Flying Over Sunset Free Read

Book by James Lapine

Music by Tom Kitt

Lyrics by Michael Korie

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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)

c haracters

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

PL ace

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

N ote

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—

s ce N es & m usica L

#1—Prologue (The Music Plays On)

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.

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”

The music plays on?

THE MUSIC PLAYS ON…

ALDOUS

MARIA

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:

(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.

#1A—Prologue Speeches

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.

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.

… stand tall and confront your fears…

ALDOUS

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:

Why the hell am I sitting here again?

CLARE

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?

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.

#1B—Transition to Rexall

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?

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?

I know! I gave him a small amount.

GERALD

MARIA (moves to ALDOUS)

How are you, darling? Your pupils are quite dilated.

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?

Lysergic acid diethyl-amide 25.

GERALD

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.

The toy department?

Right this way.

ALDOUS taps the BOY’s shoulder.

DAD

SALES CLERK

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.)

Nor should it be.

ALDOUS

But all the same…

MARIA

ALDOUS

(turns the page)

Ah now, look at this wonderful painting.

“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.

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?

#2—Bella Donna Di Agonia Judith, Handmaiden, Aldous

MARIA

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

BELLA DONNA DI AGONIA.

BELLA DONNA MADRE E MAESTRA!

CI SALVI DALLA DISTRUZIONE, MA SEMPRE LA MIA DONNA!

AHH… AHH…

ALDOUS

(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

BEEN TO FLORENCE MANY TIMES BEFORE. STOOD BEFORE THIS PAINTING I ADORE. NOW, TO MY EYESIGHT, EVEN WITH MY SIGHT, I SUDDENLY SEE… MUCH MORE!

JUDITH & HANDMAIDEN

LA LA LA

LA LA LA LA

LA LA LA LA

LA LA LA LA LA

AHH

AHH

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

What is it, Aldous?

GERALD

MARIA

What?

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—Wondrous 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.

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!

What of my trousers?

THEY’RE WONDROUS,

GERALD

ALDOUS

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!

What?

MARIA & GERALD

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.

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?

MARIA

(moved)

I am fine. I am just fine.

Are you? Your skin. So pale.

ALDOUS

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.

I am strong, Aldous.

MARIA

Like Judith!

ALDOUS

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.

Come, you two. That’s enough of that.

GERALD

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.

Can we get out of this place!

MARIA

#4—Bella Donna Di Agonia (Reprise)

Aldous, Gerald, Maria, Sales Clerk

Yes, please!

GERALD

I suppose it is a bit sterile…

ALDOUS

They laugh as they pull ALDOUS to the exit.

#4A—Transition to Office

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.

Would you like to sit?

HARRIS

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?

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.

All right. Why would you like to try it?

HARRIS

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.

Time to do something else.

CARY

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?

No.

CARY

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—

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.

Did you drive here?

Yes.

HARRIS

CARY

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.

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.

I don’t know Bristol.

HARRIS

CARY

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

HARRIS

And what is your real name?

Cary Grant.

CARY

HARRIS

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

CARY (beat)

Archibald Leach.

And what did your father do in Bristol?

HARRIS

He was a presser in a tailor’s shop.

CARY

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?

No. Father.

Parents divorced? (beat)

Mr. Grant?

CARY

HARRIS

CARY

My mother disappeared when I was 10.

HARRIS

She disappeared?

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?

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?

I beg your pardon!

CARY

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.

Have It All

(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.

#5—I

Cary

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

Do you enjoy that?

HARRIS

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.

(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 Money 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…

I know this…

CARY

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—

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!

Right in!

ARCHIE

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

CARY

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.

HIS LITTLE ‘OBBY.

CARY

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.

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.

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!

(pointing to CARY’s butt)

ARCHIE

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!

CARY

“CHIN UP, KID, A CHAMP HANGS TOUGH!”

ARCHIE

(scoffs)

(big finish)

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

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.

Mr. Grant? (no response)

Mr. Grant!

(CARY looks around, disoriented.)

What was that song you were singing?

HARRIS

CARY (stoned)

Oh. An old music hall tune.

It’s charming.

“Charming.” That’s the card I played.

HARRIS

CARY

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?

Who’s wearing girl’s clothes?

HARRIS

CARY

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

HARRIS

Did you protest?

CARY

(slightly embarrassed)

Fact is, I liked it—and I hated it.

Mostly hated it!

