ANNETTE

BEST ORIGINAL SCREENPLAY

Original Story by Ron Mael and Russell Mael
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Based on a fake story

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2 MEN

1 WOMAN

1 BABY

3 STARS

1 GHOST

1 MIRACLE

2 CRIMES 37 SONGS
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PROLOGUE
(Los Angeles)

The audience is greeted by the authors and actual cast members, singing “So May
We Start?”

1A. INT. THE VILLAGE MUSIC STUDIO - NIGHT

Close-up of vu-meters on a mixing console: the needles react to off-screen sounds —

instruments tuning up, feed-back, amplifiers and mikes being plugged in and tested, etc.

IN THE CONTROL-ROOM:
A man, sitting behind the mixing console, is waiting for something to happen on the other
side of the windowpane (his young daughter and his dog are at his side.)

The man (Carax):

So may we start?

IN THE LIVE ROOM:

Hands on drums, starting the song "So May We Start?"
Hands on a piano starting to play the tune
Hands on a cello… etc.

The Sparks start singing the song (live) —as they put their coats on to go out:

So May We Start?
So may we start?
So may we start?
It’s time to start
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High time to start

We hope that it goes the way —it’s s’posed to go

There’s fear in us all but we —can’t let it show
We’re underprepared but that —may be enough
The budget is large but still —it’s not enough

1B. INT. MUSIC STUDIO: STAIRCASE - NIGHT

The Sparks leave the recording studio, still singing… down the staircase (the acoustic of
their voices changes). The main actors (Henry, Ann, and The Accompanist —out of
character) join in, and sing along:

So may we start?
(may we start, may we, may we now start?)
So may we start?
(may we start, may we, may we now start?)
It’s time to start
(may we start, may we, may we now start?)
High time to start
(may we start, may we, may we now start?)

We’ve fashioned a world, a world —built just for you

It's full of songs & fury —with no taboo
We'll sing and die for you —in minor keys
And God knows we'll kill for you —just wait and see

1C. EXT. MUSIC STUDIO - NIGHT

The Village - Music Studio - West Los Angeles

BACKWARD TRACKING SHOT:

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They leave the building (change of acoustic again) and continue singing outside, walking
on the sidewalk (more of the actors of the film join in, and sing along.)

[Credits on images]

So may we start?
(may we start, may we, may we now start?)
So may we start?
(may we start, may we, may we now start?)
It’s time to start
(may we start, may we, may we now start?)
High time to start
(may we start, may we, may we now start?)

So close all the doors and let’s —begin the show

The exits are clearly marked —thought you should know
The authors are here so let’s —not show disdain
The authors are here and they’re —a little vain

Now…
(Same melody, but slower now, and a cappella :)
The music resounds and all —the flames are lit
Ladies and gentlemen please —shut up and sit
The curtain of our eyelids —slowly rises
But where's the stage you wonder —outside, or within?
Outside?… Within?… Outside?… Within?…

(Back to original rhythm:)

So may we start?
(may we start, may we, may we now start?)
So may we start?
(may we start, may we, may we now start?)
Etc.

Still singing, the actors and the Sparks watch as:

—Henry goes to a powerful bike parked on the sidewalk, puts his helmet on, and rides off
(big vroom from the bike)
—Ann gets in the back of a chic car (door opened by the driver). The car drives off.
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Over the last credits and the title of the film, we hear:

The murmur of an audience getting seated before a show, and the

amplified ANNOUNCER'S VOICE:

Ladies & gentlemen, please take your seats so we may start.

The authors and actors of the show ask for your complete
attention.

If you want to sing or laugh, or clap or fart

Please do it in your head —only in your head.

You must now turn off all electronic devices, and are kindly
requested to hold your breath until the very end of the show.
Breathing is not allowed during the performance. So please take
a deep, last breath right now.

Thank you.
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1ST ACT

LOS ANGELES (NOWADAYS)

[The actors are now the characters: make-up, hair, costume, etc.]

2. EXT. HENRY’S BIKE THROUGH L.A. - NIGHT

While Henry McHenry is riding his large motorbike through Los Angeles (the famous
comedian is on his way to the theatre where he is to perform his one-man show)…

3. INT/EXT. ANN’S CAR THROUGH L.A. - NIGHT

… and Ann DelGreco is in the back of the chic car (the rising star soprano is being
driven to the opera house where she is to perform)

— The Chorus sings:

True Love Always Finds A Way

(Chorus)
True love always finds a way
But true love often goes astray
True love always finds a way
But true love often goes astray
— astray

And when it does, the consequences can be most unfortunate

And when it does, the consequences can be devastating
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4. EXT. HENRY’S THEATE - NIGHT

Henry arrives at his theater (the old Hollywood Art Deco Pantages Theatre.)

5. EXT. OPERA HOUSE - NIGHT

Ann arrives at the opera house (the sophisticated, modern Walt Disney Concert Hall.)

6A. INT. HENRY'S THEATER: BACKSTAGE - NIGHT

Henry, backstage, pacing the corridor as he's getting ready to go on stage (but we don't
know that yet.)
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All he is wearing is a green toweling bathrobe, which makes him look like a boxer before
the combat —especially as he seems very concentrated and has a little dance in front of a
wall, boxing the wall. But unlike any sportsman, he's eating a banana and smoking a
cigarette at the same time.
It's all part of his pre-show ritual.

Sporadically, he seems aggressive, almost angry.

We hear distant impatient cheering and clapping, growing

… Then a voice in a mike, introducing him:

ANNOUNCER
And now, a mildly offensive evening with… The Ape of God!
—Mr Henry McHenry!

6B. INT. HENRY'S THEATER: ON STAGE - NIGHT

Henry, still in his bathrobe, enters the stage. But at first, we can hardly see him. Because
of the semi darkness on stage, but mostly because of the dense smoke emitted by smoke-
machines. We can only hear his voice —coughing, angry.

HENRY (as mumbling to himself)

This smoke… shit… I'm not a fan…

He slowly emerges through the smoke —not really facing the (large) audience yet, still
mumbling to himself.

Think I'm getting allergic to it. And what is this fucking smoke
supposed to mean anyway? Wish they'd use laughing gas instead,
would make my life easier. Or, better yet, cyanide gas.
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He now faces the audience (the smoke dissipates). He seems ill at ease, hesitant,
reluctant. (The public loves his unique blend of introversion and extraversion.)

He takes his time; he's in no hurry to make people laugh. He talks into the mike, his lips
touching the mike, almost in a whisper; we can hear his breathing.

Why Am I A Comedian? (1)

(Talking)
So… I'm here to make you laugh tonight…
(A few people start laughing)
Yes, "Laugh, laugh, laugh"
Not sure I can do it tonight
Not sure I should even try

(Talking/rapping now)
Making people laugh is a disgusting trick anyway
Yes, why should I activate your ventromedial prefrontal cortex
So your fifteen facial muscles will contract
So your fucking zygomatic muscle will react
While your epiglottis half-closes your larynx —CLAP!

Yes, why should I?

Why should I make you…

Suddenly: lights! music! chorus girls!…

Henry sings his (rock) refrain, with the chorus girls:

Laugh, laugh, laugh?

Don't make me, don't make me, don't make me, don't make me!
Can't stand to hear each-of-you
Laugh, laugh, laugh
Like a loony, like a loony, like a loony, like a loony.

I'll first make you

Gasp, gasp, gasp
But don't worry, don't worry, don't worry, don't worry
You probably won't
Choke, choke, choke
Kick the bucket, kick the bucket, kick the bucket, kick the bucket.

End of refrain: it was a very sudden, unexpected and thrilling burst of energy. The stage
goes back to semi-darkness.

(Talking/singing)
Yes I know, I know, relax, save your breath:
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I'm not allowed to make you laugh to death.

Alas, alas —says so on my contract
No last gasps tonight —not tonight
And can't make your alveoli pop tonight
No dislocated jaws, no belly explosions
However, asthmatics, keep your inhaler in position!

OK?
(AUDIENCE: OK!!)
READY?
(AUDIENCE: Ready!!)
LAUGH!

AUDIENCE (all singing-laughing)

Ha ha ha ha ha ha ha ha ha ha ha!
Ha ha ha ha ha ha ha ha ha ha ha!

HENRY
OK, shut up!

7A. INT. OPERA HOUSE — ANN'S DRESSING ROOM - NIGHT

Ann is getting ready to go on stage.

She's lying on the floor of her dressing room, in a strange position, doing strange
breathing exercises, while making strange guttural sounds.

6C. INT. HENRY'S THEATER: ON STAGE - NIGHT

HENRY
So, might you ask, yes, why?… Why did I become a comedian?
(Talking/singing now)
Yes, why did I become a comedian?
To entertain some balding men?
To bring a touch of levity to tragic times?
(Not me)

To bring some joy to those who have none?

To cast a skeptical eye toward common knowledge?
(Uh uh)

To make you notice

what you've always surely noticed
never noticing you noticed
—'til I ask you: "Have you ever noticed?"
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(Well sure —but not only that)

To convey with a smile

these deep seated feelings of hatred & humiliation
that we all seem to be sharing?
—when (now singing: )
All the Catholics hate the Muslims
And the Muslims hate the Catholics
And the Tutsis hate the Hutus
—and everybody hates the Jews!

Well, no, no —not me.

Someone in the audience yells:

SO WHY?!

And the audience starts singing:

Yes, why did you become a comedian?

For the money? The money?

HENRY
No, no, no
Though I've come from poverty and severity
And now have reached big money and obscenity

AUDIENCE
So why did you become a comedian?
For the fame? The fame?

HENRY
No, no, no
Though fame is like a flame, glorious, superfluous
(So nice being famous for being infamous)

AUDIENCE
OK, so why did you become a comedian?
Fear of death? Of death?

HENRY
Oh, no, no
Coz you see I have sympathy for the abyss
(So must never cast my eyes towards the abyss)
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… and he "casts his eyes" towards a woman on the front row, with a big décolleté on a
generous bust:
(Mike against his mouth)
Lady, that's quite an abyss you've got…

AUDIENCE
So… why did you become a comedian?
For the women? The women?

HENRY
No, no, well…
(Not singing:)
OK, let me explain.

Grabbing (as for support) one breast of each of the two women, he gets up from the guy's
knees, and walks back towards the stage.

(Talking —introspective)
You see, my serial pussy days are over
Because, well… I've just met someone
Someone so… (He can't find the words to describe her)
It all went so fast
And now, I'm engaged
(Applauses, whistles)
I know, I know —marrying a girl when you're as young and
immature as me, it's like… like swimming the Atlantic with a
concrete block tied to your left testicle.

(Talking/singing)
Well yes now, I'm engaged
Copped out in my early age
So who, you ask, would marry me?
Who would be the least likely?
No, this ain’t a joke so far:
Yes, Ann DelGreco, the opera star

There's a silence in the audience… They're surprised… not sure if it's real or a joke…
Then some whistles, cheers. But a woman shouts:

"Oh, no!"
(Laughs)

HENRY (Talking/singing:)
What? What's wrong, lady?
Anna and me? —you disagree?
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What is it? —blasphemy?

