The Light in the Piazza book by CRAIG LUCAS music and lyrics by _ ADAM GUETTEL directed by BARTLETT SHER Lincoln Center Theater Apeil 15, 2005219105) 1 ACT ONE a (OVERTURE) Li. Piazza Signoria (Florence, 1953, summer. Margaret Johnson— an elegant, self: possessed, practical and attractive woman in middle age — views her daughter Clara — 26, looks and acts younger, carrying a sketchpad — across the piazza.) CLARA Mother? What happened here? MARGARET (to the audience) What did happen here? I played a tricky game ina foreign country? ... What did I do? CLARA Mother? vw? MARGARET What happened? Wellll, let’s see ... (She consults her Baedeker)(2/1205) 2 (STATUES AND STORIES) MARGARET ON A CENTRAL SQUARE IN A CITY OF THE SUN ROSE A PALACE IT WAS HIGH AND HANDSOME GLEAMING LIKE THE CROWN OF A KING CLARA Where would that be? Where is that? |ARET IN THE TOWER A WARNING BELL WOULD RING? CLARA WHAT KIND OF WARNING MARGARET FOR A FIRE OR RIVER OVERFLOWING CLARA OH! MARGARET FIRENZE ON A CENTRAL SQUARE THE BEGINNING OF A KINGDOM REPUBLIC CLARA WAS THERE A KING WAS THERE A QUEEN?(3/2108) 3 iT THERE WERE PRINCES, PAINTERS, NOBLEMEN OF LOGIC AND ART CLARA FIRENZE! MARGARET LEONARDO — CLARA LEONARDO — MARGARET MICHELANGELO, THE START CLARA That’s a completely naked statue. MARGARET “TWAS A DAWNING DAY UNFURLING CLARA FROM THE HEART (ialian phrases.) CLARA THE PAINTING OF THE WORLD WE KNOW MARGARET/CLARA THE WORLD WE KNOW ON A CENTRAL SQUARE MARGARET IN A CITY MADE OF STATUES AND STORIES CLARA GO ON AND TELL ME WHAT THEY MEAN,(4/1/05) 4 MARGARET IT IGNITED THERE LIKE A BEACON COMING OUT OF THE DARK YOU CAN FEEL IT CLARA YOU CAN FEEL IT MARGARET YOU CAN FOLLOW CLARA YOU CAN FOLLOW MARGARET THE SPARK CLARA WE'RE ON VACATION! MARGARET FROM AN AGE TO AN AGE CLARA FROM AN AGE TO AN AGE. MARGARET IN FIRENZE CLARA IN FIRENZE MARGARET IN FIRENZE CLARA IN FIRENZE MARGARET. CLARA THE SPARK, THE WORLD THE PAINTING OF THE WORLD.(4/1/05) 5 MARGARET & CLARA IT STARTED THEN AND THERE AND HERE WE ARE IT’S A NEW OLD WORLD TO ME IT’S A NEW OLD WORLD AND WE ARE HERE ALL (italian phrases.) (Music continues under’)(3/25/05) 6 MARGARET ‘Your father and I took our honeymoon here before the war. CLARA Really? MARGARET ‘And this is my first time back. I think it’s my favorite place on earth ... CLARA Tcan see why. MARGARET The openness? The light? ... And what else? ... (looks at the Baedeker) From her site on the great route from upper Italy to Rome, she commanded the passage on the Amo”—they call cities she here. I bet you didn’t know that... CLARA I bet she’d lose her bet. MARGARET Thanks to her great success in war and industry ... (wool, silk, furs)... Florence became one of the foremost trading centers in all of Europe. In fact, the gold Florina became widely recognized as the European form of currency. CLARA (out of the blue, impulsive and excited) We're here!(4/12/05) 7 (Rest of STATUES AND STORIES) CLARA ON A CENTRAL SQUARE MARGARET MAN ON BIKE INA CITY MADE OF STATUES AND STORIES Giomali! IT IGNITED THERE LIKE A BEACON COMING OUT OF THE DARK SIGNOR ALL Mille grazie, (ltalian phrases.) Signora. CLARA YOU CAN FEEL IT MARGARET “YOU CAN FEEL IT CLARA YOU CAN FOLLOW MARGARET YOU CAN FOLLOW CLARA YOU CAN FEEL IT MARGARET YOU CAN FEEL IT CLARA YOU CAN FOLLOW MARGARET YOU CAN FOLLOW THE SPARK CLARA WE'RE ON VACATIONMARGARET ‘WE'RE ON VACATION ALL AH... CLARA IN FIRENZE MARGARET IN FIRENZE CLARA IN FIRENZE MARG. T IN FIRENZE MARGARE' THE SPARK THE WORLD MARGARET/CLARA IT STARTED THEN AND THERE... AND HERE WE ARE IT’S A NEW OLD WORLD TO ME IT’S A NEW OLD WORLD AND. WE ARE FINALLY HERE G/31/05) 8 FRANCA Fattene una camminata! GIUSEPPE Ho detto che stavo giocando & carte. ERANCA Tieni troppe puttane! Non voglio andare fuori. SIGNOR Stai lavorando oggi? GIUSEPPE Cinque minuti. SIGNOR Cinque minuti! CLARA THE PAINTING OF THE WORLD ALL AHs OHs AHs(4/12/05) 9 (in the square, behind her, comes Fabrizio Naccarelli— well dressed, a little slick, perhaps, also dazzlingly handsome, twenty. He spots Clara and watches her for a moment) MARGARET Ah, what else, what else, what else... (looks at the tour guide book) Oh, this is interesting: a man was, well, it isn’t a very happy thought, but a man was burned to death right over there, a monk. Andiamo .... Here's the plaque. CLARA Oh? (Clara reaches out to touch the plaque and recoils as if her hand has been severely burned.) MARGARET What’s wrong? CLARA It’s still hot. Why was he burned to death? MARGARET Well, Pll tell you why, even though you love to torture me like that... (checks Baedeker) Heece was a preacher who told them they were wicked for playing dice and musical instruments and reading certain books ~ sounds like a Baptist = and they didn’t like him for it. CLARA I wouldn't either. MARGARET People were apt to be very cruel in those days. But they must feel sorry for it, because they're still talking about it all these years later. All right now, don’t wander off. CLARA I won’t. (Clara moves to the far corner of the square, Margaret engrossed in her reading. Clara leans into a breeze, looking off. When a sudden breeze steals the hat from Clara's head: it rises up and away, in slow motion, and she turns to chase it, The hat continues to elude her, skittering further along the ground. And, as if an unseen hand were manipulating it all, Fabrizio reaches down and picks up the hat. Clara looks up to meet his eyes.