be the teacher

Let the moon be our only light 'Cause history is made at night Yes, our history was made at night

Lovers:

(scatting)

Marilyn: Joe, I love you so much. You are my dream come true! DiMaggio: Come here baby.

Marilyn: Oh look, the dawn!

(35)

Scene 12

SET: The two quickly fall in love, and marry. While honeymooning in Japan, Marilyn is asked to perform for troops in Korea. Joe sees from first hand how men react to her and how she loves to be in the centre of affection.

Shadow self 1: joyfully Love can take you all over the World! Shadow self 2: smart But love don’t always put you in the spotlight Shadow self 3: insecure Sometimes you have to, well...

Shadow self 4: decisive Put work before your love.

Shadow self 3: corectfully Well, not really before, just a little bit in the middle

Hotel Room;

Marilyn: Oh darling! Look at it! she raises her left hand and shows her big wedding ring It’s so

shiny! Diamonds are truly a girl best friends!

I can’t believe that we are here in Japan! Oh! I love you so so much!

DiMaggio: I love you too, mrs. Joe Dimaggio. Marilyn: I wanted this life for so long!

DiMaggio: And now, we’ll have it, our own little family.

Marilyn: Yes! and the dog, the house and our own kids. It’s like a dream come true!

(36)

DiMaggio: Hello? Who is that? You want my wife? Marilyn: Who is it darling? Is it for me?

DiMaggio: Soldiers are! They are asking if you would perform for them, because the army is in

Korea. Again, everyone knows we’re here... She stands from the bad and goes to the telephone.

Marilyn: (on the phone) Blonde on the phone! Yes? Oh, I would love that! Can I...I’m sorry, can

we get a boat to Korea? Oh who told you that we are in Japan? Honeymoon should be a secret... Oh, who else than the News, they know just everything...Oh yes tomorrow, all right.

Darling...Can we go?

DiMaggio: But baby we are on our honeymoon. Can’t it wait for at least few days?

Marilyn: Oh, please! Don’t get upset!...Do it for the country and poor soldiers, they need a little

fun, you know.

DiMaggio: That’s just not right, let me think about it...

Marilyn: Ple-e-e-ease... Maybe I can give you little something ... you know in the night (she raises her eyebrow)

DiMaggio: Ok, if we must...

(37)

Scene 13

SET: On the ground we see an American flag and in the front of the flag there’s a little stage with an electric microphone. On the stage there is the General and in front of the stage there are soldiers

General: Hello soldiers!

Because there has been so much rumour about it, I have to say that everything is true! Let’s welcome to one and only: MARILYN MONROE

Marilyn comes on the stage in a beautiful blue sparkle dress and DiMaggio is watching her perform from the left of the stage

Marilyn: Hello boys! Let’s put aside war for one day and... celebrate!

I never met a wolf who didn't love to howl

(Song No. 8, I never met a wolf who didn’t love to howl)

When you are born with sex appeal In a forest called Hollywood, You'll find more wolves at your backdoor

Than that Little Red Riding Hood. Now she and her little old Gramma Could have learned from the men I've dated

That a wolf can be quite a devotee Once he's domesticated!

Here's a lesson they should teach in school When a girl gets curvy, and the boys all drool

If math and science just ain't your style Just give that teacher a wink and a smile For a passing grade, you won't have to wait And you can thank him later when you graduate 'Cause I never met a wolf who didn't love to howl!

United States Troops:

(38)

Marilyn:

No, I never met a man who wasn't on the prowl

Shimmy, shimmy, oh, gimme, gimme!

Marilyn:

If a nice diploma you wanna get Well, then, make that teacher the student's pet Yeah, I never met a wolf who didn't love to howl!

You never know where a wolf might crouch But his natural habitat's the casting couch

So take lots of pictures of the wildlife To tell the wolf you could share with this wife

The hunter gets captured by the game Then Leo the lion will be roaring your name! Yeah, I never met a wolf who didn't love to howl!

Howwwl!

Marilyn:

If your face and figure are whistle bait Then honey, you'll have the keys to the studio gate

Yeah, I never met a wolf who didn't love to howl!