Why? Is she too perfect?
(AUDIENCE: Yes, yes, yes!)
And I? Some loathsome insect?
(AUDIENCE: Yes, yes, yes!)

HENRY
OK…

6E. INT. OPERA HOUSE — THE STAGE – NIGHT

Ann, facing the stage curtain that separates her from her public.
The curtain starts to open…

6F. INT. HENRY'S THEATER: ON STAGE - NIGHT

HENRY
(More introspective now, pacing the stage, his back to the public
—as if he was really alone, having a monologue)
Yes, Ann the soprano has changed me, I have changed
How? I'm still not sure. Time will tell.
What I see in her is obvious
What she sees in me —that’s a little more puzzling
But sometimes it’s best to not ask too many questions.
(Applauses —they seem to wake him up)

Oh, well…

(Facing the audience again. Back to talking/singing)

Wish that she could be here now
But she’s at the opera tonight
Opera, where everything is… Sacred
First she dies and dies and dies
And then she bows and bows and bows
She’ll be bowing now ‘til dawn
Anna, dear, I love you so
But all that bowing’s got to go
Take a last bow —enough!
Make it seem more off the cuff

Someone in the audience, yells again:

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But Henry, you didn't answer : why?

Why did you become a comedian?

AUDIENCE (singing)
Yes why did you become a comedian?
So why did you become a comedian?
So why did you become a comedian?
—Hey, Henry?

The music stops. Silence:

HENRY (not singing)

… I'll tell you why: to disarm people.
"Make them laugh" —it's the only way I know to tell the truth
without getting killed.

But the deep silence is suddenly broken with:

LOUD GUNSHOTS

Screams of panic in the audience

… as Henry, hit by each invisible bullet, staggers through the stage.
He falls, "dead".
Silence now.

But he gets back on his feet (sounds of relief in the audience) and takes a bow.

HENRY
Well, that's it for tonight!
(Audience screams "OH NO NO NO!")
Yes, yes, yes… coz I'm sick and tired of making you

(Refrain again: lights!, music!, chorus girls!, etc.)

Laugh, laugh, laugh
But don't leave me, don't leave me,
don't leave me, don't leave me
Can't bear to hear you
Laugh, laugh, laugh
‘Cause you bore me, you bore me, you bore me

But I need to hear you

Clap, clap, clap
'Cause I'm cocky, I'm cocky, I'm cocky, I'm cocky
Want each-one-of-you to
Clap, clap, clap
Like a loony, like a loony, like a loony, like a loony
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He leaves the stage as the audience cheers, and the chorus girls go on singing the refrain
without him:

We promised that you'd laugh,

We promised that you’d laugh
We promised that you’d laugh

Laugh, laugh, laugh

'Cause he's Henry, he's Henry, The Henry
See, he didn't make you choke, choke, choke
Or kick the bucket, kick the bucket, kick the bucket, kick the
bucket

He needs to hear you

Clap Clap Clap
Coz he's Henry, he's Henry, The Henry,
Wants each of you to
Clap, clap, clap
So Let’s Hear It! Let’s Hear It! Let’s Hear It! Let’s Hear It!

(The audience sings the "laugh, choke, clap" parts with the chorus girls)

CUT TO:
A very different audience:

7. INT. INSIDE ANN'S OPERA HOUSE - NIGHT

It is the end of the opera, and the very refined audience is clapping with great enthusiasm
(but control)
—as on stage, Ann the soprano star "bows and bows and bows."

8. EXT. OUTSIDE ANN'S OPERA HOUSE - NIGHT

Henry on his bike, approaching the opera.

He passes by the public coming out from the show, drives round the theater.

As he slows down, approaching the sortie des artistes, he can see a crowd, flashes.

He parks, a bit away from the crowd. Still wearing his helmet, he watches from a
distance:
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Ann, surrounded by admirers and photographers, signing autographs. She notices him,
and is visibly moved.

He comes down from the bike, takes off his helmet, and pulls a second helmet out of the
bike's back-case.

She rushes through a few last autographs and, helped by security men, pushes her way
through the crowd to go meet him (in her arms, a bunch of flowers offered by her
admirers.)

He's waiting for her. They grasp each other’s hands, eagerly, tenderly, but with some of
the awkwardness of new lovers.

Photographers are taking pictures, calling their names ("Ann! Henry!") so that they'll face
the cameras. (They're both extremely shy people, but deal with their shyness very
differently: she stays discreet, but complies politely with the basic rules of celebrity; he
deals with his insecurity and anxiety by being provocative.)
PHOTOGRAPHERS (singing)
How ‘bout a smile, Ann?
Give us a smile, Ann!
How ‘bout a smile, Ann?
Give us a smile, Ann!

Henry, please, step inside!

Step inside, Henry. Step inside, Henry!
Step inside, Henry. Step inside, Henry!

Ann asks Henry (mutely and apologetically) to comply with the photographers. He poses
with her, just for a few seconds: he leans his face on her shoulder and closes his eyes —
which embarrasses her, but she loves him so… He's like a kid in love.
While they pose, they whisper to each other:

ANN
How did the show go?

HENRY
I killed them… destroyed them… murdered them.

ANN
Good boy.

HENRY
And how did your gig go?

ANN (with her shy smile)

I… I Saved Them.
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HENRY
Well, you die so magnificently…
Honey, you're always dying!

Henry puts the extra helmet on her head, hiding her face from the photographers. He
takes from her the flowers she was given and hands them to one of the photographers,
puts his own helmet on —they climb on the bike, and take off.

9. EXT. OUTSIDE LA, IN A FOREST - DAY

Beauty and silence of nature (no dialog, no music.)

Henry and Ann taking a lovers' walk in a forest, holding hands. Again, we feel the strong
love and this touching shyness between them.

For a few seconds, they separate: he stops to light a cigarette. She goes on walking,
slower.
As he catches up with her:
slow POV TRACK-IN SHOT towards Ann's back (as she's walking)
—a feeling of sensuality (her naked neck, shoulders) and menace (is he going to hit her,
strangle her?)

He puts his hand on her neck, and they resume their walk, happy to be back together even
after such a short separation.

Both looking in different directions, they start singing:

We Love Each Other So Much

HENRY
We love each other so much
We love each other so much
We’re scoffing at logic
This wasn’t the plan
We love each other so much

ANN
We love each other so much
We love each other so much
Counterintuitive, baby
And yet we remain
We love each other so much

HENRY & ANN

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Counterintuitive, baby
And yet we remain
We love each other so much

10. EXT. ON THE ROAD BACK TO LA - EVENING

SONG CONTINUED

As they drive back on Henry's bike, racing through the evening.

Her arms are lovingly embracing his torso.

HENRY & ANN

We love each other so much
We love each other so much
So hard to explain it
So hard to explain
We love each other so much

11A. EXT. ANN'S HOUSE – NIGHT

SONG CONTINUED

Ann's house. Above the pool, behind a 2nd floor window (Ann's bedroom): we can see the
couple embracing.

11B. INT. ANN'S HOUSE: BEDROOM – NIGHT

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As they make love.

We love each other so much

We love each other so much
Speak soft when you say it
Speak soft when you say
We love each other so much

Speak soft when you say it

Speak soft when you say
We love each other so much
So much… so much… so much… so much…

The song ends with their (singing) orgasm outcry.

12. INT. ANN’S HOUSE: BEDROOM & BATHROOM - NIGHT

After Sex.
Semi-darkness.

Henry re-emerges from the bathroom, naked. Ann is still in bed.

He approaches, hands in the air in front of him
—again as if he was going to strangle her, but this time playfully, impersonating a
vampire in an old horror movie.

Ann gets it… he's about to tickle her… she hides underneath the sheets:

Oh no no no no…

Henry jumps on the bed, and starts tickling her.

ANN (starting to laugh)

Not the throat, please Henry!…
No!… Not the feet, Henry!

13. INT. ON TV - DAY

Show Biz News
CONNIE O'CONNOR:
Connie O’Connor here for Show Biz News, with the
announcement that the elegant, refined soprano star, and the
provocative and often offensive comedian were married after a
whirlwind romance. The party took place on Henry’s beloved
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yacht. So, the quirky couple, often referred to as “Beauty and The
Bastard”, has finally tied the knot.

CHORUS:
Tied the knot… Tied the knot… Tied the knot…

14. INT. ANN’S OPERA HOUSE - NIGHT

The audience waits impatiently for the opera to start and for Ann DelGreco to appear.

Her long-time piano accompanist (The Accompanist) is in the orchestra: while the
instrumentalists tune their instruments, he sings of his devotion to her, but also of his
desire to be a conductor someday. He's a gentle man, but an ambitious one.

I'm An Accompanist
I’m an accompanist, I’m an accompanist,
I’m an accompanist for Ann, for Ann
Ann’s the one with the genius and grace,
I’m the one with the technical expertise
Ah, the tease, ah, the tease of being so near, so far
From the star, from the stars, but someday I’ll join them ‘cause
I’m a conductor, I’m a conductor,
I’m a conductor, a conductor at heart
It’s a temp job I’m doing, this should only be seen as a means to
an end
In the end, in the end, I’ll lead orchestras near and far
Every bar, every bar, will bear my own signature

But I’m an accompanist, for the present, for Ann, that’s what I do
I’m an accompanist, for the present, for Ann
For Ann

But now, let's listen to her sing…

The orchestra starts to play the dramatic intro to Ann's famous "Aria".

15. INT. HENRY'S THEATER: BACKSTAGE - NIGHT

The orchestral intro overlaps on (silent) images of:

Henry, in his black toweling bathrobe, doing his pre-show ritual (banana & cigarette)…
then entering the stage (the smoke, etc.)
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The opera's music gives these images, already seen almost identically in Henry's first
show sequence, a whole different weight —a sort of tragic dimension.

16A. INT. ANN’S OPERA HOUSE: STAGE - NIGHT

The orchestra finishes the intro while the curtain slowly rises,

The set is a forest at night, with fake stylized trees.

… Ann appears: beautiful, spectral.

Aria
She starts singing, at first on stage, among the fake trees:

There’s a chill in the air on this night

Where is the moon, where is the starlight?
Bearings lost, we’re adrift on this night
Where is the moon, where is the starlight tonight?

Now the back of the stage opens up on… a real forest (it's night).

16B. EXT. REAL FOREST - NIGHT

Ann enters the real forest (back to her public), going deeper and deeper into it
… She's alone in the dark forest, slowly moving forward among frightening trees.
… Is she being followed? She's not sure…

ANN
Afraid, don’t know why
Where is the moonlight?
Afraid, don’t know why
Where is the starlight?
Afraid, ‘fraid of you
Something about the look in your eyes

Hurry, dawn, I need help, I need light

Cut short the night, I am in danger
Though I thought that I knew him, I’m wrong
I don’t know him, he is a stranger, tonight

Ann is now coming back, out of the real forest and towards the stage again.
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16A. INT. ANN’S OPERA HOUSE: STAGE - NIGHT (CONTINUOUS)

The rear of the stage closes down behind her —she's back in the fake forest again, on
stage.