(2/16/05) 10 Everything stops. Then in a sweet, vaguely foolish and formal manner, Fabrizio bows slightly and sings:) FABRIZIO FABRIZIO NACCARELLI. CLARA CLARA. MARGARET Clara! Clara, I said don’t run off ...(rises, moves toward them, realizes what has happened) Oh. Grazie, grazie very much. (takes Clara’s hand) Here we g0, love. (Fabrizio sees Clara's sketchpad. His English is almost non-existent.) FABRIZIO ‘You make this? Mi dispiace. II suo nome? Non parlo English! MARGARET Not to worry, no problema. CLARA Thank you. FABRIZIO Oh, you, my, you so very weleome. (to Margaret) Miss? Signora? CLARA This is my mother, Margaret Johnson. FABRIZIO Johnson, come Van Johnson?!” CLARA Yes! FABRIZIO You are — relatives? © Pmsorey. Your name? 1 speak no English. Like Van fohnson?(4/3/08) 11 MARGARET No, no. FABRIZIO Oh. jARET Unfortunately, oops we have an appointment, I’m sorry to have to— CLARA What appointment? FABRIZIO Please, if you like, mi-II mio, yes, shop, in Piazza della Repubblica ~ How do you say — Beg square. If | may, please arrive my shop? Oh my English— MARGARET Why they think any of us will ever fall for this. FABRIZIO Via Strozzi, Otto — Capisce?® CLARA Yes. FABRIZI Guanti, cravatte * — Everything for the gentlemens. Not for you but for your husbands. CLARA I don’t have any husbands. FABRIZIO. Signorina, ah, forgive me. MARGARET Oh brother. I'm afraid ~ We'll very much try to stop by your shop domani. * Understand? * Gloves, has.(2/1605) 12 FABRIZIO Yes, tomorrow. CLARA Tomorrow then. FABRIZIO My pleasure. CLARA ‘We're staying, mother, what’s the name of the hotel? The Hotel - ? MARGARET Clara, honestly, I have to go to the bathroom, if you must know, thank god he doesn’t speak English. FABRIZIO Bathrooms? Are —yes, in café, li.* MARGARET Oh yes, thank you, mille grazie. CLARA The Grant! MARGARET Clara! CLARA Grant Hotel. FABRIZIO Si, si, the Grand. CLARA Grand. MARGARET Clara FABRIZIO The friend of me is open the door for you suitcase. * There(4/3/05) 13 CLARA Really? That's amazing. (confidentially) A monk was bumed to death right over here. Now is that any way to treat the clergy? MARGARET (to the audience) ‘Anyone meeting Clara for the first time usually finds this incredible, bur... Well, Clara is not ... She’s not quite as she seems. She’s very young for her age. Is ... And, ob, I have managed in many tactful ways over the years to explain her and her situation to young men without wounding them. But ... well, none of that should be necessary here, one would certainly hope. Never mind,(turns fo Clara and Fabrizio) Come, darling. Grazie again, ciao. CLARA Grazie. (Fabrizio moves off) CLARA, Did you see that? MARGARET Yes, I’ve seen it before, CLARA A hat do that? MARGARET No, not that. CLARA What did you mean? MARGARET. No, nothing, come, there’s a lot to see if we want to get it all in. (They disappear.)(411205) 14 Lit, The Uffizi. (An English Tour Guide appears, followed by a small group.) TOUR GUIDE Ufiizi, of course, means office. The collection was bequeathed to the People of Florence by Anna Maria Lodovico, the last of the Medicis. Here we see a late work by Fra Filippo Lippi, a monk, famous for his misconduct. He painted his Madonnas to look like the nuns he slept with, including the one who eloped with him and gave him a son. When his escapades brought him to financial ruin, he tumed to forgery and extortion. (gestures to the painting) “Madonna with Angels.” Now over here we see..." (Margaret and Clara enter. The Tour Guide continues under them) MARGARET Now this is called the Michelangelo room. Oh, look at this angel. The way he’s pointing like that? He, or she, is telling Mary she’s going to have a baby and God is the daddy. “The Annunciation” by Ghirlandaio? No, that’s Leonardo. CLARA (overlapping) It’s almost noon. We said we'd meet him. MARGARE’ Oh, let’s listen to what she has to say. CLARA [told him I would be there.(3/22/05) 15 MARGARET T don’t think we'll have time to go to his shop today, darling, don't you want to? CLARA I want to. MARGARET We can’t always have what we want, Clara. CLARA We seem to be having what you want. MARGARET We're extremely contrary today. CLARA ‘You treat me like an infant sometimes. Maybe you're the contrary one. MARG. iT Clara. I told him we might come. Because I don’t think we should make friends with him. CLARA Why? MARGARET Because ~he has his own life here and we have to go back home eventually. CLARA I could write him. MARGARET Remember how hard it was to leave Ronnie to come here? CLARA Ronnie is a dog, Fabrizio’s a boy. MARGARET Uh-huh. I thought you'd be happy to get away for once. And things are often hard.(3/26/05) 16 CLARA Mom. MARGARET We can see about all that later! Now shh! You're being rude. And this is interesting. (Margaret joins the tour group. Clara's gaze wanders to the naked torso of a male with genitals intact. She wanders up to the statue, stares intently at the headless man’s penis, then touches it before looking out at us.)