Flying Over Sunset Free Read

Libretto Vocal Book

Music by

Tom Kitt

Lyrics by

Michael Korie

Book by

James Lapine

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THANK YOU! Original Broadway Production by Lincoln Center Theater in association with Jack Shear, New York City, 2021 Music Copyright © 2021 Tom Kitt Lyrics Copyright © 2021 Michael Korie Book Copyright © 2021 James Lapine All Rights Reserved

(Last Revised—April 2026)

Characters Aldous Huxley—novelist, philosopher Maria Huxley—Aldous’s wife Cary Grant—actor Archie Leach—Cary Grant’s younger self; also Boy Gerald Heard—philosopher, author Clare Booth Luce—playwright, diplomat, congresswoman Ann—Clare’s daughter; also Judith Austin—Clare’s mother; also Handmaiden Dr. Harris—Cary’s psychiatrist; also Father, Interviewer, Harry Rosalia—Clare’s maid; also Sales Clerk, Sophia Loren

Time The mid to late 1950’s

Place Los Angeles area, Washington, D.C., and Ridgefield, CT.

Note In the 1950’s the drug LSD was legal but generally used either underground or in a clinical setting. Flying Over Sunset is a work of fiction inspired by the extraordinary lives of Aldous Huxley, Clare Booth Luce, Cary Grant, and Gerald Heard, all of whom experimented with the drug.

We know that Aldous Huxley’s first experience with a hallucinogen took place at the new Rexall Flagship Drug store in Los Angeles. He was with his wife, Maria, and old friend, Gerald Heard. When the drug hit him sooner than expected, he began tripping out on an art book.

We know that Cary Grant went to a psychiatrist once a week and took the drug.

We know that Clare Booth Luce first experienced the drug in the garden of her Ridgefield, Connecticut estate with Gerald Heard serving as her guide.

Flying Over Sunset connects the dots…

—i—

Scenes & Musical Numbers Act I Prologue 1.

Prologue (The Music Plays On). . ........................................... COMPANY .......... 1

1A.

Prologue Speeches.. ............................................................................................ 3

1B.

Transition to Rexall. . .......................................................................................... 5

Scene 1—1: Rexall Drug Store, Hollywood 2.

Bella Donna Di Agonia................... JUDITH, HANDMAIDEN, ALDOUS ........ 10

3.

Wondrous.................................................................................. ALDOUS ........ 13

4.

Bella Donna Di Agonia (Reprise).............. ALDOUS, GERALD, MARIA, ............ ........................................................................................... SALES CLERK ........ 17

4A.

Transition to Office.......................................................................................... 18

Scene 1—2: A Psychiatrist’s Office, Beverly Hills 5.

I Have It All. . .................................................................................. CARY ........ 26

6.

Funny Money.................................................. ARCHIE, CARY, FATHER ........ 28

7.

Funny Money (Reprise)............................................................. ARCHIE ........ 34

8.

Transition to Connecticut................................................................................ 36

Scene 1—3: Clare’s Estate, Connecticut 9.

A Sapphire Dragonfly......................................... CLARE, ANN, AUSTIN ........ 42

10.

Someone.. ...................................................................................... CLARE ........ 45

11.

Flying Over Sunset. . ............................ CLARE, GERALD, ANN, AUSTIN ........ 46

Scene 1—4: A Television Studio & Aldous Huxley’s House 11A. Transition to the Brown Derby. . ...................................................................... 53 Scene 1—5: The Brown Derby, Los Angeles 11B.

A Beautiful Rental. . .......................................................................................... 65

12.

Flying Over Sunset (Reprise) . . ..............................................COMPANY........ 67

—ii—

S c e n e s & M u s i c a l N u m b e r s (C o n t ’ d ) Act II 13.

Entr’acte. . .......................................................................................................... 71

Scene 2—1: Malibu, Clare’s Rental House, Late Morning 14.

Om.................................................... GERALD, CLARE, ALDOUS, CARY ........ 80

15.

Huxley Knows.................................................. CLARE, CARY, ALDOUS ........ 87

16.

My Mother and I............................... CARY, CLARE, ARCHIE, AUSTIN,............. . . .............................................................................................. ANN, GERALD ........ 95

17.

The Music Plays On....................... ALDOUS, MARIA, CLARE, GERALD ........ 99

18.

I Like to Lead................................................................................................. 107

19.

Transition to Heaven..................................................................................... 114

Scene 2—2: The Garden 20.

An Interesting Place. . .......................................... AUSTIN, CLARE, ANN ...... 116

21.

If Only I’d Known............................................... CLARE, AUSTIN, ANN ...... 121

22.

How?. . ........................................................................................... CLARE ...... 123

Scene 2—3: The Beach 23.

Three Englishmen.......................................... CARY, GERALD, ALDOUS ...... 127

Scene 2—4: Malibu, Clare’s Rental House, Sunset 24.

The Melancholy Hour (Part 1)........................... MARIA, ANN, AUSTIN, ............ ..................................................................... ARCHIE, FATHER, SOPHIA ...... 137

24A. The Melancholy Hour (Part 2)........................... MARIA, ANN, AUSTIN ,............ ..................................................................... ARCHIE, FATHER, SOPHIA ...... 139 25.

The 23rd Ingredient......................... ALDOUS, CLARE, CARY, GERALD ...... 145

26.

Bella Donna (Reprise 2)................................................................................. 151

27.

Afternoon Has Ended.................................................... GERALD, CARY ...... 152

28.

Bows/Exit. . ..................................................................................................... 153

Appendix 27Alt. Flying Over Sunset (Reprise 2). . .................. MARIA, FATHER, ARCHIE, ............ ........................................................................... ANN, SOPHIA, AUSTIN ...... 154

—iii—

Flying Over Sunset

— 1 —

ACT I PROLOGUE #1 —P r ol og u e ( Th e M u s i c P l a y s O n )

Company

A rhythmic pulse like a heartbeat.

In dim and dappled light, ALDOUS HUXLEY, the famed British author, wanders on stage. He looks lost. Bespectacled, he wears a rumpled suit jacket and blue jeans. He takes off his eye glasses and squints, trying to get his bearings. He is mostly blind in one eye from a childhood illness, his eyesight being a continual worry.

ALDOUS puts his glasses back on and begins to hum, as if trying to remember a song.

It is a waltz tune in the rhythm of the pulse. He begins to move to his humming. He attempts to remember the words quietly to himself:

ALDOUS HMM… WHEN THE STARS— WHEN THE STARS BEGIN TO—

—something…

AND THE DARK—

Houselights fade as he gives up on the lyrics and goes back to just humming. Out of the darkness his wife MARIA slowly enters. She is a sensual, Belgian beauty who has a simple elegance that bespeaks a European upbringing. She begins to slowly sway to his humming, eventually singing softly:

MARIA WHEN THE STARS BEGIN TO FADE.

ALDOUS (he sees her and smiles) Fade. Of course. “And the dark”?

MARIA … GIVES WAY TO DAWN.

ALDOUS “Dawn”. A bit hokey, no?

They move towards one another and join hands.

— 2 —

Flying Over Sunset

Slowly they begin to move into a waltz to the timing of the heartbeat. Music begins to sneak in under the rhythm as they dance haltingly for a few measures.

MARIA AS THE DANCERS BOW “FAREWELL FOR NOW”

ALDOUS The music plays on?

MARIA THE MUSIC PLAYS ON…

ALDOUS Of course…

The rest of the characters enter one at a time and move in a stylized fashion around MARIA and ALDOUS: CARY GRANT. The famed movie star, elegantly dressed in casual Beverly Hills attire.

He gracefully circles around the couple. He is quickly followed by: ARCHIE LEACH. Aged 10, Cary’s younger self. He is dressed like a girl from the early 20th century. He mirrors CARY’s movements.

GERALD HEARD. A fellow writer and philosopher, and Aldous and Maria’s closest friend. He is an unusual looking fellowhis reddish hair combed tight against his head, his mustache and goatee flowing freely.

CLARE BOOTH LUCE. A beautiful woman of indeterminate age, perfectly coiffed and elegantly dressed in a business suit. Without missing a beat she moves in a circle around the HUXLEYS. ANN, Clare’s daughter, aged 19, and AUSTIN, Clare’s mother, 50-ish, spiral in amongst the others with a desk on wheels, which they place center stage. There is a microphone on the desk.

ROSALIA. Italian, mid-20’s, Clare’s devoted maid, dances on spinning a chair on wheels as her partner and places it behind the desk beginning our stage picture.

A standing microphone is placed before ALDOUS and a bank of microphones end up in front of CARY. CLARE takes her place standing behind the desk.

As the music fades everyone else leaves the stage. Suddenly there is an explosion of light bulbs popping like fireworks, illuminating ALDOUS, CLARE, and CARY. ALDOUS continues, shielding the light:

Flying Over Sunset

— 3 —

(ALDOUS) Please, no flashbulbs. I am almost totally blind in my right eye as it is.

(he recovers and removes his glasses) I had no idea there would be photographers here.

ALDOUS dabs his bad eye with his handkerchief and then puts his glasses back on.

CARY I want to thank the Hollywood Press Corps for coming today. I have some news I would like to share with you.

ALDOUS I’m Aldous Huxley and I wish to thank the Los Angeles Board of Education for allowing me to speak today in defense of Miss Nelson, the teacher who was fired.

Loud pounding gavel.

#1 A — P r ol og u e S p e e c h e s

CLARE (standing with her hand raised) I, Clare Booth Luce, swear to tell the truth, the whole truth, and nothing but the truth, so help me God.

CLARE sits.

ALDOUS I would never have imagined almost two decades after “Brave New World” was published that it would still be a subject of such controversy.

CARY After almost two glorious decades making some 61 films—well, Cary Grant has decided to retire from the movies.

CLARE It’s an honor to appear before the Senate Committee on Foreign Affairs as President Eisenhower’s nominee for the Ambassadorship to Brazil.

CARY Retirement will be a big change for me. I will begin by taking an extended vacation with my wife Betsy Drake.

— 4 —

Flying Over Sunset

CLARE As I testified in 1953 when I was appointed Ambassador to Italy, my husband Henry Luce, the publisher of Life and Time magazines, will not participate in my responsibilities.

ALDOUS Even if the book is banned, why shouldn’t a teacher recommend it to one of her students as “outside” reading?

CLARE (smiles cunningly) Yes, Senator Morse, I do still believe there are subversive elements in every country.

CARY On a more serious note, I also wanted to address the continued injustice that’s playing out against Charlie Chaplin.

The heartbeats return as the following remarks begin to tumble over one another, building in intensity.

ALDOUS (amused) The book is a novel and no student is going to run out and take a drug called Soma because there is no real drug called Soma!

CARY There has never been a shred of evidence to prove that Mr. Chaplin is a Communist.

CLARE Well, Communism is a real threat in Brazil as well as many other countries in South America.

ALDOUS Burn my book if you like, but reinstate the student’s teacher.

CARY It’s time to change this terrible mind-set—

CLARE No, I will not amend my statement.

Flying Over Sunset

ALDOUS … stand tall and confront your fears…

CARY … time to stop being driven by our fears…

CLARE … and address the Communist fear head on…

CARY & ALDOUS … and right a wrong.

A flash illuminates the three areas. They stand frozen for a moment. Silence, then the heartbeat returns. To themselves:

CLARE Why the hell am I sitting here again?

CARY Why didn’t I just send out a press release?

ALDOUS Why did I think they’d even read my book?

ALDOUS, CLARE, & CARY Why did I think I could change their minds?

#1 B — Tr ans i t i on t o R e x a l l Lights change dramatically and all freeze except ALDOUS and GERALD, who cock their heads to listen to the following jingle overhead:

JINGLE SINGERS (V.O.) WELCOME TO REXALL! THE WORLD’S BIGGEST DRUG STORE!

We segue to Rexall.

— 5 —

— 6 —

Flying Over Sunset

SCENE 1—1: REXALL DRUG STORE, HOLLYWOOD An abstract approximation of a large drugstore: aisles of shelves full of various products.

ALDOUS and GERALD are perusing the displays. Other CUSTOMERS come and go occasionally being helped by a SALES CLERK. ALDOUS stops at a shelf filled with deodorants. GERALD follows him.

ALDOUS All these deodorants. Why must we smell like something other than ourselves, Gerald?

GERALD Perfume has been around for a rather long time.

ALDOUS Yes, because people had no water in which to bathe. People don’t stink like that now.

Especially in Hollywood.

(picks up a deodorant and smells it) “Mum”? Who would name a deodorant after their mother?

GERALD A team of advertising people, no doubt.

ALDOUS (chuckles) Of course…

GERALD (beat; change of tone) Aldous, how are you finding Maria?

ALDOUS She has been in excellent spirits.

GERALD (not quite concurring) Do you think taking her to the mountains today is a good idea? Isn’t it a little soon after the surgery?

Flying Over Sunset

— 7 —

ALDOUS It was her idea, Gerald! You worry too much.

GERALD Well, I’m concerned—

ALDOUS (snaps) Stop it! She’ll be fine! The last thing she wants is to be fussed over!

ALDOUS, flustered, turns his attention back to the shelf. MARIA returns with a bag containing her prescriptions.

MARIA Aldous, I thought you were going to wait outside.

ALDOUS It was taking you forever and I didn’t want to miss out on the world’s biggest drug store.

It was too tempting.

MARIA Yes, apparently it’s so large that they couldn’t even find my prescription.

(ALDOUS laughs, then gives MARIA a big kiss; she laughs and he then moves to another shelf; to GERALD:) Has it already begun?

GERALD Evidently…

MARIA (to GERALD) So much faster than the mescaline?

GERALD I know! I gave him a small amount.

MARIA (moves to ALDOUS) How are you, darling? Your pupils are quite dilated.

— 8 —

Flying Over Sunset

ALDOUS (wolfish) The better to see you with, my dear!

They burst out laughing.

MARIA What is it like? Is it agreeable?

ALDOUS (beat) Well, now that you mention it. I feel quite extraordinary!

MARIA (to GERALD) What does LSD stand for again?

GERALD Lysergic acid diethyl-amide 25.

MARIA Who could remember that?

GERALD (to MARIA) We should go before it intensifies.

MARIA Yes.

A BOY dressed in a cowboy outfit and a Davy Crocket coonskin hat walks over to the SALES CLERK with his DAD.

DAD The toy department?

SALES CLERK Right this way.

ALDOUS taps the BOY’s shoulder.

Flying Over Sunset

— 9 —

ALDOUS (smiling) Remember the Alamo!

The boy’s DAD smiles weakly and takes the BOY’s hand and follows the SALES CLERK to another part of the store.

MARIA (moving to ALDOUS) To the mountains as we planned, darling.

ALDOUS But this place is quite remarkable. Look! They even sell art books!

(he picks up a book) Botticelli, no less.

(GERALD and MARIA come to him) Dear Sandro Botticelli. That you ever could have dreamed that 500 years later you would be in a drug store…

(studies the book cover) “The Birth of Venus”. A painting whose popularity I have never understood. But he certainly did know how to paint a head of hair. How wonderful the way she gathers it over her pudenda.

(MARIA and GERALD laugh) Pudenda. Isn’t language a wonder? Sandro excelled at painting women. A homosexual you know. Like you, Gerald.

MARIA Darling!

GERALD It’s quite all right. Not much of a secret.

(He sees the SALES CLERK and waves. She exits.)

ALDOUS Nor should it be.

— 10 —

Flying Over Sunset

MARIA But all the same…

ALDOUS (turns the page) Ah now, look at this wonderful painting.

#2 —B e l l a D o n n a D i A go n i a

Judith, Handmaiden, Aldous

“The Return of Judith to Bethulia.”

He holds it to them.

Music begins in the manner of an Italian bel canto opera.

In the distance we begin to hear the voices of JUDITH and her HANDMAIDEN singing under the following dialogue.

JUDITH & HANDMAIDEN BELLA DONNA DI AGONIA.

ALDOUS A small painting, you know. Not grand like “Venus.”

JUDITH & HANDMAIDEN BELLA DONNA DI FEROCITA. VALOROSAMENTE LA SPADA IN MANO, L’EROE EBREA.

MARIA Which one is Judith?

ALDOUS (he points to the image in the book) She leads the way of course. With a bloody sword in one hand and an olive branch in the other…

MARIA Judith from the Bible?

Flying Over Sunset

— 11 —

ALDOUS The Savior of the Jews! Judith seduced the enemy general, Holofernes.

Magically, JUDITH appears leading the way as her HANDMAIDEN follows, carrying a basket atop her head which holds the decapitated head of Holofernes.

She snuck into his tent, plied him with wine, and then chopped off his head!

JUDITH & HANDMAIDEN BELLA DONNA DI CORAGGIO. BELLA DONNA CON DOMESTICA. SANGUE SU ARMA, FOGLIE DI PACE, TORNA A BETULIA!

Growing more excited, ALDOUS points out the HANDMAIDEN.

ALDOUS HERE’S THE HANDMAID, WITH THE HEAD!

HANDMAIDEN AHH…

ALDOUS HOLOFERNES, FRESHLY DEAD!

JUDITH AH…

As lights change, ALDOUS leaves MARIA and GERALD in a freeze and joins JUDITH and her HANDMAIDEN. The women circle ALDOUS.

ALDOUS JUDITH GAZES AS SHE RAISES HER SHARP SABER TINGED IN RED!

The HANDMAIDEN takes the head out of the basket and brandishes it in front of ALDOUS.

HANDMAIDEN AHH! AH-AH-AH AHH…

JUDITH & HANDMAIDEN

ALDOUS

BELLA DONNA DI AGONIA. BELLA DONNA MADRE E MAESTRA! CI SALVI DALLA DISTRUZIONE,

AHH…

MA SEMPRE LA MIA DONNA!

AHH…

— 12 —

Flying Over Sunset

(ALDOUS) (mesmerized) An exceptional heroine, bravery personified.

JUDITH Not quite.

THE HEBREWS CHOSE ME BECAUSE OF MY BEAUTY TO ENTER THE ENEMY’S TENT AFRAID AS COULD BE, I DISCHARGED A DUTY THIS PAINTER HAS MISREPRESENTED. YOU MEN EQUATE VIOLENCE WITH VALOR, MAKE MYTH OF WHAT NEVER HAS BEEN. A WOMAN EXEMPLIFIES COURAGE

BY FINDING HER POWER WITHIN. CIAO!

HANDMAIDEN ARRIVEDERCI!

JUDITH and HANDMAIDEN begin their exit.

ALDOUS returns to MARIA and GERALD and as the lights slowly restore, he studies the image in the book.

ALDOUS

JUDITH & HANDMAIDEN

BEEN TO FLORENCE

LA LA LA

MANY TIMES BEFORE.

LA LA LA LA

STOOD BEFORE THIS

LA LA LA LA

PAINTING I ADORE.