ANN
Afraid, don’t know why
Where is the moonlight?
Afraid, don’t know why
Where is the starlight?
Afraid, ‘fraid of you
Something about the look in your eyes

17. EXT. HENRY’S BIKE THROUGH L.A. - NIGHT

Shots of Henry on his bike:

—racing though the night
—close-up: his face behind the helmet; his eyes.

18. INT. ANN’S OPERA HOUSE - NIGHT

BACKSTAGE:
Henry, his bike helmet in one hand, follows a long corridor (he passes many of the opera
technicians): Ann's voice becomes clearer and clearer as he approaches the stage.

It's the end of the opera —the music is dramatic and poignant…
Henry is getting more and more tense, as if he was approaching with dread the scene of a
terrible crime.

He stops near the stage (so he can see Ann performing without being seen by the public).
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Out of complete darkness, Ann appears from the back of the stage, staggering, stumbling
towards the front of the stage —her nightgown is soaked with blood. She's dying, singing
her final lines —on high, heartrending notes.

The Accompanist (playing the piano), who was watching Ann, notices Henry's arrival: he
watches Henry watching Ann.

Henry watching Ann singing/dying: hard to know what strong feelings he's experiencing
—love and admiration for sure, but also some kind of anxiety it seems.

Ann is dead.
A few seconds of silence. Then, thunderous applause.

Henry looks at the public: so different from his public, so much more chic and controlled.
For a few seconds, he imagines, over this image of well dressed people, clapping with
restrained manners, the sound of his own public: loud, laughing, whistling, no restraint.

Ann stands up, and bows… bows… bows.

19. INT. ON TV - DAY

Show Biz News
CONNIE O'CONNOR:
And, in Show Biz News today, anonymous sources report that the
singing and laughter around the DelGreco/McHenry household
will soon be drowned out by the cries of a newborn girl.

CHORUS:
Newborn girl… Newborn girl… Newborn girl…

While Ann is pregnant

Months pass. Ann is more and more pregnant —and Henry more and more anxious.

20. INT. ANN’S HOUSE: COUPLE’S BEDROOM - NIGHT

The couple asleep (shot with long exposure): we see that Ann is very still during the night
(her huge immobile stomach is the center of the shot); Henry, on the contrary, is very
agitated
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——————

Henry hides his anxiety from Ann. He has dark thoughts, visions:

21. INT. ANN’S OPERA HOUSE: ON STAGE - NIGHT

Ann, very pregnant, bowing on stage —her nightgown soaked with blood

——————

22. INT. MATERNITY WARD - NIGHT

A nurse hands Henry his new-born baby

… its face is made-up as a clown's!
——————
23. ANN’S HOUSE: COUPLE’S BEDROOM - NIGHT

Henry wakes up in the night: Ann is asleep next to him. But all he can distinguish in the
dark is: her hair, and a big white balloon (her pregnant stomach covered by the white
sheet)

24. INT. MATERNITY WARD: DELIVERY ROOM - NIGHT

Ann is on the delivery bed; Henry is by her side. They are surrounded by the doctor and
nurses.

She's Out Of This World!

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NURSES
Breathe in, breathe out, breathe in
Breathe in, breathe out, breathe in
Breathe in, breathe out, breathe in
Breathe in, breathe out, breathe in

THE DOCTOR
Push Ann, push Ann!
That’s it.
Push Ann, push Ann!
That’s it.

Ann is in labor, panting —but obviously, nothing much is happening. Henry is sweating
profusely, even more than his wife. He seems not just worried about the delivery, but
seized by deep personal angst.

Nervousness (and his sense of un-usefulness) makes him say something strange and
inappropriate, with no intention of being funny:

HENRY (in a low voice —non singing)

Doctor, am I doing… everything right?

… which sends Ann into a fit of laughter… which triggers much stronger contractions…

DOCTOR
Here she comes!

Henry is visibly reassured by the fact that he has been useful.

The Nurses and the Doctor advise Ann at the same time now, singing:

Push Ann, push Ann!

That's it!
Push Ann, push Ann!
That's it!
Breathe in, breathe out, breathe in
Breathe in, breathe out, breathe in

Henry and Ann are now gazing intensely at the arms of the doctor working at pulling the
baby out…
Henry sees something first:

Shit, Ann… she seems completely naked!

Ann has a last howl of laughter… and the baby comes out!
 30

DOCTOR & NURSE

Here she is!

It is like a real baby, but something makes it extraordinary, a subtle and indefinable
strangeness. A mystifying little creature. A poetic baby.

ANN & HENRY (singing)

She's out of this world!
Welcome to the world, Annette!
She's out of this world!
Welcome to the world, Annette!

FADE TO BLACK
 31

2nd ACT
A FEW MONTHS LATER
LOS ANGELES & AT SEA

Henry seems changed. At times he shows a new anger; he drinks more. And strangely
(after his daughter's birth), he has more and more morbid thoughts.

[ A NIGHTMARE — NIGHT :

Henry sprawled out on the couch at home, watching TV, drinking whisky and eating
potato chips.
He vaguely sings:
Tonight, while she's dying & bowing
I'm baaaaaaby–sitting!

But suddenly anxious, he looks around… Where is the baby?

And then, terrified, he realizes: he's been sitting on the baby! ]

Are his recent family life and happiness suffocating him? Is his "domestic bliss" in
conflict with his work —his sense of comedy and provocation? Is he becoming jealous of
his wife's growing success? He loves her, and the baby, but…

Calm Before The Storm

(Chorus)
Something's about to break, but is isn't clear
Is it something we should cheer?
Is it something we should fear?

Something's about to break, but is isn't clear

Is it something we should cheer?
Is it something we should fear?

25. INT. ANN’S HOUSE: COUPLE’S BEDROOM - EARLY MORNING

The couple in bed, asleep. The baby is between them, awake: calm —looking at one
parent, then the other.
 32

26. INT. ANN’S HOUSE - DAY

Henry, bare-chested, alone with the sleeping baby.

He's playing with her, gently moving her into different positions: on his forearm, in the
palms of his hands, etc. He smells her nice scent, kisses her on the head.

He looks at himself, at both of them together, in a mirror.

The baby opens her eyes. They look at each other: Henry's expression is pensive. He
smiles at the baby —loving but solemn.

With the baby resting still on one of his forearm, he pours himself a glass of whiskey —
drinks it. Then pours another.

27A. EXT. LOS ANGELES: FREEWAY - DAY

Ann's car is stuck in traffic jam —a barely moving 405 Freeway.

27B. INT/EXT. ANN’S CAR ON BLOCKED FREEWAY - DAY

She asks her driver to please lower the (classical) music playing on the car radio. She
wants to take a nap (she seems exhausted, tense).

She leans back on her seat. On the small TV monitor mounted into the headrest facing
her: the news (mute) (27C. INT. TV NEWS - DAY)

Through the tainted side-window, she can see the driver of the nearby car (Driver A),
talking on his cell-phone. Both cars are moving at an even snail's pace. The low music is
soothing. Ann tries to relax, eyes half-closed…
 33

(ANN'S BAD DREAM)

The classical music on the radio slowly turns into a song:

Six Women Have Come Forward
Driver A, still on his cell, now singing
—and then other drivers in other nearby cars, also on their cells, singing:

DRIVER A
Six women have come forward

DRIVER B
Each with a similar story

DRIVER C
Subjected to Henry McHenry’s torments

DRIVER D
Witnesses to his dark mind

DRIVER E
Why now?

DRIVER F
Why now?

27D. INT. PRESS CONFERENCE - DAY

On the small TV screen facing Ann:

six women sitting next to each other at a press conference. They're singing:

WOMAN 1
Each of us has come forward

WOMAN 2
All with a similar story

WOMAN 3
Subjected to his torments,

WOMAN 4
witnesses to his dark mind
 34

WOMAN 5
And his anger,

WOMAN 6
his anger!

27B + 27D CONTINUOUS

Alternating between different freeway drivers on their cells, and the six women:

Six women have come forward /

Each of us have come forward
Each with a similar story /
All with a similar story
Subjected to Henry McHenry’s torments/
Subjected to his torments,
Witnesses to his dark mind and his anger /

Why now?
Why now?

27E. INT. ACCOMPANIST’S HOME - DAY

The Accompanist, watching the news at home:

ACCOMPANIST (on his cell phone to Ann)

Ann, are you alone now?
There’s something you need to know now
That six women have come forward
And all with similar stories
That Henry was abusive, that Henry was violent and angry
I tried to warn you
I worry about you, Ann

27B. INT/EXT. ANN’S CAR ON BLOCKED FREEWAY – DAY (CONTINUOUS)

Ann, asleep at the back of her car.

27D. INT. PRESS CONFERENCE – DAY (CONTINUOUS)

JOURNALISTS ON TV (questioning the 6 women):

Why, why come forward now?
Yes, why, why only now?
 35

Women singing:

WOMAN 1
I, I feel for Ann

WOMAN 2 & 3
She must be warned

WOMAN 4 & 5
McHenry is not, not what he seems

WOMAN 6
So charming that I, a woman with sense
I quickly became, a moth to a flame

THE 6 WOMEN
A moth to a flame!

27F. INT/EXT. ANN’S CAR ON EMPTY FREEWAY – DAY

Ann awakes (but, as we'll soon understand, she's only awakening in her dream.) The song
continues. The car is now going at a good speed, on an empty highway.

But, some engine seems to be coming towards the car, at high speed… yes, a big
powerful motorbike, rushing straight towards Ann's car!… we now recognize Henry, on
his bike…

DRIVERS & WOMEN (off screen)

Six women have come forward /
Each of us have come forward
Each with a similar story /
All with a similar story
Subjected to Henry McHenry’s torments/
Subjected to his torments,
Witnesses to his dark mind and his anger /
His anger

The song ends, as the collision with Henry's bike seems inescapable…

27G. EXT/INT. ANN’S CAR ON FLUID FREEWAY - DAY

Ann (really) wakes up, distraught. She sees her car is now going at a good speed (no
engine rushing towards it), on a fluid highway. She opens the window for air.
 36

28A. EXT. ON THE ROAD TO LAS VEGAS - EVENING

Henry speeding through the night on his powerful bike…

28B. INT. ANN’S OPERA HOUSE: ON STAGE - NIGHT

… intercut with slow-motion shots of: His vision of Ann on stage, dying, again and
again:

—strangled by Othello (as Desdemona in Othello)

—dying of tuberculosis in the arms of Alfredo (as Violetta in La Traviata)
—stabbed by José (as Carmen in Carmen)
—cutting her own throat with a knife (as Cio-Cio San in Madame Butterfly)
—leaping into the flames (as Norma in Norma)
 37

29A. INT. LAS VEGAS THEATER: BACKSTAGE - NIGHT

Before the show: Henry in his black toweling bathrobe, doing his usual pre-stage routine
(smoking while eating a banana, etc.), except he seems haunted rather than concentrated
(is he a bit drunk? Bummed out?)

ANNOUNCER (off screen)

And now, a mildly offensive evening with… The Ape of God!
—Mr Henry McHenry!