(4/3/08) 17 (THE BEAUTY IS) CLARA THESE ARE VERY POPULAR IN ITALY. IT’S THE LAND OF NAKED MARBLE BOYS ... SOMETHING WE DON'T SEE A LOT IN WINSTON SALEM THAT’S THE LAND OF CORDUROYS 1M JUST A SOMEONE IN AN OLD MUSEUM FAR AWAY FROM HOME AS SOMEONE CAN GO AND THE BEAUTY IS I STILL MEET PEOPLE I KNOW HELLO THIS IS WANTING SOMETHING THIS IS REACHING FOR IT THIS IS WISHING THAT A MOMENT WOULD ARRIVE THIS IS TAKING CHANCES THIS IS ALMOST TOUCHING WHAT THE BEAUTY IS I DON’T UNDERSTAND A WORD THEY’RE SAYING 1’M AS DIFFERENT HERE AS DIFFERENT CAN BE BUT THE BEAUTY IS I STILL MEET PEOPLE LIKE ME EVERYONE'S A MOTHER HERE IN ITALY EVERYONE’S A FATHER OR A SON I THINK IF I HAD A CHILD I WOULD TAKE SUCH CARE OF HER THEN | WOULDN'T FEEL LIKE ONE I'VE HARDLY MET A SINGLE SOUL BUTI AM NOT ALONE I FEEL KNOWN THIS IS WANTING SOMETHING THIS IS PRAYING FOR IT THIS JS HOLDING BREATH AND KEEPING FINGERS CROSSED THIS IS COUNTING BLESSINGS, THIS IS WONDERING WHEN I'LL SEE THAT BOY AGAIN T?VE GOT A FEELING HE’S JUST A SOMEONE TOO.(3/2/05) 18 AND THE BEAUTY IS WHEN YOU REALIZE WHEN YOU REALIZE SOMEONE COULD BE LOOKING FOR A SOMEONE ... LIKE YOU (Over the last of this, Fabrizio has appeared, observing Clara from between the paintings.) FABRIZIO Ah! Clara! CLARA Fabrizio! FABRIZIO Il destino. (having practiced this phrase, the correct inflection, vowels, etc.) How, how good to see you, Clara, CLARA Oh- MARGARET (same time) Hello. FABRIZIO Anche Lei, Signora. CLARA It is so good to see you! FABRIZIO How, coincidenza, no? Si? MAR\ iT No, si. Ubhh, tell me, Clara, are you~ Momento, prego, mi scusi. Tell me, Clara, Tell me, Clara, Signora, are you free for lunch?(2/9105) 19 MARGARET I'm sorry, we have plans. FABRIZIO Oh, wonderful, may I suggest a café for us? MARGARET T said we have other plans, / I’m sorry. CLARA What plans? FABRIZIO Ah, yes, si, I am sorry— MARGARET Ciao, Fabrizio. CLARA Ciao! We'll come by your shop! (As Clara and Margaret move off, Fabrizio remains, and now we are inside:)Liii(a). THE NACCARELLI’S (2/23/05) 20 (Fabrizio sighs; he is in real, constant, worsening and unassuageable pain, the pain of love; his father, SIGNOR NACCARELLL, sits and reads the newspaper, not responding to the agony of his child.) FABRIZIO TL MONDO ERA VUOTO LE OMBRE LO RIEMPIVAN LA LUCE NON PARIVA MAI CLARA, LA LUCE NELLA PIAZZA CLARA, MIA LUCE, MIO COR ORA CHE SONO SVEGLIO ALL'OMBRA NON VO TORNAR NON SAPEVO DI SENTIRMI SOLO, PRIVO DEL SENSO DELLA VITA ERA COSI CLARA CLARA CLARA, MIA LUCE, MIO COR L'ESSENZA CHE MI MANCAVA, SEITU LA TUA LUCE MTNONDA MA LEI NON PUO AMARMI NON Cosi O CLARA NON AMERA UN RAGAZZINO NON PUO AMARE UN RAGAZZINO DIO PAPA DORMIVO 10 NON SAPEVO D'ESSER SOLO SOLO NEL BUIO NON ERO VIVO NON C'ERA CLARA MA ORA LA TUA LUCE MINONDA [The world was empty Filled with shadow The light never arrived Clara, the light in the piazza Clara, my light, my heart Now that I am awake Twon't go back to shadow] Inever felt myself to be lonely Missing the essence of being alive But that’s how it was] [The essence I was missing is you Your light fills me (inundates me) But she won't love me Not like Iam She won't love a little boy ‘She cannot love a little boy Iwas sleeping I didn't know I was alone Alone in the dark obscurity Not even alive There was no Clara But now your light fills me(GIUSEPPE enters with a tie.) GIUSEPPE Papa, I'hai ordinate tutte queste? SIGNOR Si GIUSEPPE (to Fabrizio) Ciao, Romeo. FABI Devo sembrare pit come un uomo di successo, pit importante, pit, pit... pitt come Van Johnson! SIGNOR & GIUSEPPE Van Johnson?? EABRIZIO Si, Van Johnson! SIGNOR Vuoi assomigliare & Van Johnson? Baudelaire vuol essere Fred Astaire. No! B troppo tardi. GIUSEPPE Si, troppo tardi. SIGNOR Resterai un bohémien. GIUSEPPE Bohémien. SIGNOR Ho finito di lavorare per oggi. IUSEPPE Ha finito. FABRIZIO Aiutami, Papa! SIGNOR Magari domani. (4/1/05) 21 [did you order these?} [H have ta Took successful, more important, ‘more more..more like Van Johnson?) a7 [You want to look like Van Johnson? Baudelaire wants to be Fred Astaire No! Too late J [es, 0 late.) [You will remain a bohemian.] Ham through working for the day.] [He's trough] (Help me, Papa!] [Tomorrow maybe}FABRIZIO No, non pud essere domani, dev’essere Adesso! MALEINON PUO AMARMI NON Cost O CLARA NON AMERA UN RAGAZZINO NON PUO AMARE UN RAGAZZINO DIO! PAPA! CLARA CLARA CLARA, MIA LUCE, MIO COR L'ESSENZA CHE MI MANCAVA, SEI TU SEL TU CLARA CLARA CLARA, MIA LUCE, MIO COR L'ESSENZA CHE MI MANCAVA, SEI TU SEI TU CLARA CLARA CLARA, MIA LUCE, MIO COR, (3/2/05) 21A No, itcan't be tomorrow, it has to be now] [But she won't love me Not like Tam She won't love a little boy She cannot love a little boy Clara, my light, my heart The essence Iwas missing is you Clara, my light, my heart The essence I was missing is you(4/15/05) 22 SOLO NEL BUIO Iwas alone in the dark obscurity NON ERO VIVO Not even alive O DIO DATEMI MIA CLARA Oh God, Give me my Clara O PADRE LA SUA LUCE Oh Father, her light (We've had so many modulations by this point that SIGNOR can't take it any more. In protestation, over FABRIZIO'S last note, he agrees to help.) SIGNOR: O, Madonna mia. OK, Van Johnson, (Fabrizio sings) FABRIZIO M'INONDA fills me](b) Tie Shop Trio SIGNOR Sei pronto? FABRIZIO Pronto. SIGNOR Abbottonati! GIUSEPPE In bocca al lupo. SIGNOR Va bene. SIGNOR E Cosi. Guarda, Vai sopra, gira intorno, passa dentro, tira gid. GIUSEPPE Ecco, che dici? Prova la mia giacca. FABRIZIO Allora, che dite? GIUSEPPE Ahi ahi ahi ahi ahi... (4/8/05) 224 [Are you ready?] [Ready] [Button] {Good Luck (idiomatic expression)} (Good [What rubbish, Like so. Watch.) [Turn around, put through, go over, pull down} [Here, what do you say? Try om my jacket] {[S0, what do you say/think?