LA LA LA LA LA

NOW, TO MY EYESIGHT,

AHH

EVEN WITH MY SIGHT,

AHH

I SUDDENLY SEE… MUCH MORE!

He turns to MARIA, removes his glasses and looks at her, stunned. He begins to cry.

GERALD What is it, Aldous?

MARIA What?

Flying Over Sunset

— 13 —

ALDOUS looks back at the page, then up and all around him.

ALDOUS My eyes. The right eye is working! Not since I was 16—everything is dimensional again!

GERALD (amazed) It’s the drug…

#3 —W ondr ous

Aldous

ALDOUS fixates on the ceiling lights. They begin to animate and lower to him as they change color. ALDOUS moves around them.

ALDOUS (thrilled) The light? I am seeing the light…

IT’S WONDROUS! OH MY LORD, WONDROUS! THE LIGHT HAS DIMENSION, IT’S FULLY 3-D. THE WAVELENGTHS AND MYRIAD COLORS I SEE, THE ELECTROMAGNETIC SPECTRUM! A PRISM OF COLOR, A RAINBOW TO SOME.

(spins in delight) Red! Orange! Yellow! Indigo! Violet! Blue!

IT’S WONDROUS! VISION IS WONDROUS! THE LIGHT FROM THE CEILING SPILLS DOWN TO THE FLOOR, REFRACTS OFF THE WOOD, WAIT, NO WOOD IN THIS STORE.

(he drops to the floor) IT’S LINOLEUM, I SHOULD HAVE GUESSED! IT LOOKS LIKE REAL WOOD BUT IT’S LINSEED OIL, PRESSED!

(he begins laughing hysterically) Amazing. Both fake and real. What an illusion!

MARIA (as if to a child) All right. Stand up dear.

She goes to pull him up but he grabs her skirt.

— 14 —

Flying Over Sunset

ALDOUS (rapturously) Oh, Maria… look!

THE FOLDS IN YOUR SKIRT, OH MY YES. THE WAY THE LIGHT SHIMMERS AND SHIFTS. THE SHEEN OF YOUR STOCKINGS BENEATH YOUR DRESS I NOTICE EACH TIME YOUR HEM LIFTS…

He lifts her skirt. MARIA flicks his hand away, laughing, as GERALD tries to raise ALDOUS from the floor. ALDOUS grabs his trousers.

And your trousers, Gerald!

GERALD What of my trousers?

ALDOUS THEY’RE WONDROUS,

GERALD Wondrous?

ALDOUS UTTERLY WONDROUS! THE MOVEMENT, THE MOTION, EACH THREAD INTERTWINED, THE HERRINGBONE LEAPING ACROSS YOUR BEHIND LIKE A CARDIOGRAPH ZIGS AND ZAGS. THE PLEAT, BATHED IN SHADOW, THE SEAT, WHERE IT SAGS.

(suddenly alarmed) Oh no!

MARIA & GERALD What?

ALDOUS A CIGARETTE BURN! AND LOOK HERE—A SMUDGE. GERALD, THESE TROUSERS ARE NONE TOO PRISTINE, NOR TOO CLEAN, AND SOMEWHAT SMELLY.

GERALD THEY’RE OLD.

Flying Over Sunset

ALDOUS SO’S AN OLD MASTER. SO’S BOTTICELLI. CHERISH YOUR TROUSERS, GERALD. MEND THEM TONIGHT WHEN YOU UNDRESS. OH, ISN’T EYESIGHT WONDROUS?

DAD with his young BOY wander back heading for the exit. The BOY stops.

BOY (to ALDOUS) I’m going to be Davy Crockett for Halloween.

ALDOUS Oh, you know poor Davy was executed by the Mexican army.

DAD (stunned, he pulls the BOY towards the exit) Let’s get going, Timmy.

(beat) I told you not to speak to strangers.

They exit.

MARIA and GERALD lift ALDOUS up. She takes his face in her hands.

MARIA Come along, darling. You are floating on another plane. We need to leave.

ALDOUS (standing) Maria, my Maria. Me with one eye. You now with one breast.

MARIA (laughing) Maybe if I take this drug I will feel my missing part, too.

ALDOUS (serious; he studies her) How are you, my dear?

— 15 —

— 16 —

Flying Over Sunset

MARIA (moved) I am fine. I am just fine.

ALDOUS Are you? Your skin. So pale.

MARIA I haven’t been outside in weeks, dear. That’s why I want to go to the mountains.

ALDOUS Your eyes. Still bright and beautiful.

(takes her face in his hands) THEY’RE WONDROUS, UTTERLY WONDROUS. NOT BROWN AND NOT HAZEL, THEY’RE RIGHT IN-BETWEEN. THROUGH DARK SABLE LASHES, THOSE FLASHES OF GREEN, I NEVER QUITE NOTICED BEFORE. LIKE GLEAMS IN A FOREST I’M DRAWN TO EXPLORE. ARE YOU CERTAIN, MY DARLING, YOU’RE FINE?

MARIA Yes!

ALDOUS YOU PROMISE, FOREVER, YOU’LL ALWAYS BE MINE? WHATEVER MAY COME, YOU’LL NEVER LEAVE ME?

MARIA What a question!

ALDOUS But we must ask the questions, Maria. Right? Isn’t that right, Gerald?

GERALD If you say so, Aldous.

MARIA I am strong, Aldous.

Flying Over Sunset

— 17 —

ALDOUS Like Judith!

MARIA (laughs) Like Judith! I will win the battle and I will never leave you, Aldous. Do you hear me?

Answer me that question.

ALDOUS I hear you, my dear.

They begin to get emotional and hug.

GERALD Come, you two. That’s enough of that.

#4 —B e l l a D o n n a D i A go n i a ( R e p r i s e )

Aldous, Gerald, Maria, Sales Clerk

ALDOUS You are my dearest and oldest friend, Gerald. And my guide. And you are my heart, Maria. And you, Botticelli, you are my sight.

ALDOUS grabs the book out of GERALD’s hands.

THANK YOU FOR THIS GIFT TO RE-EXPLORE EVERYTHING IN LIFE I MISSED BEFORE. THANKS, AND GOD BLESS YOU. AND ONE MORE—YES, YOU:

(with a sweeping gesture) TO REXALL!

ALDOUS motions MARIA, GERALD and the passing SALES CLERK to join in.

ALDOUS, GERALD, MARIA, & SALES CLERK THE WORLD’S BIGGEST DRUG STORE!

MARIA grabs ALDOUS by the arm as GERALD hands the book back to the SALES CLERK.

MARIA Can we get out of this place!

— 18 —

Flying Over Sunset

GERALD Yes, please!

ALDOUS I suppose it is a bit sterile…

They laugh as they pull ALDOUS to the exit.

#4 A — Tr ans i t i on t o O f f i c e

Flying Over Sunset

— 19 —

SCENE 1—2: A PSYCHIATRIST’S OFFICE, BEVERLY HILLS A psychiatrist’s office. Sleek and impeccable; a chaise; a coat rack, all in the style of Eames.

DR. HARRIS sits at the desk. Middle-aged. Nondescript. Tie and jacket. Clark Kent glasses and slickly parted hair.

Pacing around the room is CARY. Uneasy.

CARY And has Betsy spoken to you about the troubles in our marriage?

HARRIS I would never divulge anything Mrs. Grant has said here to you, and vice-a-versa.

CARY What with my high profile—well if anything were to get out to the press—

HARRIS This is a medical setting, Mr. Grant, and all conversations are kept in total confidence.

CARY Thank you.

HARRIS Would you like to sit?

CARY (he stops pacing) I’d like to know about this medication you have been giving Betsy.

HARRIS (beat) It’s called LSD for short. It’s a class of drugs that by temporarily lessening the supply of glucose to the brain can help a patient to access pertinent personal information.

CARY How does that work?

— 20 —

Flying Over Sunset

HARRIS There is a belief, Mr. Grant, that we’re capable of remembering everything that has ever happened to us. The function of the brain is to protect us from being overwhelmed by this enormous mass of information. This drug helps us to rediscover events from our past that may give us insight into ourselves.

CARY Are there side effects?

HARRIS It does heighten visual data, which can become overwhelming for some, but generally, there are no side effects once it wears off.

CARY (beat) I would like to try it.

HARRIS All right. Why would you like to try it?

CARY I want to experience what Betsy has been experiencing.

HARRIS (smiles) Most people generally come to me to discuss pressing personal issues.

CARY I’m not most people.

HARRIS (amused) That may be true in terms of your particular place in the world—but you are human all the same.

(beat) Please sit.

(he doesn’t; beat) I gather you have recently retired from the movies.

Flying Over Sunset

CARY Time to do something else.

HARRIS Unusual to walk away from a job most people could only dream of having.

CARY (to himself) Most people…

(firmly) Please. I would like to try this drug.

HARRIS (beat) Alright, do sit down then.

(CARY reluctantly sits on the edge of the chaise as HARRIS goes to his desk and gets a pad and pen) Have you seen a psychiatrist before?

CARY No.

HARRIS You’ve never had any serious psychological problems?

CARY No.

HARRIS And you are open to beginning treatment with me?

CARY I’m open to experiencing this drug now.

HARRIS I don’t begin administering this medication until I’ve had at least one session—

— 21 —

— 22 —

Flying Over Sunset

CARY (stands and explodes) For crying out loud, doctor, just give me the goddamn drug!

(beat; shocked by his outburst) Forgive me. That was uncalled for. I seldom lose my temper like that…

(beat; he walks to HARRIS; vulnerable) It took a great deal for me to come here today.

HARRIS I understand…

CARY (deferential) Doc. May I please try the drug?

Beat. HARRIS points to CARY to sit back down, which he does. He continues to speak as he prepares a glass of water and a dropper, carefully dispensing drops of LSD into it.

HARRIS Did you drive here?

CARY Yes.

HARRIS You won’t be able to drive home after you take this.

CARY Fine, I will call a taxicab.

HARRIS Very well. We begin with a fairly light dosage.

He moves over to CARY with the glass. CARY studies it, then:

CARY Bottoms up!

He drinks it.

Flying Over Sunset

— 23 —

HARRIS You will be more comfortable lying back on the chaise. I like to give my patients eyeshades. It helps them to focus—

CARY I don’t care to lie down, and I certainly am not about to put on eyeshades.

HARRIS Very well.

(he goes back to his desk, sits and opens a notepad) Now, tell me something about yourself. Where and when were you born?

CARY (reluctantly) Bristol. 1904.

HARRIS I don’t know Bristol.

CARY It’s an industrial town in the southwest of England.

HARRIS And what is your real name?

CARY Cary Grant.

HARRIS I’m sorry—what I meant was the name you were born to. I assume the studio changed it.

CARY (beat) Archibald Leach.

HARRIS And what did your father do in Bristol?

— 24 —

Flying Over Sunset

CARY He was a presser in a tailor’s shop.

HARRIS Siblings?

CARY An older brother who died at a young age.

HARRIS How did he die?

CARY My mother accidentally slammed his thumb in a door. It turned gangrene.

HARRIS Oh. I’m sorry.

CARY I also have step-siblings, but I don’t really know them.

HARRIS By your mother?

CARY No. Father.

HARRIS Parents divorced?

(beat) Mr. Grant?

CARY My mother disappeared when I was 10.

HARRIS She disappeared?

Flying Over Sunset

CARY That’s what my father said. Weeks later he told me she died of a heart attack.

HARRIS Who cared for you?

CARY My father, briefly, then relatives for awhile, but mostly I took care of myself. I was a working kid, doc. I danced in the music halls since the age of six.

HARRIS That’s extraordinary. Why did your Father—

CARY You know, this isn’t for me. My apologies.

(he stands and moves towards the door) I think I’ll drive home before this stuff kicks in.

HARRIS Seriously. You can’t leave. You have taken a powerful medication—

CARY You said it was a mild dosage and I don’t feel anything.

HARRIS You don’t feel anything yet.

CARY If you prefer, I’ll take a cab.

HARRIS rushes to him, blocking him from the door.

HARRIS You can’t leave this office.

CARY I wouldn’t have come if I knew I was going to be given the third degree.

HARRIS What did you expect?

— 25 —

— 26 —

Flying Over Sunset

CARY I expected to try this drug, and then go home!

He goes to leave, but HARRIS physically stops him, and CARY recoils.

Don’t touch me!

HARRIS What did you expect to get out of taking the drug?

CARY I told you. I wanted to see what Betsy calls this “revelation”. What am I missing?

HARRIS What are you missing?

CARY I beg your pardon!

HARRIS What do you see as missing in your life? That’s a very common feeling most people have at one time or another.

(CARY winces when he hears “most people” again) Many of them come here to discuss just that.

#5 —I H a v e I t A l l

Cary

(HARRIS) (beat) Mr. Grant?

CARY is suddenly lost in his thoughts. The lights slowly start to change. Color begins to take over the white California light.

CARY I HAVE IT ALL. I’M THE MAN I WANT TO BE. WHAT MAN ON EARTH WOULDN’T TRADE HIS LIFE TO BE ME? MY FACE SAYS “FAME” TO A HUNDRED MILLION FANS.

Flying Over Sunset

(CARY) AND SETS MORE HEARTS AFLAME THAN ANY OTHER MAN’S.

HARRIS Do you enjoy that?

CARY Everyone wants to be Cary Grant, Doc. Even me.

WE ACTORS, WELL— NOW AND THEN I GET CONFUSED. IT’S HARD TO TELL WHAT IS REAL AND WHAT’S ILLUSION. THEY PICK ME UP IN THE MORNING, AND DRIVE ME TO THE SET. GROOM ME, WAX ME, DRESS ME, LIGHT ME, EVERY NEED IS MET. GORGEOUS WOMEN FLIRT WITH ME. SOMETIMES MEN, AND YET NONE OF IT IS REAL, BUT IT IS, BUT IT’S NOT. WHAT IT IS… I FORGET.

CARY loses his balance momentarily.

HARRIS I see.

HARRIS carefully guides CARY to the chaise, where he sits on the edge.

CARY THEN HOMEWARD BOUND TO BE BORED WITH BETSY DRAKE. I LIE AROUND THEN RETIRE WITH A HEADACHE. AND THEN I CAN’T WAIT TO GET TO THE SET AGAIN, GET MADE-UP, GROOMED AND DRESSED; THE ILLUSION FEELS MORE REAL THAN THE REST.

— 27 —

— 28 —

Flying Over Sunset

(CARY) I HAVE IT ALL. I HAVE IT ALL. I JUST WISH I WERE SOMEWHAT LESS BLESSED.

(beat; his feet begin to tap nervously) My feet are tingling.

#6 —Funny M o n e y

Archie, Cary, Father

Cary’s younger self—ARCHIE, around 12 years of age—materializes out of nowhere.

He wears a girl’s dress circa 1915.

A spotlight hits ARCHIE and he sings to us. CARY watches him, delighted.

ARCHIE SOME BLIGHTERS EARN A LIVIN’ WORKIN’ ‘ARD THE LIVE-LONG DAY.

HARRIS steps away and goes to his desk and picks up his note pad. A tinny piano begins playing an introduction to an old British music hall song. The tune turns into a quaintly old-fashioned tap number.

(ARCHIE) MY PEOPLE AIN’T SO HOLY AS A SAINT SO HERE’S THE WAY WE PAY THE LANDLORD…

CARY I know this…

HARRIS Excuse me?

ARCHIE PAPA’S IN THE PARK TO MOOCH. MUMSY’S BREWIN’ BATHTUB HOOCH. SISSY SELLS THE SAILORS KISSY-WISSIES. BROTHER PICKS THE PANTS OF—

Flying Over Sunset

CARY (it’s coming back) NANCY SISSIES… !

ARCHIE GRAMPS IS PRINTIN’ PHONY QUID. NANA—

CARY — FLIPS THE ALMS BOX LID!

I knew I knew it!

ARCHIE ME, I JUGGLE PLATES AND MAKE ‘EM SPIN, AND THE FUNNY MONEY ROLLS RIGHT IN.

CARY Right in!

ARCHIE & CARY NOW THE FUNNY MONEY ROLLS RIGHT IN!

ARCHIE does a little soft-shoe, whistling the tune.

Copying him, CARY joins in, interjecting “straight man” lines as they dance.

(WHISTLE!)

CARY THE TAKE IS TIDY!

ARCHIE & CARY (WHISTLE!)

CARY MONDAY TO FRIDEE.

ARCHIE AUNTIE PINCHES SILVER SPOONS AND CREAMERS.

CARY UNCLE STEALS THE WHEELS OFF STANLEY STEAMERS.

ARCHIE COUSIN FREDDIE FENCES LOOT.

— 29 —

— 30 —

Flying Over Sunset

CARY HIS LITTLE ‘OBBY.

ARCHIE ‘IDES IT IN THE LAUNDRY CHUTE.

CARY (winks broadly, confides) TO TRICK THE BOBBY!

ARCHIE & CARY I’M IN BUSKER ALLEY TUM-BLE-LIN’—

ARCHIE AND THE FUNNY MONEY ROLLS RIGHT—

CARY THE FUNNY MONEY ROLLS RIGHT IN!

ARCHIE Come on!

Dance break here where CARY and ARCHIE really begin to wig out.

HARRIS (he stands) Mr. Grant, what are you doing?

(They continue to dance.)

Are you sure you don’t want to sit, Mr. Grant?

CARY I have a number to finish. Please take your seat.

CARY begins to tap madly around the room, bouncing off the walls and leaping on to Harris’ desk. ARCHIE watches in amazement until CARY sees HARRIS, who has transformed into Cary’s FATHER. (He now wears a worker’s hat and has taken his glasses and suit jacket off.) CARY stops dancing as he looks in horror as his FATHER moves menacingly towards ARCHIE. CARY dances into a frenzy, he turns around two times then makes eye contact with the conductor…

The music grows darker, as do the lights.

Flying Over Sunset

FATHER (in a Cockney accent) LOOK AT YOU YA’ LITTLE FAIRY, IN A GIRLIE’S DRESS.

ARCHIE Mother put it on me.

FATHER DON’T YOU KNOW YOUR MOTHER’S CRAZY? WHO ARE YOU, HER WEE PRIN-CESS?

ARCHIE Am not, pops.

FATHER WEAR A PAIR OF PANTS, YOU SISSY, LIKE A PROPER LAD PUTS ON. BLAME YOUR MOTHER.

ARCHIE (glances around) WHERE IS MOTHER?

FATHER (shrugs, lying) HOW SHOULD I KNOW? GONE.

ARCHIE “Gone?”

CARY TELL ME WHY YOU LIED TO ME!

FATHER turns to CARY, who has stepped down from the desk.

FATHER TO SPARE YOUR FUTURE, SON! BEFORE SHE’D MADE A POOF OF YOU, I DID WHAT MUST BE DONE.