The audience: clapping, cheering, etc.

29B. INT. LAS VEGAS THEATER: STAGE - NIGHT

The stage: as before, we hardly make out Henry at first (semi darkness, dense smoke.)
We hear his voice —coughing, angry:

Fucking smoke!

He emerges through the smoke, yelling at some invisible technicians backstage:

Have you no sense of proportions?!…

Having to be funny here… it's… like trying to enjoy a blowjob in
a gas chamber…

Laughter, but also a few boos, and someone shouts:

"That was not funny!"

 38

HENRY
You're right… not funny.
I'm so… too fucking tired…
(Silence)
I knew it, should've cancelled the show tonight.
(The audience yells : "No, no, no!")
Yes, yes… You see, my house was broken into last night
—bastards, stole all my jokes.
(A few laughs. But Henry seems more and more tense)
No… ok, the truth is… now that I have my own soprano and
baby… sorry to say, I'm not sure I have it in me anymore to make
sad people laugh.
(He interrupts himself)
No, the truth is… something happened… this morning…
something… impossible… I… no… unsayable…
(He interrupts himself again)
Ok, the truth is… I'm sick… Being in love makes me sick…
Sick… And… well…
(He interrupts himself again)
No… The true truth is…

He takes the mike off the stand, and moves closer to the audience… Silence. Then, in a
very low voice:

This morning, I… I killed… My wife —I killed my wife.

A few laughs, a murmur of dread. Everyone "knows" it's "a joke"… but:
1) it isn't funny
2) is it really a joke? Henry seems so devastated, in a daze…

He sits on the stage floor.

HENRY (taking off his shoes; then his socks)

Yes, "laugh, laugh, laugh"…
So, I've said it: I killed my wife…
I didn't mean to… god knows I didn't mean to… She woke up, so
beautiful… (He mimes the scene, as if in bed with Ann)… She
looked at me and smiled… That smile… She is… was a very shy
person you see… and I know, I knew this shy smile meant she
wanted to fuck… But this time, I pretended not to get it… And
then she said it, ever so shyly: "Please Henry, fuck me Henry"… I
could see the effort in her smile… for her to ask that… to say
these dirty words… to be wicked & bold… so out of character…
With that very shy smile I loved so much… But I couldn't her…
'Cause, yes, being in love makes me sick… I had been sleepless
 39

all night, you see, suffocating, suffocated by love… A

wreck… absolutely no desire left…

Some people in the (until now deadly silent) audience start to complain:

Enough!
Come on, Henry, drop it!
Yeah…
Enough!

HENRY
Hmm? Am I letting you know more than you care to know about
me? Her? Sex? Death?

He returns to his recollection (still lying on the floor):

Yes, no desire, zero… So I was looking for something, anything

to… "change the subject"… to spare us both this dreadful
moment of rejection… That's when the idea came to me… I
remembered how extremely ticklish she is, she was… especially
on the soles of her feet… So I thought: I'll tickle her, to "change
the subject"… I grabbed her (He's on the floor, miming the whole
situation)… locked both her legs under my arms, and started to
tickle the sole of her feet… I saw in her eyes she understood it
all… why I was doing what I was doing… to "change the
subject"… and it seemed impossible she would laugh this time…
she was hurt and ashamed, and sad and confused… but I
persisted… and… and…

Henry is miming the scene, alternatively playing himself and Ann: he tickles gently… he
tickles stronger —then throws himself on the floor and becomes Ann: Ann on her back,
fighting him, not wanting to laugh… starting to laugh a little…

HENRY (with Ann's voice)

Stop it Henry… no… not my feet!

He kneels again: he tickles wild… tickles without mercy —then throws himself on the
floor again, becoming Ann again: Ann laughing… more and more… reaching ecstatic
hilarity…

The whole performance (the miming, the female laughter coming out of Henry's body) is
frightening —morbid, sexual, very upsetting. The audience is stunned, in dread.

Henry/Ann's laughter gets louder… faster… the note higher and higher… until it strikes a
last long high (soprano) note —"the supreme spasm"— and abruptly ends… as
Henry/Ann drops motionless on the floor… Terrible silence (on stage now, and in the
 40

audience). Henry/Henry leans over his wife, panicked, dazed… trying to wake the inert
body… first gently… then shaking it wildly…

HENRY
Ann… ANN!… ANNNNNNNNNN!
But to no avail… He then embraces the invisible body… Both Henrys are now lying on
the floor, motionless, a statue of a loving couple… The silence becomes deafening.

Henry very slowly rises his face, devastated. He remains sitting on the floor.

HENRY
I had tickled her to death.
(A few hesitant boos)
I then tried to kill myself… the same way… tickling the soles of
my feet… (He vaguely mimes the act of tickling his bare feet)
Didn't work…
(A few scattered laughs in the deafening silence)

Henry stands back up, facing the audience:

This is how I killed my wife.

And he takes a short bow.

Gradually, the audience seems to wake up… and starts to protest… more and more
vocally:
That was sick!
You're sick!
Poor Ann!
Poor Annette!

HENRY
I sense some animosity
Am I right or is it me?
Am I overreacting?

A group of people sing:

You must've bitten

Something bitter
In your cradle!
Bitten, bitter, cradle!

Music starts playing, and Henry goes back to his singing routine:

So why did I become a comedian?

 41

But now the audience, in a fury, answers back:

AUDIENCE
You’re not! You're not!
Not anymore!
Bitten, bitter, cradle!
HENRY
So why did I become a comedian?

AUDIENCE
You're sick! You're sick!
An asshole! An asshole!
Bitten, bitter, cradle!

He goes to a small synthesizer at the corner of the stage, and pushes a button: amplified
canned laughter comes out of the speakers. He puts the volume up to cover the insults
and boos.

HENRY
Ok?… Ready? Laugh!

He pushes another button: we hear an amplified audience singing-laughing (as in Henry's

first act):
AUDIENCE (recorded)
Ha ha ha ha ha ha ha ha!
Ha ha ha ha ha ha ha ha!

HENRY
You’ve been great, but gotta go.
By the way, here’s how to bow properly.

He bows again, this time slowly, ceremoniously, imitating Ann's way of bowing but in a
very exaggerated way.

HENRY
Goodnight, everybody!

He leaves the stage as the audience yells it's hostility, and the chorus girls sing the
refrain:

We promised that you'd laugh, laugh, laugh

Coz he's Henry, he's Henry, he's Henry, The Henry
He didn't make you choke, choke, choke
Kick the bucket, kick the bucket, kick the bucket, kick the bucket
 42

29C. INT. LAS VEGAS THEATER: BACKSTAGE & CORRIDORS - NIGHT

Backstage: Henry, enraged, starts to sing "You used to laugh"

—going through the labyrinthine corridors towards his dressing room…

You Used To Laugh

You used to laugh
But now you sure ain’t laughing at me no more!
You used to laugh
But now you sure ain’t laughing at me no more!

What’s your problem?

What’s your fucking problem?!
What’s your problem?
Your fucking problem?!

But suddenly, Henry turns back… walking towards the stage again…

My dear public,
Oh dear public, you fucking headless beast!
You’re makin’ me sick
You ruthless, unpredictable beast!

What’s your problem?

What’s your fucking problem?!
What’s your problem?
Your fucking problem?!

29D. INT. LAS VEGAS THEATER: STAGE - NIGHT

Henry goes back on stage. The people from the audience are standing, facing the stage,
still angry, booing:

Get off, get off, get off, get off, get off, get off, get off
Get off, get off, get off the stage!
Get off, get off, get off the stage!

Henry sings while pacing the stage with rage:

Do you think I care?

You think I care
 43

what losers think of me now?

You think I care?
You think I care what losers yell at me now?

What’s your problem?

What’s your fucking problem?!
What’s your problem?
Your fucking problem?!

THE AUDIENCE
(Louder)
Get off, get off, get off, get off, get off, get off, get off
Get off, get off, get off the stage!
Get off, get off, get off the stage!

HENRY
Well you better laugh
Or I may display a certain level of rage!
If you don’t laugh
You gonna feel the fire of my rage

What’s your problem?

What’s your fucking problem?
What’s your problem?
Your fucking problem?!

AUDIENCE / HENRY
We used to laugh
Fuck off, fuck off, Fuck out of here!
But now we sure ain’t laughing at you no more
We used to laugh
Fuck off, fuck off, Fuck out of here!
But now we see you as you are, you are scum!

You got a problem

What’s your problem?
A big old problem!
What’s your fucking problem?!
You got a problem,
What’s your problem?
A big old problem!
Your fucking problem?!
 44

30. INT. ANN’S HOUSE: BEDROOM - NIGHT

Ann alone in her room, in front of mirror, pensive, distraught:

ANN (whispering to herself)

Henry, I’m worried about you.
I'm worried…

Pacing the room, she starts to sing:

The Girl From Topeka

There was a girl from Topeka
Utterly plain, a little plump
She sang alone, in her bedroom
Wild acclaim from those four walls

But she didn’t want to be there

She didn’t want to be there
She didn’t want to be there —no more

She had the voice of a goddess

But these vocal cords you must finesse
Hours a day she would struggle
Until her voice became —her kingdom

Oh yes she wanted to live there

Only wanted to live there
Really wanted to live there —forever

She headed west, the wild direction

No longer plain, no longer plump
The men were on her doorstep
Many men were on her doorstep
Her voice had brought her beauty, sovereignty

But she never listened to those who came to her and whispered:
"You're a flame to me
—a flame to me, a flame to me, a flame to me"
She was a queen and shouldn't queens renounce love and keep
men out of their palace?
 45

—off their palace, off their palace, off their palace?

A queen should not become a moth to a flame

Many years have passed, I’m Ann Del Greco

Opera’s my world and I’m its star
So why am I so worried
Is love a fatal wager?
The loss of all I conquered —my kingdom?

(Talking/singing)
I have a wonderful gift, and a beautiful child
People adore me, and I adore this man
But… something’s wrong…

A little noise coming from the door… Ann turns and sees baby Annette in the doorway:
the baby, smiling, is taking her first steps…

Ann goes over to her, shaking off her sad mood, moved. She stretches her arms towards
the baby:

That's it, Annette!

(Singing:)
One leg then the o-ther
One leg then the o-ther

31A. EXT. ANN’S HOUSE: AROUND THE OUTDOOR POOL - NIGHT

Lalalala
Beautiful pool, shining in the night (underwater lights), with big floating toys in it (a
swan, a dolphin, a boat, etc.)

Ann with the baby in her arms, singing "Lalalala", while joyfully dancing round the
pool… faster and faster…

31B. EXT. ON THE WAY BACK FROM LAS VEGAS - NIGHT

[ Intercut with: Henry on his bike, driving faster and faster through the night… ]

31A. EXT. ANN’S HOUSE: AROUND THE OUTDOOR POOL - NIGHT

(CONTINUOUS)
 46

Ann with the baby in her arms, now spinning like a Whirling Dervish dancer… until they
fall to the ground, drunk from the spinning, laughing.