}(3/8/05) 22B Giuseppe has the idea for a dance lesson: GIUSEPPE D’accordo, sono una bellissima [All right, I'ma beautiful girl. A ragazza americana. beautiful American girl} Ehi, tu! [Hey, you!} Smettila di agitarti di qua ¢ di la. Le [Stop moving about Hands here. mani qui. Non troppo vicino. Segui... ‘Not too close. Follow (this)] Giuseppe makes Fabrizio try it alone or do the step again with him: Fallo tu, dai. [Lit You do it, come on, but it's ike “oa, you doit” fo my ear} GIUSEPPE E una causa persa. ta lost ease} Guarda. foaich} Prova tu, fou ry} Headshake; Giuseppe does complicated riff: FABRIZIO NO no no no no no. ENo way.} GIUSEPPE Stupido, etc. {stupid, ete] SIGNOR Dai, pulcino, vieni con me... [AI right, little onelchick, come with me.) GIUSEPPE Ciao, Van Johnson.(3/25/05) 23 Liv. The Duomo (Fabrizio approaches his father who is meeting with a Priest. When he sees Margaret and Clara entering, looking up into the dome, he hides, flowers behind his back.) MARGARET Tsn’t that something? ... Look up there at that big old Duomo. You wouldn't want to trip up there, would you? That’s a long way down. CLARA Olly, olly oxen free! Priest Shh! (Fabrizio appears, pretending to be a tourist. Margaret is the first to see him.) FABRIZIO Clara! CLARA Fabrizio! FABRIZIO Veramente’, it is destiny! (Then, to show that he is teasing them, he produces the bouquet of flowers for Clara.) FABRIZIO For you signorina. CLARA They’re beautiful. Mother, look! MARGARET Well, look what the cat dragged in. FABRIZIO Signora, “tm truth(3/26/05) 24 CLARA Milione di grazie!” FABRIZIO Milione! CLARA Sono cosa bella.* FABRIZIO Belli, non bella. Belli. (Margaret firmly positions herself between Clara and Fabrizio, about to put a final end to this farce when Signor Naccarelli walks by, and Fabrizio sees him.) FABRIZIO Papa! Papa! Che fai qui?? Signora, Signorina Johnson, my father, Signor Naccarelli. SIGNOR How do you do? MARGARET Hello. FABRIZIO He speaks English, not like me. CLARA Your English is wonderful! + A million thank you's! They're so beautiful > What are you doing here?(3/2105) 25 SIGNOR Such a coincidence. May I take you perhaps for an aperitivo, Signora? MARGARET Oh, it’s a little early in the day. SIGNOR Certamente. Perhaps you and your daughter will join us later then for a passeggiata. In the Piazzale Michelangelo. Sunset. Everybody come there. CLARA We'd love to, tante grazie! '° MARGARET Well ... yes, grazie, I hope we can — CLARA We'll be there, waiting. SIGNOR Five o'clock then. MARGARET If we can. CLARA ‘We can! SIGNOR Till then. (He bows as he and his son begin to move off) MARGARET Clara I... Ciao. FABRIZIO Ciao, Five o'clock. '° Thank you so much!G/26105) 26 CLARA ~~! Yes. Ciao. FABRIZIO Ciao. CLARA Ciao! EABRI Ciao. CLARA Ciao! FABRIZIO Five O'clock. (They laugh as Fabrizio disappears; Clara stands, watching him go. Margaret turns to us:) 7 MARGARET ‘You have no idea what it does to me to see her happy like this. But I have to tell them the truth, It cannot continue. I can’t allow it, Oh, why isn’t Roy here? You cannot say no to these people. And they seem too slick, don’t they? A father and son team? (To Clara) Come, darling, 1 think we need to put our feet up back at the hotel. CLARA Okay. Then we're going to meet them, five o’elock. (The Priest Enters as they exit, severely startling Clara) MARGARET It’s all right, darling. He works here.(2/9105) 27 Lv. Piazzale Michelangelo (Sunset. Franca is helping Fabrizio with his English.) FRANCA Clara ... FABRIZIO Clara ... ERANCA Such a beautiful blouse. FABRIZIO Such beautiful blouse. FRANCA Bene. Clara. FABRIZIO Clara. FRANCA Have you had an enjoyable afternoon? FABRIZIO Have you had enjoyably after —? FRANCA Pit musicale, facile''. Have you had an enjoyable afternoon? FABRIZIO. Come si dice, “‘La sua pelle e come il latte?!” FRANCA No no no.(4/6/05) 28 FABRIZIO Si! Your milk -? FRANCA No milk. Non glielo dire prima di conoscerta. EABRIZIO. Your milk ... 2 FRANCA Nothing having to do with milk. No. Milk. (Giuseppe breezes by; he is with a woman; when he sees Franca, he tells the woman to leave.) GIUSEPPE ‘Ah Franca! Buongiorno! Bellissima. Come stai? E 10 Have you had enjoyable afternoon? FRANCA Bravo! GIUSEPPE Si Bravo! Cameriere! Vino rosso. WAITER Si. GIUSEPPE Grazie. ERANCA You must know, Clara ... FABRIZIO You must know, Clara ... FRANCA ... someday I too ... FABRIZIO ... someday I too ... FRANCA ... Will come home ... 3 Goad day. How ase you doing?