— 31 —

— 32 —

Flying Over Sunset

ARCHIE (to FATHER) I hate you!! I have always HATED YOU!

FATHER slaps ARCHIE across the face. He and CARY recoil at the same moment.

HIT ME! GO ON, HURT ME! I WON’T BLINK AN EYE! I WON’T EVEN FLINCH!

ARCHIE & CARY YOU CAN’T MAKE ME CRY!

The music suddenly segues back to the jaunty music hall ditty as FATHER recedes, and CARY and ARCHIE return to their song-and-dance routine.

ARCHIE TELL THE TRUTH ABOUT “THE BELT.”

CARY (nonchalant) THAT’S ALL BEHIND ME!

ARCHIE (pointing to CARY’s butt) RIGHT THERE ON YOUR ARSE, THAT WELT!

CARY (mock annoyance) MUST YOU REMIND ME?

ARCHIE LIVIN’ HAND TO MOUTH, DEPRESSED AND MOODY.

CARY LOOK-IT ME TODAY. BLIMEY, WHAT THEY PAY, JUST TO HEAR ME SAYIN’ “JUDY, JUDY, JUDY.”

(they laugh) THOUGH FOR NOW YOUR LIFE IS ROUGH—

ARCHIE TILL YOU REWROTE IT!

Flying Over Sunset

CARY “CHIN UP, KID, A CHAMP HANGS TOUGH!”

ARCHIE (scoffs) DON’T SUGAR-COAT IT! HUNGRY ALL THE TIME, I’M BONES ‘N SKIN… !

CARY TILL THE FUNNY MONEY HELPS YOU WIN!

ARCHIE ME, WIN?!

CARY (big finish) WHEN THE FUNNY MONEY ROLLS

ARCHIE AND ROLLS

CARY AND ROLLS

CARY & ARCHIE AND ROLLS AND ROLLS AND ROLLS RIGHT IN!

The song culminates as CARY and ARCHIE dance feverishly until CARY flings himself onto the chaise for the button. He lies lifeless for a moment.

HARRIS Mr. Grant?

(no response) Mr. Grant!

(CARY looks around, disoriented.)

What was that song you were singing?

— 33 —

— 34 —

Flying Over Sunset

#7 —Funny M o n e y ( R e p r i s e )

Archie

CARY (stoned) Oh. An old music hall tune.

HARRIS It’s charming.

CARY “Charming.” That’s the card I played.

ARCHIE Still are.

HARRIS Did you enjoy performing at the music hall?

CARY I enjoyed making a little money. Sometimes we would pick a few pockets for extra.

ARCHIE You better shut up. You’re going to get us in trouble.

CARY No need to be frightened. If there’s anything to be frightened of it’s that outfit.

(to HARRIS) Who would put a boy in girl’s clothes?

HARRIS Who’s wearing girl’s clothes?

CARY My mother dressed me as a girl when I was growing up. Maybe she was crazy…

HARRIS Did you protest?

Flying Over Sunset

CARY (slightly embarrassed) Fact is, I liked it—and I hated it.

ARCHIE Mostly hated it!

CARY You shut up, Archie!

HARRIS Who are you talking to?

ARCHIE (questioningly) AND THE FUNNY MONEY ROLLS RIGHT IN… ?

CARY Right in.

ARCHIE (sees HARRIS) No!

Frightened, ARCHIE recoils behind the settee. CARY turns around and sees HARRIS, who has taken his glasses off to rub his eye. CARY, shocked, cowers.

HARRIS What is it?

CARY You look a little like my father…

HARRIS (putting his glasses back on) Don’t worry. I’m not your father.

CARY relaxes. He whistles the final notes of the tune, slow and deliberately as HARRIS pulls out a pair of eyeshades and carefully puts them on CARY. Lights fade to black.

— 35 —

— 36 —

Flying Over Sunset

#8 —Tr ans i t i on t o C o n n e c t i c u t

Flying Over Sunset

— 37 —

SCENE 1—3: CLARE’S ESTATE, CONNECTICUT CLARE paces around the patio of her Ridgefield estate, as GERALD carefully uses a dropper to administer exactly three drops of LSD into a glass of water. She is dressed casually on a beautiful and warm day in May, the foliage in mid-bloom. A giant weeping willow shades them from the sun.

CLARE (beat) I am a wee bit nervous, Gerald.

GERALD No need to be nervous. I am giving you a small amount. But if you don’t want to—

CLARE No, no. I want to try it. I’m not that nervous—more excited I suppose.

(She goes over and takes the glass and holds it up to toast) Well, here’s to “the doors of perception”!

(GERALD laughs. CLARE gulps down the liquid) Doesn’t taste like much. I hope this will be all that Mr. Huxley’s book suggests. I would love to meet him one day.

GERALD Come to California.

CLARE If I only had the time. I miss it there.

(takes a deep breath; looks at the glass) It’s so exciting to be experiencing something new.

GERALD You love that.

CLARE Yes, I love a new experience. How many times have you taken this?

GERALD I’ve had my fair share. And now I enjoy guiding others.

— 38 —

Flying Over Sunset

CLARE Well, thank you so much for being here.

GERALD (laughing it off) You don’t need to thank me.

CLARE No, I mean it. It’s wonderful when you come East for a visit. There are so few people I can really be myself with.

GERALD It’s a pleasure to visit Connecticut.

ROSALIA, Clare’s devoted housemaid, enters and puts a plate of fruit down on the table.

CLARE Grazie, Rosalia.

ROSALIA Signora Luce, hai bisongo di qualcosa? Stavo andando in città per fare un po‘ di shopping.

CLARE (to GERALD) Can Rosalia get you anything, darling?

GERALD No, I’m fine.

CLARE Grazie, Rosalia.

GERALD Grazie.

(ROSALIA smiles at GERALD and exits.)

She’s been with you a long time.

CLARE Since my first day at the embassy.

Flying Over Sunset

— 39 —

GERALD Will she go to Brazil with you?

CLARE begins to pace around again.

CLARE (lost in thought) How long will this take?

GERALD Depends. Everyone is different. Maybe twenty minutes or so before you feel something— maybe longer. I suggest we chant.

CLARE (beat) Gerald?

GERALD Yes?

CLARE I better get this off my chest before this stuff kicks in: I’ve been thinking I should withdraw my name.

GERALD What do you mean?

CLARE (she stops and looks at him) Do I really want to go to Brazil?

GERALD It’s a little late to be thinking about that.

CLARE Is it?

GERALD You’ve already been confirmed!

— 40 —

Flying Over Sunset

CLARE I don’t care. When I walked out of that hearing and into the elevator I suddenly began to sob. You know me, Gerald. I am tough as nails, but I felt so disrespected.

GERALD You threaten them.

CLARE Me?

GERALD Of course you. You’re a woman for starters—

CLARE (overlapping) — The only woman in the room, as usual!

GERALD (gives it a moment’s thought) What does Henry think about Brazil?

CLARE He thinks I should go—but then sometimes I think Henry would just like me to be far away from him.

GERALD Okay. Let’s not talk about that. Today has to be about putting all of that to the side.

CLARE Quite right.

(beat) What about you? How is your writing coming along?

GERALD Slow as always. I have been teaching. And keeping the Vedanta Center alive. It eats up a lot of time—

Flying Over Sunset

— 41 —

CLARE Do you need money, Gerald? I’ll see to it that Henry makes another donation to the center—

GERALD No, no. That’s a discussion for another day. Come let’s chant.

CLARE (not so interested) Oh…

GERALD It will calm your mind.

CLARE Alright…

GERALD sits on the ground and begins to chant. CLARE reluctantly joins in.

GERALD OM. OM.

GERALD & CLARE OM. OM.

GERALD OM GAM GANAPATEYE NAMAHA.

GERALD & CLARE OM GAM GANAPATEYE NAMAHA.

CLARE Did you know that the Senate committee tried to find out if I was seeing a psychiatrist?

GERALD But you never did, did you?

CLARE I just threw myself into work after mother was killed. But then when I lost Ann, well— you have no idea what it’s like to lose your only child. Henry insisted I see someone.

I went a few times but I hated the whole business. Henry insisted…

— 42 —

Flying Over Sunset

GERALD Today is not about Henry, Clare. Best leave him out of the conversation.

CLARE Yes. Understood.

(looks around in wonderment) The garden is beautiful today…

(she stares out at the garden) Spring is so magical. “There is a time for everything, and a season for every activity under the heavens.”

(she looks upward) Thank you, Lord. I guess today’s “activity” is LSD!

They both laugh.

GERALD I’m not sure they had that in mind when they wrote Ecclesiastes.

CLARE The colors are beginning to separate themselves.

(she looks around) Oh my goodness!

#9 —A Sapphi r e D r a go n f l y

Clare, Ann, Austin

(CLARE) All their exquisite subtleties. This is quite remarkable. Now I see what you were talking about.

(CLARE laughs. She reaches about her as if she is touching something. After dancing around a bit, she stops and kneels down with focused interest.)

ISN’T IT SUBLIME, GERALD? THE WAY THE GARDEN CHANGES AS ALL THE HUMAN SENSES EXPAND.

(stands still, listening) LISTEN, IN THE GRASS… THE ANTS ARE BUILDING ANTHILLS, CASCADING LITTLE PARTICLES OF SAND.

Flying Over Sunset

— 43 —

(CLARE) THINGS EMERGE FROM THE CAMOUFLAGE, THE CANOPY OF LEAVES. MEMORY AND MIRAGE ARE INTERWEAVING…

(A flickering shimmer appears before CLARE’s eyes.)

I SEE A DRAGONFLY. A SAPPHIRE DRAGONFLY. A BRILLIANT SHIMMERING OF IRIDESCENT WINGS. A FLAWLESS SPECIMEN OF HEAVEN’S HANDIWORK. IF ONLY HEAVEN WERE AS FLAWLESS AS ITS BEINGS…

(CLARE’s gaze follows the shimmer as it moves and abruptly vanishes.)

IT CAUGHT THE LIGHT A BIT… OH! BUT LOOK—A BIRD CAUGHT IT. MY PRETTY DRAGONFLY IS GONE BEFORE I KNEW. GOD TOOK IT BACK AGAIN, HIS FLAWLESS SPECIMEN…

(ANN appears near where the dragonfly was as the light begins to shimmer around her.

She is then joined by AUSTIN. CLARE turns directly to them.)

AND IT REMINDS ME OF THE WAY THAT HE TOOK YOU.

(CLARE)

ANN

HOW TO LET GO?

YOU NEED TO LET GO, MOTHER,

HOW TO GO ON?

AND GO IT ALONE, MOTHER. REMEMBER YOUR OWN MOTHER, HER STRENGTH OF WILL.

AUSTIN IF GOD EXISTS,

KEEP LOOKING FOR GOD, DAUGHTER.

I DON’T KNOW WHERE.

BELIEVE AND SURVIVE, DAUGHTER. I LOVED YOU ALIVE, DARLING, AND LOVE YOU STILL.

ANN & AUSTIN YOU WERE THE WORLD TO ME,

LOOK FOR GOD.

SO YOUNG AND BEAUTIFUL.

SEEK HIS LIGHT.

I NEED A DRUG TO SEE YOU NOW,

FIND PEACE

NO THANKS TO HIM.

IN PRAYER.

— 44 —

Flying Over Sunset

(CLARE)

(ANN & AUSTIN)

WHAT KIND OF DEITY

COME DUSK

CREATES A MIRACLE,

EVERY NIGHT

THEN FOR THE HELL OF IT

I WILL

DESTROYS IT ON A WHIM?

BE THERE.

(CLARE) (she now sees AUSTIN) You’re with one another now, aren’t you?

AUSTIN Yes, darling.

ANN Yes, mother.

CLARE Oh, it is so good to see you! I miss you both terribly…

GERALD Are you alright, Clare?

CLARE (amazement) I think I just conjured Ann and mother.

(She looks, but ANN and AUSTIN have disappeared. Beat; she continues, nervous:) Oh dear. I am feeling it now. Oh, my.

(slight panic) This is suddenly becoming quite an onslaught of feelings, isn’t it?

GERALD goes and gets her.

GERALD Sit down, and chant, Clare.

CLARE (she sits; agitated) I don’t really want to chant, Gerald. I’m too nervous.

Flying Over Sunset

— 45 —

GERALD Then close your eyes.

(she does; beat) What do you see?

#1 0 — S o me one

Clare

CLARE Someone staring back.

GERALD Who?

CLARE SOMEONE OLD. SOMEONE SPENT. SOMEONE WEAK. SOMEONE USED. SOMEONE SILENT. SOMEONE’S LIFE, ONCE SO FULL, NOW THE WORST OF ALL THINGS: INVISIBLE.

GERALD Who is that?

CLARE Me, of course. I have a big birthday coming up…

She begins to cry.

GERALD Age. You have to face that one down, Clare. Do you remember when we first met?

CLARE Remind me.

GERALD You came out to Hollywood. You were writing screenplays. Everyone was in love with you.

— 46 —

Flying Over Sunset

CLARE Henry doesn’t love me. He won’t make love to me. It’s been years. He has a new mistress, Gerald. She’s all of 23.

GERALD Forget foolish Henry. Go back, Clare. Remember the wonderful times we had in Malibu?

CLARE (she turns to him) I loved those times in Malibu.

GERALD Close your eyes.

#1 1 — F l y i n g O v e r S u n s e t

Clare, Gerald, Ann, Austin

She does. Silence at first, then music begins as CLARE slips into a reverie, a memory both remembered and embellished by time.

CLARE HOW I MISS THE SHORES OF CALIFORNIA. STROLLING ON THE SOFT WHITE SAND, SLIDING OFF MY BRA, PANTY-LESS IN LA-LA-LAND. WRITING JOKES AT PARAMOUNT FOR MOVIES, TYPING WITH A BROKEN “Y.” JASMINE IN THE BREEZE. REACHING FOR THE CAR-KEYS… FLYING OVER SUNSET, CROSSING HOLLYWOOD AND VINE. FLYING OVER SUNSET PAST THE HOLLYWOOD-LAND SIGN. RIDING WITH THE TOP DOWN, EYEING ALL THE TAN YOUNG MEN. I COULD HAVE HAD MY CHOICE OF ANY, THEN. AND I’M FLYING OVER SUNSET, YOUNG AGAIN.

(suddenly) WHERE ARE WE? WHAT TOWN IS THIS? I CAN’T MAKE OUT THE VIEW.

Flying Over Sunset

(CLARE) GREENWICH? ROME? JAKARTA? OR MALIBU?

GERALD LIFE IS LIVED IN MULTIPLE DIMENSIONS.

CLARE MULTIPLE DIMENSIONS.

GERALD YESTERDAY, TOMORROW, NOW.

CLARE YESTERDAY, TOMORROW, NOW.

GERALD PAST AND FUTURE MERGE. PRIOR LIVES CONVERGE IN TAO.

CLARE SPEEDING TO LAGUNA THROUGH THE CANYONS, ALL AT ONCE I’M IN THE SKY. HIGH ABOVE THE TREES, ROLLING HILLS AND VALLEYS… FLYING OVER SUNSET

BY THE MANSIONS OF BEL AIR. BEVERLY AND BRENTWOOD, AS THE WIND IS IN MY HAIR. GLEAMING IN THE DISTANCE, I CAN SUDDENLY BEHOLD SO MUCH MORE IMMENSE THAN I’VE BEEN TOLD: THE PACIFIC IN THE SUNSET, BRIGHT WITH GOLD!

(Suddenly, she looks about in panic.)

WHERE’S MY BAG? WHOSE CAR IS THIS? DID HENRY LOSE THE KEYS? I CAN’T DRIVE A STICK-SHIFT! THE BENTLEY, PLEASE.

GERALD Shhhh. Breathe.

— 47 —

— 48 —

Flying Over Sunset

ANN and AUSTIN reappear and move towards the lawn chaise.

CLARE LET ME BE REBORN IN CALIFORNIA.

CLARE sees them and moves towards the chaise and stands on it unsteadily, as if she were in the water feeling the tide wash over her feet.

ANN BORN IN CALIFORNIA AH.

CLARE TURNING BACK THE HANDS OF TIME.

AUSTIN TURNING BACK THE HANDS OF TIME.

CLARE WADING IN THE SURF, NAKEDLY AS IN MY PRIME.

ANN & AUSTIN FEEL THE FLOW OF THE OCEAN.

CLARE FLOWING IN AND OUT AND ALL AROUND ME.

ANN & AUSTIN WAVES OF PLEASURE GROWING. AH.

CLARE MOVING THROUGH ME WITH THE TIDE!

ANN & AUSTIN WITH THE TIDE!

CLARE slides down and lies in the lawn chair. As she progresses in her memories, the erotic intensity of her thoughts gather momentum.

CLARE

ANN & AUSTIN

WATER LAPS MY THIGHS,

LAPS MY THIGHS

WASHING UP INSIDE ME…

UP INSIDE ME…

FLYING OVER SUNSET.

FLY… FLYING OVER SUNSET.

FALLING SUCH A LONG WAY DOWN.

AH.

FLYING OVER SUNSET.

FLY… FLYING OVER SUNSET.

PLUNGING UNDERNEATH TO DROWN.

AH.

Flying Over Sunset

(CLARE)

— 49 —

(ANN & AUSTIN)

SPINNING IN A WHIRLPOOL,

AH.

AS THE WATER SOOTHES MY SKIN,

AH.

FEELING SO COMPLETELY

AH.

CLEANSED OF SIN…

CLEANSED OF SIN

THAT I SIMPLY MUST SURRENDER

SURRENDER

(CLARE struggles to orgasm. She wants to touch herself, but wills herself to feel without touch.)

TO THE “SENSATORY” SPLENDOR

TO SPLENDOR

AS I’M FLYING OVER SUNSET…

FLY…

JUST GIVE IN.

JUST JUST GIVE IN.

MUST GIVE IN. MUST GIVE IN. JUST GIVE IN.

JUST GIVE IN.

MUST GIVE IN. GIVE IN.

GIVE… GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

GIVE!

IN!

IN!

AHH!

AHH!

AHH…

AHH…

CLARE climaxes. She closes her eyes as lights fade to black.

— 50 —

Flying Over Sunset

SCENE 1—4: A TV STUDIO & ALDOUS HUXLEY’S HOUSE In the darkness.

INTERVIEWER (V.O.) And in some of your more recent writings, Mr. Huxley, you have warned that technology threatens our freedoms. What do you mean by that? And why are technical advances such a bad thing?

Lights slowly up. Sickly MARIA lies on a couch under covers, GERALD sits at her side.

They are illuminated by the flickering light from a small television that they watch.

Across the proscenium ALDOUS sits under harsh television lights. As he speaks his voice also comes out of the television, creating an eerie atmosphere.

ALDOUS Well, we all saw how Hitler used the radio as an influential propaganda tool. Now we have the television which I believe will be an even more powerful political medium. I fear the electorate may become more swayed by the personality of a candidate on television rather than the substance of their rhetoric.

MARIA Aldous looks very relaxed.

GERALD Yes.

MARIA I think the television likes him!

INTERVIEWER In your book “The Doors of Perception” you examine your experiences with hallucinogens. You write “we are in the midst of a pharmacological revolution.” How so?

ALDOUS We have entered an era where we have powerful mind-changing drugs at our disposal which, psychologically speaking, are almost costless.

INTERVIEWER Costless?

Flying Over Sunset

— 51 —

ALDOUS Well, they are costless as compared to alcohol. Two thirds of all car accidents are caused by drunk drivers—three quarters of crimes of violence are committed by people who are inebriated.

INTERVIEWER (annoyed) You can’t be saying that hallucinogens are better for you than alcohol!

MARIA Oh, no. He’s going to make Aldous out to be a crackpot.

ALDOUS Heavy drinking takes a person away from their lives and themselves. Hallucinogens do the opposite—they take an individual inward and foster a contemplative manner of selfexploration.

INTERVIEWER Why is all this emphasis on “self” such a good thing, Mr. Huxley?

ALDOUS What if a drug helps us to understand ourselves better, to see the world in a clearer and more honest way and consequently—

INTERVIEWER So you’re saying a drug is going to solve our problems?

ALDOUS That’s not what I was saying—

INTERVIEWER But those are your words, Mr. Huxley. You suggest just that in your book.

ALDOUS Hardly!

GERALD Oh, dear. I see what you mean.

— 52 —

Flying Over Sunset

INTERVIEWER Your prophecies of babies being conceived in test tubes; people waking up in the morning taking a daily pill to improve their mood—

The INTERVIEWER begins to laugh.

ALDOUS (miffed) Why are you laughing?

INTERVIEWER Excuse me, but I think your prediction of a pharmacological revolution is best left to your novel. You have a very dark vision of the future, Mr. Huxley.

ALDOUS Not at all!

MARIA Shut it off.

ALDOUS If one looks to the past decade—

GERALD has gotten up and shuts the television off, the TV lights going out on ALDOUS at the same time. He overhears the following:

MARIA Walk me to the bedroom, Gerald.

MARIA stands unsteadily. He takes her hand and supports her as they walk. He stops.

GERALD Maria, when did you last see the doctor?

MARIA (beat) Be there for Aldous, Gerald. Won’t you?

GERALD (beat) Of course, but Maria you really must—

Flying Over Sunset

She cuts him off and moves towards the bedroom, making it clear the discussion is over.

The lights fade to black.

#1 1 A — Tr a n s i t i o n t o t h e B r o w n D e r b y

— 53 —

— 54 —

Flying Over Sunset

SCENE 1—5: THE BROWN DERBY, LOS ANGELES The fashionable Hollywood restaurant. ALDOUS and GERALD sit at a banquet. In the corner of the room, CARY sits at a table having just finished his lunch.

ALDOUS (studying the menu) The best thing about the Brown Derby is the facade, don’t you think? I should have stayed home and had a tuna fish sandwich.

GERALD Sitting alone.

ALDOUS Happily alone.

GERALD Exactly. You need to start getting out with people.

CLARE makes a noisy entrance. The MAITRE D’ brings her to their table. The MEN stand.

CLARE I am so sorry I am late. Hello, darling.

(She kisses GERALD) Mr. Huxley. What a great pleasure. How nice of you to join Gerald and me for lunch.

ALDOUS (they shake hands) Thank you for the invitation.

CLARE I have heard so much about you from Gerald. And of course I am a great fan of your writing.

(they sit) You know Mr. Huxley, ages ago we spoke on the phone when I was the editor at Vanity Fair.

ALDOUS Really?

Flying Over Sunset

— 55 —

GERALD You never told me that.

CLARE (to ALDOUS) I was Clare Brokaw, then.

ALDOUS Ah, yes. I didn’t make that connection.

CLARE You wrote a short piece for us.

ALDOUS That’s right.

CLARE It’s such a treat to meet you in person.

ALDOUS Thank you. I gather you are settling on the West Coast for a spell?

CLARE Yes. As far away from Washington as possible.

ALDOUS One can understand that. Was it a difficult decision to give up the Brazil appointment?

CLARE To some degree, yes. But at the end of the day I just couldn’t stand the thought of having to deal with the politics of it all. So, here I am untethered, which turns out to be exciting in a very different way.

(she catches a glimpse of CARY) Oh, Mr. Grant! Would you excuse me for just one moment, gentlemen?

CLARE stands. The GENTLEMEN, quickly stand as well. She crosses to CARY.

ALDOUS (as they sit) What is she doing?

— 56 —

Flying Over Sunset

GERALD She’s going over to talk to Cary Grant.

ALDOUS I can see that! She had to do it right at this moment? That’s what I hate about this town.

People see a movie star and they wet their pants.

GERALD Not everyone, Aldous.

ALDOUS (beat) She is more attractive than I expected…

GERALD Fascinating and brilliant.

ALDOUS You’re being too kind, Gerald.

GERALD (miffed) What is that supposed to mean?

CLARE returns with CARY. They rise again.

CLARE Mr. Grant, meet Aldous Huxley.

CARY I’m honored—I’m fascinated by your work.

ALDOUS (enjoying this unexpected compliment) Well, thank you.

CARY I just recently read The Devils of Loudun.

Flying Over Sunset

ALDOUS Oh? Few people read that book.

CARY I found it chilling.

ALDOUS Was that a good thing?

CARY It was. I couldn’t put it down.

ALDOUS smiles at the compliment, then immediately deflects the attention.

ALDOUS This is Gerald Heard, a great friend and a wonderful writer.

CARY (shakes his hand) A pleasure…

CLARE How lucky am I? Three Englishmen.

GERALD (to CARY) Technically I’m Anglo-Irish.

No one knows what to make of this.

CLARE Cary and I met years ago on the Paramount lot.

HARRY brings over flutes of champagne.

HARRY Mrs. Luce, compliments of the house.

CLARE Oh, thank you, Harry!

— 57 —

— 58 —

Flying Over Sunset

(CLARE) (to CARY) Do sit and have a glass of champagne with us, won’t you, Mr. Grant?

GERALD Yes, do join us.

CARY (beat) Just a quick one, thank you.

They sit.

CLARE I’m surprised you and Mr. Huxley haven’t met till now.

CARY Well, it’s a big town.

ALDOUS I don’t get out much.

CARY You may find this hard to believe, but I don’t socialize much either.

ALDOUS Really? I would have thought you would be doing glamorous things every night!

CARY You would have thought wrong.

ALDOUS I see your photograph in the papers—

CARY Ah, that’s work. I’m obligated to do that.

ALDOUS I can imagine that is a bit of a chore.

They laugh.

Flying Over Sunset

— 59 —

CLARE Cheers!

ALL FOUR Cheers.

ALDOUS I must say, Mr. Grant, thank you for publicly defending Chaplin. He is an old and dear friend.

CARY Lucky you. Sadly, our paths have never crossed. I did see him play the music halls when I was a child, and I’ve never forgotten it.

CLARE How wonderful!

ALDOUS I shall tell him we met in my next letter.

CARY Thank you.

(to ALDOUS) And what are you writing these days, sir?

ALDOUS I am taking some time off.

CLARE Dear Mr. Huxley has recently lost his wife.

CARY I’m so sorry.

ALDOUS Thank you.

CLARE She sounded like a most fascinating woman.

— 60 —

Flying Over Sunset

GERALD Maria was one of a kind.

CLARE I wish I’d had a chance to meet her.

GERALD I think you would have liked one another.

ALDOUS lets out a little grunt.

CLARE Now, Mr. Grant, how sad that you have left the business. What could get you back in front of a camera?

CARY Alimony payments.

(They share a laugh.)

And what brings you to Los Angeles, Mrs. Luce?

CLARE I have a few screenwriting projects under discussion.

ALDOUS Really? I’ve done my fair share of screenwriting. But I can’t imagine any writer going through that if they didn’t need the money.

CLARE I found the time I worked on “The Women” with George Cukor quite fun.

ALDOUS Well, that was your play of course. You got your way with it on Broadway first. I’ve worked with Cukor. A lovely gent.

CARY Indeed. I’ve done three movies with him.

CLARE And they were terrific! I wasn’t aware you wrote for the movies, Mr. Huxley.

Flying Over Sunset

CARY What did you do with George?

ALDOUS A treatment for “Madame Curie.”

CARY He didn’t direct that movie.

ALDOUS No, ultimately he didn’t. And I didn’t write the screenplay. I was replaced by F. Scott Fitzgerald.

CLARE F. Scott Fitzgerald! Really?

ALDOUS Yes. He didn’t last long either.

They laugh.

CLARE Well, I didn’t know the three of us knew George Cukor!

ALDOUS The four of us! Gerald knows him.

CLARE Really? I never knew that.

They look to GERALD.

GERALD (uncomfortable) I know him a little socially.

ALDOUS (smirking) Oh Gerald.

— 61 —

— 62 —

Flying Over Sunset

(ALDOUS) (to the others) He knows him rather well.

CLARE takes this in and smiles at GERALD.

CLARE Gerald, I thought you told me everything.

(GERALD stares at ALDOUS, miffed.)

You know, the four of us have something else in common as well.

CARY Oh? What would that be?

CLARE I read the interview you did in the “Ladies Home Journal.”

CARY Oh dear.

CLARE (confidentially) You are amongst friends here, Mr. Grant. We too are fellow explorers.

CARY Really? I wouldn’t have thought that you, Mrs. Luce—

CLARE (in a whisper) Oh yes. Gerald has introduced me to the wonders of the drug. I thought it very brave of you to divulge your experiences.

ALDOUS I’m sorry. I must’ve missed this.

CLARE (to ALDOUS) Mr. Grant gave an interview in which he described his travels with a certain drug.

Flying Over Sunset

— 63 —

(CLARE) (to CARY) I particularly liked your vision where you were a giant phallus that launched from earth like a spaceship.

They laugh.

ALDOUS Was it an enjoyable ride?

CARY Please, don’t remind me. I caught hell from the studio for doing that interview…

CLARE It was wonderful! Really. We’ve all had remarkable visions.

GERALD Have you taken this with a guide?

CARY A guide? No. Just a psychiatrist.

ALDOUS Oh dear, this is best experienced out in the world.

CLARE You know, I have longed to be with someone else who is also on the drug when I take it.

Someone else to see what I see. Have you done that, Mr. Huxley?

ALDOUS Maria and I did it together. Two people don’t necessarily see the same thing when they are flying.

CLARE I didn’t put that properly—I would like to share what I see and vice-versa—compare experiences and visions, if you will.

CARY I do understand that.

— 64 —

Flying Over Sunset

CLARE (to CARY) You need to get out of the doctor’s office, Mr. Grant.

(beat) Wouldn’t it be interesting if we three did this together with Gerald as our guide?

ALDOUS (dismissing the idea) No.

CLARE (a bit stung) Well, what about you, Mr. Grant?

CARY (laughs) I don’t really know you, Mrs. Luce.

CLARE (cheery) What better way to get to know someone?!

ALDOUS (bemused) Right. Cut to the chase—go straight to the psyche!

CARY Clare, I wouldn’t have thought this would be of interest to you.

CLARE I am a very spiritual person. I thought the drug would give me a more “unearthly” experience. And it has.

CARY I see.

Flying Over Sunset

— 65 —

CLARE (to ALDOUS) I know we have just met, Mr. Huxley, but I feel I know something of you from your writings. That’s another reason I first tried it in fact.

ALDOUS (to CLARE) No offense, but I don’t know much about you other than you’re a Conservative Republican.

CARY (to CLARE) I’m afraid my politics are much further to the left than yours, Mrs. Luce.

CLARE Some of my best friends are liberals. One can have a heated argument about politics and follow it with a congenial round of martinis.

GERALD No one talks politics on LSD!

CLARE I have just gotten out of politics. It’s the last thing I wish to discuss.

ALDOUS Amen.

CLARE I understand your reluctance, Gentlemen. But if I may be frank?

(She looks to them for approval. They nod in response.)

I think we four share a certain station in life; we have all led somewhat public and unconventional lives, and we are of similar ages. I think that gives us some very important things in common.

A moment of silence while ALDOUS and CARY ponder this.

#1 1 B — A B e a u t i f u l R e n t a l

— 66 —

Flying Over Sunset

GERALD I think what’s interesting is that you each seem to be at a turning point in your lives.

ALDOUS What do you mean, Gerald?

GERALD (looks to ALDOUS) Maria.

(looks to CLARE) Brazil.

(looks to CARY) Retirement.

They look at one another as they ponder this. Of course GERALD is right.

CLARE I am renting a beautiful beach house in Malibu. Very private. I believe that we can indeed trust that whatever transpires will be held in the strictest of confidence. And you will feel very comfortable with Gerald looking after us. Isn’t that right, Mr. Huxley?

ALDOUS Gerald is a wonderful guide.

CLARE What do you say, Mr. Grant?

CARY Cary.

CLARE (likes using his first name) Cary.

CARY I will give it some thought.

CLARE Wonderful! And Mr. Huxley, please give it your consideration, won’t you?

Flying Over Sunset

— 67 —

(CLARE) (coquettishly, she nudges him with her shoulder) It will be an exciting experiment.

ALDOUS Your diplomatic skills are quite persuasive, Mrs. Luce.

(she smiles at him; beat) I will think about it.

CLARE Then I shall take the absence of a firm “no” from you gentlemen as a tentative “yes”!

(The MEN seem amenable. CLARE proposes a toast.)

Let us raise our glasses.

(they do; whispers) To fellow explorers!

#1 2 — F l y i n g O v e r S u n s e t ( R e p r i s e )

Company

CARY, ALDOUS & GERALD (quietly) To fellow explorers!

CLARE HERE’S TO HAPPY TIMES IN CALIFORNIA.

ANN DO BE CAREFUL, MOTHER.

CLARE FLYING WITH MY NEW BEST FRIENDS.

MARIA THESE ARE NOT YOUR FRIENDS, ALDOUS!

CLARE BROADENING MY MIND!

AUSTIN WHO KNOWS WHAT YOU’LL FIND?

— 68 —

Flying Over Sunset

CARY FIND OUT HOW A GROUP ASCENDS.

FATHER (To CARY) HARDLY WHAT YER HEAD-SHRINKER RECOMMENDS!

GERALD CLEANSE THE SEVEN CHAKRAS OF EMOTION.

CLARE & CARY LET GO OF EMOTION!

GERALD & ALDOUS BRUSH THE HERE AND NOW ASIDE!

MARIA, AUSTIN, & ANN SUCH A RECKLESS NOTION.

GERALD CLEAR YOUR CONSCIOUS MIND. LEAVE THE WORLD BEHIND YOU…

The EXPLORERS consider the idea with growing conviction while their inner voices overlap, warning against it.

MARIA, ANN, & AUSTIN AH-AH-AH-AH-AH. AH-AH-AH-AH-AH…

CLARE, CARY, ALDOUS, & GERALD FLYING OVER SUNSET FLYING OVER SUNSET FLYING OVER SUNSET HIGH UP IN THE SKY…

FATHER & ARCHIE DO BE WARY! DON’T BE CARELESS! YOU CAN’T TRUST THESE PEOPLE! SHARE LESS!

CLARE FLYING OVER SUNSET! TO A PLACE YOU WOULDN’T DARE!

Flying Over Sunset

— 69 —

ANN DON’T GO FAR.

AUSTIN YOU’LL BE SORRY.

CLARE & GERALD FLYING OVER SUNSET!

CLARE, GERALD, CARY, & ALDOUS LIKE A PAINTING IN THE AIR!

FATHER & ARCHIE AND WIND UP GOD KNOWS WHERE!

ALDOUS & CARY BREAKING FREE OF SAFETY!

CLARE TO A PLACE OF NO RETURN!

GERALD NO WAY ELSE TO GROW UNTIL YOU LEARN—

ALL HOW TO…

CLARE, CARY, ALDOUS & GERALD

ANN, MARIA, ARCHIE, AUSTIN, FATHER & SOPHIA

NAVIGATE THE AIRSPACE OF

FLY… NAVIGATE THE AIRSPACE

THE WORLD BEYOND YOUR VIEW!

AH!

CONSTANTLY EXPLORING FOR

CONSTANTLY EXPLORING…

THE REASON WHY YOU’RE YOU!

AH!

FLYING OUT OF BODY

FLY… AH!

TO EXPERIENCE THE MIND!

AH!

ALDOUS & MARIA FIND A WAY TO LEAVE YOUR LOSS BEHIND.

Slowly, the bench that CLARE, ALDOUS, GERALD and CARY sit on begins to rise up from the banquette. The colors begin to shimmer akin to a sky at sunset as they hover above.

— 70 —

Flying Over Sunset

ALL THROUGH A TRANSCENDENTAL PORTAL, WHERE A MOMENT FEELS IMMORTAL…

CLARE WE’LL GO FLYING OVER SUNSET!

CARY FLYING OVER SUNSET!

ALDOUS & GERALD FLYING OVER SUNSET!

CLARE, CARY, ALDOUS, & GERALD FLYING OVER SUNSET!

ALL ALL…

CLARE loses her balance as she looks down and starts to fall.

The OTHERS quickly pull her back as the ghosts circle around from below.

ANN, ARCHIE, MARIA, AUSTIN, FATHER, & SOPHIA JUST DON’T FALL.

CLARE DON’T FALL…

MARIA & SOPHIA DON’T FALL…

GERALD, ALDOUS, CARY, & FATHER DON’T FALL…

On the last note, ALDOUS, CLARE, CARY and GERALD stare at us, lost in their thoughts, as the lights fade to black.

END OF ACT I

Flying Over Sunset

— 71 —

ACT II #1 3 — En t r ’ a c t e

*The original “Entr’acte” was a practical sound effect: the conductor had an amplified pan filled with sand and swirled patterns in it to match the entrances on stage. The orchestra (and the Piano-Vocal Score) are thus tacet. We encourage you to explore a similar effect with your own production.

SCENE 2—1: MALIBU, CLARE’S RENTAL HOUSE, LATE MORNING The patio of a gorgeous modern home overlooking the Pacific Ocean, the pounding surf echoing below. It is a warm day in June.

There are chaise chairs, umbrellas, beautiful flowerpots and a drink cart where GERALD stands, preparing glasses of water with LSD under the watchful gaze of CLARE and ALDOUS. CARY paces around nervously.

CLARE What are you starting us on, Gerald?

GERALD 100 micrograms.

CLARE So little?

GERALD We can increase it if we see fit. Mr. Grant, do you happen to know how much you have been taking?

CARY I’m afraid I don’t.

GERALD This is quite a mild dose. You will tell me if you wish more.

— 72 —

Flying Over Sunset

CARY Very well.

ALDOUS (peeved) I certainly want more than 100 micrograms, Gerald.

CLARE Well, if Aldous is getting more, so do I!

GERALD I think in deference to Mr. Grant, we should begin with a low dose.

CLARE I think we can each choose our own dosage, don’t you agree, Mr. Huxley?

ALDOUS I do, indeed. Perhaps Mr. Grant can start with 100 and Mrs. Luce and I will begin with 150.

CLARE And of course Mr. Grant can ask for more if he chooses.

(no response) Mr. Grant?

CARY Yes, whatever you feel appropriate.

GERALD (finishes mixing the potions) Now, I was considering joining you.

CLARE Oh do, Gerald!

ALDOUS I think it a wonderful idea.

Flying Over Sunset

CARY (he stops pacing) Is that wise? I thought you were to be our guide— Not to have someone sober at our side? Had I known I’m not sure I would have accepted the invitation—

GERALD Of course, if you’re uncomfortable—

ALDOUS You needn’t worry, Mr. Grant. We can care for one another.

CLARE Yes. And Rosalia is here.

CARY Does Rosalia speak English?

CLARE No, but I speak Italian.

CARY I’m so sorry, but I’ve had a change of heart. I really don’t feel comfortable with this.

CARY grabs his sweater off a chair.

CLARE You’re not going to leave?

ALDOUS Oh, don’t—

GERALD (he stands) Yes, stay. I won’t participate—

CARY No, no, you should—

— 73 —

— 74 —

Flying Over Sunset

GERALD But my change of heart was simply to be one with the three of you. I don’t have to, Mr. Grant—

CLARE (moves to CARY) Please stay, Mr. Grant.

CARY (beat) Will you all stop calling me Mr. Grant?

They laugh.

CLARE Cary.

ALDOUS & GERALD Cary.

CLARE Yes, we must dispense with formalities today.

(beat) Please stay.

CARY (beat) Very well. And Gerald, I want you to join us.

GERALD You’re certain?

CARY Yes. I’m just a bit nervous—

CLARE No need to be nervous. It’s going to be marvelous.

CARY returns and sits.

Flying Over Sunset

GERALD (pouring the last two glasses) Cary and I will begin with 100.

(They study GERALD as he pours the last glass and begins to pass them out one at a time. A sacred ritual of sorts.)

What shall we drink to?

ALDOUS Discovery.

CLARE Of course. And beauty.

GERALD And acknowledgement.

CLARE Cary?

CARY Well, here’s to enlightenment.

CLARE I like that!

CARY And trust.

ALDOUS Trust is essential.

CLARE I couldn’t agree more!

The MEN mumble in agreement.

ALDOUS (holding his glass up) To all of the above.

— 75 —

— 76 —

Flying Over Sunset

ALL FOUR To all of the above.

ALDOUS Where we will no doubt hover soon.

They laugh heartily.

ALL FOUR Cheers!

They drink. A moment of silence. The maid, ROSALIA, enters with a platter of fruit.

CLARE (she puts the platter down) I always like to have a little something in my stomach. Gentlemen, can I get anyone anything?

(they demur) Grazie, Rosalia.

ROSALIA Il piacere è tutto mio.

She steals a look at CARY, then leaves.

CARY Does she know what we’re doing?

CLARE I doubt it.

CARY All the same, I would hate to see an item in Hedda Hopper’s column.

CLARE No worries. And besides, Hedda is a friend.

CARY You have my condolences.

Flying Over Sunset

CLARE Now, now.

CARY What she did to Dalton Trumbo—

GERALD Remember! We are not going to talk politics today.

CLARE Quite right…

Long pause.

GERALD Would anyone care to chant?

CLARE Aldous, are you a follower of Vedanta like Gerald?

ALDOUS I’m fascinated by it.

CARY What is that?

GERALD It’s a form of Indian philosophy.

CLARE Are you religious, Aldous?

GERALD Aldous and I are from religious families.

ALDOUS We’ve paid our dues in that department. Now I have a different kind of religion.

He raises his empty LSD glass with a smile.

— 77 —

— 78 —

Flying Over Sunset

CLARE I’m quite religious.

CARY Really?

CLARE Yes. Catholicism.

ALDOUS Were you raised in a religious family?

CLARE Not at all. We were non-practicing Protestants. It was literally a church that drew me to the religion. I walked by St. Patrick’s cathedral at the lowest point of my life. It somehow drew me in.

CARY Interesting.

CLARE Are you religious, Cary?

CARY Well, like Mr. Huxley—

ALDOUS Aldous!

He catches himself and grimaces apologetically to CLARE.

CARY (laughing) Like “Aldous”—I like to think I have a spiritual side, if not what you would call a religious one.

ALDOUS Clare, don’t be surprised if we keep our feelings to ourselves today. You’re speaking with three Englishmen.

Flying Over Sunset

— 79 —

CLARE Isn’t that why we’re here? To share our feelings?

ALDOUS I’m very happy to listen to your feelings if you wish to share them. I’m just warning you that it may not be reciprocal.

GERALD Come now, Aldous.

ALDOUS Intimacy takes time—that’s all I’m saying, Gerald.

CLARE Understood.

GERALD Well, I am going to begin a chant.

CLARE Do you chant, Aldous?

ALDOUS On occasion.

CLARE Do you mind if we chant, Cary?

CARY Not in the least. Part of the experience I suppose.

GERALD (he kicks off his shoes) Do feel free to join in.

CARY Thank you, but I’ll just watch.

— 80 —

Flying Over Sunset

#1 4 — Om

Gerald, Clare, Aldous, Cary

GERALD kicks off his shoes and assumes a lotus position on the ground. CLARE and ALDOUS kick off their shoes, and join him.

CARY watches as GERALD and CLARE close their eyes.

GERALD begins to chant.

GERALD OM.

GERALD & CLARE OM.

GERALD, CLARE, & ALDOUS OM.

GERALD OM GAM GANAPATEYE NAMAHA.

CARY WHAT AM I DOING HERE?

GERALD OM GAM GANAPATEYE NAMAHA.

CARY WHY SHOULD I BARE MY SOUL?

GERALD OM GAM GANAPATEYE NAMAHA.

CARY WHAT IF I SAY TOO MUCH?

GERALD OM GAM GANAPATEYE NAMAHA.

CARY WHAT IF I LOSE CONTROL?

CLARE ANN, MY ANN…

GERALD OM. OM…

Flying Over Sunset

ALDOUS MARIA…

CLARE ANN…

ALDOUS MY MARIA…

GERALD, CLARE, & ALDOUS OM GAM GANAPATEYE NAMAHA.

GERALD SELF-ACCEPTANCE.

GERALD, CLARE, & ALDOUS OM GAM GANAPATEYE NAMAHA.

ALDOUS ENHANCED PERCEPTION.

GERALD, CLARE, & ALDOUS OM GAM GANAPATEYE NAMAHA.

CLARE (stealing a glance at CARY) I WISH HE’D TAKE HIS SHIRT OFF.

GERALD, CLARE, & ALDOUS OM GAM GANAPATEYE NAMAHA.

GERALD (stealing a glance at CARY) I WISH HE’D TAKE HIS SHIRT OFF.

Lights narrow focus to CLARE.

CLARE NO SEX. YES, SEX. I’D STOP IT BUT I CAN’T.

CLARE & GERALD WHAT ELSE AM I TO THINK ABOUT CHANTING NEXT TO CARY GRANT?

— 81 —

— 82 —

Flying Over Sunset

CARY (to himself) Om-shmome!

I SHOULD GO HOME!

(CARY)

CLARE, ALDOUS & GERALD OM!

HOME!

GERALD, CLARE, & ALDOUS OM GAM GANAPATEYE NAMAHA.

ALDOUS opens his eyes, fixates on CLARE’s feet.

ALDOUS SHE HAS SUCH INTERESTING FEET…

GERALD & CLARE OM GAM GANAPATEYE NAMAHA.

ALDOUS MAINTAINED, BUT NOT COMPLETELY.

GERALD, CLARE, & ALDOUS OM GAM GANAPATEYE NAMAHA.

GERALD opens one eye, sneaks a peek at CARY.

GERALD IN MOVIES HE’S AMAZING.

CLARE & ALDOUS OM GAM GANAPATEYE NAMAHA.

GERALD IT’S EVEN WORSE IN PERSON.

CLARE & ALDOUS OM GAM GANAPATEYE NAMAHA.

GERALD

(CLARE & ALDOUS)

DON’T LET HIM CATCH ME GAZING.

OM

TRANSCEND DESIRE

OM

WITH A MEDITATION I IMMERSE IN.

Flying Over Sunset

— 83 —

GERALD opens one eye again and sees that CARY is leaning over, untying his shoelaces and kicking off his shoes. CARY then closes his eyes and repositions himself, pulling at the crotch area of his pants to reposition his junk. GERALD quickly closes his eye again, continuing feverishly:

(GERALD) OM GAM GANAPATEYE NAMAHA! OM GAM GANAPATEYE NAMAHA! OM GAM GANAPATEYE NAMAHA… !

GERALD becomes suddenly aware that he is chanting all alone and stops.

CLARE Gerald, you’ve left us all behind.

(beat) I think my head is sufficiently cleared. My intentions have been set forth. And I believe, a certain tingle has begun.

ALDOUS It’s getting quite warm.

CLARE (calling off to ROSALIA) Rosalia, e noi portare alcuni panni freddi.

She has asked ROSALIA to raise the umbrella and bring out some cold wash cloths.

ALDOUS I think I will take my jacket off.

CLARE Of course. Everyone get comfortable.

ALDOUS puts on his sunglasses and then removes his sport jacket. CARY also puts on his sunglasses.

CARY This is such a lovely view.

ALDOUS Isn’t it though.

— 84 —

Flying Over Sunset

CARY I think I’m going to take off my socks.

CLARE (overlapping) Of course.

GERALD Please do.

CLARE By all means.

CARY (pulling off his socks) Gerald, what did those chants mean, exactly?

GERALD Well, many of the mantras and chants are rather difficult to translate. But generally—

ROSALIA enters with cold cloths, which CLARE passes around as she raises the umbrella.

CLARE Buona, Rosalia. Anyone else care for a cold cloth?

(she dabs her forehead) Oh that feels so refreshing.

(beat) I’m sorry to have interrupted you, Gerald. I’m afraid I don’t really want to discuss Vedanta right now.

CARY He was answering my question…

CLARE Oh. Forgive me.

CARY It’s fine. Maybe Gerald and I will discuss this later.

Flying Over Sunset

— 85 —

GERALD Any time.

As they sit quietly, the drug begins to take effect. The colors begin to grow richer. Just the hint of a shimmer fills the stage. The sound of the surf grows heightened.

I’m thinking I should like to stand up.

ALDOUS What?

GERALD I feel somewhat paralyzed. I think my legs are asleep. Occupational hazard of the lotus position I suppose.

ALDOUS Well, come on then.

ALDOUS moves over to GERALD to help him stand, but his eyesight is such that he doesn’t quite grasp GERALD’s hand at first. Finally, he tries to pull him up to no avail.

They begin to laugh.

Oh dear, I am not known for my strength.

GERALD That makes two of us.

CARY Let me help.

CLARE (laughing) Quite a predicament.

CARY moves over and tries to lift him up to no avail.

ALDOUS He’s deceptively heavy.

CARY Yes, he is.

— 86 —

Flying Over Sunset

The two men grab GERALD from either side and yank him upward but with such a force that he sways backwards into ALDOUS. ALDOUS loses his balance and in so doing pushes GERALD forward into CARY, knocking them both the ground. CLARE screams with laughter and they all dissolve into hilarity.

They are high as kites and have been reduced to children.

CLARE You are all right, aren’t you?

CARY Yes, yes.

ALDOUS No worry.

GERALD I’m fine.

(beat) But I may have wet myself.

That sends them into another spasm of laughter.

Slowly the MEN rise from the ground. Their laughter dies. They look at one another sheepishly.

CLARE I would say we’re starting to feel the effects, wouldn’t you?

GERALD If you’ll excuse me…

GERALD begins to make his way into the house.

CLARE Did you really wet yourself, Gerald?

GERALD I will let you know momentarily.

They laugh.

CLARE Take some of Henry’s clothes in the bedroom if need be.

Flying Over Sunset

— 87 —

GERALD goes into the house and their laughter dies down. The three of them remain momentarily lost in their thoughts. The sounds surround them. The shimmering of the light grows.

#1 5 — H ux l e y K n o w s

Clare, Cary, Aldous

ALDOUS What are you feeling, Clare?

CLARE Mmm. What am I feeling…

I FEEL THE SUN UPON ME, AND IT’S WONDERFUL.

CARY (opening another shirt button) I FEEL THE SUN.

CLARE AND I SMELL THE SUN.

ALDOUS YOU CAN’T “SMELL” THE SUN.

CLARE I CERTAINLY DO!

CARY I SMELL THE SUN, TOO.

ALDOUS YOU SMELL THE OXIDATION OF THE LIPIDS IN YOUR SKIN THROUGH YOUR CLOTHES.

CLARE CAUSED BY THE SUN?

ALDOUS CAUSED BY THE SUN.

CARY WHO KNEW?

— 88 —

Flying Over Sunset

CLARE HUXLEY KNOWS.

CARY HUXLEY KNOWS.

CLARE wanders over to a trellis and studies the bougainvillea.

CLARE THIS PURPLE BOUGAINVILLEA— DAMN, IT’S BEAUTIFUL.

CARY DON’T YOU MEAN RED?

CLARE “PURPLE” I SAID.

CARY (squints) NO, RED.

ALDOUS “MAGENTA” IS THE HUE.

CLARE “MAGENTA” TO WHO?

ALDOUS THE LEPIDOPTERA.

CLARE & CARY WHO??

ALDOUS IT LURES THE BUTTERFLIES TO PERCH WHERE IT GROWS. AFTER THEY BREED, LARVAE CAN FEED.

CARY BUGS SCREW?

CLARE (shrugs) HUXLEY KNOWS.

Flying Over Sunset

CARY HUXLEY KNOWS.

(They study another flower and begin getting tipsy.)

ALDOUS A FLOWER LIVES TO POLLINATE. A BIRD TO SING, A WASP TO STING.

CARY TO EACH HIS OWN, AS THE SAYING GOES. HUXLEY KNOWS.

CLARE HUXLEY KNOWS.

They study another flower.

ALDOUS See this flower with the five-inch stamen.

CLARE A stamen, you say?

ALDOUS This shaft here.

CARY What’s the fuzzy thing at the top?

ALDOUS That’s the anther.

CARY “Anther”?

ALDOUS It holds the pollen.

CLARE Is it changing colors?

— 89 —

— 90 —

Flying Over Sunset

ALDOUS No dear. You are beginning to ascend.

CLARE Of course.

CARY What’s that fat part at the bottom? The part from which all these delicate stamen emerge.

CLARE Or is it stamens?

ALDOUS Stamina. And that fat part is the ovary.

CARY A plant has an ovary?!

ALDOUS Of course. Somewhere there is an insect with a five-inch tongue…

CARY A five-inch tongue.

ALDOUS … that will find this five-inch stamen.

CLARE Aldous?

ARE GOD AND EVOLUTION INCOMPATIBLE?

CARY IS THERE A GOD?

CLARE I THINK THERE’S A GOD.

ALDOUS WHEREVER THERE’S GOD IS SCIENCE, TOO.

CLARE THEY BOTH CAN’T BE TRUE?

Flying Over Sunset

ALDOUS THE TRUTH IS TRUTH’S ELUSIVE. FACT AND FICTION COEXIST, I SUPPOSE.

CLARE TOO DEEP FOR ME.

(to CARY) WOULD YOU AGREE?

CARY NO CLUE.

CLARE HUXLEY KNOWS.

CARY HUXLEY KNOWS.

ALDOUS (with a bemused air) “HUXLEY KNOWS,” DOES HE? HE BEGS TO DISAGREE. ANYONE WHO SAYS HE KNOWS IT ALL DOES NOT KNOW HUXLEY.

(CLARE and CARY are amused.)

HUXLEY KNOWS HIS AIR OF EXPERTISE IS BUT A RUSE, GIVEN THAT HE COULDN’T CHANGE A LIGHTBULB OR A FUSE.

(CLARE and CARY start to laugh.)

HUXLEY STICKS TO FACTS OF NATURE, HARD AND FAST AND TRUE. FACTS OF DAILY LIVING ARE A SOURCE OF GREAT CONFUSION!

(CLARE and CARY laugh more.)

HOW TO TYPE A CARBON COPY. MEND A SOCK OR PRESS A SHIRT. ROAST A CHICKEN. GET THE BLOODY CUFFLINK IN THE SLEEVE! HOW MUCH WATER FOR THE PORRIDGE? BETTER NOT ASK HUXLEY!

— 91 —

— 92 —

Flying Over Sunset

(ALDOUS) HUXLEY DOESN’T KNOW. HUXLEY DOESN’T KNOW HOW TO… GRIEVE.

CLARE and CARY stare at ALDOUS, not knowing quite what to make of his “grieve” reference. GERALD enters wearing oversized pants which he has rolled up on the bottom.

GERALD What are you staring at?

CLARE Gerald, you look very smart.

GERALD I doubt that. Henry and I are not exactly the same size.

ALDOUS Yes, they’re a bit “Luce”.

CLARE (she chuckles) Henry could stand to lose some weight.

They sit and make themselves comfortable throughout the following:

CARY Where is Mr. Luce?

CLARE New York.

CARY Has he tried the drug?

CLARE Once. Gerald and I were his guides, but he didn’t care for it.

CARY Did he have a bad time?

Flying Over Sunset

CLARE He was very cranky and anxious for it to be over.

CARY (change of tone) I’ve had some unpleasant times on this drug.

CLARE Oh?

CARY Let’s just say, I have caught a glimpse of hell.

ALDOUS Sometimes it can be good for people to catch a glimpse of hell.

CARY Why would that be good?

ALDOUS To remind us it’s there.

CLARE Mmmm. Not sure I agree with that… When I was a journalist covering the war, I saw plenty of hell.

ALDOUS I’m surprised you have been so hawkish in your politics after seeing that carnage first hand.

CLARE War is a fact of life, sadly.

ALDOUS I disagree with you there. It needn’t be.

GERALD No politics, remember?

— 93 —

— 94 —

Flying Over Sunset

ALDOUS Gerald, any serious discussion is political when you come right down to it.

CLARE Quite right!

CARY You’re a pacifist, aren’t you Aldous?

ALDOUS Yes.

CLARE Aldous is an artist and thus he lives in a bubble.

ALDOUS I would say the four of us all live in a bubble, Clare.

CLARE Oh?

ALDOUS You are a woman of great wealth and beauty. You live the kind of life of which most people can only dream.

CLARE I wasn’t born to it, unlike you and Gerald.

ALDOUS (laughs) We were born of a certain privilege, not wealth.

CARY We do live in a bubble. All of us.

CLARE Were you born to privilege, Cary?

CARY Hardly. Working class.

Flying Over Sunset

— 95 —

CLARE Are your parents still with you?

CARY My mother.

CLARE (off-handed) I envy you. I lost my mother in a car accident—then my 19 year-old daughter six years later the same way.

ALDOUS How awful. I am so sorry.

CARY Yes. Terrible.

CLARE And are you close to your mother, Cary?

CARY I’m not in the psychiatrist’s office now, am I?

(they laugh) Just wanted to make sure.

He gets up, a bit unsteadily, and begins to pace around.

#1 6 — M y M o t h e r a n d I

Cary, Clare, Archie, Austin, Ann, Gerald

ALDOUS (to himself) “Are you close?” That’s a very American phrase.

CARY I didn’t really know my mother.

CLARE Oh?

— 96 —

Flying Over Sunset

ARCHIE appears.

CARY When I was ten, my father told me she died. It wasn’t until I was 25 that I learned he had actually had her committed.

CLARE Really?

ALDOUS Positively Dickensian.

CARY I got her out of that asylum. It was just blocks away from where we lived…

GERALD Well, good that you were reunited.

CLARE It must have been a touching reunion.

CARY Not especially. She couldn’t place me.

CLARE She didn’t recognize Cary Grant?

CARY Oh, him she recognized…

MY MOTHER AND I LED SEPARATE LIVES. SHE NEVER KNEW ME, JUST MY MOVIES. WHEN I’M ON THE SCREEN, SHE THINKS I’M HER SON. IN PERSON WITH HER, NO INKLING.

CLARE NONE?

Flying Over Sunset

CARY WHY BOTHER TO TRY?

ARCHIE WHY BOTHER TO TRY?

CARY, ARCHIE, & CLARE MY MOTHER AND I…

CLARE … WERE THICK AS THIEVES. MY MENTOR IN MEN, SEX AND MONEY. SHE SHARPENED MY SKILL HUNTING PREY. INSTRUCTING ME STILL TO THIS DAY ON HOW TO GET BY…

ANN and AUSTIN appear.

AUSTIN ON HOW TO GET BY…

ANN ON HOW TO GET BY…

CLARE, ANN, AUSTIN, CARY, GERALD, & ARCHIE MY MOTHER AND I…

GERALD … ESCAPED THE TRUTH. I’D READ OSCAR WILDE. SHE’D READ HER BIBLE. SHE’D QUOTE IT BY HEART WHILE MINE WENT NUMB, REPEATING THE PART WHERE SONS OF SODOM GET STONED TILL THEY DIE… GOD ONLY KNOWS WHY…

CARY YOU GET ONE MOTHER, GOOD OR BAD.

GERALD & CLARE ONE MOTHER, GOOD OR BAD…

— 97 —

— 98 —

Flying Over Sunset

CARY, CLARE & GERALD

ANN, AUSTIN & ARCHIE

HOW LIKE MY LUCK TO GET THE ONE I HAD.

ONE I HAD.

GERALD Aldous lost his mother at 14.

ALDOUS (agitated) Dear God!

(Music suddenly stops) We didn’t take LSD so we could sit around and tell sad stories about our mothers.

GERALD Quite right, Aldous. My apologies.

CLARE I’m sorry, Aldous. I didn’t mean to drum up unhappy memories. I’m just so interested in people’s stories.

(beat) Aldous?

GERALD (to ALDOUS, whose eyes are shut) Aldous, are you still with us?

ALDOUS Mmm…

He begins to hum the old-fashioned waltz we heard in our Prologue.

CLARE How did you meet your wife?

MARIA appears.

GERALD He met her on a ladder.

Flying Over Sunset

— 99 —

CLARE On a ladder?

GERALD She was painting.

CLARE Ah, she was an artist.

ALDOUS (smiles) Not quite—she was painting a cupboard.

CLARE Oh, that kind of painting…

GERALD But she was an artist in her own fashion. A lovely dancer.

ALDOUS A lovely dancer…

He rises and moves about.

CARY Professionally?

GERALD She would have liked that. But no. That was not to be.

ALDOUS We danced at home. Almost every night.

#1 7 — Th e M us i c P l a y s O n

Aldous, Maria, Clare, Gerald

(ALDOUS) HMM…

CLARE What fun. And what is that tune you’re humming?

— 100 —

Flying Over Sunset

ALDOUS ignores her. He repeats the same singing and blocking we first saw at the opening of the Prologue.

ALDOUS Hmm-hmm-hmm…

WHEN THE STARS— WHEN THE STARS BEGIN TO—

something…

AND THE DARK—

He gives up on the lyrics and goes back to humming and moving about.

MARIA repeats her movements from the Prologue.

MARIA WHEN THE STARS BEGIN TO FADE.

ALDOUS (he sees her and smiles) Fade. Of course. “And the dark”… ?

MARIA … GIVES WAY TO DAWN.

ALDOUS “Dawn”. A bit hokey, no?

MARIA AS THE DANCERS BOW “FAREWELL FOR NOW”

ALDOUS The music plays on?

MARIA THE MUSIC PLAYS ON…

ALDOUS Of course…

GERALD Maria and Aldous met at the home of Lady Ottoline Morrell.

Flying Over Sunset

CLARE (impressed) From the Bloomsbury crowd?

GERALD Yes. Maria was a Belgian refugee and Lady Ottoline took her in.

The music comes in and ALDOUS takes MARIA in his arms and they begin to dance.

ALDOUS AS THE MONSTER… I MEAN, MASTER—

MARIA “Maestro.”

ALDOUS — MAESTRO ENDS THE WALTZ WITH A WAVE OF HIS… B’B’B’B’BANANA…

MARIA “BATON.” A WILTED BLOOM THAT SCENTS THE ROOM

ALDOUS & MARIA THE MUSIC PLAYS ON.

ALDOUS WHEN THE CANDLES BURN TO…

MARIA ESSENCE

ALDOUS WHEN THEY DIM THE…

MARIA CHANDELIER

ALDOUS & MARIA IN YOUR EYES THE INCANDESCENCE OF YOUR PASSION DRAWS ME NEAR.

— 101 —

— 102 —

Flying Over Sunset

MARIA LIKE A GHOSTLY ELEGY TO A WORLD OF GRACE LONG GONE, IN THE LIGHT BEHIND, WITHIN MY MIND, IT’S YOU I’M LEANING UPON. IN THE MEM’RY OF OUR LOVE, THE MUSIC PLAYS ON.

ALDOUS and MARIA continue to dance.

CARY Sounds very romantic.

ALDOUS It was, but it had its complications.

GERALD Maria was fifteen.

CLARE That is a complication.

ALDOUS We married two years later.

GERALD Maria also liked women.

CLARE Oh?

ALDOUS You needn’t tell them everything.

MARIA Oh why not?

CLARE What do you mean?

Flying Over Sunset

ALDOUS She also liked to have sex with women.

CARY Nothing wrong with that.

CLARE (not quite convinced) If you say so…

ALDOUS LIKE THE RIPPLES ON A SCREAM.

CLARE SCREAM?

GERALD (laughing) STREAM.

ALDOUS LIKE THE RIPPLES ON A STREAM

Language has begun to escape me…

IN THE PASSING OF A…

CARY Boat?

CLARE A star?

ALDOUS It has to rhyme with “on”.

GERALD Fawn?

ALDOUS Gerald—a fawn?!

— 103 —

— 104 —

Flying Over Sunset

GERALD Fawns are very beautiful, Aldous.

ALDOUS (frustrated) It’s a water image.

CARY Prawn?

They begin to giggle. This has gotten too silly.

MARIA (beat, then prompting) Swan.

ALDOUS SWAN!

Romantic lighting fills the stage as MARIA and ALDOUS joyously waltz in a circle around the others. At one point ALDOUS twirls MARIA behind his back and CLARE seamlessly comes around and continues dancing with ALDOUS as MARIA disappears.

As they dance, he suddenly realizes who he is dancing with and drops CLARE’s hand and backs away from her. The music fades as the lights restore. ALDOUS looks around for Maria. Lost, he begins to weep. The OTHERS look on awkwardly for a beat. CARY moves to comfort him as GERALD helps ALDOUS over to a chair.

CARY (to ALDOUS) It sounds like you had a beautiful marriage. How lucky.

CLARE watches this, somewhat shaken. Finally, trying to change the subject:

CLARE Mr. Grant? Your wife Betsy Drake—she was one of your leading ladies, correct?

CARY Yes. I’m afraid we have separated.

CLARE Oh dear. I am so sorry. How rude of me to bring up the subject.

Flying Over Sunset

— 105 —

CARY No apologies necessary.

GERALD (changing the subject) Cary, I gather you’re considering coming back to the movies.

CARY Where did you hear that?

GERALD Cukor mentioned it.

CARY There’s a project at Paramount that interests me.

CLARE What’s the subject?

CARY A divorced father; his ex-wife dies unexpectedly and he suddenly has custody of his kids.

It’s opposite a leading lady I would love to work with.

CLARE And who might that be?

CARY Sophia Loren.

ALDOUS Oh yes, she is something special.

They look at ALDOUS, amused.

CLARE I met her when I was the Ambassador to Italy. A lovely girl. She was with Carlo Ponti, the producer.

GERALD I read somewhere he plans to marry her.

— 106 —

Flying Over Sunset

CARY He won’t if I have anything to say about it…

GERALD Is this a drama?

CARY It has some dramatic moments, but mostly it’s a romantic comedy.

CLARE Who is the romance between?

CARY Sophia and my character, of course.

CLARE Wait. How old is Sophia Loren? She can’t be more than what, 23? She could be your daughter.

ALDOUS It’s just a movie, Clare.

CLARE Who wrote this screenplay?

CARY Oddly enough, Betsy wrote it for us to star in.

SOPHIA Your wife…

CLARE Your wife?

CARY It’s been rewritten by the director and tailored to Sophia.

ALDOUS The plot thickens…

Flying Over Sunset

CLARE They fired your wife?

CARY The studio wouldn’t have made it with Betsy.

CLARE (smelling bullshit) No, of course not…

Lights suddenly change and a spotlight hits ROSALIA as her maid’s outfit suddenly disappears, revealing an incredibly sexy gold lame dress underneath. She whips off her maid’s cap and lets her hair fall to her shoulder. She has become SOPHIA and stares at CARY, who in turn stares at her as he continues talking to the others.

#1 8 — I Li k e t o L e a d 1950’s movie music. Italics indicate lines from the movie.

SOPHIA taps CARY on the shoulder and raises her hands up to indicate she wants to dance. He slips into her arms and they begin to dance slowly. ARCHIE looks on.

SOPHIA Oh, it’s a lovely evening. Thank you so much for bringing me.

CARY There’s something, perhaps, I should be telling you.

SOPHIA Yes?

CARY (overcome with romance) I love you, Sophia.

SOPHIA (beat; uncomfortable) Thank you. I love you, too.

CARY Then leave Carlo.

— 107 —

— 108 —

Flying Over Sunset

SOPHIA I do love you Cary. But I am “in love” with Carlo.

CARY Give me more time.

SOPHIA I don’t think so.

CARY Why?

SOPHIA Because you always have to lead.

CARY But a man is supposed to lead.

SOPHIA Carlo is man enough to let a woman take control. A woman feels great freedom when she leads a man.

CLARE Any idea what Cary is doing?

GERALD Not a clue.

ALDOUS He looks to be dancing.

CLARE (laughing) I’d join him so he could have a partner, but my ass is fused to this chair.

(SOPHIA steps on CARY’s toe and keeps it there. They stop dancing.)

CARY Ouch!

(he looks down at her foot)

Flying Over Sunset

— 109 —

(CARY) That’s my toe.

SOPHIA (sexy) And that’s my foot on top of it.

CARY And that’s quite a firm grip you have there.

SOPHIA Oh, it can get stronger.

(she squeezes his hand harder; it startles him) Married three times already. You’re afraid every woman is going to leave you so you leave them first.

CARY That’s not fair.

SOPHIA And what is this I hear about you and Randolph Scott?

CARY I beg your pardon!

Now SOPHIA applies even more pressure to CARY’s hand. The music is drowned out by a long screeching sound of his bones being crushed, as he grimaces and melts to the floor. SOPHIA lets go of his hand and disappears into the darkness along with ARCHIE, as the lights slowly restore.

GERALD (standing) Is he alright?

ALDOUS Do you need some help there, Cary?

The two MEN go to CARY to help him get up.

— 110 —

Flying Over Sunset

CLARE (concerned) I’ll get him a cold cloth.

She slowly rises from her chair and to get the cloth.

ALDOUS Cary? Would you like to stand up?

(CARY sits up and rubs his hand.)

Is your hand alright?

CARY begins to come out of his reverie. He realizes he’s holding his hand and moves it around to see if it’s still working. It is.

CARY Yes! It’s fine!

(CLARE returns and puts a cold cloth on his neck) That feels lovely.

(beat) Thank you.

(beat) Was I just dancing?

ALDOUS Indeed you were.

CARY rises slowly with the help of ALDOUS and GERALD.

CARY What were we just talking about?

They walk him to the chairs and the three sit. CLARE wanders about.

CLARE Your wife, Betsy Drake?

GERALD He was talking about Sophia Loren.

Flying Over Sunset

ALDOUS Every man in Hollywood must lust after her.

CLARE Cary, what does it feel like to be lusted after?

CARY I am an illusion.

CLARE We’re all an illusion.

ALDOUS I’m not an illusion.

GERALD You are an enigma.

CLARE No, you are the enigma. What of your lust, Gerald?

ALDOUS Yes, what of your lust, Gerald?

GERALD I am channeling it inward now. Trying to live my life as an ascetic.

ALDOUS You never told me—

GERALD Not in so many words.

CLARE Poor Gerald. You need to masturbate at the very least.

CARY Not now, please.

They all laugh heartily.

— 111 —

— 112 —

Flying Over Sunset

CLARE I’ve seen many things, but I’ve never seen a man masturbate.

CARY Nor I a woman.

ALDOUS Oh, it is very arousing to watch a woman pleasure herself.

Nervous laughter.

CLARE This is getting rather intimate.

ALDOUS Is it?

CLARE I am so happy we are here together. Thank you for coming today.

CARY Thank you.

ALDOUS You’ve been a wonderful host.

CLARE sits and lies back on her chair. She holds up her hands and studies them. After a moment of silence:

CLARE Is the surf getting louder?

ALDOUS I don’t know, but the bees are. Close your eyes and you can hear them…

GERALD Yes. Let’s all close our eyes.

The GHOSTS, with the exception of ANN, drift on. They tap the sound of a heartbeat as they enter.

GERALD closes his eyes, as does ALDOUS. CLARE puts her hands on her chest.

Flying Over Sunset

— 113 —

CLARE Feel your heartbeat. Isn’t that amazing? That we have this organ—this machine—that just somehow knows to keep us alive…

GERALD (his hands on his chest now) Our bodies are a wonder…

CLARE Does everyone’s heartbeat sound the same, Aldous?

ALDOUS No. Our hearts are all unique. Like fingers, no one has the same fingerprint.

The sounds slowly heighten coming from all around. The pounding surf; traffic on the Pacific Coast Highway; birds come and go; a plane overhead; a distant lawn mower; a child’s laugh.

GERALD What is that noise?

ALDOUS Which one? There are so many.

GERALD Like a drone.

CARY A lawn mower.

CLARE Quite right.

(Bird sound rises.)

CARY It sounds like a monkey.

CLARE (laughing) A monkey?

— 114 —

Flying Over Sunset

ALDOUS That’s a grebe.

CLARE What’s a grebe?

ALDOUS A rather common bird around here. And you’re right, it does rather sound like a monkey.

They listen to other bird calls.

CLARE I prefer the one that is whistling.

ALDOUS Yes, marvelous. A plover.

CLARE Ahh…

(beat) What is that odd noise?

ALDOUS That is a car horn in the distance.

The car traffic begins to rise above the birds and the surf.

The shadow of ANN appears inside the house window. The distant horn slowly grows closer and closer. Another horn sounds. The two cars are heading towards one another, their horns getting louder—at least in CLARE’s head. In shadowy light, ANN comes out of the house and moves near her mother. Suddenly there is the most frightening sound of a loud car crash.

CLARE bolts upright, the MEN oblivious. She looks over to ANN and we see her beautiful face bloody and distorted. CLARE screams.

#1 9 — Tr a n s i t i o n t o H e a v e n The MEN stand, startled. ANN flees and CLARE rushes off in her direction. *ANN could also come through the audience or a vomitorium depending on the configuration of the stage.

Flying Over Sunset

SCENE 2—2: THE GARDEN A magical place. A tropical fern forest.

The height of CLARE’s trip as she enters.

An enormous fern leaf opens and as in a bower there sits AUSTIN, one leg hanging down. Her jewelry shines and shimmers, and perhaps she wears some strange hat made of ferns.

AUSTIN Hello, dear.

(CLARE lets out a little cry) Clare, did I startle you?

CLARE Yes. I’m looking for Ann?

AUSTIN (concerned) Are you all right, sweetheart? You seem upset.

CLARE Ann was just with me…

AUSTIN Yes?

CLARE And she—well, she looked like she must have looked after the crash.

AUSTIN Well, dear. You are in an altered state.

CLARE I never saw her after the accident. Or you after yours, for that matter. I’m so sorry.

I’ve always felt guilty about that—

AUSTIN You were right not to look at us once we were gone. We wouldn’t have known the difference. As I always taught you, guilt is a waste of time.

— 115 —

— 116 —

Flying Over Sunset

CLARE Thank you.

#2 0 — A n I n t e r e s t i n g P l a c e

Austin, Clare, Ann

(CLARE looks around.)

Where is Ann?

AUSTIN (proud) She is with Jesus.

CLARE (at a loss) Is this heaven?

AUSTIN Yes, dear. Where did you think you were?

CLARE (she looks about) Oh. It isn’t what I imagined…

AUSTIN HEAVEN IS AN INTERESTING PLACE. EVERY DAY, A NEW LOCATION. YESTERDAY, SUDAN, FLOODED IN A MONSOON. DAY BEFORE, GUYANA. HERE, THERE, GONE SOON. EVERY DAY IS SOMEWHERE NEW TO SEE.

CLARE WHERE ARE WE TODAY?

AUSTIN NEW ZEALAND. NOTHING LIKE THE GOOD BOOK, MORE LIKE A BROCHURE. HEAVEN’S AN ETERNAL THOMAS COOK TOUR.

Flying Over Sunset

(AUSTIN) WIND, SAND, SLEET. RAIN OR SHINE, WE CAN’T FEEL COLD OR HEAT.

CLARE (sympathetic) Huh?

AUSTIN ONE THING MOTHER MISSES: FOOD, TO EAT. SPAGHETTI WITH STEAMER CLAMS, AND GARLIC BREAD. SEVEN LAYER CAKE, AND FESTIVE CHRISTMAS HAMS.

CLARE There’s no Christmas?

Fanfares. ANN enters, restored to her former self before the accident.

AUSTIN And look who’s here!

CLARE There you are. Oh, thank goodness, you’re back to yourself.

ANN Of course.

CLARE I was so concerned when I saw you in that state.

ANN I’m fine, Mother.

CLARE Grandma just told me you had an audience with Jesus. What was he like?

ANN He doesn’t look anything like his pictures.

— 117 —

— 118 —

Flying Over Sunset

CLARE Really?

AUSTIN Now be a dear, Clare, and hand me my other leg.

CLARE What?

AUSTIN It’s over there somewhere. Maybe behind that bush.

CLARE Your leg?

She turns to ANN.

ANN Yes, it keeps breaking in the exact same place that it was severed in her car accident!

CLARE moves over and looks among the ferns.

CLARE This is so strange…

AUSTIN HEAVEN IS AN INTERESTING PLACE.

ANN ADRIFT IN DAYDREAMS.

AUSTIN LIKE A TRAIN WITH ENDLESS STATIONS.

ANN A CLOUD OF STRAY DREAMS.

AUSTIN ONE DAY MACHU PICCHU, THEN NEPAL.

ANN LIVING HELL OR EDEN, BEFORE THE FALL.

Flying Over Sunset

— 119 —

ANN & AUSTIN MAYBE IT’S NOT HERE AT ALL.

GERALD enters and sees CLARE and dashes over to her.

GERALD There you are!

CLARE (she jumps) You startled me! Go away, please.

GERALD We were concerned about you.

CLARE You needn’t be concerned.

GERALD We have decided to go down to the beach. Come join us. You shouldn’t be here alone.

CLARE I am not alone. Now please, leave! I am in the middle of something very important! I have to find mother’s leg.

GERALD But Clare—

CLARE Go! How many times must I tell you?! You can be such a pain in the ass, Gerald! Go!

For a moment, you can see the commandeering person CLARE can be to her underlings.

GERALD nods and exits.

She finds the leg and as she brings it to her mother:

AUSTIN Sometimes I wonder about your friends.

CLARE I said the same of your friends.

— 120 —

Flying Over Sunset

(CLARE) (handing her the leg) Here’s your leg.

(Matter-of-factly AUSTIN reattaches it and then crosses her legs. CLARE continues quietly to ANN:) Are you okay here?

ANN Yes, Mother.

CLARE Well, I’m glad to know you and your grandmother are together.

ANN Not exactly. Granny and I are in somewhat different places.

CLARE What do you mean?

AUSTIN Ann came here a virgin. That puts her in a very special category.

CLARE Oh, Ann. I had no idea.

ANN And Granny’s in her own “special” category.

CLARE What category might that be?

ANN She came here a whore.

AUSTIN I beg your pardon!

CLARE Ann, how could you call your Grandmother that?!

Flying Over Sunset

— 121 —

ANN I’m sorry. What term should I use?

CLARE Certainly not that one. Tell her, Mother.

AUSTIN (matter of fact) Call me a “courtesan”. I entertained men who helped us with household expenses and paid for your private schooling, I might add! I did what I had to do for you!

CLARE You were a wonderful mother.

ANN And Grandmother. Thank goodness you were around for me, Granny.

CLARE What is that supposed to mean?

ANN Well, most of the time you were away from home doing “important” things.

AUSTIN (annoyed) We’ve been through this, Ann. Your mother led an extraordinary life.

CLARE I loved you so much, Ann.

#2 1 — I f Onl y I ’ d K n o w n

Clare, Austin, Ann

(CLARE) I thought we’d have time to grow closer when you finished your schooling.

(to herself) IF ONLY I’D KNOWN…

ANN Known what?

— 122 —

Flying Over Sunset

CLARE THE DREADFUL COST. YOU HARDLY WERE GROWN BEFORE I LOST YOU.

AUSTIN AS USUAL, DEAR, YOU’RE SO NAÏVE.

CLARE Naïve?

AUSTIN WE’RE BETTER OFF HERE SPARED FROM YOUR GRIEVING. NOW BE OF GOOD CHEER.

CLARE You have each other!

ANN IT’S ALL IN YOUR MIND, MOTHER. BOTH GRANNY AND ME, MOTHER. WHATEVER YOU SEE, MOTHER, THERE’S NO ONE HERE.

CLARE Isn’t this Heaven?

AUSTIN IT’S JUST A MIRAGE, DAUGHTER. A CHEMICAL DREAM, DARLING, YOU CONJURED TO MAKE YOUR DEMONS DISAPPEAR.

ANN & AUSTIN

CLARE

DON’T LOOK FOR MIRACLES.

PLEASE DON’T GO.

A “MAGIC” ANTIDOTE.

STAY WITH ME.

THERE IS NO DRUG TO MAKE YOU

DON’T

FREE OF HUMAN FEAR.

DISAPPEAR.

LIFE IS THE MIRACLE.

I FEEL

THE SAPPHIRE DRAGONFLY.

LOST AT SEA

GET ON WITH LIVING IT,

WITHOUT

BEFORE THE BIRD GETS HERE.

YOU HERE.

AUSTIN and ANN begin to vanish.

Flying Over Sunset

— 123 —

AUSTIN PERSEVERE.

CLARE Mother, wait!

ANN PERSEVERE.

CLARE Ann, not yet!

AUSTIN & ANN FAREWELL, DEAR…

CLARE What, forever?

AUSTIN & ANN PERSEVERE… !

The music rises as the TWO WOMEN are enveloped by the leaves and slowly disappear, though we hear them continuing to sing, distantly. (fading) PERSEVERE… !

CLARE Ann? Ann! Mother! Mother, don’t go!

CLARE looks feverishly for them.

“Persevere?”

#2 2 — H ow ?

Clare

(CLARE) How? HOW DO YOU KEEP ON GOING, ON YOUR OWN? HOW DO YOU LOSE YOUR FLESH AND BLOOD, THEN CARRY ON, ALONE? I THOUGHT WE’D MEET IN HEAVEN. IS HEAVEN EVEN THERE?

— 124 —

Flying Over Sunset

(CLARE) OR IS IT ONLY STARS AND EMPTY AIR?

Hello?

THERE MUST BE SOMETHING MORE. SOMETHING, OR… ISN’T THERE? ISN’T THERE?!

ISN’T THERE??!

HOW DO YOU GET THROUGH LIFE, BEREFT OF FAITH? AFTER YOU PRAY THE SEVENTH DAY, WHO LISTENS, ON THE EIGHTH? DOES PRAYER DISSOLVE IN ETHER, AND VANISH IN THE VOID? HOW DO YOU BEAR YOUR BURDENS WITH BELIEF ITSELF DESTROYED? HOW? HOW!?

TELL ME, HOW!?!

HOW TO RECLAIM THE PERSON YOU ONCE WERE? WHAT’S THE POINT OF ALL THE FAME AND POWER? WHY DO I FEEL UNSATISFIED WITH ALL THAT I’VE ACCOMPLISHED? SO EMPTY INSIDE… UNFINISHED… GODDAMIT. I TOOK A MAGIC DRUG TO SHOW ME HOW TO GROW. ONE HUNDRED FIFTY MICROGRAMS.

(with mounting panic) ENOUGH? NOT ENOUGH! NOT NEARLY ENOUGH! NO! HOW DO YOU SAVE A MARRIAGE WITHOUT LOVE? PHYSICAL LOVE, THE HUMAN TOUCH I GET SO LITTLE OF? I WAS SO BLIND; SELF-CENTERED FOR SOMEBODY SO SMART, SUCCEEDING WITHOUT HEARING MY OWN HEART.

Flying Over Sunset

(CLARE) I PUSHED THEIR LOVE ASIDE, TILL THEY DIED. I LIVE ON, ALL ALONE, TERRIFIED. AND WHAT NOW? PERSEVERE? TELL ME, HOW?

CLARE stands stunned for a moment and then walks off, as we are taken seamlessly to the Malibu beach.

— 125 —

— 126 —

Flying Over Sunset

SCENE 2—3: THE BEACH GERALD, CARY and ALDOUS enter in swimsuits. ALDOUS and GERALD’s are too large. CARY’s, on the other hand, looks perfect. They walk to the edge of the water.

The sound of the beach life is mesmerizing to them. Kids playing and squealing, seagulls calling, the rushing water. They are at the peak of their trip.

CARY This was an excellent idea.

ALDOUS Lovely how the light plays on the water.

GERALD The water feels divine.

CARY It does.

GERALD I love how it pulls the sand from beneath your feet.

CARY Should we go further in?

GERALD Not too far. I don’t trust my swimming skills.

ALDOUS And these trunks are likely to come off.

GERALD Yes, Henry is rather round.

(to CARY) Cary, you were wise to bring your bathing suit today.

ALDOUS It feels unseemly wearing Henry Luce’s swimming trunks.

Flying Over Sunset

— 127 —

GERALD My guess is he’s never worn them.

ALDOUS That’s a relief. I don’t like the thought of my ball sack being anywhere near where his ball sack has settled.

GERALD and CARY burst out laughing.

CARY Ball sack?

ALDOUS Scrotum.

CARY Yes, I know. Come on.

#2 3 — Th r e e En g l i s h m e n

Cary, Gerald, Aldous

They start in. ALDOUS holds back.

ALDOUS I can’t. The undertow is too treacherous.

They grab hold of his hands.

CARY We’ll conquer it together.

ALDOUS More likely drag each other down.

CARY THREE ENGLISHMEN APPROACH THE SEA.

GERALD TWO ENGLISHMEN.

CARY (does a head count) YOURSELF, HIM, ME. THREE ENGLISHMEN.

— 128 —

Flying Over Sunset

GERALD TWO ENGLISHMEN, FOR I AM ANGLO-IRISH.

ALDOUS We know, we know.

CARY You’ve told us.

ALDOUS (squints) WHAT COLOR LOOKS THAT SEA TO YOU?

GERALD A GREENISH-TEAL-CERULEAN HUE.

CARY IT’S BLUE.

GERALD BLUE-ISH.

CARY NO, BLUE.

GERALD PISH-PISH! IT’S COLORLESS TO THE FISH.

ALDOUS Well, we’ve done ankles.

CARY Are we ready now for knees?

They wade in further, sliding, supporting each other shakily.

ALDOUS I FAR PREFER AN ENGLISH BEACH, LIKE BOURNEMOUTH BY THE SEA.

CARY TO EACH HIS OWN I SAY, HERE IN L.A. THE SURGING SURF IS PRETTIER.

Flying Over Sunset

ALDOUS THE DOVER CLIFFS ARE TEMPEST-TOSSED, AND “BEAUTY SEEN IS NEVER LOST.”

GERALD TO QUOTE WALT WHITMAN?

ALDOUS shakes his head no.

CARY ROBERT FROST.

GERALD JOHN DONNE.

CARY JOHN KEATS.

ALDOUS JOHN WHITTIER.

CARY Well, we were right about the John. Ready for waist-deep?

They hesitate, looking out to sea.

ALDOUS, CARY, & GERALD Hmmmm…

CARY THE VAST PACIFIC LOOMS… THE PRECIPICE.

GERALD THE LEDGE.

ALDOUS THE AMNIOTIC SOUP OF LIFE ON EARTH: THE OCEAN’S EDGE.

(They study the ocean. ALDOUS points:) Protozoa.

— 129 —

— 130 —

Flying Over Sunset

GERALD (pointing) Algae.

CARY (pointing; mispronouncing) Ameno… menomes.

GERALD Anem… amemomees…

ALDOUS Ameno-nemo-emo-memo… oh, fuck it.

They wade out a little further.

GERALD I GROW CONCERNED HOW DEEPLY WE ARE WADING.

ALDOUS SO DO I. IF BARRACUDAS NOTICE US INVADING—

All three quickly cover their crotches with their hands.

CARY, GERALD, & ALDOUS ME OH MY!

GERALD A GIANT SQUID COULD YANK US IN!

ALDOUS (squinting into the distance) IS THAT A GREAT WHITE’S DORSAL FIN?

CARY IF JELLYFISH DESTROY MY SKIN, WILL ALFRED HITCHCOCK USE ME?

ALDOUS Speaking of skin…

Flying Over Sunset

(ALDOUS) (in some pain) MY SKIN HURTS FROM THIS LSD, LIKE SOMEONE STICKING PINS IN ME. LYSERGIC ACID ALLERGY?

GERALD (touching ALDOUS’ skin) OR SUNBURN?

ALDOUS (flinching; embarrassed) RIGHT. EXCUSE ME.

GERALD (squints, looking out) Stop here. This is quite deep enough.

CARY I say we keep going.

THREE ENGLISHMEN—

ALDOUS OR TWO PLUS HIM.

CARY — ARE HEADING DEEPER IN TO SWIM.

GERALD I’M SCARED!

ALDOUS I’M BLIND, BUT WHY BE GRIM? GO FORTH AND SEIZE THE DAY, KID.

GERALD SUPPOSE WE LOSE OUR BATHING SUITS?

ALDOUS EXPOSE YOUR MANLY ATTRIBUTES! CAN’T THREE SUCH DAMNED ATTRACTIVE BRUTES SWIM UNASHAMED AND NAKED?

— 131 —

— 132 —

Flying Over Sunset

CARY NAKED?

ALDOUS NAKED!

GERALD NAKED?

ALL THREE NAKED!

Music: The three go deeper into the water, appearing to walk forward. They hold one another as the waves wash them back and forth. As they bob in the water, CARY suddenly shouts:

CARY Hey! Careful there!

GERALD What is it?

CARY Do you see that boy? He’s too far out!

GERALD (squinting) I don’t see him.

ALDOUS Are you sure, Cary?

CARY He’s going to drown.

ARCHIE appears in the distance, flailing about. CARY leaves the MEN to swim to him.

GERALD and ALDOUS watch nervously as he gets further from them.

GERALD (calling) Careful there, Cary!

CARY reaches ARCHIE and grabs the boy and holds him up.

Flying Over Sunset

— 133 —

CARY Are you mad? You can’t handle these currents.

ARCHIE No, you can’t handle these currents.

CARY Why don’t you know enough to stay put. To stay out of sight.

ARCHIE Because this is what you want.

CARY Oh just shut up, once and for all!

ARCHIE You would like that, wouldn’t you? You can shut me up right now. Go ahead! Let me go!

You can’t do it, can you? You can’t let go of me.

CARY (beat) Goodbye.

CARY lets go and ARCHIE begins to move away and flail. The boy cries “help”, gasping for air. CARY turns his back on him and tries to swim away. Of course he can’t, and finally with great effort, he fights his way back to the boy. He jumps up and down until he finally pulls him into his arms and hugs him.

Now CARY is fighting for air. He loses his balance and goes under and comes up without ARCHIE. GERALD leaves ALDOUS’ side and makes his way to CARY, who is now in trouble.

ALDOUS begins to flounder in the water as GERALD gets to CARY and grabs his arm and begins to pull him towards shore.

GERALD Hold on to me and come along, Cary.

CARY The boy is drowning.

— 134 —

Flying Over Sunset

GERALD There is no boy, Cary!

CARY I can’t leave him behind.

GERALD (as he pulls his arm) Don’t fight me.

CARY (trying to find the boy under the water) He was just here.

GERALD No! You’re dreaming! Stop!

With great effort GERALD drags him away.

ALDOUS Gerald!

(They fight their way back to ALDOUS, who is struggling to keep his head above water.

GERALD grabs him as well and then battles the currents to get them back to shore.

Exhausted, they finally reach the beach and fall to the ground in a heap, gasping for air and spent. At last, ALDOUS continues weakly, to CARY:) What exactly was it that you saw out there?

(CARY doesn’t answer. ALDOUS and GERALD exchange a look.)

Cary. We didn’t see a boy.

CARY I know. But I did…

Shakily, CARY tries to get up.

ALDOUS Just sit for a moment.

CARY I’ve never felt so alone. I thought I was a goner.

Flying Over Sunset

GERALD You had a scare.

CARY No. It was more than a scare.

ALDOUS I felt it, too. Like I was just a speck…

The music begins again. This time, in contrast to before, it is slow, halting, tentative; not in rhythm, reflecting their spent exhaustion.

CARY AS I WAS BLACKING OUT, IT HIT ME THERE AND THEN: YOU GET NO SECOND CHANCE IN LIFE TO SHOOT THE SCENE AGAIN…

(turns to GERALD and ALDOUS) THREE ENGLISHMEN WERE NEARLY TWO.

GERALD OR ONE.

ALDOUS (to GERALD, with gratitude) OR NONE, IF NOT FOR YOU.

GERALD (reflects) THE THINGS NEAR DEATH CAN MAKE ONE DO.

(in discomfort, adjusts trunks) GOOD LORD, MY CROTCH IS SANDY.

CARY WITHOUT YOU THERE I HATE TO THINK HOW CLOSE WE TEETERED ON THE BRINK.

ALDOUS A BRUSH WITH DEATH DESERVES A DRINK. FOR DROWNING VICTIMS? BRANDY.

— 135 —

— 136 —

Flying Over Sunset

CARY (bucking each other up) BRANDY?

GERALD BRANDY?

ALDOUS (decisively) BRANDY.

ALDOUS, CARY, & GERALD BRANDY!

Helping each other, they head off. Music segues without pausing to…

Flying Over Sunset

— 137 —

SCENE 2—4: MALIBU, CLARE’S RENTAL HOUSE, SUNSET #2 4 — Th e M e l anc h o l y H o u r ( P a r t 1 )

Maria, Ann, Austin, Archie, Father, Sophia

ARCHIE, MARIA, FATHER, ANN, AUSTIN, and SOPHIA appear as we segue back to Clare’s house.

MARIA, ANN, AUSTIN, ARCHIE, FATHER, & SOPHIA AS TWILIGHT TURNS THE SKY TO INDIGO AND VIOLET WITH FRAGRANT NIGHTSHADE IN FLOWER, SHADOWS OF UNEASE SILHOUETTE THE TREES. THIS IS THE MELANCHOLY HOUR.

CLARE, wearing sunglasses, lies on a lounge chair. She is in a bathing suit with a robe covering her. Sunglasses and sun hat complete the look. She is lifeless. The sounds of the ocean still in the distance.

ALDOUS, CARY, and GERALD enter, disheveled and exhausted. CARY immediately goes over and pours glasses of water for the others.

GERALD Clare? Clare?

CLARE I’m not speaking to you.

ALDOUS What happened?

CLARE What happened? I was abandoned.

GERALD Hardly. I came to see if you wanted to join us at the beach.

CLARE I was in heaven.

— 138 —

Flying Over Sunset

ALDOUS Excuse me?

GERALD You dismissed me—like one of your servants.

CLARE Had I known you were leaving—

GERALD (getting angry) I told you we were leaving and you were not in the least bit interested Clare.

CARY No need to get worked up. Clare was in heaven after all. We do apologize.

CLARE Thank you, Cary. An apology. You are such a gentleman. So… what did I miss?

CARY The usual: the beach was sandy; the ocean was cool and inviting; and everything was quite lovely, until it wasn’t.

CLARE What do you mean?

CARY We almost drowned.

CLARE (sits up) What? Did you really almost drown?

ALDOUS Now we’re on terra firma and all that is in the past.

GERALD May I speak?

Flying Over Sunset

— 139 —

CLARE Who’s stopping you?

GERALD I would apologize, but I have no idea for what. Frankly, your tone to me earlier was mean-spirited and you should be the one apologizing.

ALDOUS Perhaps the two of you were just on different planes in that particular moment.

CARY Yes. I’m sure that’s it.

CLARE Clearly, you saw that I was very worked up, Gerald.

GERALD (emotional) Indeed I did. And I came to you out of concern. And we certainly would not have left you alone had you not insisted on it.

#2 4 A — Th e M e l a n c h o l y H o u r ( P a r t 2 )

Maria, Ann, Austin, Archie, Father, Sophia

CLARE sits up. Takes off her glasses and studies him. GERALD turns his back on her.

MARIA (to ALDOUS) NOW, IN DESCENDING, THE FOG SEEMS TO LIFT.

ANN & AUSTIN (to CLARE) YOUR TRIP IS ENDING.

ARCHIE & FATHER (to CARY) YOU’RE FEELING ADRIFT.

MARIA ALL THAT GOES UP MUST COME DOWN, YOU KNOW.

— 140 —

Flying Over Sunset

(MARIA) FOR EVERY—

ANN, AUSTIN, SOPHIA, ARCHIE, & FATHER HIGH!

MARIA THERE COMES A LOW…

ANN, AUSTIN, MARIA, ARCHIE, FATHER, & SOPHIA THIS IS THE MELANCHOLY HOUR.

They recede.

CLARE I apologize for my tone, Gerald. I was not myself.

(GERALD nods to her.)

I grew lonely. My three Englishmen were gone. How is everyone doing?

ALDOUS Frankly, I would like more. I am beginning to wane.

(to GERALD) 50 more micrograms will do it.

GERALD (appalled) Really, Aldous? You shouldn’t.

ALDOUS And why shouldn’t I?

GERALD I think you’ve had quite enough.

CLARE You sound like his mother, Gerald. Don’t be such a pansy.

Flying Over Sunset

— 141 —

GERALD (stung) I beg your pardon.

A long awkward pause as CLARE realizes what she has just said.

CLARE I meant no offense.

GERALD You are careless, Clare. With words. With people. We’re not just extras in your day-to-day drama.

CLARE Is that how you see me?

GERALD Sometimes, yes.

CARY Please, let’s not do this.

ALDOUS Come now. We are on edge. No need for this sort of conversation. And anyway, pansies are beautiful flowers, Gerald.

GERALD It’s a demeaning term, Aldous.

CLARE (she crosses to GERALD as she speaks; carefully) I am greatly fond of you, Gerald. I love you. In fact, I often feel closer to you than to Henry. I chose a word carelessly. It tumbled out of my mouth without thought or malice.

Forgive me. Please.

Beat. GERALD turns and they grasp hands.

ALDOUS Gerald, I really do want more.

— 142 —

Flying Over Sunset

GERALD Why?

ALDOUS I want to live longer in the upper register.

GERALD (serious) I worry about you, Aldous.

ALDOUS Worry?

GERALD I worry that you will go too far out into space and no one will ever be able to pull you back.

ALDOUS (chuckles) Dear friend, you worry too much. We never get beyond the boundaries of our mind.

GERALD You don’t know that and you don’t have Maria now to rein you in.

ALDOUS We had a visit today.

GERALD What?

ALDOUS And I apologized.

GERALD Apologized, for… ?

ALDOUS For not acknowledging in the final days that she was dying.

Flying Over Sunset

— 143 —

GERALD That’s the way she wanted it, Aldous.

GERALD tries to hold on to his emotions.

ALDOUS No. That’s the way I wanted it. I couldn’t bring myself to say goodbye.

CLARE (touched) Understandable…

ALDOUS rises and goes to GERALD.

ALDOUS Thank you for looking out for me. I will refrain from taking any more and enjoy where I am right now if you think it best.

MARIA exits. Beat.

CARY Do you believe there is a heaven, Clare?

CLARE What?

CARY You said you were in heaven.

CLARE Oh, right. Well, I thought I was… I’m afraid to not think there is a heaven. If there’s no heaven, then what else is there?

GERALD Nirvana? Buddhists believe that we move to another plane on our next journey.

CLARE And Aldous, what do you believe?

ALDOUS I do believe there is a heaven. Not in the Catholic tradition though.

— 144 —

Flying Over Sunset

CARY And where is your heaven?

ALDOUS It’s right here.

(he points to his head) It’s all up here. A universe beyond what we know that lives on once the body is gone. If I have my way, I will take LSD on my death bed.

CLARE (to ALDOUS) You’re joking.

CARY (to GERALD) Is he serious?

GERALD Oh yes, Aldous has mentioned that before. He’s mad as a hatter.

They all laugh.

CLARE Well, this may be the last time I take this.

CARY Why?

CLARE I think I’ve seen all I need to see. Or maybe, more to the point, want to see.

ALDOUS Was today not what you had in mind when you invited us here, Clare?

CLARE I had no expectations other than for us to share a connection on this drug.

GERALD Such a tricky word.

Flying Over Sunset

— 145 —

ALDOUS Yes. Well, I suppose a connection comes down to chemistry, doesn’t it?

CARY How so?

ALDOUS The ratio of the twenty-two basic ingredients that make up the human species: Oxygen, Hydrogen, Potassium…

CLARE Please don’t name all of them?

They laugh.

#2 5 — Th e 2 3 r d I n g r e d i e n t

Aldous, Clare, Cary, Gerald

ALDOUS Actually, I can’t.

CARY (to CLARE and GERALD) At last, something Huxley doesn’t know…

ALDOUS I was being polite. Of course I know them all!

(They laugh.)

TWENTY-TWO INGREDIENTS. ON OUR LAUNDRY LIST. ALL ESSENTIAL ELEMENTS NEEDED TO EXIST. CARBON, CHLORINE, NITROGEN, SCIENCE LEAVES NO DOUBT. YET SCIENCE, IN ITS BLINDNESS, LEFT THE BIG ONE OUT.

The 23rd ingredient.

CLARE Which is… ?

— 146 —

Flying Over Sunset

ALDOUS The indescribable one that makes us human—that makes our experiences inherently unique.

THIS WAS AN EXPERIMENT WE SET OUT TO SHARE.

CLARE THAT WE DID, TO SOME EXTENT.

CARY BRIEFLY, HERE AND THERE.

GERALD MEMORY. EXPERIENCE. ALL WE RECOLLECT.

ALDOUS, CLARE, CARY, & GERALD THE 23RD INGREDIENT. OUR DIFFERENCES CONNECT.

CLARE The drug is a mirror, isn’t it?

CARY A fun house mirror.

GERALD A living dream, really.

ALDOUS A different perspective.

CLARE Yes.

CARY Also, a Pandora’s box.

ALDOUS Sometimes, that too.

(He turns to CARY.)

Flying Over Sunset

(ALDOUS) Cary, who was the boy in the water?

CLARE Boy in the water?

CARY slowly turns to him, then to the others.

CARY (beat) It was me…

(vulnerable) I’VE BEEN HIDING ALL MY LIFE FROM A SENSE OF SHAME. CHANGED MY IMAGE, NAME, AND WIFE. ONE THING STAYED THE SAME. ALWAYS THAT ABANDONED KID WAITING TO BE FOUND. THE BOY WHO KEPT HIS HEAD AFLOAT. THE BOY WHO CAN’T BE DROWNED.

(indicates himself) Archibald Leach.

ALDOUS Nice to meet you, Archie!

CLARE Yes, lovely to meet you.

GERALD Hello.

CLARE Do we ever shake our childhoods?

I WAS SCHOOLED TO BE MOTHER’S BEST REVENGE. MY SUCCESS IS THANKS TO HER DESIGN. BUT HER DRIVING FORCE SWEPT ME UP, OF COURSE.

— 147 —

— 148 —

Flying Over Sunset

(CLARE) I’VE LIVED THE LIFE SHE CHOSE FOR ME.

(as if to her unseen mother) WHAT’S LEFT NOW IS MINE.

ALDOUS HERE WE SIT IN MALIBU, TIRED BUT CONTENT, TAKING IN THE LOVELY VIEW, WOND’RING WHERE WE WENT. UNACQUAINTED WAYFARERS SEARCHING FOR OUR WAY. THE 23RD INGREDIENT BONDED US TODAY.

CLARE Gerald, who did you spend the day with?

GERALD Mostly, I spent the day with Gerald. Right here and now. Not in the past.

CARY What were you like as a child?

GERALD (beat) A pansy.

ALDOUS A brilliant and beautiful pansy.

GERALD And a lonely one at that until I met Aldous and Maria.

I WAS ALWAYS SHY, FRIGHTENED TO BE TOUCHED. I REPRESSED DESIRE WITH CONTROL.

(looking at ALDOUS) BUT WHEN THREE MINDS MELD, I, FOR ONCE, FELT HELD. THE WAY A LEAF DOES TO A TREE.

Flying Over Sunset

(GERALD) PART OF THE WHOLE.

CLARE EACH OF US IS INCOMPLETE TILL OUR PATHS CONVERGE.

CLARE, CARY, & ALDOUS EVERYONE IN LIFE WE MEET MIXES IN THE MERGE.

CLARE, CARY, ALDOUS, & GERALD MEMORY. EXPERIENCE. ALL WE’VE LEARNED SO FAR.

ALDOUS NOT TEN CENTS WORTH OF CHEMICALS IN A MASON JAR.

CLARE, CARY, ALDOUS, & GERALD THE 23RD INGREDIENT. THE 23RD INGREDIENT. MAKES US WHO WE ARE.

They sit in silence for a beat. The light is beginning to shift.

ALDOUS The sunsets are very beautiful here.

CLARE Magic, really.

CARY The sun is going down as we are going down.

ALDOUS We are gliding back to earth.

CLARE (laughing) I hope our wings are steady.

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Flying Over Sunset

GERALD We have each other to soften the fall.

ALDOUS Indeed.

CLARE Can I get anyone anything?

ALDOUS (looking to CARY) There was talk of brandy!

CARY That’s right!

CLARE Wonderful idea! I’ll get it for us.

(begins to exit, then stops; she turns to ALDOUS) Aldous, let’s go in together. I want to show you this odd house.

ALDOUS (beat) Very well.

ALDOUS rises a bit unsteadily and joins CLARE as they walk into the house.

Then CARY rises:

CARY Thank you for back there.

GERALD Excuse me?

CARY In the water. I have never felt so helpless.

GERALD And I have never felt so strong.

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CARY You had no choice but to be strong.

GERALD (thinks about this) Maybe that’s how it works…

#2 6 — B e l l a D onn a ( R e p r i s e 2) (GERALD slowly walks to CARY and faces him. They stare at one another as a certain tension fills the beat. Then GERALD breaks it.)

I think I’m going to chant.

CARY Of course.

GERALD Feel free to join me.

Cary pats his shoulder, then goes and sits.

In the house, CLARE pours the brandy as ALDOUS looks out at us, as if studying a painting.

ALDOUS Can I help?

CLARE I can’t do much in the kitchen, but I’m very proficient at a bar.

ALDOUS I must say the art in this house strikes me as quite pedestrian. California “modern” art escapes me.

CLARE brings ALDOUS a brandy and then also looks at the painting.

CLARE Me, as well.

ALDOUS Give me an Old Master any day.

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Flying Over Sunset

They study the painting for another moment, and then:

CLARE (still staring at the painting) Would you do me a great favor, Aldous?

ALDOUS Certainly.

CLARE (vulnerable) Would you just hold me?

His eyes stay on the painting for a moment, then he awkwardly turns to CLARE. He tentatively takes CLARE in his arms. She slowly puts her arms around him, like two teenagers who have never done this before. Slowly, they relax and CLARE rests her head on ALDOUS’ chest.

Alternate Finale The authors of Flying Over Sunset have included two options for the ending of their show.

The ending used on Broadway, #27, is included in the main text of the libretto and the orchestra books. The alternate Finale, #27 Alt., is included in the appendix of your libretto, and directly following #27 in your orchestra books. The alternate Finale is what you will hear on the original cast recording. You may choose whichever ending is best suited to the needs of your production.

If you are performing #27 Alt.—Flying Over Sunset (Reprise 2) turn to page 154 in the Appendix.

In the far background, MARIA, ANN, AUSTIN, SOPHIA, Cary’s FATHER and ARCHIE in a ghostly fashion cross the stage, eyes forward. Their footsteps make the sound of a heartbeat.

Continue here following #27 Alt.—Flying Over Sunset (Reprise 2).

#2 7 — A f t e r n o o n H a s E n d e d

Gerald, Cary

Meanwhile, GERALD had arranged himself in the lotus position and begins to meditate as the GHOSTS disappear.

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— 153 —

GERALD OM.

(CARY looks over at GERALD. He slips off his shoes.)

OM.

CARY quietly sits next to GERALD and studies him, replicating the lotus position.

He takes a deep breath.

GERALD & CARY OM.

GERALD is momentarily startled to see CARY at his side, then smiles to himself as the two hold their note.

Music swells and then fades with the light of day as the two COUPLES stare out at us in peace.

END OF MUSICAL #2 8 — B o ws / Ex i t

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Flying Over Sunset

APPENDIX ALTERNATE ENDING #2 7 A l t .— Fl yi ng O v e r S u n s e t ( R e p r i s e 2 )

Maria, Father, Archie, Ann, Sophia, Austin

In the far background, MARIA, ANN, AUSTIN, SOPHIA, Cary’s FATHER and ARCHIE in a ghostly fashion cross the stage, eyes forward.

MARIA AFTERNOON IS ENDED, AND THE BREEZE IS COOL AND DRY. ABSOLUTELY SPLENDID, THAT KALEIDOSCOPIC SKY.

FATHER GIVE OR TAKE A MOMENT… WE’LL BEGIN TO DISAPPEAR.

ARCHIE & FATHER IF, IN FACT, WE’RE ACTUALLY HERE…

ANN, AUSTIN, and SOPHIA re-enter.

MARIA, ARCHIE, & FATHER

ANN, SOPHIA, & AUSTIN

THEN IT’S TIME FOR US TO FOLLOW,

TO FOLLOW…

AS A CATALINA SWALLOW

SWALLOW

GOES FLYING OVER SUNSET,

FLY…

FLYING OVER SUNSET

FLYING OVER SUNSET… FLYING OVER SUNSET…

ANN, SOPHIA, ARCHIE, AUSTIN, FATHER, & MARIA FLYING OVER SUNSET… FLYING OVER SUNSET… HIGH…

MARIA FREE AND CLEAR…

AUSTIN FREE AND CLEAR…

Flying Over Sunset

ANN & SOPHIA FREE AND CLEAR…

ARCHIE & FATHER FREE AND CLEAR…

AUSTIN, ARCHIE, & FATHER CLEAR…

ANN & SOPHIA CLEAR…

The GHOSTS vanish. Their footsteps make the sound of a heartbeat.

Continue on page 152 of the libretto.

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Flying Over Sunset

Musical Numbers Act I 1.

Prologue (The Music Plays On). . ........................................... COMPANY ...... 159

1A.

Prologue Speeches.. ........................................................................................ 162

1B.

Transition to Rexall. . ...................................................................................... 163

2.

Bella Donna Di Agonia................... JUDITH, HANDMAIDEN, ALDOUS ...... 164

3.

Wondrous.................................................................................. ALDOUS ...... 169

4.

Bella Donna Di Agonia (Reprise).............. ALDOUS, GERALD, MARIA, ............ ........................................................................................... SALES CLERK ...... 174

4A.

Transition to Office........................................................................................ 175

5.

I Have It All. . .................................................................................. CARY ...... 175

6.

Funny Money.................................................. ARCHIE, CARY, FATHER ...... 179

7.

Funny Money (Reprise)............................................................. ARCHIE ...... 186

8.

Transition to Connecticut.............................................................................. 187

9.

A Sapphire Dragonfly......................................... CLARE, ANN, AUSTIN ...... 187

10.

Someone.. ...................................................................................... CLARE ...... 192

11.

Flying Over Sunset. . ............................ CLARE, GERALD, ANN, AUSTIN ...... 194

11A. Transition to the Brown Derby. . .................................................................... 203 11B.

A Beautiful Rental. . ........................................................................................ 203

12.

Flying Over Sunset (Reprise) . . ..............................................COMPANY...... 203

Flying Over Sunset

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M u s i c a l N u m b e r s (C o n t ’ d ) Act II 13.

Entr’acte. . ........................................................................................................ 211

14.

Om.................................................... GERALD, CLARE, ALDOUS, CARY ...... 211

15.

Huxley Knows.................................................. CLARE, CARY, ALDOUS ...... 218

16.

My Mother and I............................... CARY, CLARE, ARCHIE, AUSTIN,............. . . .............................................................................................. ANN, GERALD ...... 224

17.

The Music Plays On....................... ALDOUS, MARIA, CLARE, GERALD ...... 229

18.

I Like to Lead................................................................................................. 234

19.

Transition to Heaven..................................................................................... 234

20.

An Interesting Place. . .......................................... AUSTIN, CLARE, ANN ...... 234

21.

If Only I’d Known............................................... CLARE, AUSTIN, ANN ...... 237

22.

How?. . ........................................................................................... CLARE ...... 240

23.

Three Englishmen.......................................... CARY, GERALD, ALDOUS ...... 243

24.

The Melancholy Hour (Part 1)........................... MARIA, ANN, AUSTIN, ............ ..................................................................... ARCHIE, FATHER, SOPHIA ...... 251

24A. The Melancholy Hour (Part 2)........................... MARIA, ANN, AUSTIN ,............ ..................................................................... ARCHIE, FATHER, SOPHIA ...... 252 25.

The 23rd Ingredient......................... ALDOUS, CLARE, CARY, GERALD ...... 253

26.

Bella Donna (Reprise 2)................................................................................. 258

27.

Afternoon Has Ended.................................................... GERALD, CARY ...... 258

28.

Bows/Exit. . ..................................................................................................... 258

Appendix 27Alt. Flying Over Sunset (Reprise 2). . .................. MARIA, FATHER, ARCHIE, ............ ........................................................................... ANN, SOPHIA, AUSTIN ...... 259

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Flying Over Sunset