The three little piggies sure had it wrong When the wolf came-a-knockin' with that old song

Marilyn:

(39)

I say "Come on in" and I put on Sinatra! Oh Frankie!

The enemy wolves are just like boys They use the big artillery like playground toys But when they see my ammunition in all its splendor

I'll easily negotiate complete surrender

'Cause the medals on my chest will make them weak in the knees And I promise I won't rest until we're all at ease

Marilyn with United States Troops:

Howwwl!

Marilyn:

'Cause a boy with a gun thinks it's fun to shoot And that's a real big twenty-one gun salute

Marilyn:

Come and get me, boys!

Howwwl!

(40)

Marilyn:

Seeing all you G.I. Wolves gives me an idea Tell Hollywood that I'm staying in Korea

I never met a wolf who didn't love to howl!

Marilyn:

Oh, yeah!

(41)

Scene 14

SET: When they get back in the States, Joe does his best to domesticate her with the promise of a simpler life.

Shadow self 1: Back in town! Shadow self 2: It’s great to be back! Shadow self 3: Back in the normal life! Shadow self 4: Really? A normal life?

Shadow self 3: uncertain A dream of it at least.

On stage we see a lovely house with white fence and in front of it-on left, there’s a white garden bench. Marilyn and DiMaggio come from the left of the stage.

DiMaggio: Baby, Marilyn... Marilyn: Yes?

DiMaggio: I’ve been thinking... Why should we be so famous? We could settle our lives here in

San Francisco. You know, I want you for my own! You are my wife.

Marilyn: Oh honey! That’s all I ever wanted!

Mr. & Mrs. Smith

(Song No.9, Mr. & Mrs. Smith) Marilyn:

Call the Justice of the Peace But don't tell him our names Don't put out a press release Or mention baseball games

DiMaggio:

Book the nearest bridal suite One room will suit us fine

(42)

For the desk clerk that we meet The only autograph we'll sign is

Mr. and Mrs. Smith Simply the folks next door

DiMaggio:

People without a single clue what An agent or grip is for

Marilyn:

Yes

Nothing can beat the view When as far as the eye can see, there's

DiMaggio:

No one but Mrs.

Marilyn:

No one but Mr.

Smith and me

DiMaggio:

For a home the man provides That cottage built for two We'll check the small town classifieds

Variety won't do

Marilyn:

Then we'll move to Main Street, USA And sign the deed of trust The mailbox at our hideaway

(43)

Mr. and Mrs. Smith Merely the folks next door

DiMaggio:

People who use their kitchen each night

Marilyn:

Who've never been in "Toots Shor"

DiMaggio:

Yeah

Nothing can beat the view For as far as the eye can see, there's

DiMaggio:

No one but Mrs.

Marilyn:

No one but Mr.

Smith and me No early calls No big premieres No lush romantic theme

We'll spend the nights Making our own Little League baseball team We're no one you've ever seen

Marilyn:

Movie stars don't live anywhere here Except on the local drive-in screen

(44)

Yes, I'd gladly disappear If it might guarantee a view of

DiMaggio:

No one but Mr.

Marilyn:

No one but Mrs.

Smith and you.

Marilyn: I love you so, so much Joe.

(45)

SET: Testing out the power of her stardom, Marilyn starts showing up late and refusing roles. The set changes to a room, where Marilyn is on the phone with DiMaggio. She is wearing a bathrobe and no makeup

Shadow self 1: It’s not about liking, or disliking. Shadow self 2: It’s not about being true to yourself. Shadow self 3: It’s about looking and feeling good! Shadow self 4: It’s about all of that! Deep inside.

Dressing room;

Marilyn: (frightened) Hello Joe. I wanted to tell you that I can’t go...I just can’t see Mr.

Zanuck’s angry face again. Yes I know but I... just can’t do it. I’m so frightened I think that maybe they want to fire me...

Assistant rushes in Marilyn's room without knocking.