You shut up, Archie!

ARCHIE

CARY

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.

What is it?

You look a little like my father…

HARRIS

CARY

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.

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.

Well, thank you so much for being here.

CLARE

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.

Grazie, Rosalia.

CLARE

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.

Grazie, Rosalia.

CLARE

GERALD

Grazie.

(ROSALIA smiles at GERALD and exits.)

She’s been with you a long time.

Since my first day at the embassy.

CLARE

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?

Yes?

GERALD

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!

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—

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…

It will calm your mind.

GERALD

CLARE

Alright…

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

GERALD

OM. OM.

OM. OM.

GERALD & CLARE

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…

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!

(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.

#9—A Sapphire Dragonfly

Clare, Ann, Austin

(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)

HOW TO LET GO? HOW TO GO ON?

IF GOD EXISTS, I DON’T KNOW WHERE.

YOU WERE THE WORLD TO ME, SO YOUNG AND BEAUTIFUL. I NEED A DRUG TO SEE YOU NOW, NO THANKS TO HIM.

ANN

YOU NEED TO LET GO, MOTHER, AND GO IT ALONE, MOTHER. REMEMBER YOUR OWN MOTHER, HER STRENGTH OF WILL.

AUSTIN

KEEP LOOKING FOR GOD, DAUGHTER.

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

ANN & AUSTIN

LOOK FOR GOD.

SEEK HIS LIGHT. FIND PEACE IN PRAYER.

(CLARE)

WHAT KIND OF DEITY CREATES A MIRACLE, THEN FOR THE HELL OF IT DESTROYS IT ON A WHIM?

(ANN & AUSTIN) COME DUSK EVERY NIGHT I WILL 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.

Sit down, and chant, Clare.

GERALD

CLARE

(she sits; agitated)

I don’t really want to chant, Gerald. I’m too nervous.

GERALD

Then close your eyes. (she does; beat)

What do you see?

#10—Someone

Someone staring back.

Who?

Who is that?

GERALD

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

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.

Clare

CLARE

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.

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.

#11—Flying Over Sunset

Clare, Gerald, Ann, Austin

(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.

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

WATER LAPS MY THIGHS, WASHING UP INSIDE ME…

FLYING OVER SUNSET.

FALLING SUCH A LONG WAY DOWN.

FLYING OVER SUNSET.

PLUNGING UNDERNEATH TO DROWN.

ANN & AUSTIN

LAPS MY THIGHS UP INSIDE ME…

FLY… FLYING OVER SUNSET. AH.

FLY… FLYING OVER SUNSET. AH.

(CLARE)

SPINNING IN A WHIRLPOOL, AS THE WATER SOOTHES MY SKIN, FEELING SO COMPLETELY CLEANSED OF SIN… THAT I SIMPLY MUST SURRENDER

(ANN & AUSTIN)

AH. AH. AH. CLEANSED OF SIN SURRENDER

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

TO THE “SENSATORY” SPLENDOR AS I’M FLYING OVER SUNSET… JUST GIVE IN.

MUST GIVE IN.

JUST GIVE IN. MUST GIVE IN. GIVE IN. IN! IN! IN! IN! IN! IN! IN! IN! IN! IN! AHH! AHH…

TO SPLENDOR FLY…

JUST JUST GIVE IN.

MUST GIVE IN. JUST GIVE IN.

GIVE… GIVE! GIVE! GIVE! GIVE! GIVE! GIVE! GIVE! GIVE! GIVE! GIVE! IN! AHH! AHH…

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

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.

Yes.

I think the television likes him!

GERALD

MARIA

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?

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!

Oh, dear. I see what you mean.

GERALD

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!

Shut it off.

MARIA

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—

She cuts him off and moves towards the bedroom, making it clear the discussion is over. The lights fade to black.

#11A—Transition to the Brown Derby

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.

Happily alone.

ALDOUS

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?

You never told me that.

GERALD

CLARE

(to ALDOUS)

I was Clare Brokaw, then.

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

ALDOUS

You wrote a short piece for us.

That’s right.

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

CLARE

ALDOUS

CLARE

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?

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.

I just recently read The Devils of Loudun

CARY

Oh? Few people read that book.

I found it chilling.

Was that a good thing?

ALDOUS

CARY

ALDOUS

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…

How lucky am I? Three Englishmen.

(to CARY)

Technically I’m Anglo-Irish. No one knows what to make of this.