But their attention is snagged by a loud and menacing sound: the engine of Henry's bike
slowing down as it approaches the house. The powerful lights of the machine shine on
Ann and the baby.

She sees Henry parking the bike, and heading for the house. Is he drunk?

32. INT/EXT. ANN’S HOUSE: STAIRCASE, BEDROOM, POV POOL AREA -

NIGHT

Henry sings, as he goes up the staircase and into the couple's bedroom:

My Star's In Decline
What goes up
Must come down
My star’s in decline

He looks through the window, sees Ann with the baby in her arms, by the pool area. Ann
and the baby are looking up at the window, at him.

Once profound
For a clown
My star's in decline

33. INT. ANN’S OPERA HOUSE - NIGHT

(song continued)
Henry is suspended in the air, sitting on some piece of machinery high above the stage,
above Ann (who's singing her Aria). He's like a gargoyle, or a clandestine passenger
hidden in semi darkness —singing while he smokes a cigarette and watches Ann (and her
audience.)
(The piece of machinery which supports him swings a little, adding to the feeling of
vertigo and drunkenness.)
 47

Now that I
Know that I
Will never have success —again

Look at Ann
Still on top
Ah, but I digress —I guess

People who
Loved my game
Now despise my name

I pretend
I don’t care
Where’s the nearest bar

Drinking men
Start to stare
Weren’t you once a star?
—No?

34. INT. ON TV - DAY

Show Biz News

CONNIE O'CONNOR:
Show Biz News announces that Ann, Henry, and baby Annette
will travel on their yacht this week, evidently in the hope of saving
 48

the couple’s marriage. Could the problems be due in large part to

the growing discrepancy between their respective success?

CHORUS:
Respective success… Respective success… Respective success…

35A. EXT. AT SEA: OUTSIDE YACHT - NIGHT

The slender yacht is caught in a turbulent sea. A storm is approaching.

A storm is rolling in
CHORUS
A storm is rolling in…
A storm is rolling in…
A storm is rolling in…
A storm is rolling in…

35B. INT. INSIDE YACHT: SLEEPING CABIN - NIGHT

Ann is in a sleeping cabin with Annette, trying to calm her and put her to sleep with a
song. While she sings softly, she tries not to show the baby her own growing anxiety: she
feels the boat sway, and sees through the porthole the waves getting big, hitting the yacht
harder and harder. And where is Henry?
 49

Lullaby For A Stormy Night

ANN
I will calm the sea
Baby trust me
I will stop the storm
Sleep, baby, sleep
The world revolves ‘round you
My little innocent

Sleep a perfect sleep

I’m always here
Dream a perfect dream
And never fear
Thunder, rain nor lightning
My little innocent

Ann suddenly goes to the porthole, to hide her anxiety from the child. She goes on
singing (as an aside), looking through the porthole —the water hitting the glass violently
now:

All of the danger that I feel

I will dispel it with some magic
Alakazam, I’ll change the reel
Look at the happy family dancing

Ann turns back towards the baby:

We’ll look back and laugh

That crazy night
As we walk a path
‘Neath city lights
The lights will shine on you
My little innocent

The baby is at last asleep.

35C. INT. INSIDE YACHT: CORRIDORS - NIGHT

Ann goes out the cabin, frantically searching for Henry, in the captain's cabin and
through and corridors.

Henry, where are you?

Where are you?
 50

35D. EXT. YACHT: DECK - NIGHT

She goes up to the deck.

Pitch-dark night, pouring rain, chaotic movements of the boat… She's suddenly grabbed
by two arms, from behind: Henry, drunk, soaked.

HENRY (tenderly)
Ann…

ANN
Henry, you're drunk.

HENRY
I'm not that drunk… Let’s waltz…

ANN
But… I'll kill my voice out here.

But Henry forces Ann to waltz, and though she's terrified, she first doesn't dare resist.

ANN
Henry, a storm is rolling in.

HENRY
I’m well aware of that my dear
… Let's waltz in the storm

CHORUS
A storm is rolling in…
A storm is rolling in…
A storm is rolling in…
A storm is rolling in…

There’s So Little I Can Do

ANN (trying to pull away from Henry)
Henry, you’re drunk
Henry, you’re drunk!

HENRY
I’m not that drunk, I’m not that drunk
Hey, where’s Annette? Where did she go?

ANN
Annette’s asleep, she’s safe below
 51

Henry, you’re not the man I know

Henry grabs Ann again, forcing her to waltz with him again.

ANN
My voice, Henry… my voice!
Henry, don’t fool around
We could slip, we could drown

Henry don’t fool around

There’s a storm, settle down
Hey, careful!, what if we fell
No one could survive this swell

You’re quite drunk, let’s calm down

When we’re safe you can be a clown
What has gotten into you?
What has gotten into you?

With this storm and this sea

I feel scared, look at me
Comfort me, hold me tight,
Oh, what a terrible, terrible night

She coughs, tries once again to pull away from Henry —more violently this time.

My voice, Henry… my voice!

Is nothing sacred to you?

HENRY
 52

Oh, God knows everything is —to you!

Always proclaiming… values… The Sacred Values!
And then dying, dying, dying!
And then bowing, bowing, bowing!

Henry, holding Ann firmly against him, accelerates their waltz… more and more…

ANN
Henry, stop it now!
We could fall in
We could drown
Henry, don’t fool around
Ah!… Once a clown…

(Splash sound)

35E. EXT. YACHT’S DECK & SEA - NIGHT

What happened? Henry is still swirling, but alone now

—how did Ann so suddenly disappear?
He tries to steady his body —like a drunken dancer.
And then he hears her voice, coming from the sea, the waves, outside the boat.

ANN
Henry, help me
Pull me out
Henry, help me
Pull me out
Where are you?… I'm…
Henry, I’m almost out of air

Henry, horrified, dazed, is paralyzed.

HENRY
There’s so little I can do

ANN
Henry, help me, pull me out

HENRY
There’s so little I can do

ANN
Henry, help me, pull…
 53

HENRY
There’s so little I can do

ANN
I'm almost out of air-r-r-r-r-r

HENRY
There’s so little I can do
There’s so little I can do

36. EXT. AT SEA - NIGHT

The sea is now totally calm, and the rain has stopped.

Henry and Annette are in a little lifeboat. Henry, still dazed, is rowing —Annette
(wearing a life jacket) awake on his lap.

37. EXT. ON THE SHORE OF AN ISLAND - NIGHT

Father and daughter have washed up on the shore of an island.

As Henry is putting a thermal foil blanket around Annette and trying to warm her body,
he starts singing to her:

We've Washed Ashore

We’ve washed ashore, Annette
On some island, somewhere
Your mother’s gone, Annette
I’ll take care of you

Pretty baby, do not fear

I’ll provide for you
Help is on the way, Annette
 54

Someone’s heard our calls

Henry lies down on the sand (Annette stays sitting, facing the sea.)

In the meantime, stars line up

They're lining up for you
As the moon shines down, Annette
Shines down square on you

As the moon comes out from behind a cloud and shines down on the baby, the baby
starts… to sing!
Yes, the baby is singing, in a beautiful crystalline voice, and what she is singing is a
wordless version of the “Aria” made famous by her mother.

Annette's Aria

Henry, dazed and fatigued, closes his eyes and laughs.

HENRY
Somehow I just imagined Annette was singing
Just as the light of the moon lit her beautiful face
How foolish! How very foolish of me.
(He opens his eyes again, distressed; stares at the stars
—we hear very distant pre-recorded canned laughter)
Now, I can hear the stars laughing at me!
In the morning I’ll be free of all these… hallucinations.

The (moon) light on Henry's body is shadowed by… the Spirit of Ann: she appears
standing above him, and sings to him in an uncharacteristically angry tone:
 55

I Will Haunt You, Henry

THE SPIRIT OF ANN
I will haunt you, Henry
For the rest of your life
Through Annette I’ll haunt you
Her voice will be my ghost

I am no longer Love.
I am now Revenge!

I will haunt you, Henry

I'll die day after day, after day, after day
I will haunt you, Henry
Night after night, after night, after night

FADE TO BLACK
 56

Masha (little Ukrainian girl) —inspiration for Annette

Annette the puppet (work in progress)

 57

3rd ACT

(LOS ANGELES & AROUND THE WORLD)

39. INT. L.A. POLICE STATION - DAY

Henry appears before the police for questioning.

The room is quite dark. Each time the policemen finish asking a question, they turn a
crude light on Henry while he answers. They turn it off when it's time for another
question —then back on again, etc.

We're The Police

POLICE
We're the police and we have got some routine questions
You’re not suspected but we have to ask some questions
It won't take long —how ‘bout some coffee with your questions
It won’t take long we don’t have very many questions
Not many questions

Can you describe the night and how your wife went missing?

HENRY
There was a storm and I looked up and she was missing

POLICE
And did you try at all to dive in and save her?

HENRY
The sea was rough and I was with Annette —could I save her?
The storm was very strong there was no way to save her
And anyway, I had Annette, I had to save her
I had Annette!

POLICE
We’ve heard the rumors that you’re somewhat of a raver
Were there some problems between you that made you waver?

HENRY
That is an insult. I loved Ann, was always faithful
 58

POLICE
What about that "comic" piece in which you killed her, hmm?
Was that a prank, or something more, an aspiration?

HENRY
Everybody knows my act's filled with provocation

POLICE
Well that ‘bout wraps it up, we sure are grateful Henry
It now seems clear to us there is no guilty party
It was an act of God, that is our firm conclusion
It was an act of God, and pardon the intrusion

40. EXT. THE POLICE STATION - EVENING

Henry comes out of the building, puts on a hat and dark glasses, and walks away —
avoiding glances from passers-by. He starts singing:

I'm A Good Father

Sure, I’ve sinned in all your eyes
But one thing you cannot deny is
I’m a good father, I’m a good father,
I’m a good father —am I?

41. EXT. A TOY STORE - EVENING

(song continued)
Henry stops in front of a large toy shop: the window display shows a wide range of magic
lamps, each lamp projecting its own enchanting world of light and shadows (stars, fishes,
trains, water cascades, etc.)

I’m a good father, I’m a good father,

I’m a good father —am I?

My Annette will ask someday

Where is my mother? —I will say that
I’m a good father, I’m a good father,
I’m a good father, but —she’s gone
 59

He enters the shop.

42A. INT. ANN’S HOUSE - NIGHT

Henry climbing the main staircase (the big house now feels empty, without life). He's
carrying a package wrapped in a colorful paper —a present for Annette.

(song continued)
I’m a good father, mother and father,
I’m a good father —am I?

42B. INT. ANN’S HOUSE: ANNETTE’S BEDROOM - NIGHT

He enters Annette's bedroom. The baby is in her little bed, in the dark. He unwraps the
package: a magic lamp.

(song continued)
If I turn this lamp on her
She'll look like an angel

He plugs the lamp in: projected images of planets and stars start spinning across the walls
and ceiling. And as the light shines on the baby, she starts singing again —her mother's
"Aria" again:

Annette's Aria
Henry turns off the lamp: the baby stops singing —silence. He turns the lamp back on:
the baby starts singing again.