Assistant: Mrs. Monroe they are waiting for you. Mr. Zanuck is very angry... Marilyn:(confused) I’ll come, just...give me a second.

Scene 16

SET: The set changes to a steam room, where Mr. Zanuck is about to hold a meeting concerning suspending Marilyn from FOX

(46)

Don’t say yes until I finish talking

(Song No. 10, Don't say yes until I finish talking)

Executive 1: Any idea why Zanuck’s turning the heat up on us again?

Executive 2: Search me. I think it’s Monroe, but it’s not like I get paid to think. Studio Executives:

A studio executive has no beliefs That's the way of a studio system

We've bowed to every rear of all the studio chiefs And you can bet your ass we've kissed 'em

Even the birds in the Hollywood hills Know the secret to our success It's those magical words that pay the bills

Yes, yes, yes, and yes!

Darryl F. Zanuck:

(spoken) Gentlemen! Take a memo.

Today the trades are all aglow With grosses for our Miss Monroe The things those vermin mustn't know

Is what she puts us through She makes directors wait all day

One line per hour's all she'll say And still, she thinks we're gonna pay

She needs a talking to

Tomatoes like her must be put in their place If she don't shape up soon, she'll soon be walking

'Cause the buck stops with me

Studio Executives:

Yes, you're right, we agree!

(47)

She's got them all tied up in knots Makes each producer faint and plotz She thinks she's queen and calls the shots

As she sits on her throne She needs to learn she's only skin

The next girl's waiting for a spin I made a star of Rin Tin Tin

And paid him with a bone!

Tomatoes like her, well, they're easy to find We throw them out as soon as they start squawking

So, get me some younger dish

We concur, as you wish!

Hey! Don't say yes until I finish talking!

And while you've got me on a roll Let's find a role for Nat King Cole Tell Mankiewicz his script is trite

A little lower, to the right I think that Brando is miscast That television just won't last That I'm the king of Hollywood

All hail the king!

Ooh, that feels good

Which brings me back to that dumb blonde To her demands, I now respond Some buy your act, but I'm not conned

You better fall in line

You're two bazooms and nuts to boot I'll keep you in a bathing suit

(48)

When you stop bringing in the loot We'll go back to the vine

Tomatoes like you, they all whither and die My powers, though, will never be diminished

So don't bring me to my boiling point You're just a broad, I own the joint

I'm in control, you're just a face Allow me to cut to the chase

I'll make another movie star Can someone light my damn cigar?

And then say "yes" 'Cause yes, men

I'm finished

Yes!

Assistant: Mr. Zanuck, I believe, I mean, I believe that the meeting can start.

(49)

Scene 17

SET: The streets of New York City. Marilyn shoots the famous skirt blowing up scene for Billy Wilder's The Seven Year Itch. The public display enrages Joe, who finally leaves her.

Marilyn: Joe come on, we’ll be late, you know it’s the shooting and I...can’t be late.

She is going in front of him.

DiMaggio: I don’t like the way, how they look at you. Marilyn: I can’t help the way they look at me, Joe.

DiMaggio: What? You can’t? You love it. You love it, every bit of it. How you walk, how you

talk, how you dress, how you sing, even how you put your makeup on.

Marilyn: But that’s my job to do all those things.

DiMaggio: Your job? Your job is to take care of me and our home! Marilyn: Don’t be silly, you know...

DiMaggio: Silly? I gave up baseball for you. Why can you just give up the movies? Marilyn: Baby, you... don’t understand...

DiMaggio: Don’t understand?! All of New York is staring under your skirt! Marilyn: Joe, but that’s... that is publicity.

DiMaggio: That is dirty! That is... They are turning you into a joke.

On Lexington and 52nd Street

(Song No. 11, On Lexington and 52nd Street)

(50)

DiMaggio: This relationship is a joke.

Marilyn: Then tell me, what do you want from me?

DiMaggio: What I want? Look it’s here. It’s what’s between us and you keep lying to me! Marilyn: I never lied!

She runs off the stage.