CLARE

GERALD

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!

(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.

I don’t get out much.

ALDOUS

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.

I see your photograph in the papers—

ALDOUS

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

CARY

ALDOUS

I can imagine that is a bit of a chore. They laugh.

Cheers!

Cheers.

CLARE

ALL FOUR

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.

Thank you.

ALDOUS

CLARE

She sounded like a most fascinating woman.

Maria was one of a kind.

I wish I’d had a chance to meet her.

GERALD

CLARE

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.

What did you do with George?

CARY

A treatment for “Madame Curie.”

He didn’t direct that movie.

ALDOUS

CARY

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.

(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.

(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?

A guide? No. Just a psychiatrist.

CARY

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.

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.

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.

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?

(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!

#12—Flying Over Sunset (Reprise) 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?

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!

DON’T GO FAR.

YOU’LL BE SORRY.

ANN

AUSTIN

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

NAVIGATE THE AIRSPACE OF THE WORLD BEYOND YOUR VIEW! CONSTANTLY EXPLORING FOR THE REASON WHY YOU’RE YOU! FLYING OUT OF BODY TO EXPERIENCE THE MIND!

ANN, MARIA, ARCHIE, AUSTIN, FATHER & SOPHIA

FLY… NAVIGATE THE AIRSPACE

AH!

CONSTANTLY EXPLORING…

AH!

FLY… AH!

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.

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.

DON’T FALL…

DON’T FALL…

CLARE

MARIA & SOPHIA

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

#13—Entr’acte

*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.

What are you starting us on, Gerald?

100 micrograms.

So little?

CLARE

GERALD

CLARE

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.

Very well.

CARY

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?

Yes, whatever you feel appropriate.

(finishes mixing the potions)

Now, I was considering joining you.

CARY

GERALD

Oh do, Gerald!

I think it a wonderful idea.

CLARE

ALDOUS

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.

You’re not going to leave?

CLARE

ALDOUS

Oh, don’t—

(he stands)

Yes, stay. I won’t participate—

No, no, you should—

GERALD

CARY

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.

Cary.

Cary.

CLARE

ALDOUS & GERALD

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.

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?

Discovery.

Of course. And beauty.

And acknowledgement.

ALDOUS

CLARE

GERALD

CLARE

Cary?

CARY

Well, here’s to enlightenment.

CLARE

I like that!

And trust.

Trust is essential.

I couldn’t agree more!

The MEN mumble in agreement.

CARY

ALDOUS

CLARE

(holding his glass up)

To all of the above.

ALDOUS

To all of the above.

ALL FOUR

ALDOUS

Where we will no doubt hover soon.

They laugh heartily.

Cheers!

ALL FOUR

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.

Il piacere è tutto mio.

She steals a look at CARY, then leaves.

Does she know what we’re doing?

CARY

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.

ROSALIA

Now, now.

What she did to Dalton Trumbo—

CLARE

CARY

GERALD

Remember! We are not going to talk politics today.

CLARE

Quite right… Long pause.

Would anyone care to chant?

GERALD

CLARE

Aldous, are you a follower of Vedanta like Gerald?

ALDOUS

I’m fascinated by it.

What is that?

It’s a form of Indian philosophy.

Are you religious, Aldous?

CARY

GERALD

CLARE

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.

CLARE

I’m quite religious.

CARY

Really?

Yes. Catholicism.

Were you raised in a religious family?

CLARE

ALDOUS

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.

Are you religious, Cary?

CLARE

Well, like Mr. Huxley—

CARY

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.

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.

Well, I am going to begin a chant.

Do you chant, Aldous?

On occasion.

Do you mind if we chant, Cary?

GERALD

CLARE

ALDOUS

CLARE

CARY

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

GERALD (he kicks off his shoes)

Do feel free to join in.

Thank you, but I’ll just watch.

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.

OM.

GERALD

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…

Gerald, Clare, Aldous, Cary

MARIA…

ANN…

MY MARIA…

ALDOUS

CLARE

ALDOUS

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?

CARY

(to himself)

Om-shmome!

I SHOULD GO HOME!

(CARY) HOME!

CLARE, ALDOUS & GERALD OM!

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

DON’T LET HIM CATCH ME GAZING. TRANSCEND DESIRE

WITH A MEDITATION I IMMERSE IN.

(CLARE & ALDOUS)

OM OM

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.

This is such a lovely view.