(416/05) 29 FABRIZIO «+. will come home ... FRANCA ... after a night spent with another woman ... FABRIZIO. Piu piano! FRANCA ‘And you will have to wonder if I ever loved you. (She exits, Giuseppe chases after her with:) GIUSEPPE Non prendere tutto cosi sul serio! FRANCA No! GIUSEPPE Perché non ridi? Perché si deve litigare? Ridi!, gioca!, aspettal'* (to Fabrizio) Ciao, (to Franca) Franca! FABRIZIO. Clara! CLARA. Buon giomo. EABRIZIO Ah. Such .., beautiful frock! (LARA Thank you. (Neither knows what to say.) CLARA You cut yourself shaving. FABRIZIO Yes? Stowe down! ' Don’t take everything s0 seriously! Enjoy what we have! Francat Why ean’ you laugh? Why must we fight? Lavgh, play vail!(2/9/05) 30 CLARA Do you like to shave? FABRIZIO Oh... Yes?1... Yes? (She lifts her hair, shows him behind her ear.) CLARA Look, a scar! FABRIZIO Oh, no, ma sono belli. Your hair is beautiful. CLARA, No, no, not my hair. The scar. Scar. How do you say in Italiano? FABRIZIO Bella. CLARA No. How do you say scar? FABRIZI Ci CLARA Cicatrice. (Pause,) FABRIZIO Si, bene. Come si dice in Inglese? (He points to her headband.) CLARA Plastic headband. FABRIZIO Plastic headband.(3/26/05) 31 CLARA Bene! (Another awkward pause.) FABRIZIO Yes. Your millllk. You— mother? CLARA Over there. Li. FABRIZIO Bene. (To Margaret as they walk past) Signora. (He ushers her away from Margaret and Signor who are walking side by side; Clara nervously checks back toward her mother throughout:) MARGARET ‘Your son seems to have the mysterious ability to know where we are going, before we know! I’m wondering if he is a spy of some sort. SIGNOR: Aspy! MARGARET Or has one at the hotel? SIGNOR Well, I cannot say. (Margaret gathers up her courage.) MARGARET Signor — SIGNOR (at exactly the same time) Florence is to your liking? MARGARET Oh yes. So much history.(2/9/05) 32 SIGNOR In Florence we have too much history. In America you are so free — oh, it is wonderful. Here— (notices Margaret's concern about Clara) They ate fine, I'm sure. MARGARET Well - Actually — SIGNOR Here, if we move a stone in the street — MARGARET Oh yes. SIGNOR ‘Who comes? Committees, officials, “You cannot change it. It’s history!” MARGARET Yes, well — SIGNOR ‘And even if you say, “But it has just this minute fallen on my foot,” they show you no pity. MARGARET May I, I’m sorry to interrupt you. SIGNOR ‘No, no, go on, Iam the one who must apologize. MARGARET No, not at all. You speak very good English. SIGNOR No, but once it was better. I have known many Americans during the war, done certain small things for them in, how do you say, liaison during the occupation, I find the Americans very simpatici. (He shines his warmth on her.)(3/22/05) 33 (They slip once more from view, and we are back with Clara and Fabrizio, once more both of them tongue-tied.) CLARA (To Old Man) Hello, How old are you? (To Fabrizio) Where is everybody going? FABRIZIO ‘Vuoi fare una passeggiata con me? CLARA Cosa? FABRIZIO Do you want to make ... to walking, to walking with me acircle? CLARA Si. FABRIZIO. Bene! .. on the road... in(2/26/05) 34 (PASSEGGIATA) COME WITH ME WALK WITH ME WALKING IN MY CITY UNA PASSEGGIATA YOU ANDI ‘SEE THE FACES FROM THE DAY TIME TALKING IN THE EVENING SEE THE CHURCHES SHINING SEE THE SKY NOWIS 1AM HAPPINESS, NEVER 1AM UNHAPPINESS, NOW IS [AM HAPPINESS WITH YOU COME WITH ME WALK. WITH ME IN THE PLACE THAT I KNOW LA PASSEGGIATA. NOW IS 1AM HAPPINESS NEVER 1AM UNHAPPINESS: NOW IS 1 AM HAPPINESS WITH YOU WALK WITH ME IN THE PLACE THAT I KNOW LA PASSEGGIATA (Margaret and Signor re-appear. Both couples are encircling the square in slow, comfortable gaits. Signor helps Margaret up a step or around someone passing.)(2/9105) 35 MARGARET Grazie. SIGNOR Ah, you speak Italian. MARGARET Hardly. Signor Naccarelli? SIGNOR ‘Yes? You have a charming accent. MARGARET Oh, I do? SIGNOR ‘Yes? But go on. MARGARE’ It’s ... it’s about Clara. SIGNOR She seems quite lovely to me. Like her mother. (Pause, Margaret is caught off guard.) SIGNOR You were saying? (They move off once again as Clara and Fabrizio re-appear.)(2/26/05) 36 FABRIZIO YOUR MILK ... YOUR MILK IS ... Eh. CLARA My milk is what? What milk? FABRIZIO NOT MILK, IS LIKE MILK. CLARA LIKE SNOW? FABRIZIO EH SI, BUT NO I KNOW SNOW NONE SNOW ... IS ... (touches the back of her hand) HERE. COME SI DICE? HERE? (touches her neck) AND HERE? (touches her cheek) AND ALSO HERE ... CLARA MY SKIN! FABRIZIO YOUR SKIN IS LIKE MILK! 1AM WORK HERE IN THE TIE SHOP NEXT TO ARNO RIVER EVEN THOUGH I KNOW IS NOT BIG SIZE SEE PALAZZI1 ON THE HILLTOP MAYBE ONE DAY LIVE THERE MAYBE IF I SELL TOO MANY TIES! w AH... NOW IS1 AM HAPPINESS WITH YOU(2/26/05) 37 WALK WITH ME IN THE PLACE THAT I LIVE FROM A CHILD THE PLACE THAT I KNOW LA PASSEGGIATA.(4/3/05) 38 Lvi (a). The Naccarelli living room. (Fabrizio, Signor and Signora Naccarelli, Franca, and two servants are preparing for the arrival of guests. Giuseppe breezes in late.) EPPE Buona sera. Scusami del ritardo. Avevo un piccolo affare, SIGNOR Si. Possiamo immaginare tutti quale piccolo affare avevi. FRANCA Tieni gitt le mani. Da ora in poi, non ti conosco pit. '* 16 0 (Doorbell. Everyone runs around, putting the final touches on every- thing, as one of the servants goes to answer the door. Margaret and Clara enter.) FABRIZI Signora Johnson, Clara, my mother, Signora Naccarelli. SIGNORA Piacere. MARGARET How do you do? (Signora kisses her) Oops! FABRIZIO You remember my father. Oh yes, Buon giomo. SIGNOR (same time) Buon giomo. Welcome. MARGARET Hello. FABRIZIO My brother, Giuseppe. 