HENRY (in between Annette’s phrases)

Unbelievable…..amazing….it’s really happening…
She sings just like an angel
When the light shines on her…
Astounding….unbelievable…..amazing
It’s really happening, it’s really happening… to me!

I'm A Good Father

(continued)
 60

Hard, so hard, to understand

The lights on her, she sings like… like…
And it’s not an illusion, not an illusion,
Not an illusion —at all
And I’m a good father, mother and father,
I’m a good father —am I?
42C. INT. ANN’S HOUSE: ANNETTE’S BEDROOM - NIGHT

Henry has fallen asleep with Annette in her little bed.

43. INT. ANN'S HOUSE - NIGHT

Semi-darkness. Henry pacing through the house like a ghost, bare-chested.

He sings “This Is A Baby” to rationalize why it is OK, for Annette’s sake, to exploit her
amazing gift for financial gain.

He seems to be "rehearsing" different versions of a speech, going from room to room,

stopping in front of different mirrors.
 61

This Is A Baby
This is a baby. This is my baby. My baby has a special talent that
your baby doesn’t have. If your baby had this gift, wouldn’t you
want to share that gift with the world?

Facing another mirror:

This is a baby. This is my baby. My baby has a special talent that

your baby doesn’t have. This talent deserves to be shared with as
many people, in as many places, as possible. To do otherwise
would be selfish. To do otherwise would ruin Annette’s future.
Wouldn’t you share a gift like this with the world?

44. INT. CONCERT HALL - NIGHT

Ann's former Accompanist has achieved his aim and is now The Conductor of a large
metropolitan symphony orchestra. While conducting, he takes advantage of the musical
piece's slow sections to sing a song, addressing us:

The Conductor
It’s a fast changing world, and I am now the conductor of the
city’s finest orchestra,
No longer the self-deprecating accompanist from such a short
while ago.
Ann would be proud of me.
I do have my suspicions, though, about why she isn’t alive.
And doubts too about another matter…
Excuse me a minute

As a loud musical section begins, The Conductor leads forcefully. Then, when the music
calms down again:

Henry has invited me to his place tomorrow to discuss a matter

that he says concerns Annette and Ann.
As awkward as it is for me to attend, anything that concerns Ann
and the future of Annette is something that concerns me.
Excuse me one more time.

Loud passage begins again. The Conductor leads forcefully. Then:

My love for Ann has never died.

 62

Neither has my regret that our affair was only an affair.

I had been hoping for so long —hoping, hoping
Then at a time when she was in despair,
we started an affair
But the very next week she met Henry, and that was the end of
our affair
I’ll always regret that.
I miss her. Her warmth, her voice. I miss Ann
(Holding back tears)
Excuse me one last time
Loud passage begins again. The Conductor leads forcefully.

45. INT/EXT. ANN'S HOUSE - EVENING

Henry standing at a window, watches The Conductor walk towards the house.

Henry opens the door to The Conductor, and takes him to Annette's room, singing:

It's Not Really Exploitation

HENRY
Thanks for coming by
My conductor friend
Got something to show you
That will blow your mind

The Conductor is obviously anxious, wary of Henry.

HENRY
Follow me upstairs
As a friend of mine
You deserve to see this
It will blow your mind

Tiptoe up the stairs

Have no fear my friend
I'm not gonna play any
Trick of mine

They enter Annette's bedroom. It's in semi darkness —The Conductor panics: is Henry
going to murder him, here and now?

THE CONDUCTOR
Henry… What are you…
 63

HENRY (interrupting him)

Shhhh…
Now…
Watch what happens when I turn the spotlight
on my dear Annette
You will not believe it, my friend, you will not believe your ears
Watch what happens and I guarantee you’ll end up in tears

Henry turns the little magic lamp on Annette —and she starts singing:

Annette's Aria
It's Not Really Exploitation
(continued)
HENRY
Can you believe it?

THE CONDUCTOR
I can’t believe it!

HENRY
Can you explain it?

THE CONDUCTOR
I can’t explain it

HENRY
What do you think?

THE CONDUCTOR
I don’t know what to think

HENRY
How ‘bout a drink?

THE CONDUCTOR
I need a drink
A strong drink

Henry turns the magic lamp off —the baby stops singing.
 64

HENRY
Here’s my plan my sweet conductor
We three travel ‘round the world
She performs with your piano
Backing her around the world
All the world deserves to see this
It’s our moral duty, right?
Well, what do you think, conductor
Am I wrong or am I right

If you would consent

To accompany her
You can still conduct
When you’re not with her
We can tour the world
Show her to the world
Millions would go wild
Cherishing the child

THE CONDUCTOR
This is really exploitation

HENRY
No, not really

THE CONDUCTOR
Sure it is
This is really exploitation

HENRY
No, not really

THE CONDUCTOR
Sure it is

HENRY
It’s not really exploitation
Let me emphasize that fact
You know what my future looks like
From a money point of view
With the income from performance
She could have a future too

THE CONDUCTOR
But you’re exploiting her, Henry
 65

HENRY
No, not really

THE CONDUCTOR
You’re exploiting Annette

HENRY
No, not really

Please make up your mind

Please make up your mind
Please conductor friend
We cannot waste time

THE CONDUCTOR
Give me a few days
To think it through
For Annette’s sake only
Only for Annette
 66

MONTHS LATER

Henry's look has changed: a cleaner haircut, a well trimmed beard;

47A. INT. FIRST ANNETTE’S CONCERT HALL - NIGHT

A large audience sits in anticipation of Annette's first show.

The baby is standing at the center of stage, which is for now plunged into darkness.

The Premiere Performance Of

"Baby Annette"
ANNOUNCER'S VOICE
You’ve read about her
You’ve heard about her
But nothing will have prepared you for
what you are about to see and hear tonight, tonight

HENRY
Ladies and gentlemen
Welcome to the premiere performance of
Baby Annette, Baby Annette
I am Henry McHenry, I am Henry McHenry

Cynics among you may doubt that

what you are about to see is real,
that it is not faked in some way.
Let me assure you that it is real.
Annette is a miracle. Miracles do exist.

Without further ado, I introduce to you

Baby Annette, Baby Annette.
 67

He goes to the dark center of the stage, and kisses Annette on the forehead.

The spotlight slowly moves toward the baby… and she starts singing “Aria,”
accompanied by The Conductor. The audience sits in stunned silence.

Annette's Aria
She seems tiny on stage…

But at times, she also appears as a huge hologram, as if she was bending over the whole
audience.

The Whale Who Wanted To Sing At the Met

 68

47B. INT. OTHER ANNETTE’S CONCERTS HALL - NIGHT (TO SPECIFY)

While the song is sang in its entirety, we cut to different performances, in different
concert halls, TV shows, etc. —as Baby Annette is gaining lightning attention.

47C. INT. ON TV, COMPUTERS, CELL PHONES

… The image gradually deteriorates —as it is viewed by a wider and wider audience
(from TV sets, to computers, to cell phones):

—The same image, but as seen on a TV screen (HD quality)

—The same image, but as seen on a cheaper TV screen (video quality —logo of a foreign
channel, Chinese or Arabic)

—the same image, but as seen on a web page (YouTube or equivalent)

——the same image, but as seen on other computers and cell phones, poorer and poorer
(strong video compression, bad streaming) —with different logos and comments in
different languages

By the end of the "Aria", the image has become so poor that Baby Annette seems like an
abstraction, a ghost of white pixels glowing in the dark.

CLOSE-UP ON the final webpage: the view count of the video:

37 563 201
(Millions of people have already watched Baby Annette on the Web)

49. EXT. THROUGH L.A. - NIGHT

Henry on his powerful bike, riding carefully on a small road overlooking LA, with
Annette in a kangaroo sling against his torso. He's singing:

Every Night The Same Dream

I have the same dream every night
Every night the same dream
 69

50A. INT. ANN’S HOUSE: HENRY'S BEDROOM - NIGHT

(Song continued)
Henry, seated on the side of his bed, singing while undressing (the bedside lamp is on):

Adrift on an angry sea

And in a moment of rage and stupidity
I kill the one I love

He turns off the bedside lamp, and goes into bed.

Ann, forgive me
Ann, I beg you
Ann, forgive me

…………

50B. INT. ANN’S HOUSE: HENRY'S BEDROOM - LATER (NIGHT)

(music continues)

Henry is asleep, lying on half of the bed. On the other (empty) half of the bed appear
ocean waves.

…………

50C. INT. ANN’S HOUSE: HENRY'S BEDROOM - ANOTHER NIGHT

Another night: Henry, seated on the side of his bed, undressing (only the bedside lamp is
on.)

I have the same dream every night

Every night the same dream
She’s here lying by my side
An exercise in futility

Henry turns off the bedside lamp, and goes into bed.

Did I kill the one I loved?

There’s no forgiveness
Ann, I beg you
 70

There’s no forgiveness
…………

50D. INT. ANN’S HOUSE: HENRY'S BEDROOM - LATER

Henry is asleep, lying on half of the bed. On the other (empty) half of the bed appear
images of Ann : Ann sleeping with an arm under Henry's neck… Ann lying on her back,
awake… etc.

Then The Spirit of Ann rises from the bed, and sings —walking around the bed where
Henry is still sleeping:

I will haunt you Henry (2)

THE SPIRIT OF ANN
I will haunt you, Henry
For the rest of your life
I will haunt you, Henry
I'll die day after day, after day, after day
Night after night, after night, after night

I am no longer Love
I am now Revenge!

52A & 52B. INT. AIRPORTS AND PLANE - DAY

 71

We Love Annette!
“We Love Annette” sings the public in London, Paris, Tokyo, Moscow, etc. as Henry,
Annette, and the Conductor fly and perform around the world.

HENRY
Annette and me and The Conductor are three!
Annette and me and The Conductor are three!

CHORUS
We’re traveling ‘round the world,
We’re traveling ‘round the world,
We’re traveling ‘round the world,
We’re traveling ‘round the world

PILOT
Ladies and gentlemen, please make sure your seats are in the
upright position. We’ll be landing shortly.

HENRY
Here in Paris

FANS
We love Annette!

HENRY
Here in Madrid

FANS
We love Annette!
We love Annette!

HENRY
Here in London

FANS
We love Annette!
We love Annette!
We love Annette!
We love Annette!

52C. INT. ANNETTE’S WORLD PERFOMANCES - NIGHT

 72

(Annette singing Aria in live performance in foreign city)

52A & 52B. INT. AIRPORTS AND PLANE - DAY (CONTINUOUS)

FANS AT THE AIRPORT

Bon voyage!
Bon voyage!
Bon voyage!
Bon voyage!
Bon voyage!
Bon voyage!

HENRY
Here in Tokyo

FANS
We love Annette!

HENRY
Here in Moscow

FANS
We love Annette!
We love Annette!

HENRY
Here in Bahrain

FANS
We love Annette!
We love Annette!
We love Annette!