DiMaggio:

Hurry, hurry, step right up See the star who lives for the spotlight

Turn the mics and cameras on or she feels incomplete Now before it hits the screen

Watch us play the final scene Right here on Lexington and 52nd Street

News Reporter: (spoken) It is chaos down here on 52nd and Lexington! Film star Marilyn

Monroe brings Hollywood to Manhattan as she films Billy Wilder's Seven Year Itch.

DiMaggio:

Hurry, all you faceless men

And catch the end of the match of the century You're just in time for the final round

'Cause I know when I'm beat See the girl who's become a joke See the man whose heart she broke Right here on Lexington and 52nd Street

From Hollywood to Niagara Falls In barber shops, on barroom walls The things I thought were only mine

Are up for grabs, so get in line! Hurry, hurry, take a peak

The traffic stops for the queen of the movies The centerfold live in the flesh, so get a ringside seat

(51)

You want to see what her husband sees? Just wait for the next subway breeze Right here on Lexington and 52nd Street

Marilyn:

(spoken) Joe! Joe! Where's Joe? ... Oh, Joe ...

DiMaggio:

Hurry, hurry, going fast

Watch the fool as he heads for the exit

He sees what she has to have, and he cannot compete See the girl who's ten feet high

See the man who's learned to cry Right here on Lexington and 52nd... The stage goes black. Spotlight in on Marilyn and Shadow selves

Marilyn: Joe? Please don’t leave me.

Shadow self 1: Not everything comes together as we think it will... Shadow self 2: Not every dream comes true...

Shadow self 3: Tears can heal us. Shadow self 4: Work can heal us. Marilyn: Joe!

Scene 18

SET: On one of the movie sets. Back in Hollywood on her next film. The divorce from Joe becomes official, and as film wraps, Marilyn resolves to keep going with the one family she knows, the film crew.

One of the Studio Staff: Did you all hear? She is single again! DiMaggio left and divorce her. Other one of the Studio Staff: That’s why she is late again. Even on the last day she can’t be on

(52)

One of the Studio Staff: Oh look! She is coming! Shush!

Cut, Print...Moving On

(Song No. 12, Cut, print...Moving on)

Marilyn:

I know I've kept you waiting I know I made you mad

But this time that we've spent creating Was the best time I ever had Now I love to sit with memories But they won't come until we're gone

So give me a kiss And cut, print... moving on

Tell me a brand-new story Together we'll turn the page The grass is always greener On some new technicolor stage

And if a duckling never swims She'll never become a swan

Yes, I'm diving in So cut, print... moving on

Yes, there have been nights I'll long to relive But sometimes you gotta roam You can't fight when something's gotta give But you'll always be my home away from home

Now I like to play a love scene But don't let it last too long Play me the eight-bar intro Of some new, lush, romantic song

I'm not afraid to take that leap With you to depend upon

Now tell me your name Cut, print... moving on

(53)

We couldn't tell night from day But just like the end of a love affair We all know the time comes to break away

Studio Staff:

It's time to break away!

Marilyn:

Last year we all were strangers This year, we're lifelong friends

I know that this location Is not where our story ends Get up, cause the rat race never ends

This life is a marathon

And I plan to run so much more than a sprint What's next? Well, I can't even give you a hint

But boys, that's a wrap So cut, print... moving on!

And on! Moving on!

They smile at her attempt at camaraderie, but the crew is long fed up with her on-set behaviour as the curtain falls on Act One.

ACT II.

Scene 1

SET: Idyllwild Airport. On the stage we see an airport coming. There are also news reporters. Making one picture after another, Marilyn becomes dissatisfied with the roles she is being offered. She "retires" from pictures and flies off to New York City, where she is met by a phalanx of reporters and fans at Idlewild Airport

Public Relations

(Song No. 13 Act II. Opening and

(54)

Reporters:

Here she is, Miss Marilyn Monroe!

Will she have the answers that our readers want to know?

Indian Reporter:

From India!

Parisian Reporter:

And Paris!

British Reporter:

And from just across the pond!

Reporters:

We have so many questions for America's smart dumb blonde!

Marilyn:

Here I am!