CARY

ALDOUS

Isn’t it though.

CARY

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

CLARE

(overlapping)

Of course.

Please do.

By all means.

GERALD

CLARE

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.

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.

He’s deceptively heavy.

ALDOUS

CARY

Yes, he is.

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.

Did you really wet yourself, Gerald?

CLARE

GERALD

I will let you know momentarily. They laugh.

CLARE

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

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.

What are you feeling, Clare?

ALDOUS

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!

I SMELL THE SUN, TOO.

CARY

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?

#15—Huxley Knows Clare, Cary, Aldous

HUXLEY KNOWS.

HUXLEY KNOWS.

CLARE

CARY

CLARE wanders over to a trellis and studies the bougainvillea.

CLARE

THIS PURPLE BOUGAINVILLEA— DAMN, IT’S BEAUTIFUL.

CARY

DON’T YOU MEAN RED?

“PURPLE” I SAID.

CLARE

CARY (squints)

NO, RED.

“MAGENTA” IS THE HUE.

ALDOUS

CLARE

“MAGENTA” TO WHO?

THE LEPIDOPTERA.

WHO??

ALDOUS

CLARE & CARY

ALDOUS

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

CARY

BUGS SCREW?

CLARE (shrugs)

HUXLEY KNOWS.

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?

This shaft here.

What’s the fuzzy thing at the top?

ALDOUS

CARY

ALDOUS

That’s the anther.

“Anther”?

It holds the pollen.

CARY

ALDOUS

CLARE

Is it changing colors?

No dear. You are beginning to ascend.

ALDOUS

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?

Stamina. And that fat part is the ovary.

ALDOUS

A plant has an ovary?!

CARY

ALDOUS

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

CARY

A five-inch tongue.

… that will find this five-inch stamen.

Aldous?

ALDOUS

CLARE

ARE GOD AND EVOLUTION INCOMPATIBLE?

CARY

IS THERE A GOD?

I THINK THERE’S A GOD.

CLARE

ALDOUS WHEREVER THERE’S GOD IS SCIENCE, TOO.

CLARE

THEY BOTH CAN’T BE TRUE?

ALDOUS

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

CLARE

TOO DEEP FOR ME.

(to CARY)

WOULD YOU AGREE?

NO CLUE.

HUXLEY KNOWS.

HUXLEY KNOWS.

(with a bemused air)

CARY

CLARE

CARY

ALDOUS

“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!

(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.

What are you staring at?

Gerald, you look very smart.

GERALD

CLARE

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.

Has he tried the drug?

CARY

CLARE

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

CARY

Did he have a bad time?

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?

To remind us it’s there.

ALDOUS

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.

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

ALDOUS

No politics, remember?

GERALD

ALDOUS

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

CLARE

Quite right!

You’re a pacifist, aren’t you Aldous?

Yes.

CARY

ALDOUS

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?

Hardly. Working class.

CARY

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.

ALDOUS (to himself)

“Are you close?” That’s a very American phrase.

CARY

I didn’t really know my mother.

CLARE

Oh?

#16—My Mother and I Cary, Clare, Archie, Austin, Ann, Gerald

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?

WHY BOTHER TO TRY?

WHY BOTHER TO TRY?

CARY

ARCHIE

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…

CARY, CLARE & GERALD

HOW LIKE MY LUCK TO GET THE ONE I HAD.

ANN, AUSTIN & ARCHIE

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.

How did you meet your wife?

MARIA appears.

He met her on a ladder.

CLARE

GERALD

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”

The music plays on?

THE MUSIC PLAYS ON…

ALDOUS

MARIA

ALDOUS

Of course…

GERALD

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

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.

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.

Sounds very romantic.

It was, but it had its complications.

CARY

ALDOUS

Maria was fifteen.

That is a complication.

GERALD

CLARE

ALDOUS

We married two years later.

Maria also liked women.

Oh?

You needn’t tell them everything.

GERALD

CLARE

ALDOUS

MARIA

Oh why not?

What do you mean?

CLARE

She also liked to have sex with women.

ALDOUS

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?!

Fawns are very beautiful, Aldous.

GERALD

(frustrated)

It’s a water image.

ALDOUS

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.

No apologies necessary.

CARY

GERALD

(changing the subject)

Cary, I gather you’re considering coming back to the movies.

CARY

Where did you hear that?

Cukor mentioned it.

GERALD

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?

Sophia Loren.

Oh yes, she is something special.

They look at ALDOUS, amused.

CARY

ALDOUS

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.

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…

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.

#18—I Like to Lead

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.

SOPHIA

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

CARY

Give me more time.

I don’t think so.

SOPHIA

CARY Why?

SOPHIA

Because you always have to lead.

But a man is supposed to lead.

CARY

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.

He looks to be dancing.

ALDOUS

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)

(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.

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.

Your wife, Betsy Drake?

He was talking about Sophia Loren.

CLARE

GERALD

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.

We’re all an illusion.

CLARE

ALDOUS

I’m not an illusion.

You are an enigma.

GERALD

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—

Not in so many words.

GERALD

CLARE

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

CARY

Not now, please. They all laugh heartily.

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:

Is the surf getting louder?

CLARE

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.

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.

Like a drone.

GERALD

CARY

A lawn mower.

CLARE

Quite right. (Bird sound rises.)

CARY

It sounds like a monkey.

CLARE (laughing) A monkey?

That’s a grebe.

What’s a grebe?

ALDOUS

CLARE

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.

Yes, marvelous. A plover.

ALDOUS

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.

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.

CLARE

Thank you.

#20—An Interesting Place

(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.

Austin, Clare, Ann

Really?

CLARE

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.

ANN & AUSTIN

MAYBE IT’S NOT HERE AT ALL.

GERALD enters and sees CLARE and dashes over to her.

There you are!

GERALD

CLARE (she jumps)

You startled me! Go away, please.

We were concerned about you.

You needn’t be concerned.

GERALD

CLARE

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.

(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?

Yes, Mother.

ANN

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?

She came here a whore.

ANN

AUSTIN

I beg your pardon!

CLARE

Ann, how could you call your Grandmother that?!

I’m sorry. What term should I use?

ANN

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.

I thought we’d have time to grow closer when you finished your schooling. (to herself) IF ONLY I’D KNOWN…

ANN

Known what?

Naïve?

CLARE

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

AUSTIN

AS USUAL, DEAR, YOU’RE SO NAÏVE.

CLARE

AUSTIN

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

You have each other!

CLARE

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 DON’T LOOK FOR MIRACLES. A “MAGIC” ANTIDOTE. THERE IS NO DRUG TO MAKE YOU FREE OF HUMAN FEAR. LIFE IS THE MIRACLE. THE SAPPHIRE DRAGONFLY. GET ON WITH LIVING IT, BEFORE THE BIRD GETS HERE.

AUSTIN and ANN begin to vanish.

CLARE

PLEASE DON’T GO. STAY WITH ME. DON’T DISAPPEAR. I FEEL LOST AT SEA WITHOUT YOU HERE.

Mother, wait!

PERSEVERE.

AUSTIN

CLARE

ANN PERSEVERE.

CLARE

Ann, not yet!

FAREWELL, DEAR…

What, forever?

AUSTIN & ANN

CLARE

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… !

Ann? Ann! Mother! Mother, don’t go!

CLARE looks feverishly for them.

“Persevere?”

CLARE

#22—How? 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?

(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.

(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.

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.

This was an excellent idea.

CARY

ALDOUS

Lovely how the light plays on the water.

GERALD

The water feels divine.

It does.

CARY

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.

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.

Ball sack?

Scrotum.

Yes, I know. Come on.

They start in. ALDOUS holds back.

CARY

ALDOUS

CARY

ALDOUS

I can’t. The undertow is too treacherous.

They grab hold of his hands.

We’ll conquer it together.

More likely drag each other down.

CARY

ALDOUS

CARY

THREE ENGLISHMEN APPROACH THE SEA.

GERALD

TWO ENGLISHMEN.

(does a head count)

CARY

YOURSELF, HIM, ME. THREE ENGLISHMEN.

#23—Three Englishmen Cary, Gerald, Aldous

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.

BLUE-ISH.

NO, BLUE.

GERALD

CARY

GERALD

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

Well, we’ve done ankles.

ALDOUS

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.

ALDOUS

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

GERALD

TO QUOTE WALT WHITMAN?

ALDOUS shakes his head no.

ROBERT FROST.

JOHN DONNE.

JOHN KEATS.

JOHN WHITTIER.

CARY

GERALD

CARY

ALDOUS

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.

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…

(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?

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:

Hey! Careful there!

What is it?

CARY

GERALD

CARY

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

GERALD (squinting)

I don’t see him.

Are you sure, Cary?

ALDOUS

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.

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.

Oh just shut up, once and for all!

CARY

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.

Hold on to me and come along, Cary.

GERALD

CARY

The boy is drowning.

There is no boy, Cary!

I can’t leave him behind.

(as he pulls his arm)

Don’t fight me.

GERALD

CARY

GERALD

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.

I know. But I did…

Shakily, CARY tries to get up.

Just sit for a moment.

CARY

ALDOUS

CARY

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

You had a scare.

No. It was more than a scare.

GERALD

CARY

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.

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…

#24—The Melancholy Hour (Part 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.

Clare? Clare?

I’m not speaking to you.

What happened?

What happened? I was abandoned.

GERALD

CLARE

ALDOUS

CLARE

GERALD

Hardly. I came to see if you wanted to join us at the beach.

CLARE

I was in heaven.

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?

Who’s stopping you?

CLARE

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.

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.

#24A—The Melancholy Hour (Part 2) Maria, Ann, Austin, Archie, Father, Sophia

FOR EVERY—

HIGH!

(MARIA)

ANN, AUSTIN, SOPHIA, ARCHIE, & FATHER

THERE COMES A LOW…

MARIA

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.

(appalled)

Really, Aldous? You shouldn’t.

And why shouldn’t I?

I think you’ve had quite enough.

GERALD

ALDOUS

GERALD

CLARE

You sound like his mother, Gerald. Don’t be such a pansy.

GERALD

(stung)

I beg your pardon.

A long awkward pause as CLARE realizes what she has just said.

I meant no offense.

CLARE

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?

Sometimes, yes.

Please, let’s not do this.

GERALD

CARY

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.

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?

And I apologized.

ALDOUS

GERALD

Apologized, for… ?

ALDOUS

For not acknowledging in the final days that she was dying.

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.

Do you believe there is a heaven, Clare?

CARY

CLARE

What?

You said you were in heaven.

CARY

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.

And where is your heaven?

CARY

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.

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.

#25—The 23rd Ingredient

Actually, I can’t.

ALDOUS

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… ?

Aldous, Clare, Cary, Gerald

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?

A fun house mirror.

CARY

GERALD

A living dream, really.

A different perspective.

ALDOUS

CLARE

Yes.

Also, a Pandora’s box.

CARY

ALDOUS

Sometimes, that too. (He turns to CARY.)

Cary, who was the boy in the water?

(ALDOUS)

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.

Nice to meet you, Archie!

ALDOUS

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.

(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.

A brilliant and beautiful pansy.

ALDOUS

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.

PART OF THE WHOLE.

(GERALD)

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.

The sunsets are very beautiful here.

ALDOUS

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.

We have each other to soften the fall.

GERALD

Indeed.

Can I get anyone anything?

(looking to CARY)

There was talk of brandy!

ALDOUS

CLARE

ALDOUS

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:

Thank you for back there.

Excuse me?

CARY

GERALD

In the water. I have never felt so helpless.

CARY

GERALD

And I have never felt so strong.

You had no choice but to be strong.

CARY

GERALD

(thinks about this)

Maybe that’s how it works…

#26—Bella Donna (Reprise 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.

Of course.

CARY

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.

Can I help?

ALDOUS

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.

Me, as well.

Give me an Old Master any day.

CLARE

ALDOUS

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).

#27—Afternoon Has Ended Gerald, Cary

Meanwhile, GERALD had arranged himself in the lotus position and begins to meditate as the GHOSTS disappear.

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

ALTERNATE ENDING

#27 Alt.—Flying

Sunset

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 THEN IT’S TIME FOR US TO FOLLOW, AS A CATALINA SWALLOW GOES FLYING OVER SUNSET, FLYING OVER SUNSET

ANN, SOPHIA, & AUSTIN TO FOLLOW… SWALLOW

FLY… 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…

Over

(Reprise 2) Maria, Father, Archie, Ann, Sophia, Austin

FREE AND CLEAR…

FREE AND CLEAR…

CLEAR…

CLEAR…

ANN & SOPHIA

ARCHIE & FATHER

AUSTIN, ARCHIE, &

FATHER

ANN & SOPHIA

The GHOSTS vanish. Their footsteps make the sound of a heartbeat.

Continue on page 152 of the libretto.

m usica L N umbers

m usica L N umbers ( c o N t ’ d )