52C. INT. ANNETTE’S WORLD PERFOMANCES - NIGHT (CONTINUOUS)

(Annette singing Aria in live performance in foreign city)

CHORUS
We’re traveling ‘round the world,
We’re traveling ‘round the world,
We’re traveling ‘round the world,
We’re traveling ‘round the world
 73

52A & 52B. INT. AIRPORTS AND PLANE - DAY (CONTINUOUS)

FANS AT THE AIRPORT

Bon voyage!
Bon voyage!
Bon voyage!
Bon voyage!
Bon voyage!
Bon voyage!

52D. MINIATURE SHOT OF THE PLANE IN THE SKY

The Conductor & Annette

In every city Annette performs in, The Conductor watches over Annette at the hotel,
while Henry stays out most nights, drinking and fooling around with women.

53. INT. RIO DE JANEIRO: LUXURY HOTEL - EVENING

A big suite. Henry and The Conductor have two adjacent rooms.

Henry knocks at The Conductor's door, opens door and puts his head inside the room.

HENRY
Hey, my conductor friend, would you look after Annette while I
go out and let off just a little bit of… steam?

THE CONDUCTOR
Sure, Henry, I’ll look after Annette.

————-

The Conductor and Annette alone together in the big suite. He's trying to put the baby to
sleep, rocking her gently in his arms while he paces up and down beside the large
window that overlooks the bay of Rio. We sense his strong attachment to the baby.

He goes to the piano, puts her on his lap, and starts playing the tune to "We Love Each
Other So Much" (Henry's and Ann's love song,) only vaguely murmuring some of the
lyrics.

We love each other so much

We love each other so much
So hard to explain it
 74

So hard to explain
We love each other so much

The baby listens intensely and watches the Conductor's fingers moving over the
keyboard.

54. INT. DIFFERENT CLUBS IN DIFFERENT CITIES AROUND THE WORLD

– NIGHT

All the Girls

We see Henry in different clubs and bars, with different women (Japanese, Russian,
Brazilian, etc.) from the different countries the tour is traveling through.

HENRY (with Brazilian girls)

All the girls I see
Look so great to me
What amazes me
Is what they see in me

(With Japanese girls)

All the girls I see
In France and Italy
Or here in Roppongi
What do they see in me?

THE JAPANESE GIRLS

Will there always be
For all eternity
Girls like you and me
For rich men like he?

HENRY / RUSSIAN GIRLS

Am I handsome? —no
You’re so handsome
Charming? —well, so-so
You’re so charming
I’m a foreign guy
So exotic
Rich and drunk, maybe that’s why
 75

THE RUSSIAN GIRLS

Hard to imagine
All these fucking men
Who hate themselves but
Want us to love them!

HENRY
All the girls I see
Look so great to me
But… will I ever be
Lovable again?

Back in LA
56A. EXT/INT. ANN’S HOUSE - EVENING

Henry returns drunk to his luxurious villa.

He parks his bike, but doesn't put the kickstand right, and the heavy bike slowly falls on
its side.

HENRY
Shit…

He leaves the bike on the ground, and goes towards the house, singing:

So Glad To Be Back Home

I’m feeling just a little bit drunk
I’m feeling just a little bit tipsy
Where, you might ask, did I go?
That would be none of your business!

(Where did I put my house keys?)

The Conductor opens the door for Henry. As always, he has looked after the baby while
Henry was fooling around.

HENRY
So glad to be back home
Hey, Mr. Conductor friend, good to see you
Thanks for watching Annette
How is Annette?
 76

THE CONDUCTOR
She’s fine

Annette is sitting on the floor in pajamas, playing with a toy piano.

HENRY
There’s my little Annette
There’s my little Annette
How’s my little Annette?
How’s my little Annette?

The baby (without any change in lighting) starts to sing softly… and she's not singing the
"Aria" this time, but a wordless version of “We Love Each Other So Much” —the love
song Henry and Ann used to sing as a duet.

We Love Each Other So Much

56B + 56C + 56D….. EXT/INT. OUTSIDE & INSIDE – DAY & NIGHT

Henry has flashes of he and Ann together, singing that song (walking together, fucking,
…)

56A. INT. ANN’S HOUSE - EVENING (CONTINUOUS)

He gets furious at The Conductor (Annette watches, puzzled.)

He sings —but tries not to sing too loud, because of the baby:

You Had No Right!

You had no right, you had no right to teach her that!
You had no right, you had no right at all!

He then violently takes The Conductor out of the room, so that Annette won't hear. He
goes on singing, louder, with rage:

You had no right, you had no right to teach her that!

You had no right, you had no right at all!
That song was our song, Ann's and my song, that was our song!
That song was our song, Ann's and mine, our song!
That was our song! That was our song!

THE CONDUCTOR
 77

No!
(Then calm again:)
No, Henry, I wrote that song
—for Ann, for Ann.

HENRY
What?!

THE CONDUCTOR
So I had every right to teach it to my star pupil, Annette

HENRY
You’d think you were her father!
You’d think you were her father!

THE CONDUCTOR
Maybe… I am…
I think I am…
HENRY
What?!
This can’t be true!
This can’t be true!

THE CONDUCTOR
Sorry Henry …
You see, before you came along, Ann and I…

HENRY
No!
This can’t be true!
(To himself:)
Could this be true?
No one must know this, or I'll loose Annette
No one must know this, or I'll loose Annette

(Then, to The Conductor, trying to appear calm:)

My conductor friend, let’s put Annette to bed, and then go by the
pool to talk this over, shall we?

THE CONDUCTOR (worried)

Sure.

57. INT. ANN’S HOUSE: ANNETTE'S BEDROOM - NIGHT

Both men take Annette to her room, and put her to bed.
 78

(Strange sight, these two "fathers" putting "their" baby to bed)

58. EXT. ANN’S HOUSE: AROUND THE OUTDOOR POOL - NIGHT

The pool is now derelict: most of the underwater lights don't work (or only in intermittent
bursts), the surface is swamped with dead leaves, and the numerous floating toys (swans,
ducks, boats, balls) are half deflated.

The two men are walking around the pool.

Murder Of The Conductor

Henry puts an arm around The Conductor’s shoulders.

HENRY (as if starting a discussion)

You see, my friend…

But suddenly, he “jokingly’ pretends to push the Conductor into the pool.

CONDUCTOR (talking/singing)
Henry, don’t fool around
The water must be freezing
You wouldn't want me to drown, would you?

HENRY
Of course not

But, once again, he pretends to push the Conductor into the pool —more brutally this
time.

CONDUCTOR (singing now)

Henry, quit fooling around
I could fall in, I could drown
Sometimes jokes can go too far
If I drown, I’d say that’s a bit too far

Shall we talk, as you’d asked

I can’t stay, can you make it fast
Not to be impolite
But it’s been a long, long night

Again, Henry puts an arm around The Conductor’s shoulders----which makes the man
nervous

Henry, no, quit fooling around!

 79

You’re quite drunk, let’s both sit down

What is it you need to say?
Sit down, Henry… watch it, hey!

Henry has pulled out the chair The Conductor was about to sit on. The Conductor falls
down, then quickly and nervously tries to get up. But Henry violently drags his body
towards the pool’s edge.

THE CONDUCTOR
This isn’t funny any more!
Not the least bit funny any more
Henry, get your hands off of me!
What are you trying to do to me?

Henry violently throws The Conductor into the pool.

When The Conductor tries to come out, Henry steps on his hands and head.

THE CONDUCTOR
Henry, help me!
Henry, pull me out!

Henry, don't fool around

I'm fr-freezing, I’m g-going down
I won’t tell a single soul
Even you can’t be this c-c-cold

So it was you, aft-t-ter all…

I was r-r-right all along, after all…

HENRY
NO!

He gives a violent kick in The Conductor's face.

THE CONDUCTOR (drowning)

If only I had gotten Ann to love me more…
If only I had gotten Ann to love me more…

Henry sits down near the pool's edge, dazed.

HENRY / THE CONDUCTOR

There’s so little I can do
There’s so little I can do
If only…… I’d gotten Ann to love me more
If only…… if only…
 80

There’s so little I can do

There’s so little I can do

The Conductor is hardly moving anymore. Henry looks up at he window of Annette's

room (no light, nothing).

He gets into the pool (all dressed). He grabs the Conductor and swims with him (among
the floating leaves and toys) to the shallow part of the pool, where he can touch bottom.

He maintains the Conductor's body under water, while looking at the window of
Annette's room again

59A. INT/EXT. ANN’S HOUSE: ANNETTE’S ROOM & POV POOL - NIGHT

Soaked, Henry goes back to Annette's room. The baby is in bed, in the dark. As Henry
comes closer, he sees she's awake, looking at him (her eyes are moist.)

Annette, you’re awake…

Turning his back to her, closing the curtains (he can see the pool from the window):

How much of this did she hear?

How much of the last time did she hear?
He faces Annette again. They look at each other through the darkness, in silence. Then,
calmly, silently, the baby pushes the magic lamp off her bedside table —it breaks on the
floor.

Henry, distraught, kneels down and unplugs the lamp.

HENRY
Everything will be alright now, sleep my Annette.

He leaves the room with the broken lamp.

59B. INT. ANN’S HOUSE: HENRY’S ROOM - NIGHT

Singing "I have the same dream every night", he goes towards his room. He throws the
lamp in the waste-basket, takes off his wet clothes, and goes into his bed.

Every Night The Same Dream (2)

I have the same dream every night
Every night the same dream…
 81

60. INT. ON TV - DAY

Show Biz News
CONNIE O'CONNOR:
Connie O’Connor here for Show Biz News with the shocking
announcement that Henry McHenry has decided to end Baby
Annette’s singing career. She will give one last performance, at
the Super Bowl halftime show. The baby will never perform again
after that.

CHORUS:
Never again… Never again…Never again…

61A. EXT. AT THE SUPER BOWL - NIGHT (Documentary shots)

Super Bowl
(Orchestral)
SLOW-MOTION:
The players fighting for the ball
The public
The majorettes
61B. EXT. AT THE SUPER BOWL: ON STAGE - NIGHT

Annette's Super Bowl Performance

CHORUS
Ladies and gentlemen, welcome
Welcome to the halftime show
To the thousands who are here in attendance
And the millions that are watching at home

ANNOUNCER
Ladies and gentlemen
Please welcome Baby Annette
As you all know by now, this will be her last public appearance.
So, ladies and gentlemen… for all eternity: Baby Annette!

Rapturous applause from the crowd. The orchestra intro to “Aria” begins, in the
darkness… A huge spotlight slowly moves on Annette… but when it's time for her to
sing, she does not sing…
Silence.
 82

ANNOUNCER
Ladies and gentlemen… This is the largest audience that Annette
has ever performed in front of, so some nervousness is completely
understandable. Ladies and gentlemen… Baby Annette!

Again: applause… orchestra intro to “Aria”… the spotlight slowly moving on Annette…
but when it's time for her to sing, she does not sing… Silence.

ANNOUNCER
Ladies and gentlemen… please…We ask for your patience. Baby
Annette is a baby after all… Please, once again… Baby Annette.

… The orchestra intro to “Aria” begins, in the darkness… The huge spotlight slowly
moves on Annette… but when it's time for her to sing, she does not sing. In the silence,
she whispers these three words (her first words ever):

Daddy killed mommy.

FADE TO BLACK
 83

4th ACT
COURTHOUSE & PRISON

62. INT. POLICE STATION: INTERROGATION ROOM - DAY

While we hear the CHORUS sing "True love always finds a way", we see time going by
on Henry's body and face:

Henry sitting at the desk of the interrogation room, in semi-darkness. Then the crude light
of the desk-lamp hits his face (as in during his previous interrogation scene with the
police, "We're the police"): we can see that he's changed quite a bit —seems older, puffed
face.
The light goes off.

The crude light hits his face again: he has changed even more —heavier, a beard, longer
hair, etc.
The light goes off.

True Love Always Finds A Way

(Chorus)
True love always finds a way
But true love often goes astray

True love always finds a way

But true love often goes astray

Astray, astray
Away, away

63. INT. INSIDE POLICE VAN - DAY

(song continued)

Henry, handcuffed, seated in the back of the police van taking him to the courthouse —a
mere shadow of his former self now.
 84

64. EXT. OUTSIDE COURTHOUSE - DAY

Angry crowd in front of the courthouse, singing:

He Is A Murderer
He is a murderer, he is a murderer!
there is no doubt at all that
He is a murderer, he is a murderer!
and he must pay the price and
Whether it’s first degree or less than first degree,
the point is moot to us ‘cause
He is a murderer and, whether it’s death or jail
We'll send him far, far far away

Flanked by police officers, Henry walks towards the courthouse, among the angry crowd
singing:

You are a murderer, you are a murderer

You killed the one that we all loved
Near religiously, nearly religiously,
No more will she die for us
Who will now die for us, who will now die for us?
No one can take her place, but -
You who despises us, you who despises us,
We will now tame, break and destroy

Henry steps inside the old courthouse —cameramen, photographers, flashes.

HENRY (mumbling)
Lights! Camera! Justice!

65A. INT. COURTROOM - DAY

The courtroom obviously used to be a theater or opera house (it has an oval shape, with a
balcony —now closed to the public).

The atmosphere is solemn as Henry takes the stand.

CLERK
Henry McHenry, do you solemnly swear that you will tell the
truth, the whole truth, and nothing but the truth, so help you God?
 85

HENRY (mumbling)
The truth? Yes. (To the clerk:) You look terrible.

A murmur of disapproval in the audience —and a few laughs.

The judge shushes the audience.

JUDGE
Mr. McHenry: this court won't tolerate effrontery. Clerk, please,
once again please.

CLERK
Henry McHenry, do you solemnly swear that you will tell the
truth, the whole truth, and nothing but the truth, so help you God?

Henry stays silent a few seconds —then mumbles:

No.
You'll kill me if I do.

Again, a murmur of disapproval in the audience.

65B. INT. COURTROOM - DAY

Now, the light in the courtroom slowly fades into darkness, as the murmur from the
audience subsides: only Henry is still lit; everyone else in the courtroom is in darkness
and completely motionless —as if time had stopped, except for Henry. He stands up and,
walking around the silent and dark courtroom (among the judges, lawyers, police
officers, people in the audience), starts singing:

Stepping Back in Time

Stepping back in time, I’d pull Ann aside,
“I’m so proud of you, I’m so proud of you”

Stepping back in time, I’d pull Ann aside,

“I’m so happy for you, I’m so happy for you”

I’d say, "Ann, what gives me the most joy

Is to watch you, I’m a small boy
Wide-eyed in my awe at your silken voice
I admire you, never tire of you"

Henry has heard Ann's voice (we did too), singing "You're a small boy" (while he was
singing "I’m a small boy"). Did he imagine it? Bewildered, he goes on singing while his
eyes search for Ann through the darkness of the courtroom.
 86

Teary-eyed, she’ll say "I’m ashamed, you see

That we both can’t be, where we ought to be"

Again, Ann's voice has joined Henry's on these last lyrics

("I’m ashamed, you see", etc.)
Henry's search for Ann becomes more frantic… and he finally spots her (the "real" her,
not her angry Spirit) high above him —standing alone at the balcony, looking at him.
Beautiful tender Ann… Henry hasn't seen her for so long. She's moving around the oval
balcony; so he moves too so not to loose sight of her, as he goes on singing:

Crying, you will say

(Ann sings with him: ) "It's so sad, you see
That we both can’t be, where we ought to be"

HENRY ALONE
Stepping back in time, I could step aside
Not allow my pride to be magnified
To a dangerous point where a rash act
What an impact, I can’t grab back

ANN & HENRY SINGING TOGETHER

Now there's no more time, what a shame to see
That we both can’t be, where we ought to be

Stepping back in time, that would be sublime

But there's no more time, to step back in time

As the last notes of the song are played, Henry and Ann stay silent, intensely gazing at
each other.

ANN'S VOICE
Henry!

Henry starts: the voice didn't come from Ann at the balcony, but from a few feet behind
him… He turns around, and faces (not sweet Ann but) the angry Spirit of Ann —standing
on the dais right by the Judge (who's motionless and in the dark.)

THE SPIRIT OF ANN

Henry. She won't be the one keeping you company in jail. I will!
Day after day after night after night.

A FEW YEARS LATER

 87

66A. INT. PRISON: CORRIDORS - DAY

A (huge) prison guard and Annette are walking side by side, through the corridors of the
prison —from gate to gate, checkpoint to checkpoint.

Baby Annette is not a baby anymore. She is 5 or 6 now, her hair longer, and her face
seems astonishingly mature Her eyes are full of sorrow, conscience, knowledge —almost
like the eyes of an old woman.
66B. INT. PRISON: VISITING ROOM - DAY

Henry in his prisoner's clothes, waiting for Annette's visit in the visiting room. In these
last few months he has aged quite a bit, and now sports a Dostoyevskian beard.

The guard enters the room and takes Annette to a chair, facing Henry.

At first, father and daughter sit there, mute and distressed (they haven't touched each
other).

Henry is the first to break the silence

HENRY
Annette… you've changed… so much…

Annette: although her voice is a little girl's voice, she now speaks with the words of a
penetrating adolescent.
 88

ANNETTE (earnestly)
So have you.
But at least, you're safe here, yes?
You can't drink, and you can't smoke —can you?

HENRY (He tries to smiles)

No, my Annette, no.

ANNETTE
And… you can't kill here, can you?

Again, Henry tries to smile… and Annette, as to encourage him, smiles (we haven't seen
her smile for a long long time.)

ANNETTE
It was a joke…

HENRY
Ha, you are my daughter after all!

More silence, more embarrassment.

ANNETTE
But now, you have nothing to love.

HENRY
Can't I love you?

ANNETTE
Not really…

Henry seems hesitant as to what to say…

HENRY
Annette…

He looks at the clock on the wall:

We don't have long…

He then starts singing —slow, low:

Sympathy For The Abyss

(Work in progress)
 89

I'll sing these words to you

I hope they will ring true
They're not some magic chimes
To cover up my crimes
Annette, of this I’m sure:
Imagination’s strong
And reason’s song
Is weak and thin
(Looking at clock again)
We don’t have long
(Now louder, more energy)
I stood upon a cliff
A deep abyss below
Compelled to look, I tried
To fight it off, God knows I tried
This horrid urge to look below
But half horrified
And half relieved
I cast my eyes
Toward the abyss, the dark abyss

(More energy)
I heard a ringing in my ears
I knew my death knell’s ugly sound
The overbearing urge to gaze
Into the deep abyss, the haze
So strong the yearning for the fall
Imagination’s strong
And reason’s song
Is faint and shrill
We don’t have long.

Annette avoids looking at Henry. For the first time, we see a real toughness in her
expression. She bangs her little fist repeatedly on the table, as she sings:

I'll never sing again!

Shunning all lights at night
I'll never sing again!
Crashing every lamp I see
I'll never sing again!
Living in full darkness
I'll never sing again!
A vampire forever!

HENRY
 90

Annette! —no, no, no!

For the first time, Henry sees his daughter not as a cute puppet but as a real person, a
real little girl of flesh and blood. Father and daughter now sing in duet:

HENRY / ANNETTE
I sang these words to you
Can I forgive what you have done?
My hope, that they’d ring true
And will I ever forgive mom?
Imagination’s oh so strong
Her deadly poison I became
And Reason's song is never strong
Merely a child to exploit
Imagination is so strong
Forgive you both?
And reason's song
Or forget you both?
So faint and shrill
To take that oath?
I stood above
The deep abyss To take that oath?

ANNETTE
Why should I now forgive?
Why should I now forget?
I can never forgive!
I can never forget!
Both of you were using me for your own ends,
for your own ends
Not an ounce of shame, no shame!
—the two of you, you’re both to blame
I wish that both of you were gone
Wish you were gone

HENRY / ANNETTE
Oh, don't blame Ann !
Wish you were gone
Annette, that's wrong
Wish you were gone
No don't blame Ann!
Wish you were gone

But is forgiveness the sole way

This horrid urge to look below
When all has gone so far astray
 91

God knows I tried, to fight it off

Extract the poison from one’s heart
But half horrified, and half relieved
And from one’s soul, I can’t be sure
I cast my eyes down the abyss
Forgive the two of you or not
I take this oath
Sympathy for the dark abyss
Forgive you both?
I take this oath
Sympathy for the dark abyss
I take this oath
Don’t cast your eyes Forgive you both?
Down the abyss Or forget you both?
Annette, please don't I must be strong
The huge guard steps in:

Time's up.

Henry grabs the child, hugs her. She doesn't resist his embrace, but doesn't commit to it
either.

The guard steps in to separate them:

No contact!

But Henry hangs on to the child.

ANNETTE (singing sadly to her father, in a whisper, while the

two men are fighting over her)
Now, you have nothing to love…

HENRY (singing)
Can't I love you?
Can't I love you?

ANNETTE (singing)
Now, you have nothing to love…

HENRY (singing)
Can't I love you, Annette?

ANNETTE (singing)
No, not really daddy. It's sad but it's true:
Now you having nothing to love.
 92

Henry let's go of the child.

The guard picks her up in his arms, and leaves the room with her.

HENRY
Annette, my Annette…
Never cast your eyes down the abyss!

66C. INT. PRISON: CORRIDORS - DAY

Henry goes to the closed door. Through the small aperture in the door, he can see her in
the guard's arms, her face turned towards him.

HENRY (singing)
Goodbye… Goodbye… Goodbye… Goodbye, Annette…

The child is getting smaller and smaller, as the guard moves away in the corridor. She
waves goodbye.
 93

EPILOGUE
67. EXT. SET TO SPECIFY (FOREST? OUTSIDE MUSIC STUDIO?) – NIGHT

The end credits start rolling.

Then, towards the end:
The authors & cast members reappear as themselves (as in the Prologue), walking side by
side in the night, singing:

It’s The End

It’s the end, so we bid you goodnight
Safe journey home, watch out for strangers
If you liked what you saw —tell a friend
If you’ve got no friends, then tell a stranger
—tonight

Good night, one and all

Good night, one and all
Good night, one and all