I dropped in from the sky

For Look and Life and all the boys from Peek and U.P.I.

Reporters:

Please let us peek behind closed doors...

German Reporter:

Where no one is allowed!

Marilyn:

Well, I'm pretty good in private But the truth is I'm better in a crowd!

I relate to men of so many nations But public relations are my favorite kind

Reporters:

You're the story that we're glad we're assigned!

Marilyn:

Dealing with one man can lead to frustrations But public relations I have never declined

(55)

'Cause we're the guys who'll never leave ya behind!

Marilyn:

A bunch of men with pad and pen is a way to have some fun But, ladies, listen to me, confidentially

Nothing ever beats a one-on-one!

Still, you have come to me for sex in quotations So I'll use public relations to give you a piece of my mind

Reporters:

Gimme, gimme, a piece of your mind!

'Cause the answer to a question is the way you're defined, like:

American Reporter:

What do you sleep in?

Marilyn:

Well, I adore Chanel No. 5, and not much more

Any advice for a girl in the city?

Marilyn:

If you're two-faced at least make one of them pretty

The studio says "lateness is your favorite crime"

Marilyn:

True, I've been on a calendar, but never on time

When you posed nude, your inhibitions were gone?

Marilyn:

Well, that's not quite true, I kept the radio on!

Reporters:

Ahh, yes, to chase the blues boys I chase the newsboys!

(56)

Fame has plenty of perks!

Marilyn:

When your life's a mess, call the foreign press!

American Reporter: Be they: Indian Reporter: Indian! Parisian Reporter: Parisian! British Reporter: British! German Reporter: German! Turk Reporter: Or Turks! Reporters: Yeah! Marilyn:

I am glad you crave my best conjugations Yes, public relations is my favorite sound 'Cause when I'm alone I can pick up the phone

'Cause the fourth estate is always around!

Reporters:

(57)

SET: Stage is black. We hear just voices of Shadow selves

Shadow self 1: We must take a step ahead

Shadow self 2: We can’t always believe in our dreams Shadow self 3: We can’t always follow our dreams... Shadow self 4: We have to stay strong as work our way up!

Spotlight comes at the front of the stage where desperate Marilyn and Shadow selves in the back

Shadow self 1: Just focus Marilyn. Everything will be alright.

Marilyn: Stop it! I don’t need this any more! I won’t be a star in Hollywood! Shadow self 2: Hollywood loves you.

Marilyn: So did my husband, and now look at me, alone! Shadow self 3: I love you, like nobody else.

Shadow self 4: I love you Shadow self 2: I love you

Shadow self 1: Like nobody else. Shadow selves: Like nobody else.

Marilyn: But you are not my husband! The Actor’s Studios, oh I’ve never been there or take any

classes. I would like to be a real star, and if you don’t want to be a part of that, I don’t need you! Marilyn leave the stage on the right, Shadow selves disappear.

Scene 3

SET: Stage is covered.

Marilyn comes from the back of auditorium and sits in the sixth row. Students are sitting in the audience. Acting coach Lee comes from left off the stage in front of audience. More determined

(58)

than ever to become a great actress, Marilyn begins to study with Lee & Paula Strasberg at The Actor's Studio.

Dig Deep

(Song No. 14, Dig Deep)

Lee:(spoken) The challenge for the actor is to use sense memory of childhood trauma. The actor

must deploy the conscious and dig into the unconscious. The challenge for the actor-Students are coming from the audience

Students:

Ah! Use your past Use your pain Never ever try to entertain Let Stanislavski be your umbrella

Lee:

Mumble your words! Unless they're...

Male Student:

"Stella!"

Students:

Use justification, improvisation Plus some emotional masturbation

Lee:

Visitor from the Western coast! (He points his finger on Marilyn in sixth line)

Lee with Students:

Can you dig it?

Marilyn:

I dig it the most!

(59)

Marilyn:

(spoken) I'm through with Hollywood. It's New York and the Actors Studio for me. And if any of those boys from Hollywood come calling, you can tell them I said this!