16 Soney Vm late. | ad smal affair {needed to attend wo 17 Yes, we can all imagine what small alfac you were atending to, 8 Keep your hands to yourself, From now on J don’t even know you.(2/9/05) 39 GIUSEPPE How do you do? MARGARET Pieasure. (Clara also holds out her hand to be kissed. The Naccarelli's all find this utterly charming. Margaret notices this.) FABRIZIO: And his wife, Franca. FRANCA Hello, how are you? MARGARET Very well, thank you, nice to meet you. CLARA (referring to the apartment) O, che ... che gorgioso! SIGNOR Grazie. (The entire Naccarelli family reacts favorably to Clara’s impulsive praise of their apartment.) Prego! (In a suspended moment while everyone is waiting to see who will do what next, a momentary freeze allows Margaret to turn out:) MARGARET How I have managed to allow this to drag on even another few days. AA!!! (Everyone releases into:) EABRIZIO. Here, you should sit —(2123/05) 40 SIGNOR No, no, no dia alla Signora Johnson la sedia col cuscino. MARGARET ‘What a beautiful — SIGNOR Please, Signora. MARGARE- Oh. SIGNOR Sorry, you were saying. MARGARET Clara is right, what a beautiful apartment — FRANCA (same time as Margaret, interrupting her) Clara, let me show you the apartment, the paintings, would you like that? CLARA Oh, yes, thank you. FABRIZIO Yes, let her show you the paintings. MARGARET Yes, you'll enjoy that — SIGNOR (same time, cutting her off) They are worthless. I'm sorry, you were saying. MARGARET Well, while they’re out — GIUSEPPE (same time, cutting her off) Zucchero? * 0, no, no, give Margaret the chair with the cushions. ‘Sugar?MARGARET No, thank you. While they're ~ GIUSEPPE (again cutting her off) Latte? MARGARET Oh, yes, a litle, grazie. GIUSEPPE Prego. 7! MARGARET I would like to take advantage ... of — GIUSEPPE Papa? SIGNOR F la terza volta che la interrompi. GIUSEPPE Mi dispiace. Scusi tanto. * SIGNOR Zitto! * (Small pause.) MARGARET IfT could j— SIGNOR (same time, cutting her off) (2/2305) 41 There is always one child who can do nothing right, have you noticed this? 2 You're welcome, 2 That's the third time you've interrupted the woman 2 Pmsorry, 0 sory, Buon it! (Shut up)(3/22/05) 42 MARGARET Well, I... No, I only have the one. SIGNOR ‘This one is the older but he lacks, how do you say maturita. MARGARET Maturity. (Not comprehending, Giuseppe is nodding cheerfully in agreement.) SIGNOR Maturity. Si. GIUSEPPE Si. INOR If only his wife would give him a son, he would learn, ma MARGARET Well, I’m sure you're right. SIGNOR She is charming, your daughter.(4/5/05) 43 Lvi (b) A hallway (Franca and Clara are looking at the paintings, strolling.) FRANCA Very handsome, your new fellow. You and [ are very much alike, I think. You and Fabrizio. CLARA Like you and Giuseppe. FRANCA You see? Two pairs of lovers. Oh- (THE JOY YOU FEEL.) HOW TRULY HAPPY YOU MUST BE YOU ARE THE FIRST TO SET HIM ON HIS KNEE YOU’RE THE ENVY OF SO MANY GIRLS. AND YOU ARE THE MOST BEAUTIFUL SO FAR THE GENTLE JANGLE OF HIS VOICE NO OTHER SOUND NO SMILE NO FACE NO CHOICE AND THE JOY I KNOW YOU FEEL THIS IS SOMETHING I REMEMBER WELL, MY DEAR AND ON YOUR FIRST ANNIVERSARY IN THE PIAZZA WHERE YOU MET AT FIRST IT’S, IT’S ONLY A GLANCE AND THEN HIS EYES WILL SET UPON A GIRL WHO’S PRETTIER AND YOUNGER THAN YOU WHAT TO DO? ENJOY IT YOU ARE FREE YOU HAVE TIME TO SPARE(219/05) 44 THE BASSINETTE IS EMPTY THE NURSERY IS BARE YOU CAN SPEND HIS MONEY THEN THERE IS NO MONEY You can take a lover. But ... HE’S THE ONE YOU LOVE HE’S THE ONE YOU LOVE ISN’T HE? THOUGH TRULY HAPPY, YOU MUST BEWARE FOR HAPPINESS CAN ALSO SCAR FOR SO LIKE ME YOU ARE YOU ARE... BEWARE. CLARA Thank you.(2/9/05) 45 Lvi(c) The tea party (Immediately after.) SIGNOR: My son Fabrizio, he can think of little else but Clara, It will be a sad day for him when you go away. MARGARET Oh, yes -- of course, but — SIGNOR How nice to think that you would not go at all, but would spend many months in Firenze, perhaps take a small villa. MARGARET Oh, well, no — SIGNOR Many outsiders do, They never wish to leave, MARGARET Thave unfortunately many responsibilities at home — my house, husband. SIGNOR What does Signor Johnson do? MARGARET He owns part interest in a cigarette company. SIGNOR Ah. Pall Mali? MARGARET No. SIGNOR Raleigh? MARGARET No.(2/9/05) 46 IGNOR, Camel. MARGARET No, Signor — SIGNOR Winston? MARGARET No, no, Signor Naccarelli. I should really tell you about ... all this. The two of them. SIGNOR Yes. It is so sudden. MARGARET Yes. Si é vero, é vero. SIGNOR Brava! SIGNORA Brava! Bella! (This accompanied by applause from the others.) MARGARET Well, I’m, I’m trying, though, to speak about SIGNOR, You are not frying, you are doing, you must be a very fast learner. No, no, yes, well, I mean, on another subject. SIGNOR Yes, Another subject.(2/23/05) 47 MARGARET Clara and Fabrizio SIGNORA Si! MARGARET Yes, I fear ... SIGNOR We, too, are fearful. (to his wife, sotto voce) Anche lei é molto prudente, i giovani vanno troppo in fretta. ** SIGNORA Se deve andare in porto, meglio procedere con calma. ° SIGNOR Yes, everything must proceed more slowly. MARGARET Well, that’s just — that’s just it, Clara— (She takes a big breath, prepared to tell her secret. Signora jumps in on this:) SIGNORA Che brava ragazza, & cosi innocente! 7” MARGARET Si. But. Clara is not necessarily like most American girls, she has ... SIGNOR Clara non é come le altre ragazze Americane. SIGNORA Bene! E una ragazza all ‘antica ... Ben educata, ” 2 hei also very careful, young poople go too fast [she says] 2 iethey to arive safety to por, hey mus proceed cantousy What nice git, so innocent ™ Claais not lke other Ameriean gil © Good, She's mor raion, rom a good fal.(2/9105) 48 SIGNOR a3 My wife respects this. MARGARE’ Lhave something I must tell you. SIGNOR Yes, we — MARGARET ‘You must, please, do hear me out now, SIGNOR By all means. (Pause. Margaret struggles to tell these lovely people her secret.) .«. isa special child. _? (Fabrizio is beaming down at her. She reaches out her hand to him, he takes it, pats it affectionately. Margaret looks from face to face: How in the world can she hurt these peoples’ feelings?) MARGARET That’s all. That’s all. (Everyone is overjoyed.) SIGNOR This is eccellente. So much of what we hear and read about American women, young women, is not what we would consider to be necessarily the right kind of woman for our son. MARGARET Yes. SIGNOR L ‘And we very much respect your caution. The human heart is mysterious and sometimes also dangerous. Lucky Strike?(3/2/05) 49 (Clara rushes into the room, followed by Franca. Both Margaret and Fabrizio instantly see that Clara is upset. Margaret rises gently from her chair as Fabrizio goes up to Clara. All but Fabrizio and Clara now Freeze for:) FABRIZIO ‘Are you all right? ... What's the matter? CLARA Look at me? FABRIZIO Yes, che bella. CLARA Just look at me? FABRIZIO Of course. Shhh, shhh. You are fine. (sotto voce) I have to see you alone. (handing Clara a note with handwritten instructions) Meet me here near the hotel tonight at midnight. You can get away? CLARA Si. FABRIZIO Si. (Maybe unfreezes, and turns out.) MARGARET (fo us) Something happened, something in the other room confused her ... The truth is, that’s my job, to calm her when she’s like that. To know when and how to ... But... well .., apparently ... (Slowly she sits back down, and then everyone unfreezes.) SIGNORA Signora Johnson, mio figlio e bravo. Capisce? Giuseppe, no.(4/3/05) 50 GIUSEPPE Dai, Mamma. SIGNO) Fabrizio e bravo, Giuseppe, no. GIUSEPPE Su, Mamma. Per piacere. SIGNORA Fabrizio va in chiesa, capisce? E bravo. Capisce? Signora. Sembra cosi felice. SIGNOR ‘We have wondered if perhaps Clara does not wish to leave Firenze. MARGARET Tt is clear she doesn’t. But — SIGNORA Capisce? SIGNOR My wife thinks they might be happy together here ... Always. SIGNORA Si? (Margaret stands, they all stand, too. She shakes Signor Naccarelli's hand.) MARGARET Slowly. SIGNOR Ah...! °° Understand?(2/9105) 51 Lvii, Margaret's hotel room (She is on the phone with Roy, dressed in golf attire, back in Winston- Salem.) ROY Hello? Hello? ... Is—1s someone there? MARGARET (her voice hushed, overlapping, out of sync) Roy, it’s Margaret. Roy! ROY At didn’t ring. MARGARET ‘What? ROY It didn’t ring. The phone. MARGARET There’s, there’s a delay ... Hello? ROY Pm here. MARGARET Oh, okay, ROY Good to hear from you. How is it? MARGARET Oh, wonderful. ROY You have to speak up. MARGARET Clara’s sleeping, I don’t want to wake her.(2/9105) 52 ROY Did you go to our monastery? MARGARET Oh, not yet. I want to. ROY Uh-huh. MARGARET Very much. But, oh, I wanted to tell you, we’ve met some very nice people, Florentines, from Florence. ROY (knowing full well what Florentines means) Yes. MARGARET Oh, sorry, this delay. Their names are Naccarelli, they have a son about Clara’s age. ROY Uh-huh, MARGARET Tknow. ROY Well, yes, you don’t want anybody getting the wrong idea, that’s all. MARGARET T know, I know it. It’s just I meant it’s nice to meet some ... nice people. ROY Uh-huh, well, I don’t know you know how nice they really are in so short a time. MARGARET They're Italian, Roy, they're nice people they all are, very friendly people.(2/9105) $3 ROY Well, you know what’s best. Listen, honey, I’ve got a dinner appointment with Harbison or — MARGARET Oh, sorry. I miss you! ROY Miss you too. (Kissing noises.) MARGARET Roy?!? ROY Yes? MARGARET I... mean it, [de Miss you. ROY Tassumed you meant it. MARGARET I know, it’s just —it’s hard to be back here without you, The war? we were apart? ... ROY Uh-huh? MARGARET ‘When we had to be, that is, and Clara was ... first — ROY Yes, MARGARET Ikeep thinking of us then, you know, forced apart ... and now .. s+ When,(4/1/05) 54 ROY Iknow. MARGARET I know, I know you couldn’t get away, it isn’t that, it’s not that I don’t understand, I don't .., know what I’m saying, do you? Know what you’re saying? MARGARET No, I don’t ... I don’t know, I’m sorry ... ROY Well, I really should — MARGARET Wait, don’t hang up! ROY What is it? 1 shouldn’t keep Harbison waiting too long, he is chairman of the board. MARGARET Pm sorry. ROY That’s all right. But somebody’s got to pay for this trip, unless you want to dip into your savings? What is it? MARGARET Nothing. ROY You're sure? MARGARET Don’t be late. ROY Margaret, put an end to that, Whatever's going on over there. You hear? Now you take care.(3/22/05) 55 MARGARET You, too. (But he has already hung up.)(219105) 56 (DIVIDING DAY) DASHING AS THE DAY WE MET ONLY THERE IS SOMETHING I DON’T RECOGNIZE THOUGH I CANNOT NAME IT YET TKNOW IT BEAUTIFUL IS WHAT YOU ARE ONLY SOMEHOW WEARING A FRIGHTENING DISGUISE I CAN SEE THE WINTER IN YOUR EYES NOW TELLING ME: “THANK YOU WE’RE DONE HERE NOT MUCH TO SAY WE ARE TOGETHER BUT I HAVE HAD DIVIDING DAY” SO WHEN ... WHEN WAS THIS DAY WAS IT ON THE CHURCHSTEP SUDDENLY YOU'RE OUT OF LOVE DOES IT GO CREEPING SLOWLY WHEN WAS YOUR DIVIDING DAY? 1 CAN SEE THE WINTER IN YOUR EYES NOW TELLING ME: “MARGARET WE DID IT YOU CURTSIED, | BOWED WE ARE TOGETHER BUT NO MORE LOVE NO MORE LOVE ALLOWED” WHEN WAS DIVIDING DAY? WAS IT ON THE CHURCHSTEP? DID IT HAPPEN RIGHT AWAY? WERE YOU LYING NEXT TO ME HIDING WHAT YOU COULDN'T SAY? HOW COULD I HAVE GUESSED? WAS MY CHEEK UPON YOUR CHEST AN OCEAN AWAY? WHEN WAS(2/9/05) 57 WHEN WAS WHEN WAS DIVIDING DAY? MARGARET Clara? ... Clara? (She looks into Clara's room; she is not there. As she runs off, Margaret makes a gutteral sound of her frustration.)(4/5105) 58 i On the Street FABRI ‘After lobby, after fountain, go to Amo making left, and left again to ‘Tornabouni. All along and then you see museo. (Clara is reading the directions Fabrizio gave her.) (HYSTERIA) CLARA AFTER LOBBY, AFTER FOUNTAIN, GO TO ARNO MAKING LEFT AND LEFT AGAIN TO TORNABUONI ALL ALONG AND THEN YOU SEE MUSEO Right! AFTER LOBBY, AFTER FOUNTAIN, GO TO ARNO MAKING LEFT AND LEFT AGAIN TO TORNABUONI ALL ALONG AND THEN YOU SEE MUSEO MUSEO I WAIT FOR YOU IN COURTYARD OF MUSEO WHICH IS LOOKING LIKE A GARDEN Ciao FABRIZIO! Ha! MAN #L Buona Sera. CLARA That was a silly thing to do, Clara, Crap. I memorized it. Concentrate, Clara. CLARA. LALALALA LALALALA LALALALALALALALA MAN# 2 Ciao. Ti sei perduta? Mia Cara,(3/31/05) 59 CLARA Ci iao, cara,..cara...That means dear, That means dear, sort of. Oh, dear, Oh, crap. I know where I am! PROSTITUTE Do you look for the Medici Palace? CLARA No, thank you. Sono felice. I am fine. MUSEO CLARA / FABRIZIO LALALA LALALA LALALALA LALA LALALA LALALA LALALA CLARA Fabrizio Naccarelli! Fabrizio Naccarelli! He's waiting for me! He’s waiting for me! Clara Johnson, 142 East Lake Street, Clara Johnson, 142 East Lake Street. MARGARET Clara? It’s alright, It’s alright, I’m here. I’m her mother, madre, bene, va bene, grazie. (LULLABY) (Margaret will walk Clara back to the hotel room.) LITTLE CLARA, LITTLE CLARA NO MORE CRYING MAMA HERE NOW BABY CLARA, BABY CLARA HMM. LITTLE CLARA, LITTLE CLARA(4/505) 60 Lix. The hotel room Li MARGARET Clara, where were you going? CLARA I was going to get ice cream. MARGARET You know we don’t tell each other stories. Now I want you to lie down and go to sleep. And don’t you worry about a thing, you're safe now. I'll be near by. THERE’S A MOON ON A HILL AND A HIDDEN STREAM. A LAGOON AND A RED HORIZON DREAM SILOQUETTE SET AWAY FROM TIME FOREVER. THERE’S A VALLEY BEYOND A SETTING SUN WHERE WATERS SHINE AND HORSES RUN ... HMMM... (Clara is asleep.) It’s always so difficult ... Roy and I don’t even discuss it anymore, it’s just a fact of life, like the weather ... When Clara was ten, we rented a Shetland pony for her birthday party, and ... the pony kicked ... her... The doctors told us that she would her mental and emotional capacities would not develop normally, and, but her body would continue to develop, so ... If the Naccarelli’s find out, shell be smashed up for good. We have to get out of here. First thing. Oh, it’s for nights like this that hotel bars were specifically developed. (Margaret exits.)(2/9/05) 61 Lx, Clara’s hotel room (Fabrizio arrives at the door. He knocks, and Clara answers.) FABRIZIO Clara! CLARA Fabrizio! FABRIZIO T wait for you, what happened to you? CLARA I... My mother .. FABRIZIO She is here? CLARA No, come in, sit! FABRIZIO No. CLARA Entra.” FABRIZIO T think you have gone, i am afraid ... CLARA Don’t be, come-— FABRIZIO No, you are alone, I should not. § come i,(2/23/05) 62-63 CLARA, . Insisto.* T want you to. She won’t mind. FABRIZIO F think you have decide — Non sono adatto per te. CLARA Not good enough? Of course you are. FABRIZIO Tthink [maybe] you have meet someone better. CLARA No. FABRIZIO I don’t know, how do I know ... It is... [think what I feel. Tam so tiresome to talk, to say what impossible for me to say v.. don’t know how to— CLARA ~? always understand, FABRIZIO If I could say in Italiano it would be best... CLARA Then do, then say ... FABRIZIO No. 7 insist.(223/05) 64 (SAY IT SOMEHOW) CLARA WHY DON’T YOU TRACE IT ON MY HAND? OR MAKE A SONG. DO ANYTHING! SAY IT SOMEHOW. I WILL UNDERSTAND. IKNOW YOU. YOU ARE GOOD FABRIZIO ‘THE SOUND INSIDE YOU - THIS I KNOW IT’S LIKE A MELODY, LIKE THERE YOU GO, JUST NOW! SAY IT SOMEHOW. SOMEHOW YOU CAN SHOW ME. BOTH SAY IT SOMEHOW ANYWAY YOU CAN. YOU KNOW ME. YOU ARE GOOD. OH YOU ARE GOOD. YOU ARE GOOD TO ME. IT KNOW THE SOUND OF TOUCH ME. I THINK | HEAR THE SOUND OF WRAP YOUR ARMS AROUND ME AH... SHOUT AND DANCE IN RINGS! CLARA OR SAY IT SILENTLY. FABRIZIO TELL ME THINGS! BOTH AH, WE'LL PLAY A GAME, YOU TRACE IT ON MY SKIN. DO IT ANYWAY BUT LET’S BEGIN: DO IT SOMEHOW. SOMEHOW YOU CAN SHOW ME.