Marilyn:

In history, there's this doctrine called Monroe Which basically told the enemy where to go

It was created to nurture and protect But now, a new Monroe doctrine is in effect

So go tell Mr. Zanuck to read it and weep 'Cause I'm not just here to dig

I'm here to dig deep

From the 20th Century Foxholes, I'm released

Students:

(scatting)

Marilyn:

And just like the sun, I'm rising in the east

Students:

(scatting)

Marilyn:

I made a move from that permanent state of sadness To prove there's a method to my madness I'm waking up from that 20th Century sleep

Yeah, I'm not just here to dig

Students:

Woo!

Marilyn:

Marilyn with Students:

Well, there ain't no sin to remove your skin

Marilyn:

And take a look under the hood

Students:

(60)

Marilyn:

Well, you must dispel the outer shell Though, you have to admit, my shell looks good

Male Student:

You're tearing me apart!

Marilyn:

I'll finally get to use my mind's interior And not only just my bust, and my posterior

'Cause the true inner self, you can't avoid

Students:

And we're just nuts about Sigmund Freud!

So open up my id

Marilyn:

For a good clean sweep 'Cause I'm not just here to dig

No, I'm not just here to dig Oh, I'm not just here to dig

Marilyn:

Students:

Motivation, concentration, exploration, simulation, perspiration, inspiration!

Marilyn:

So deep!

Students:

Yeah!

(61)

(62)

Scene 4

SET: Curtain opens. Acting studio. Marilyn is lying on the couch and Lee is standing beside her.

Lee: Remember.

Marilyn: That is all I have to do?

Lee: That’s all you have to do, my dear Marilyn. Look inside yourself. It’s who you are that will

make you a great actress.

In the back of the stage, Shadow selves appear. Spotlight goes to the Shadow self 1

Shadow self 1: A great actress. Marilyn: A great actress. Lee: Remember your youth.

Spotlight goes to the Shadow self 2

Shadow self 2: Mamma bought the piano. Lee: Remember your childhood.

Second-Hand White Baby Grand

(Song No.15, Second-Hand White Baby Grand)

(63)

Shadow self 2: Then mamma went away.

Marilyn stands up and goes to the front of the stage, spotlight is on her.

Marilyn:

My mother bought it secondhand from a silent-movie star It was out of tune, but still I learned to play

And with each note we both would smile, forgetting who we are And all the pain would simply fly away

Something second hand and broken still can make a pretty sound Even if it doesn't have a place to live

Oh, the words were left unspoken when my mamma came around But that second hand white baby grand still had something beautiful to give

Through missing keys and broken strings, the music was our own Until the day we said our last goodbyes

The baby grand was sent away, a child, all alone To pray somebody else would realize

That something second hand and broken still can make a pretty sound Even if it doesn't have a place to live

Oh, the words are still unspoken now that mamma's not around But that second hand white baby grand still has something beautiful to give

For many years the music had to roam Until we found a way to find a home

So now I wake up everyday and see her standing there Just waiting for a partner to compose

And I wish my mother still could hear that sound beyond compare I'll play her song 'til everybody knows

That something second hand and broken still can make a pretty sound Don't we all deserve a family room to live?

Oh, the words can't stay unspoken until everyone has found

That second-hand white baby grand that still has something beautiful to give I still have something beautiful to give.

(64)

The Shadow selves disappear and she lies down on the couch.

Lee: What were your dreams about, when you were a child?

Marilyn: Well, I daydreamed a lot, when nobody was talking to me, when I was all alone, when

nobody was looking. I was sitting in the chair and thinking about that photography.

Lee: Well, tell me more.

Marilyn: My...mother was...busy, I should say, so I had to stay at my neighbour’s apartment and

when I went to visit her, I was so thrilled and happy, but there was that photo, the only one in the apartment. It was a man...It was my father, she told me. He was, well the most handsome man I’ve ever seen. He was wearing a hat. I would dream that he came and said the most wonderful things about everything, but I could never get him, to take off his hat.

Lee: That’s the way to start.

Marilyn:(to Lee) Nobody ever liked me, no family, no children. I was always alone. I thought, I

dreamed of the wonderful life, a wonderful family and a house and the dog. But I have never told that to anyone. They would think that I’m crazy, she is almost crying nuts, like... my mother. I’m not crazy. People want to think that. They say I’m crazy because I want things, but the things I want… I want love. I don’t want… well… a sex object is a thing. Who would want to be a thing?

(65)

Scene 5

SET: Marilyn’s dressing room in England. She doesn’t understand why Sir Laurence Olivier doesn’t like her and why did he hired apprentice to “bring her down”.

Shadow self 1: Sometimes World sees just your look, Shadow self 2: Just your final piece,

Shadow self 3: Final cut...

Shadow self 4: They don’t know you, Shadow self 1: They don’t understand you, Shadow self 2: You’re just a-, a picture to them... Shadow self 4: Marionette that they can move... Shadow self 3: How they want to...

Spotlight goes to the dressing room

Marilyn: Paula, please tell why Sir Olivier hates me? Why does everyone here in England hates

me...

Paula: Marilyn, they don’t hate you. They just don’t understand you, England is such a different

place than the States. Don’t worry everything will be ok. Just remember, you have to focus.

Marilyn:(angry) They don’t. And I should? I see that my talent is not enough for them, or...do I

even have it?... Now I’m just a dumb sexy blonde which will bring men to fill the seats, for them! I thought that success at Fox was hard but, that? Every time I felt it, but... now, who is my character, I just can’t get it, she is not real like other “american” ones.

Paula: You won’t find a character on the page, she is within you, want to get out, pull her out

Marilyn, pull her!

Marilyn stands up and goes to the front of the stage.

They Just Keep Moving The Line

(Song No. 16, They just keep moving the line)

(66)

Marilyn:

The field was bright with clover I saw the finish sign

I started as a rover And then victory was mine I thought the race was over But they just keep moving the line

They cheered at my persistence But prayed for my decline The path of least resistance Led to Hollywood and Vine I tried to go the distance But they just keep moving the line

I jumped all of the hurdles To break out of the pack

I started on the outside And then hit the inside track

I left the other fillies Back at the starting gate Was ready, on my mark, I got to set

To hurry up and wait So talent and ambition Won me a chance to shine

I aced the big audition But it's rainin' on Cloud Nine

Can't beat the competition 'Cause they just keep moving the line

I handled every corner Each bump along the track And when I saw the ribbon, well

There was no turning back

I won the photo finish I posed for all the men But before I got my trophy

(67)

So I've made friends with rejection I've straightened up my spine!

I'll change each imperfection Till it's time to drink the wine!

I'd toast to resurrection But they just keep moving the line!

Please give me some direction, 'Cause they just keep moving the line!

Paula: Sit down and focus Marilyn, you can do this. You are the greatest.

Scene 6

SET: On the stage we see the movie set for Some Like It Hot. Marilyn is not there, she is running late as usual.

With the box office failure of The Prince & The Showgirl, Marilyn begrudgingly heads back to Hollywood to film Some Like It Hot, but is so unhappy about still having to play the dumb blonde that she begins spiraling down, keeping the crew waiting more than ever, as she drinks and takes pills.

(68)

Let’s Be Bad

(Song No. 17, Let’s be bad)

Show Girls:

When we're feeling down and low Then our favorite word is no 'Cause it points the way to go

Let's be bad!

Who knows what will come tomorrow? Neighbor, lose the sobs and sorrow

We've some sugar you can borrow Let's be bad!

Assistant #1:

(spoken) Does anyone think she'll actually show up? Is she even on the set?

Assistant #2:

(spoken) Ms. Monroe is in her dressing room.

Director:

(spoken) What kind of shape is she in?

Assistant #1:

(spoken) Her shape ain't the problem. Where is she? We will be stuck here all night!

Show Girls:

Don't want to be boring Our twenties are roaring Let's punish the flooring Yeah, drummer man, do what you can

Tonight the (whoo!) will hit the fan!

Director:

(spoken) How many takes did we do yesterday? Sixty?

Assistant #1: