Dreamer Take Care,
a musical play written by Ros, music by John Billingsley

Act 1    Scene 1       A Glade in Africa from people perspective

(introduce Bill and Tayvia and explain the background story)

In front of the curtain (or a darkened stage if there are no tabs)
a professional video camera mounted on a tripod is pointing at the stage.

~ 7.13 Domestic announcements

A cameraman walks unobtrusively as if a technician to the camera and adjusts it with his back to the audience.

# music prelude.

~ 7.15 House lights dim.

~ The curtain opens and stage lights come up.

a glade in an african game park with overhead acacia foliage.

upstage is a large rock.

#(SQ) 15 sec. As the curtain opens: Sound effects of African  bush, crickets, birdsong -fade gently

The CAMERAMAN tilts the camera up into the foliage above centre stage, takes about 3 seconds of film, pans down and locks the tripod.  Then he leaves the camera and moves to centre stage to present to his camera (and our audience) with an expansive smile.

The cameraman is Bill.

BILL:   We are back in Africa to follow up the story of Lucille.

He nips back to adjust the camera then back to present again swatting off mozzies.

    The long drought is over now.  And by crikey, it is steaming hot and all the insects are out in force.

He points to the foliage above, wary tone.

(The dead body is never seen)

    Up there a leopard has dragged its kill.
It would take a large leopard to haul that gazelle up there.

(SQ) 2 secs We hear a crunch of twigs - something is coming.

    One moment — something is coming.

Enter Tayvia OP.

TAYVIA:   Bill?

BILL:   (To himself) Ah, worst of all it’s Tayvia!
(To her) You were on the car phone for ages so I got started.

Bill hurries to the camera, switches it off and looks towards Tayvia.

TAYVIA:   Got started?  I present and direct this series.
You can't start without me.

She points up to the dead gazelle.

    Aw Uh!  Have you seen this gory body up here?
It looks a bit like part of a giraffe.
It isn't our Lucille, is it?

BILL:   No, I'm sure that's a half eaten gazelle.
But keep your voice down.
The leopard that dragged it up there won't be far away.

TAYVIA:   We should not be out of the car!
This project becomes more impossible by the minute.

BILL:   The leopard has had a good feed.
I want to film this glade now.
Just wait in the car for a few moments and I'll cut you in later.  Or, you could do a voice over in the comfort of the hotel - wear your new bikini and pose by the hotel pool.

TAYVIA:   Me do a voice over for you!?
You'll cut me in —!
You tell me what to wear?!!
I am Tayvia Raven. 
I don't need a snippet like you telling me my job!

Bill points down to the rock

BILL:   OK.  OK.  I was just being helpful.
This is where the new born baby Lucille was first found -
here - sheltered from the bush fire by this rock.

She points up to remains

TAYVIA:   Forget that.  This gory gazelle is my start.
Wide shot three seconds of background,
then close in to me mid shot for my introduction.
Hurry up.  Are you ready?

Bill moves to crouch behind the camera with his back to the audience.
Tayvia takes over the narrator's spot centre stage. She swipes at some mosquitoes and pulls a tick off her arm.

BILL:   Well, if you insist.
Go ahead.

Tayvia, in 'Crocodile hunter or Attenborough' persona lovingly woos her camera.

TAYVIA:   We recently brought you a short award winning film
showing a pampered baby giraffe growing up in a garden.

Bill leaves the camera to stop Tayvia.

BILL:   Tayvia!?

TAYVIA:   The leopard?  What?

BILL:   Just this - would you mind saying,
"We brought you Bill Hillard's award winning film." 
You are talking about my prize winning film.

# (SQ) 4sec  mosquitoes whine

Tayvia nearly explodes with exasperation at Bill

TAYVIA:   Is that why you stopped me, to remind me of your fame?

BILL:   It's a good moment to bring me in.

TAYVIA:   I never, "bring you in."
You are just my silent, unseen camera man.
That's all you are.
Get that straight in your head.

Bill returns to his camera as she rebukes him.

    And I don't usually work with just one untrained operator.
Where was I?

BILL:   You were talking about my award winning film.

TAYVIA:   The amateur award winning film that Animal Screen bought.
Four seconds, me mid shot, then pan to a wide shot.

BILL:   Ready.

Tayvia resumes her presenter's charming voice.  Bill films her.

TAYVIA:   A young giraffe usually stays in a family group for at least a year.  But at only ten months old, Lucille, was thrown out
 . . . of her garden  . . .

Bill leaves the camera before her sentence is finished.

BILL:   'Thrown out'.  No!  That's all wrong!  I won't allow that!
It sounds as though you're heaping blame on Marie and her Papa.  They raised Lucille.  They loved Lucille.
They were kind people.  I lived here with them.
They didn't 'throw her out'.
They were heartbroken at sending her back to the wild.

TAYVIA:   They don't concern me in the least.
The giraffe is a pampered pet with no chance out here.  That's my story.

BILL:   But Lucille has already coped out here for three months.

TAYVIA:   Your pampered giraffe is just a lion's dinner keeping warm.
Pickings for vultures.
Believe me, I have it from experts.

Bill returns to his camera as she continues.

    Now, I'm in danger of my life,
it's forty degrees even in the shade,
I'm being eaten alive by insects,
Where was I?

BILL:   You'd just said Lucille was 'thrown out' into this wilderness.

TAYVIA:   Centre the disgusting gazelle, three seconds, then long shot
— my whole figure and follow me, three seconds.
Zoom slowly in to end with me close up, centre frame.

BILL:   Dead gazelle centre frame.

# SQ  3 secs Blue bottle flies buzz -fade

TAYVIA:   Above me are the gory remains of a leopard's meal,
a full-grown gazelle!

Tavia strolls a bit

    Lions, hunters and crocodiles threaten our young giraffe.
I have come to find out how Lucille is coping.

Now she turns to camera for her close up.

    I am Tayvia Raven, Animal Screen, on location in Africa.

She stops posing.

    Now Bill, where is she?  It's up to you to find her.

Bill, carrying camera and tripod, starts looking for Lucille upstage, turning to speak.

Tayvia moves down stage, pats her hair, smooths her smart pants etc.

BILL:   She was here at dawn, like a beautiful Princess.
She had birds around her, like watchful courtiers.
I took an hour of film — for background of course.

TAYVIA:   I hope you didn't scare her away.

BILL:   No!  I kept out of sight.
She may be over there, among those trees.
Walk quietly . . .

# SQ 3 sec Monkeys squeal.

Tayvia, hesitant about going near the trees, moves upstage OP- towards the car.

TAYVIA:   I'm walking quietly back to the car!

    Fetch me when you find her
— and watch out for wild animals!

BILL:   Yes, Ma'am.
There are some savage beasts around here

to audience                   and a very vicious polecat too.

TAYVIA:   What did you say, Bill?

BILL:   Keep you eyes open for a large snake in the grass.

Exit Tayvia upstage OP more quickly.

Exit Bill with tripod and camera downstage P.

# (SQ) Tayvia's Car door slams,
followed by 4 sec of lone chirping cricket.

ACT 1,  Scene 2    The Glade Giraffe and Bird perspective.

Our viewpoint is now above the trees using the big giraffe head.

Establish Birds and Giraffe, Georgie-Porgie and Lucille's desire for a party.

# (SQ) Bush sounds fade up, insects buzzing, monkey squeals, bird call.
Crashing undergrowth, Lucille laughing & galumphing, being chased.

~ nearly sunset but A green flood lights the floor of the stage.

Enter Lucille (the larger than life size head).
**steamy mist returns below and butterflies twirl about her

Lucille's shy eager voice, slightly out of breath, sings:

LUCILLE:   "Georgie Porgie run and play,
You can't catch me not any day!"

                    Georgie, Georgie!  She laughs

    Did I run too fast for you,  Georgie?
Where are you, Georgie?

Enter M'zay, Undoogoo, Dee and Nar. Undoogoo to ds-p side until he speaks, Dee us-p, Nar ds-op, m'zay ds-c.

LUCILLE:   Oh, hello M'zay.
You went away for a very long time!

M'ZAY:   Hello, Ceelie!

UNDOOGOO:   Hi Ceelie.

LUCILLE:   Hi, Undoogoo.
I was very sad and lonely without you birds.

M'ZAY:   You didn't look lonely.
I saw a young giraffe Prince chasing after you.

NAR:   And I heard you singing and laughing.

LUCILLE:   Hello Nar.
You know Nar, I made a giraffe friend.
I called him Georgie-Porgie.
But now I seem to have lost him.

NAR:   Yer scared him orf.

UNDOOGOO:   I think your laugh scared him.
Giraffes don't laugh out loud!

LUCILLE:   Oh, don't tell me I've gone wrong again!

DEE:   You have nearly scared me away too.

LUCILLE:   Oh, hello Dee.  You look very pretty, Dee.
At home my Mama looked very pretty too,
And we laughed together and we had parties
and Cat, said "miaow", and dog "woof-woofed" and . . .

M'ZAY:   Oh shush!  Shush, baby, you are over excited, no need!
We hear your simplest thoughts.

UNDOOGOO:   Anyway thank you.
You have stirred up lots of tasty insects!

Undoogoo exits with an insect us-p side.

M'ZAY:   There now, Ceelie, you can stop trembling.

LUCILLE:   I hate to make mistakes.
I don't want to be left all alone again.
Once my Mama's sang to me like this.

# (SQ) music    My sweet little Apple-Pie,
Darling baby please don't die,
Drink a little milk, please try.
Baby sweet, don't make me cry.

    She loved me.
Then I grew up taller and hungrier.
One day I saw Papa's straw hat and, and  . . .

NAR:   I've guessed it!  You ate the hat!

LUCILLE:   And then I was brought here and left all alone
— until you all found me.
But my Papa used to call out,
"Tall Girl, Tall Girl, here's a treat for my Sweetie."

NAR:   That's me very own story from the nest.
Mother and Father bird fed me the finest grubs
an' suddenly, as I sat all cosy in the nest screamin'
for more food, they said:
"Out you go, fly away and feed yourself, you fat lazy chick."
An' fer years I've had to catch me own grubs.
Would yer mind stirring up some more dinner, Ceelie?

# (SQ) 3 sec scuffing grass, insects fly up buzzing and fade

LUCILLE:   More insects, or a snake, of course I will stir them!

She sways and laughs stirring up insects for the birds to catch.

LUCILLE:   Were you thrown out too, M'zay!

M'ZAY:   A storm blew our nest down out of the tree
— before I could fly —
a moment later a flash of lightning set fire to the whole tree!

LUCILLE:   Oh, that was even more scary.  Poor M'zay!
What happened then?

M'ZAY:   In another flash of lightening.
I saw a snake opening its mouth to eat me.

LUCILLE:   Oh, ooh, ooh.  Oh, ooh, ooh.  And . . .

M'ZAY:   Suddenly — I learned to fly!

enter Undoogoo p without insect.

LUCILLE:   Oooh!  Very lucky.
What about you, Undoogoo?

UNDOOGOO:   I flew out of the nest and now I'm an uncle
so I whiz home with tit-bits for the new babies.
They keep me very busy!

Undoogoo exits p flying off with an insect.

LUCILLE:   And Dee?

DEE:   When I was ready and my family were all gathered around to watch me I stretched out my wings
— a magnificent sight
— and I glided out of the nest.

NAR:   I bet yer wobbled.

DEE:   I was flamboyant!

LUCILLE:   Flamboyant!

DEE:   I wanted to show myself to the larger world.

LUCILLE:   So now I am here in the larger world with you all.

M'ZAY:   But you are a giraffe so you need some giraffe friends.

LUCILLE:   Today a whole family of giraffes came here.
They stood there quietly watching me.
It was very scary.

NAR:   Giraffes are frien'ly animals.

LUCILLE:   These were rude ones.

DEE:   Rude giraffes?

LUCILLE:   I said to them, "One day I will have a birthday party!
And I'll invite all of you giraffes, if you're nice to me."

DEE:   And?

LUCILLE:   They all turned and walked away - except for Georgie.
Georgie wriggled his ears at me. 

M'ZAY:   I'm sure Georgie liked you.

NAR:   —Nah!  Yer Georgie-Porgie just had a flea in his ear.

LUCILLE:   He chased after me but now I've lost him.

M'ZAY:   You are a beautiful giraffe.
I think Prince Georgie will return.

birds diagonal line  Dee us-p, M'zay next, Nar then space before Lucille, she is ds-op
enter Undoogoo p without insect, runs through slalem to reach Lucille fills in line, all demonstrate bow etc.

UNDOOGOO:   Listen to me.
When you want to make friends with giraffes do this:
just be quiet, bow your head, bend your knee,
flutter your eyelashes just so sweetly.

Lucille imitates actions with head then turns away.

LUCILLE:   Oh no. I couldn't bow to those snooty giraffes.

birds form cemi circle with Lcille front stage for this poem

M'ZAY:   Don't worry,   

# (SQ) music

                        All Giraffes rely on us,
They haven't got a clue.

NAR:               It's just us birds have cottoned on,
We help giraffes to get along.
So here's what we can do.

DEE:               We'll tell them you're a Royal Princess.
And they must bow to you!

ALL BIRDS     So high and so happy we shall be.
Caring for your Majesty.

LUCILLE:   (laughs)  Oh, yes, I shall be your Princess.
I shall be so prou-owd!
We are all such good friends, aren't we?

# (SQ) 3 sec car coming

All birds shriek and call amongst which we hear

M'ZAY:   Shush! People! are coming.  Danger!
They are out of their car!  I sense trouble.

UNDOOGOO:   Danger!  Hurry away Princess, quick, quick!!

ALL BIRDS:   Danger!  Gallop away, quick!  Hurry Princess Ceelie.

They all exit.

Act 1 Scene 3         African Bush -3  (people perspective)

Tayvia announces her plans to take Lucille to Grotzi zoo, shoots a red mark onto Lucille.  Harris is mentioned and Bill defensively suggests a circus near Paris. Tayvia is thrilled by the thought of Paris.

Evening Sunshine.

Enter Bill and Tayvia from upstage OP.

BILL:   Look, Tayvia, there she is,
standing in a patch of sunshine.
Stay back, or she'll see us.

TAYVIA:   Are you sure that's Lucille?

BILL:   I'd know her anywhere.

Unseen by Bill, Tayvia pulls a marker pistol from a holster and aims it towards Lucille - offstage P.

TAYVIA:   Bill, move aside.  I haven't used one of these before.

BILL:   What is that - a gun?!  Stop!  Stop!  Wait! 

# (SQ) We hear a splutt - not a bang as Tayvia fires the paint gun.
A commotion off stage from the birds and Lucille and other animals.

TAYVIA:   It's a paint gun.
I got her in one hit!  Look — a big red mark on her flank.
I borrowed this from a ranger.

BILL:   You didn't have to mark her.  I can pick her out any time.

TAYVIA:   But will you want to pick her out when you know my plans?

BILL:   Your plans?  What are your plans?

TAYVIA:   Lucille will be captured.
She will go to Grotzi zoo.
My film will follow her.  I shall expose Grotzi zoo in a heart-rending story that will attract top ratings.

BILL:   We're here to film 'Lucille's Happy Return to the Wild'.
You can't send her to a zoo!  I won't let you!
Grotzi zoo is a freezing hell-hole! 
Anyway, there are laws to stop the export of wild life!

Tayvia puts the pistol into its holster as she speaks.

TAYVIA:   Lucille is not wild life.
Your little film proved it.
You showed her growing up as a family pet in a garden.
Her sale to Grotzi will pay for new fences and more rangers — things this Safari-Park desperately need here.
As I said to them: 'One animal must go to save the rest.'

BILL:   You may have convinced the safari-park and even the government, but I shall speak to Harris.
He's our manager.
Harris will stop you.
He's paying for this film, not you!

TAYVIA:   Harris always loves all my ideas.
I'll have no trouble from Harris.
You'll find that out.

BILL:   Tricks and whips are your style.

# (SQ) 'Molecule sound', descending ripple on celesta.

    I'm surprised you don't send her straight to a circus.

TAYVIA:   A circus!  Well, Snippet!  A circus would be colourful!
Do you know a circus that would take her?

BILL:   If I did, would I tell you?  Here's your camera.
Keep your precious job.  I'm leaving.

Bill dumps the camera and on the ground before her.

Tayvia points to it angrily.

TAYVIA:   If you ever want to see Lucille again you'll take good care of my camera.  Pick it up!  Now!

Bill picks the equipment, and moves angrily towards car/exit, throwing back at her.

BILL:   If you're not in the car in one minute, I'll leave you to walk.

TAYVIA:   Darling Snippet, you can't do that.

She jingles the car keys

triumphant                I have the car keys!
And I want to know exactly where this circus of yours is.

BILL:   The circus is not mine.  Forget it!  OK?
I know some people in a poor travelling circus,
but they couldn't afford to help you.

TAYVIA:   I just asked you, 'where is it'?

BILL:   About now,
I'd say they would be travelling towards Paris.

# (SQ) 'Molecule sound' - descending trill on celesta

TAYVIA:   Paris?!
You mean Heaven's capital city of passion — Paris, the capital city of France — with its boulevards and . . .
well — I've no quarrel with that place,
nor with you, Bill.
Your little film thrilled me — to the core!
You have hidden depths, Bill!
I may still be able to switch my present plans.
Hurry back to the car.
We must talk about this.

Tayvia and Bill exit OP.

# (SQ) Car doors slam.  We hear 3 sec a 4-wheel drive vehicle drive away.

Act 1  Scene 4       African Bush 4 giraffe and bird perspective

# (SQ) small sound of crickets

same day late evening

Lucille enters OP.

LUCILLE quietly puzzled
And now the people have gone.

The four birds enter OP circle and zig zag.

MZAY:   They shot at Ceelie! Shot at her! Shot at her!

UNDOOGOO:   She's been shot! Been shot! Shot!  Shot!

DEE:   Shot!  Splat!  Splat!

NAR:   'ave they killed yer?

LUCILLE:   No, I'm not at all killed.
— But what happened?

M'ZAY:   You ignored our warning.

LUCILLE:   I saw my friend, Bill, but he didn't call out to me.
Why didn't Bill come and talk to me?

M'ZAY:   You took a bad risk by staying here watching them.

DEE:   Well, she's not hurt so let's forgive her.

NAR:   I expect she remembered that lions get yer if yer
run about at this time of evenin'.

UNDOOGOO:   Oh, no!  Just look here!
It's is the worst disaster ever —
Ceelie, has 'the red mark!' on her coat.

The birds circle the stage in panic shouting together.

M'ZAY:   The Red Mark!  The Red Mark!  The Red Mark!

NAR, DEE:   Aaaah!  The red mark!

UNDOOGOO:   The Red Mark!  The Red Mark!  The Red Mark!

LUCILLE:   Stop fluttering.  It can't be that bad!
No, it's all right, I know what it is.
I've been picked for a game of tag.
Or maybe!  It could be!!
The start of a birthday party!!
My own birthday party, at last!

M'zay moves downstage, the other birds join him (away from Lucille).

Nar and Undoogoo speaks rather loudly

NAR:   'The red mark means capture'

UNDOOGOO:   At dawn hunters will chase her, lasso her, rope her tight.

M'ZAY:   Shush!
Take care, remember her large, sensitive ears.

DEE:   I say we should agree with her and call it
— a party!
Keep her happy.  That's the best thing to do.

NAR:   'Capture' is no party!

UNDOOGOO:   They'll take her overseas.
Our internest service tells us what happens overseas!

Nar addresses the audience

NAR:   Our internest service flies everywhere.
Nest to nest the swallows fly around the world with news.
They twit, twit, twitter!
With their yahoos and their boo-hoos and who-harrs.

# (SQ) 3 sec swallows

M'ZAY:   We know that animals never outrun the fast trucks.

DEE:   The horrible truth can't help her?
Keep it quiet.
Fear will only sap her strength.
A party is the polite way to explain it.

LUCILLE:   Birds - you could 'clean off The Red Mark'.

NAR:   Clean it orf?  What a wild idea!!  Clean it orf!

The birds laugh and twitter.
Undoogoo, goes back to Lucille the others follow, M'zay last.

UNDOOGOO:   Clean off The Red Mark! 
How could we - clean off the Red Mark?

NAR:   Don't go near it?!
It stinks 'orrible!  It's dang'rous and pois'nus!

LUCILLE:   Mama would use scrubbing brushes to clean it
but you could use straw and leaves to get it off.

Dee steps ds one foot step for each word hopeful.

DEE:   Must better to ignore it and be hopeful, hopeful, hopeful.
Nothing is so bad when you are hopeful.
Just keep her hopes high and then it might vanish.

UNDOOGOO:   No, it won't vanish
and there's no hope for her unless you help me
to Clean it off.
Quickly — because it is drying fast.

M'zay picks up a big cactus leaf in each hand.

UNDOOGOO:   Will cactus work?
Our M'zay will show us how!

M'zay standing at a distance from Lucille waves the cactus in wide arcs over his head.

M'ZAY:   Spirits of the air!  REMOVE THE-RED-MARK! 
Red Mark Fade - Fade Away!  Be gone!  Vanish red mark!
Is it fading even just slightly?!

UNDOOGOO:   No, it isn't.

LUCILLE:   That's not how to clean.
You must get closer and rub at it.

NAR:   Aah!  Now it's got onta me beak!
Get it orf me.  Aaah!  Aggh!
'elp me!  Get it orf quick!

M'ZAY:   What a horrible sight.  Don't come near me.
You may spread it.

UNDOOGOO:   Spread the Red Mark!
We will spread it onto all the giraffes around here.
Then the hunters won't know who to take.

NAR:   Spread the Red Mark!   Spread the Red Mark onto all the animals around here!  Spread it!  Spread it!

M'ZAY:   Ah, no, no!  Stop that!
The hunters might take all the animals away.
And then there'll be no insects stirred up,
and no ticks and we'll starve.
And the Wise Bird will certainly blame me!

NAR:   Aaa-aah!  Aaa-aah!  Aaa-aah!  'elp me!
M'beak's sticking shut!  Mmmm!

LUCILLE:   M'zay, did you mean to say that I could be taken away somewhere?

M'ZAY:   There is a chance that you have been selected for travel.

UNDOOGOO:   The mark has dried hard now.
This is a disaster, a terrible, terrible, terrible disaster!

NAR:   Aaah, mmm, beak mmm, mmmum! (beak is stuck shut)

Nar moves to a corner and discreetly cleans his beak with mud off his feet.

# (SQ) music

LUCILLE:   I don't want to go.
I don't want to be
With no-one I know.
You're my fa-mi-ly.

                        Change me to a bird,
I will fly with you
High up in the sky.
Fly a-way with you!

UNDOOGOO:   You can't fly.  You have no wings.

LUCILLE:   You birds were once eggs, but now you fly — everywhere.

UNDOOGOO:   Well, we don't need another bird!
We need and love our giraffe.
M'zay, you must explain things to her properly
Give her reason to run her fastest and fight and kick to kill.

# (SQ) Distant thunder rumbles.  stage fades to darkness

M'ZAY:   Ceelie, we should explain everything to you.
Dee will put it all into a lovely, sweet song for us,
with a modicum of hope in it please, Dee.

Dee stands up high, maybe on a stool.  The others gather to listen to his song.

# music

DEE:   Flick-er-ing light, whis-per-ing sound,
Sparks from the stars, warmth from the ground,
Have hatched bab-y dreams, lit-tle em-bry-o schemes,
Small notes are u-nit-ing, I hear them re-cit-ing,
'We're here we're inv-it-ing, We're call-ing on Cill-ie
to go and see and do.'

                        Mass-es of min-u-scule, mag-net-ic mol-e-cules,
Danc-ing and min-gl-ing, tin-gl-ing, jin-gl-ing.
Gath-er-ing, call-ing, be-guil-ing and urg-ing
"To go and see and do."

                        Ryth-ms a-bound in the air all a-round.
Your dreams they're pre-par-ing,
Old hurts they're re-pair-ing.
Your troub-les they're shar-ing, for you they are car-ing,
I hear them re-cit-ing "Come Ceelie be ex-cit-ing."
We're here, we're in-vit-ing, We're call-ing on Cee-lie
To go and see and do.

LUCILLE:   That was a beautiful song, Dee.

UNDOOGOO:   But, it was no warning.
It sounded more like an invitation to dance with the captors.  M'zay, tell Dee off and put it right.

M'ZAY:   There may be some wisdom in Dee's approach.

UNDOOGOO:   Look, I just want her to run her fastest.
We must outwit the hunters with strategies, warfare and . . .

Nar comes forward eagerly.

NAR:   Look, I got it orf me beak.
with — mud!  See muddy feet!  Mud!  Mud!

UNDOOGOO:   You're a filthy disgrace!
Go away, with your horrible muddy feet, Nar!
Go away!  Go away!

LUCILLE:   Don't worry Nar.  You don't have to go away.

MZAY:   We must all get some sleep.

UNDOOGOO:   First we must make a plan!

MZAY:   It's dark now.
And if we don't sleep we'll be too tired to help her in the morning.

Undoogoo's words become very sleepy but not enough to put the audience to sleep.

UNDOOGO:   We will save her in the m-m-morning, won't we?!

ALL:   We m-m-must!  We will!  We will s-s-save her!

LUCILLE:   Dancing and mingling, tingling, jingling.

# (SQ) molecule sound : dream scene

WISE BIRD:   Now then, what is all this noise about?
Who is keeping me awake tonight!?

MZAY:   Ah, Sir Wise Bird.
Good evening, good evening, Sir!

UNDOOGOO:   Good Evening, sorry for the noise Great Wiseness, Sir.

NAR:   Oops, Wiseness, Sir, oops!  Amazin' Sir!

LUCILLE:   Are you really the Wise Bird?

WISE BIRD:   I am.  And you have disturbed my sleep.

LUCILLE:   Well, Sir, Sir, while you're here, sir.  Listen to me, Sir.
Please sir — I want a party dress.  A full-length, down to the ground dress with sparkles, Sir.  Will you help me?

MZAY:   Sorry Sir.  She shouldn't bother you with such nonsense.
It's escape we need not dresses.

LUCILLE:   But I've always wished for a dress.
Mama had a party dress.

WISE BIRD:   A party dress is a very frivolous thing to want.
Do you know what frivolous means?

LUCILLE.:   You mean it's 'a silly thing', Sir.

UNDOOGOO:   Can you knock some sense into her, please Sir?

LUCILLE:   He can do anything, Mr Wise Bird can!

WISE BIRD:   You want sense for her and she is asking for nonsense.
It's a riddle.  How can I please you both?

LUCILLE:   It is just for fun, Sir.

WISE BIRD:   Do you agree with having fun, Undoogoo.

UNDOOGOO:   Yes, sometimes, I suppose I do.

WISE BIRD:   Then it is decided, 'she shall have her fun.'
And you will all be quiet.  And I shall have my sleep.

LUCILLE:   And I shall wear my dress to my party.

NAR:   Party — you didn't ask 'im for no party that I 'eard of.

LUCILLE:   Oh, oh dear, call him back.  I forgot to ask for the party.  The dress will tear in the bushes and you will hate it
— I have made another big mistake. she sniffs

MZAY:   Shush, I'm sure the Wise Bird will have forgotten all about it by now.

NAR:   Nobody asked 'im to 'elp you to escape.

LUCILLE:   Oh!   Shush, shush, Nar.  Don't tell them I forgot about that.
Nar, do you think I am very frivilous?

# (SQ) NIGHT Tune from go and see and do,

~ LQ dawn takes over.

The birds and Lucille wake.

UNDOOGOO:   It is dawn.  Wake up!
We have overslept.
Ceelie, M'zay wake up, wake up all of you!

LUCILLE:   Oh I had such a strange and lovely dream.

UNDOOGOO:   Ceelie, no time for dreams now.  It's time for action!

DEE:   What's this coming?
Look, look through the mist.

MZAY:   Thousands of buffaloes, zebras,
and giraffes are walking towards us.

UNDOOGOO:   Is it a great army coming?
Will they help us fight for Lucille!? 

NAR:   Nah!  Nobody 'ere fights people.  People are too powerful.
That lot are all headin fer water at the river.
Last night's storm filled the dry river bed.

DEE:   That's a sensible but very unhelpful observation, Nar.

LUCILLE:   But let me tell you about my lovely dream.

MZAY:   Never mind dreams!  I can see an escape plan.
Those animals may be heading for the river,
And of course they won't help us fight,
but, they will act as shields.
And so, The Red Mark is beaten!
And we've won!  We've won!  Won!

UNDOOGOO:   Won?  How do you mean, won?

NAR:   'ave I missed a twig somewhere on the branch?
What's on yer mind doc, me old mate?
It's not more 'waving about' with the old cactus leaves, is it?

MZAY:   Ceelie, will just trot down there and mingle.
No truck can drive through those hordes of herds.

DEE:   Ah!  Her escape is so easy!
I said 'Let's Stay Happy.'  'Have hope' I said,
And now everything is going to be lovely again!

UNDOOGOO:   The Red Mark is beaten.
The hunters won't find her!
"Pooh," they'll shout "she's gone, only her smell is here
and some old beetle wings!"
Ceelie, hip-hop, lively long legs!  Gallop away to safety!

NAR:   Wait!
Cover the Red Mark with her poo fer extra safety!
A bit smelly for a Princess, but if it saved her life?!

DEE:   Oh Nar, just let her get going!

UNDOOGOO:   Gee up, speed away long legs! 

MZAY:   Speed away, Ma'am!

LUCILLE:   But in my dream, I wore a party dress and My People invited me indoors to listen to Opera music!
I must wait here for my people to take me to my party.

MZAY:   Oh, no, no, no!  These aren't nice people.
These hunters are big, bad trouble!

UNDOOGOO:   There's no happy party, not really!
Those ideas were all made up just to keep you cheerful!

UNDOOGOO:   They will take you overseas and shut you in a cage.
They will eat food right in front of your cage.

NAR:   The worst would be a circus where they
make you do ugly tricks while they laugh at yer.
Crazy clowns with painted faces bang and shout and crack whips.  They even scare lions.  Aaarrh!

MZAY:   Think of what you'll miss here.

                    A lake giving birth to the sun as a new day is born,
Flights of flamingoes shine pink in the rose light of dawn,
Sprigs of delicious acacia leaves tempt you to eat,
Maybe a babe of your own reaches up from your feet.

# (SQ) Sounds of a truck roaring in from OP. It stops, doors slam.
Human voices and crashing undergrowth. 
Men shout.

UNDOOGOO:   Oh, you've dawdled about Ceelie and lost your chance.
It's too late now!  The enemy are surrounding us!

LUCILLE:   Oh, Ouch!  Oh, I've been stung in my flank.
What shall I do?

NAR:   Kick!  Flail yer hooves!

# Song with action

UNDOOGOO:   We must fight the hunters!

                        We'll swoop and jab
And flap and stab,
And soar towards the sun,
To dive and hack
And beat them back
And give her time to run.

LUCILLE:   My knees are going wo-obb-ly?
The trees growing ha-a-zy?
I feel very calm, but I am very t-t-topply.

~ LQ Light starts to fade to hide animals.

Birds start to urge Lucille off stage.

VOICE                Whoa!  Whoa!

VOICE                I have her.

VOICE                Haul her in there!  Steady now, steady!

VOICE                Steady!  Steady! We have her!

UNDOOGOO:   M'zay, don't let her be scared.
Quickly, give her back her dreams!
M'zay, Dee, use your most comforting words.

MZAY:   Ceelie, your dreams are so amazing,
so cheerful, so infectious and unlikely,
who knows but they may work for you.
Show the captors your great style.
In your new place be calm impress them with your cheerfulness.
Go and be our ambassador to the world.

UNDOOGOO:   Keep your head high.  Make us proud of you.

LUCILLE:   I will try hard.

DEE:   Please have all the frilly dresses and balloons that you need.

NAR:   'member we love, an' miss yer, an' sigh fer news of yer.

LUCILLE:   Birds, please fly away to s-s-safety.
I just want to know you are all safe.

# (SQ) More crashing undergrowth.  Men shout.

Tayvia and Bill make an entrance among the audience.

BILL:   Hoi! Tayvia you let them use a tranquilliser dart!
There was no need.  I could handle Lucille myself.
Don't you know tranquillisers can kill giraffes?

TAYVIA:   McGavin!  Give my giraffe the antidote this minute!
You take care with my valuable giraffe!

BILL:   Now she is YOUR valuable giraffe!?

TAYVIA:   I've made a deal with the park.  She's in my care now,
all ready for a trip to that circus of yours, Bill.

    OK, boys, march my Lucille up onto the truck.

Good-bye.  Good-bye Princess.

LUCILLE drunkenly, voice receding.
Goodbye my lovely birds, all of you.
I'll go and see and do.
I'll go and see and do.

# (SQ) Human voices and truck engine pulling away OP as the curtain closes.

Act 2  Scene 1       Arrival at The Circus.

circus music

Marie is not pleased to have her pet giraffe brought to France.
Tavia is not pleased to find she has brought the giraffe to Marie!
We meet Marie, her father Onree and Madame.

Before the curtain opens a young female clown (Marie) sits on the front of stage with a guitar, plays and sings.

# music

MARIE:   Our little world she spins in space,
With sun and moon to guide her.
A globe of blue with swirls of mist,
Home for all the lives she gives,
For all the lives that on her live,
Our fra-gile Mo-ther Earth.

                        She gives us all our lives,
And all we eat and breathe.
We dig into her soil
Cut down her trees for homes
Take care of her
Take care of her
She means the world to me.

                        Around our world in planes we fly
A-bove the seas and coun-tries
Where many need a helping hand,
If I’d a magic wand to wave
Every creature I would save,
On darling Mother Earth.

The curtain opens.  a circus yard is revealed.

Prompt side, striped canvas represents an elderly big top with its performers entrance (to wings) tied open.

Upstage centre we see a caravan, side view, with a door and a step.
Two straw bales are downstage, close to Big Top P side.

We understand that a car-park is beyond the wings, upstage OP.

# Circus music is heard from the Big Top. an act coming to a finale, clapping

The clown jumps up and hurries to the big top performers' entrance of the Big-top.

#SQ Microphone howl over Onree

ONREE from inside big top over a crackly speaker
A very special artist will now sing to you.

The clown exits as she 'enters the Big Top' to applause from inside.

#SQ Applause

# (SQ) a truck drawing up, car park offstage OP.  The engine is turned off,
truck door opens, and slams.
# (SQ) Guitar music is faintly heard from the big top (ongoing)

Enter Tayvia from car park, OP.

TAYVIA:   Hello!  Anybody here?

Enter Bill from car park OP.

BILL:   Quiet!  They have a show going on.

TAYVIA:   This is a dump.  How do they get an audience here?
Down a muddy lane — and into a field.

BILL:   Shush!  They have recently inherited the circus.
They will soon fix it up.  Hush now.

TAYVIA:   No advertising — not one signpost!

BILL:   There was a signpost on the corner.

TAYVIA:   Not one, my Sweet Snippet!

BILL:   Please be quiet!

TAYVIA:   There should be a car here for me to drive into Paris.

BILL:   There's a blue Merc over there — with a driver waiting.
It must be for you.

TAYVIA:   I ordered a red Mercedes convertible.
I'd better check this out.
That's not a very circussy song!

She points to Big top

BILL:   It's a beautiful song.  I adore it!

He opens the flap further and peers in.

# (SQ) A short storm of clapping from the locals in the big top, some whistles.
Car toots

Bill claps with great enthusiasm gives a shout or whistle

Tayvia calls back to him as she heads for the car park

TAYVIA:   If that car has been sent for me it won't do!
First they missed us at the airport and I had to travel
in a filthy truck and now this blunder!

Exit Tayvia to the car park OP.

Onree enters from the Big top P. The flap falls shut behind him.

# (SQ) Big top's audience occasional laughter and music subdued.

Bill and Onree greet each other like beloved old buddies.
They are well aware of Tayvia shouting, Bill apologetic, Onree understanding.

ONREE:   Bill! You're here at last!
Welcome to our little circus.
I could hardly believe it when you phoned.

TAYVIA off                Non, non!  Terrrribla!
Not right auto.  Non ma bon — auto rouge!
Ooo est votre docket?  The faxed order!

BILL:   Onree.  It's just great to see you again.
The surprise has arrived.
Your Tall-Girl is here in the truck.

He points to car park

Onree starts to go to Lucille in the truck.

ONREE:   Ah, Bill, let me see my Tall Girl!

Madame enters from car park OP.

MADAME:   Ah, M'sieur Onree!

Onree sees Madame, about-turns and dashes for the Big Top P.

ONREE:   Pardon me, Bill!  I must go back inside,
the um, er, the lion, Claude, needs me at once!

MADAME:   Ah, M'sieur, wait, I want you!
I am Madame Gavotte here with my invoices!

Onree exits into big top P

Bill and Madame face each other.

TAYVIA off stage OP
You call this "une rouge soft top?!"

She raps on something sounds like metal car roof.

Driver VOICE

off OP, impeccable English

    It is one of our smartest cars, M'zelle.

Madame indicates Tayvia in the car park

MADAME:   M'sieur, does she belong to you?

TAYVIA (off)                You incompetent ass.
I will not enter Paris in a sordid blue tub!

BILL:   I belong to her.
She's my boss!

MADAME:   My barrel of trouble has just rolled inside to hide himself.

She points to the big top.

BILL                 Onree did seem to dash off in a very great hurry.

MADAME:   He will not escape from me by hiding in there.

Enter Tayvia OP, calling ahead across stage.

TAYVIA:   That idiot is at last phoning for my red soft top!

MADAME:   I know that driver.
I'm sure his red car has gone out to meet a film star,
at the airport.  Her name is Miss Octavia Raven.

gleefully                 I asked him.

TAVIA                Madame, I may look untidy, but I am Tayvia Raven, the film star.

MADAME:   Well, of course you are,
I could tell it from the tone of your voice.

TAYVIA:   I am bringing this owner a new act - a big, big surprise.

Madame waves a fist full of invoices.

MADAME:   Well, you are wasting your time here.
This owner does not pay his bills!

TAYVIA:   I have my own funding.
Bill, fetch me my make-up bag from the truck will you?

BILL:   OK.  And I'll check on Lucille.

exit Bill

MADAME:   I see that you have your own personal lackey too.

TAYVIA:   Leave Lucille on the truck, till I find this owner.

Bill exits to car park OP.

#sfx clapping and finale music, people clapping.

Madame and Tayvia eye each other stiffly during Onree's following closing speech.

Onree over the big top speaker, which he is adjusting.

ONREE:   My friends, this is the end of our show for this afternoon.

# sfx Speaker squeals

    But, this evening I promise an amazing star, head and shoulders above all the rest.
Come to our exciting show at six o'clock.
Now, go safely and God bless you all!

Marie (the clown) enters from the Big top P.  She offers a balloon to Tayvia.

MARIE:   Would you like this balloon?

TAYVIA:   You keep the balloon, you're the clown.
I have business with the owner.  Where is he?

Madame faces the clown.

MADAME:   You brazen hussy!  You wear this beautiful costume, when it is not paid for!  Where is M'sieur!

MARIE:   You both want my Papa, M'sieur Onree.
Here he comes now.

She bows away from Madame and points out Onree.

Onree enters from the big top P waving a coiled whip cheerfully as he tries to cross the stage.  He passes Marie, Madame and Tayvia, eager to reach the truck in the car park OP.

TAYVIA:   M'sieur Onree, are you the owner?  I am here to see you.
I am Tayvia Raven of . . .

MADAME:   Excuse moi!  I want M'sieur Onree!

She grabs Onree then turns on Tayvia, tapping her invoices.

     My invoices.  I spoke to you first!
Mamzelle was busy in the car park fighting with her driver.

She pushes Tayvia aside and turns back to Onree.

    I am Madame Gavotte—

ONREE:   Yes, Madame, I know who you are.

TAYVIA:   Madame, you don't push me aside like that.

Onree escapes and hurries back to the Big Top P chased by Madame and Tayvia.

ONREE:   Ah, er  the poor old lion needs me again very urgently!
He also needs someone to maul a bit!

MADAME:   Now we have both lost him!

Tayvia is grabbed swiftly by Madame as they chase towards the big top after Onree.

TAYVIA:   Lost him?  Not on you life!

MADAME:   Not in front of me, you don't!

Bill enters OP with Tayvia's make up bag.

Onree, Madame and Tayvia exit into the Big Top P in chase of Onree.

Marie, the clown, recognises Bill and runs towards him calling.

MARIE:   Ah, Bill!  My Bill!  You are here - in France!

She leaps at him and is twirled with glee.  He is overjoyed with her enthusiasm

BILL:   Marie, I never expected to get here.
I recognised your song, one of your own.
I wanted to come to you a lot earlier!
You seem have a few problems here.

MARIE:   Nothing is a problem now you're here, Bill.
Your postcard told me our little film won an award.

BILL:   Yes, it did, and I am making a professional film now!

    But Tayvia is coming.  She's my boss.
This is her make up bag.
Marie, expect fireworks.
I should have explained something to Tayvia . . .

enter Tayvia from Bigtop P

TAYVIA:   That French woman uses her tongue as a lethal weapon.
I escaped because I value my hearing!
Onree will join us soon if he survives her.

BILL:   Marie, you must meet Tayvia, my director and presenter.


In a rising tone                Marie??? 

BILL:   Yes.  Under all this make-up, she is my Marie.

TAYVIA:   You are the girl who rescued a baby giraffe!?

MARIE:   Yes, I rescued a giraffe.
But Lucille is safely back in the wild now.

TAYVIA:   You're that girl with straw in her hair —
 — in Bill's first film??

MARIE:   Bill stayed with us in Africa and filmed us all.

Enter Onree with his circus whip and Madame from Big Top P.


whirls on ONREE:   You are 'Papa' of course.  You worked for that safari-park.

ONREE:   I am Papa.

Onree acknowledges it eagerly.
Tayvia snatches her bag from Bill and thrusts it at the surprised Onree, taking his circus whip to chase Bill..

TAYVIA:   Hold this bag.

She turns to accost Bill, scaring him backwards round the stage.

TAYVIA:   Bill!  You've tricked me.
You cunning rat!
I've flown this huge hairy beast,
all the way to France, at enormous expense
just to bring you two cooing doves together again!
That's it!  You are fired!

Exit Bill chased by Tayvia


to ONREE:   Do you really think this TV star will help you to pay me?

ONREE:   Paying you is my first and only concern, Madame Gavotte.

Onree bows slightly to acknowledge this to Madame.

Enter Tayvia and Bill.

MARIE:   Miss Tayvia, what great hairy beast have you flown to France?  You don't mean, Bill here, do you?

ONREE:   Ma petite, the huge hairy beast is our own Tall Girl.
You worried so much for her.
Ma cherie, isn't it a grand surprise!
Your own sweet Lucille has been brought here to you.

MARIE:   Oh!  No!  Oh, you horrible, shameful, hateful bullies!
I don't want Lucille here playing tricks in a circus.
Bill, why have you done this?
You are a cunning rat!
It must be a publicity stunt for your film.

BILL:   No Marie, nothing like that!
You told me how you worried for her.
And you have a lion here.
What about old Claude, the lion?
You keep him here, part of the family.

MARIE:   Claude is very old. 
He's been here all his life.  It's quite different.
Lucille was young and free in her homeland.
The safari-park said she was doing well.
Stay here.  I must go to my darling baby at once.

Tayvia waylays her by cracking the whip.  Tayvia is concerned about Marie phoning the Safari Park. She does not wish to admit to her secret deal with them.
Madame drops invoices and retrieves them.

TAYVIA:   The safari park still keeps in touch with you, do they?

Marie says defensively

MARIE:   I phone them sometimes.

Marie steps aside to hand the balloon to Onree, then heads towards the car park OP

    Stay back everyone, including you Papa.

Marie exits into car park OP.

TAYVIA:   Bill, I want film of Marie greeting her pet.

BILL:   Then it's a shame you just fired me!

TAYVIA:   I must have film! 
Get my film now or the giraffe goes straight to Grotzi zoo.

BILL:   I'll get the camera!
Marie!  Marie!  I did my very best!

Exit Bill, following Marie OP

ONREE:   Marie, take care!

# (SQ) Other background sounds, a lion roaring,  Marie opening the truck,

# (SQ) OP Scuffling hooves, sounds of Lucille getting off the truck.

TAYVIA                    Be very careful Marie!
I have no insurance for you!
I may be liable if you are killed!

MADAME to Tayvia
I wouldn't like to be in your shoes!
This giraffe will certainly injure her.
We must move back and keep very quiet.

Onree, Madame and Tayvia move P to give Lucille space for her entry.

# All other background effects cease.

The lighting changes to highlight Lucille

Enter Bill backwards OP, filming with camera, crouching slow motion.

Enter Marie also backwards OP, upstage of Lucille  arms in slow motion welcome.
Enter Lucille OP, shyly and graciously, not looking at Marie or Bill.
She stands still to take in surroundings.

A quiet spell is cast over the scene turning it to slow motion.

LUCILLE                 In your new place be calm.
Impress them with your cheerfulness.

    But, a crazy face clown is coming towards me.
This is the worst place of all, a circus!
Undoogoo was right.
M'zay made up the happy stuff.
My lovely dream was all wrong.

# (SQ) The lion roars off stage P.

Lucille is alarmed.
Tayvia slow motion takes Onree's whip and taps her boot with it - sharp click.
Lucille is very suspicious.

LUCILLE:   M'zay said, "be our ambassador,"
but should an ambassador be pulled by a rope?

    I will be broken by their scornful laughter.
I must run away!  How can I escape?!

From a pocket Onree finds a treat.  He moves forward slowly offering it to Lucille.

ONREE:   "Tall Girl, Tall Girl, here's a treat for my Sweetie."

Lucille turns to Onree

LUCILLE:   Oh, but HELLO!  Who's this?
This man sounds very much like my old Papa!
Could he be Papa?

    Oh, Papa, Papa — it is you.
Have you come to save me?
My Papa, you have a party balloon in your hand.
And here is a big party house. (big top)
It must be for my birthday party!
But where is Mama?

BILL:   In that wig Marie, she doesn't know you.

Onree slow motion passes Marie his large pocket handkerchief.
Marie pulls off the wig and hastily wipes off some make up as she speaks.

MARIE:   There, there, Apple Pie.  Didn't you know your Mama?

LUCILLE:   This crazy face is turning into my own, sweet, Mama.
Oh Mama, I am trembling with happiness to see you.
I am your own little Apple Pie!
Ah, Mama, I see that you still love me very much.

Onree relaxes, steps back, Marie hugs Lucille tearfully.

# (SQ) The spell is broken, noises and actions return to contrast the hush.

Bill hands Marie the rope trailing on ground from Lucille's shoulders.

Marie and Lucille exit OP upstage.

Tayvia and Bill move upstage, P, talking.

Onree and Madame move downstage.

ONREE:   Madame, you will have to take this magnificent ringmaster's outfit back.
I was impossibly hopeful.
I cannot pay you.

Onree hands the balloon to Madame and takes off his ringmaster's smart tail coat.  He is now in a string vest, cuffs, a bib and trousers, as he offers Madame the coat.

Madame hands the balloon and bag to Onree in order to take and brush down his coat, saying:

MADAME:   My son, Jerome made this coat, with his own hands,
specially to fit you.
It's of no use to me.
And just look at you in your ragged underwear!
Here — what have you got in the pocket?

    The pockets are stuffed with
pieces of apple — crusts of Bagot!
and — a stale croissant!

ONREE:   Nibbles, Madame.  For the animals rewards.

MADAME:   Huh!  I know what it is.
My old Antoine played these games too.
But, don't you know how much this suit cost!

ONREE:   Yes, Madame.  You have given me the bills.

MADAME:   Pah!
My son, Jerome, would tear all his hair out at the sight of this coat.
Huh!  You need my firm hand to smarten you up, M'sieur!

Madame opens the make-up bag on Onree's arm and puts the nibbles into it.

She tucks the invoices into the bag and shoves it back under his arm.

    Keep the things, try to earn enough money to pay me!
I will return to my shop, before I explode.

ONREE:   I will come to pay you, Madame, very soon.

Tayvia spots her bag and takes it, not looking into it to see the mess inside.

TAYVIA:   That is my bag M'sieur.

Exit Madame OP to car park

# (SQ) a car toots from offstage OP.

Tayvia becomes affectionate to Bill.

TAYVIA:   Marie will make us a fine giraffe handler.
You can fix that up, Snippet.
Use your immense charm on her.

BILL:   If you call me 'Snippet' once more I'll feed you to the lion.

TAYVIA:   First you should buy that poor old beast some new teeth.
But, I take your point, Bill and as my red soft-top has now arrived
I will now drive into Paris.
I will even pick up some champagne to celebrate tonight's show — and —
After that I may take you for a drive in Paris, Bill.

Onree moves to delay Tayvia, but she prefers to expand on her part in tonight's show.

ONREE:   Should I escort you into Paris now and be your guide, M'zelle?

TAYVIA:   M'sieur, I heard you promise your audience a star,
head and shoulders above the rest.
It was presumptuous of you, but if you expect me to honour your audience with a few words, you must prepare a setting, a drum roll, a fanfare of trumpets.
And the giraffe should walk round the ring too.
I'll be back at six for the evening show.
Au revoir!

Tayvia exits to the car park OP.

# (SQ) We hear a cheery car horn toot OP as Tayvia drives away.

Act 2 Scene 2           Bill, Lucille, Marie in Moonlight

A romantic scene

moonlight fills the circus yard

# (SQ) We hear tranquil night sounds (France).

A light flicks on in the caravan window and shines to light the straw bales (front of stage, P.)

We see that Bill is lying on the straw bales with a pillow and rug.

Lucille enters upstage OP

In the moonlight she comes gently clopping downstage.

A spot brightens on Bill

He rises and greets Lucille.

BILL:   Lucille, my angel, how did you get loose?
There, there, now.  I'm just Bill, here in the moonlight.

LUCILLE:   I know you.  You brought me here to Mama and Papa.
You are magical, Bill.  You can do anything. 

BILL:   You've come for a treat and I have nothing in my pockets.
Oh, here we are, you may eat my bed if you like.
No five star hotel for me, just a straw bed and now
my angel wants to eat the straw.

Bill offers her some straw.
Lucille doesn't want it.

LUCILLE:   Magical Bill, I don't want to eat dry straw.  It's tasteless.
A birthday girl should have the nicest things.

BILL:   You don't want it?  You're a bit nervous still I expect.
Anyway you deserve better.

    You were majestic this-evening.
You paraded the circus ring like a superstar.
Your Mama had even polished your hooves!
And I have all these precious moments on my film.
I am a very lucky man. 

LUCILLE:   I would like tender new leaves of the acacia tree.

Bill strokes or pats her as he talks.

BILL:   I risked everything to bring you here, but your Mama, my lovely Marie, doesn't see it that way.

LUCILLE:   You could take me flying to visit M'zay and Undoogoo.
I'll have a good feed and we'll be back here by morning.

Bill goes into the Big top and finds a bucket of water.

# (SQ) P Clank of bucket.

Bill reappears almost immediately.

BILL:   Here you are Angel.  A nice drink of water.
That's what you need.

    "Giraffe, drink some champagne, join the celebrations," Tayvia said.
She was happy then.
She'd celebrated too well on the champagne.
"Better let me drive," was all I said.
"Never in a million years!" she shouts and off she went,
roaring away in her red car without me.
I told her there was a signpost on the corner.
She found it!
And now there's no signpost at all.
And that beautiful red Merc — oh dear — just a wreck!

LUCILLE:   Oh dear!  Don't get upset.
Have I asked for too much?
I just want a flying trip home and back again?

BILL:   Now then, get your hoof off this rope.  You'll strangle yourself like that.

Bill starts leading Lucille right OP.

Marie enters from Big Top P, moves downstage quietly and sits on the straw.

LUCILLE:   Ah, are we going?  Flying home!  Oh, thank you!  Thank you!  M'zay and Undoogoo will be so surprised to see me.
Hurry, Bill!  It's a long way to fly.
But it's not this way, no, it's not this way, Bill!

BILL:   Let's make sure your gate is properly closed this time.
We've had enough accidents for one night.

Spot follows Bill and Lucille until nearly offstage OP.  They exit in darkness.

BILL off OP                Ah, look at all this food your Mama's put out for you!

Marie walks upstage OP towards Bill.

Bill is lit as he enters OP and comes downstage.

MARIE                 Bill, I heard you talking to her.  You really seemed to care for her.

BILL:   Marie!

MARIE:   I've been watching you and listening.
Sometimes I see something of the old Bill that I knew,
Then I remember that you've become a cunning rat.

BILL:   I am proud of what I did.
I tricked Tayvia into bringing Lucille here, instead of to freezing Grotzi zoo.  She had already arranged the capture, so I couldn't stop that.

MARIE:   So you want to blame Tayvia for everything being wrong.

BILL:   No, because it's not all wrong.
Lucille will be much happier here with you than abandoned in the wild.  She missed you — I could sense it in her when I found her.

MARIE:   Being set free was hard for her, 
but she was learning to cope.
At least you should have phoned me.

BILL:   Tayvia might have found out you were here
and it would all have gone wrong.
Onree wanted this to be a surprise for you.
And if Tayvia isn't kept happy here,
she'll send Lucille off to Grotzi.
Grotzi still want her.

    I know I started all this trouble.

They take each other's hands for a moment.

    I lost my heart to a girl who sweetly cared for a sick baby giraffe.  I tried to help.

MARIE:   I'd like to think so.  I was very fond of you!

BILL:   Stay, sit with me a while?  Let's talk it over.

Marie pulls away.

    Won't you just give me a hug.

MARIE:   Not tonight.  Goodnight, Bill.

Exit Marie to Big Top P.

A lone cricket starts to chirp, making an intro for Bill's song.

# music with (sfx)

BILL:   'Cunning rat,' 'cunning rat,'
No, I'm not that.   

Bill moves slowly centre stage

                        I'm just a guy who has an aching heart.
A guy who fought for what he thought was right.
It's hard to do your best and be told off,
She didn't want what I had tried to do.

                        Tomorrow maybe miracles will come.
Will Tayvia praise me, asking my advice?
Perhaps Marie will love what I have done,
I'll be her dashing hero once again,

                        She'll squeeze my hand and hug me really tight
She'll say I've made her future really bright,

Bill moves to lie down.

                        All this might come about in morning's light

Starts to lie down to sleep

                        I'll go to sleep and dream of it tonight.


Act 2,  Scene 3      Circus yard, dawn

Tayvia upsets Harris and loses her budget.

Dawn breaks, cold European light

Bill sleeps on his straw bed front stage P, unseen by Tayvia.

# (SQ) A cock crows.

We find Tayvia sitting yawning and dialling on her mobile phone.

# (SQ) We hear the phone being dialled and she gets through.

A brief time is left in each 'gap' below for Harris to speak.

TAYVIA                 Bunny?  It's me.

    Bunny!  It's your own little Cherub cooing in your ear.

    Oh dear, were you still asleep.
Of course, it's an hour earlier in London.
But, I've got to speak to you now
— you're my manager
— and I'm bruised and I need your help.

    Yes, bruised!
The lovely red Merc I hired was attacked by a signpost.

    No, I wasn't badly injured, just very shocked.
But that isn't my real problem.

    No, I'm not calling about that bikini.
Five hundred pounds was nothing for a fashion original.
It's beautiful.  I have already bought it.

A low spotlight swells on Bill.

Bill slowly rises, amazed by what he hears.  Tayvia is unaware of his presence.

    No, Bill's no problem either.
You wanted him on this project,
So I am working flat out to keep him happy.
And that's why we're here in France!

She has been reluctant to tell Harris about her being in France and is even more tentative about telling him she has flown the giraffe, so she chirps the following line.

    "We are here in France!" I said.

    What ever am I doing in France?
Well, I'm sitting next to an old French circus caravan.
I even tried to sleep in it last night!

    We've Jumbo jetted over here with the giraffe.

now speaks this word-by-word, clearly but testing him, expecting angry reaction.

    I said, "we've Jumbo jetted to France with
the giraffe in a crate!"
Are you going a bit deaf, Bunny?

    No, you certainly didn't give me enough money
to fly a giraffe to France.
But I work miracles for you.

More quietly trying to appease him and not wanting the whole circus hear

     And I worked a great scheme to get the giraffe.
I'll explain later.

    The Jumbo flights?
I charged them to your credit card of course.

Jerks phone away from ear.

    Oh! Bunny, don't yell at me!
I had to do that because my whole budget is spent
and it's worse than that because
this circus can't afford to feed the huge giraffe.
So if you don't want this film to show us all starving to death, you've got to find a lot more money.

    What do you mean?
I'm Risking your Whole Reputation!?
You risked my life in Africa with wild animals!

    Bunny, it's me, your Cherub, who is spotlit before millions!  It's my reputation that counts,
Not Mr. Harris Evans.
You are just an invisible nobody.
Just tell me, Bunny, what exactly do you do!?

    'Talent for Management'!?
I've managed this project entirely on my own.
I'm making a masterpiece out of your dumb animal.
You've been no help at all!

    Oh no, listen to me!  I do need you desperately right now!
No, no, don't go!
Wait!  Come back!

# (SQ) The phone is suddenly cut off.  We hear the empty line tone.

TAYVIA:   You — cowardly brute!
He has cut me off!

Bill gets up

BILL:   How amazing!
When you used such — extra-ord-inary tact.
. . . you dear little Cherub!!  gulps with laughter.

She slams the mobile phone shut, still in her own thoughts says dismissively to Bill.

TAYVIA:   Bill!  Why are you spying on my private conversation?

BILL:   I was trying to sleep here.
I should think you've woken the entire circus.

TAYVIA:   I forgot to mention Marie to him.  He'd have liked that.
I am stuck in a field with a huge hungry giraffe,
— no money
— you!
—and no car!!

BILL:   Phone Harris back.
Put all the blame on me!
Apologise to him!

Marie enters from Big Top,
Onree and Lucille enter from upstage OP and listen to her song.

TAYVIA:   Impossible!
I may have been unwise but I can't apologise.

# (SQ) Music

                        If I said sorry to Harris,
He would think I'd gone completely round the bend.

                        If I said sorry to Harris,
He'd splutter in his beer,
He'd snigger and he'd sneer,
I can sense his laughter here,
Loud and clear.

                        I just can't grovel to Harris!
I won't, I can't!
Eat humble pie I shan't

                        I'd be mud beneath the trotters,
Of the worst of stinking rotters
He's the chauvinistic porker of the year!

ONREE:   Stay and finish your film without the help of Mr Harris.

    I have hired this field for six weeks.
Please accept the use of this caravan.

MARIE:   Papa, that's my caravan you're offering.
And I don't want Lucille to be a circus animal.
Miss Raven must send Lucille straight back to Africa.

Bill goes to Marie's side.

ONREE:   I don't think Miss Raven can afford a return ticket.

MARIE:   She can't just walk away from the trouble she's caused.

ONREE:   But we should make our own Tall Girl welcome,
don't  you think?

Bill takes Marie's hand.  He says confidentially.

BILL:   We don't want Grotzi zoo for her.

ONREE:   And if Miss Tayvia would stay and help us,
with her expert advice and Tall Girl's help.
We could soon earn enough for us to buy Tall Girl's air ticket home.
Will you stay and help us, Miss Raven?

# (SQ) Molecule sound

BILL:   Tayvia is a TV presenter, not a showman.
She couldn't cope with life in a circus.

# (SQ) music

TAYVIA:   I come from the world of big cities,
I am known internationally,
I've entertained thousands in theatres,
And millions at home on TV.
Life in a caravan fills me with dread,
I need a hot bath and a full King size bed.
But of Tayvia Raven it's never been said
That a challenge could ever beat ME!

Out of Tayvia's sight, Bill and Onree strike right hands in a gesture of triumph.
Marie takes Bill's hand for a moment.

# (SQ) music

ONREE:   I knew you'd help us, Miss Raven
With your help we'll fill our big top ev'ry night.

                        La cirque Dupont will be famous,
Tall Girl will top the bill,

BILL:   Marie's tender song will thrill,

TAYVIA:   It will all be filmed by Bill,

BILL:   With a will!

MARIE:   To buy Lucille a ticket
I will help you with your plan,

ONREE:   We'll save everything we can,

ALL with Tayvia rather indignant
Old Claude will roar his loudest
And we all can be the proudest of
The greatest little circus in the world!

Interval with

# sfx French music.
Then the prelude at 'pLEASE RESUMe your seats.'

Act 3 Scene 1            Birds after interval

In front of the almost-closed curtain:

Enter birds through curtain onto apron to dancing step.


UNDOOGOO, We miss her cheeky laughter.

NAR:   It's a tragical disaster.

MZAY:   But her silly songs and nonsense kept us bright.

M'ZAY to Undoogoo
You told her off for her laughter and singing.
You told her to behave quietly.

UNDOOGOO:   You and Dee gave her false hope,
so she didn't try to escape!

NAR:   Now our giraffe's gone we've no proper food.
I'm a savage 'ungry bird.
I clung to the back of a snarly little wart-hog.
I was chasin' a tiny-weeny flea on the hog's hairy back.
That mangy wart-hog raced off through low brambles.
Nearly ripped all me fevers orf.

A few feathers swirl off him.

UNDOOGOO:   And our gentle Princess will be tramping the hard ground in a zoo, with all the joy knocked out of her.

DEE:   You're not trying to cheer us up are you?
Even Georgie-Porgie, as she called him, is blaming me.

# (SQ) We hear swallows shrieking as they fly over.

NAR:   There they go up above — our int-err-nest flyin' over.

MZAY:   I hope those swallows don't tell Ceelie how grumpy we're getting without her.

Birds exit through curtain, dancing to the song:

# Music:

UNDOOGOO:   She had very silly daydreams.

DEE:   She'd a sweet and smiley face.

MZAY:   Nobody could ever take our Ceelie's place.

They all exit through curtain

Act 3, Scene 2    The Street and Designer's shop.

The curtain opens:

a flat portrays two shops, one (OP) with vegetables on a table in front,  The other (P) is a dress designers shop with a large window containing a white party dress.  A doorway to the dress shop (doesn't open) has a pane partly obscured by a lopsided venetian blind.

It is dusk.  The shopfronts are  lit from off stage by a street lamp.

the front of the stage is a narrow side street.

# (SQ) We hear 'French' side-street noises, not a roar but individual vehicles, moped, 2CV, croaking toot, distant 'pin-pan' of an emergency vehicle.

Upstage hidden by the flat are Madame and Jerome in the dress design shop.

Enter from OP, Tayvia then Bill then Onree with Marie and Lucille lagging behind.
They walk past the greengrocer's window.  Lucille is wearing a banner advertising the "Dupont Circus, two shows every day."

MARIE:   Where are you taking us, Tayvia?

LUCILLE:   Let me taste these trees.  What sort of trees are these?
I can nearly reach the lamps and wires up here.

# SQ A scooter toots

     Oh! ooh!

# SQ A car backfires

    Oooh!  Ooow!  Horrid bang!
Do I see fresh vegies in a box!  How delicious!

MARIE:   Lucille, leave those alone!
They belong to the shop.

ONREE:   It's late.  We must take Lucille back to the field.
We've walked far enough for today!

BILL:   Lots of people have admired her.  She looks happy.

TAYVIA:   Giraffes enjoy walking.

MARIE:   Not along the boulevards of Paris, they don't!

BILL:   At least we're in a side street now. 

TAYVIA:   She's good publicity for your circus and . . . ah,
here's the shop I am looking for.

MARIE:   "Something for everyone."  It's Jerome Gavotte's shop!

BILL:   Oh, just look in the window, Marie!
On your seventeenth birthday you had
a sparkling dress just like this.

MARIE:   Yes, I did.  Papa spent all our savings on it.

LUCILLE:   This is a party dress.  But it is too small for me.

Light fades up very slightly behind the flat

# (SQ) We faintly hear a sewing machine

ONREE                 Well, the shop is shut now so let's move on quickly.

TAYVIA:   The lights are on inside.  I can hear a sewing machine.
Someone is still here, working away madly.

ONREE:   Move along!  The shop is closed tight.

MARIE:   I'd like to meet Jerome!   

ONREE:   M'zelle Tayvia, your special gift is to bring me trouble.
Just how did you find this place?

TAYVIA:   Onree, I just read the label inside your top hat.
And later I found all your invoices crammed into my make-up bag along with a disgusting mess of stale nibbles.
I just want the best — just as you do.

Tayvia knocks loudly on the door.

~ light is seen through the venetian blind as Madame peeps out.

Madame peers out through the venetian blind.

DESIGNER:   Fermé! Keep the blind shut.  We are closed.
That's the bailiff's knock.  He has come to serve a summons.
Quickly! Mama hide all those bills!

Madame disappears.  The slat closes.  Tayvia raps again more loudly.

MARIE:   Tayvia, that clumping knock will scare these people.

TAYVIA:   If they won't open, I must bring my giraffe again tomorrow.

MARIE:   Move aside, you monster.
I'll call to them sweetly.

ONREE:   Marie, don't stir up this wasp's nest!
A large wasp will buzz out to sting me.

Madame again peeps out.

MARIE:   Mind away, Papa.
Hello-o!'  Hello-o-o!'

# SQ Marie gives a gentle knock on the door.

DESIGNER:   Mama, don't open the door.
How can I think?  How can I work without peace and quiet?
I must exhibit my collection three weeks from today!

MADAME:   Ah, but it is the circus owner.
He must have come to pay us.
Jerome, I must open the door.

The flats are rolled OP, revealing the whole stage as a shop/workroom.

The light fades up.  The designer is lit.

Jerome, the designer sings at his visitors whilst tearing the frill off a dress.

Tune: My Collection

# Song

DESIGNER:   My summer collection is far from perfection
My show is three weeks from today!
I'm stretched to the limit - I haven't a minute,
So please will you all go away.

MADAME:   Your show is ready, if you'd stop tearing it apart.

DESIGNER:   My collection is a rag bag with no soul.

MADAME                 Come in, come in, please.

All enter the shop, but Onree hangs back.

TAYVIA:   Oh, these clothes — look at them — they are all completely over the top!  They are outrageously superb!
What a talent you have Madame and M’sieur!

MADAME:   My son, Jerome, this is all his own work.

TAYVIA:   Jerome, I need a circus act to feature Lucille, our giraffe.
Dress her.  Make costumes for all of us — something amazing and fantastic!
I must have it all done and ready this week!

DESIGNER:   Do you expect me to dress a giraffe?  Hah!

MARIE                 I don't expect it.  I only wanted to thank you for your help to us.

Onree creeps further in.

MADAME:   Haven't you come to pay your bill, M'sieur?

ONREE:   Madame, I cannot pay you yet.

MADAME:   So, will M'zelle Tayvia, our 'film star' pay for Jerome to dress this giraffe?

TAYVIA:   Madame, we need another tiny gesture of goodwill from your shop.

MADAME:   Dress a huge giraffe on credit!
'Another tiny goodwill gesture!'
I explode!

#SQ Molecule sound

DESIGNER:   And I also explode!
Look at her — the height — the eyes — the eyelashes!
The elegance! The pride of her!  She is a dazzling beauty!

Tune: Dilly

# song

                    She is perfect — she's a dilly.
Would she put on something frilly?
May I have her?

MADAME:                           Don't be silly!

DESIGNER:   For my show she'd be a coup! 
I can't believe it's true —

                    Has she come to me for clothes?
Such a dress I will compose.
In the height of haute couture
She's the highest chic for sure.

TAYVIA:   It's a great, fan-tas-tic no-tion.
She would stir up a commotion.
It-'ll make a great promotion.

BILL:   As a model she will glow,
Lucille will steal the show.

MARIE:   It's a horrible intention

MADAME:   And would cost too much to mention

ONREE:   But she'd love all the attention

DESIGNER:   I will make of her a star,
Just leave it all to moi!     

MADAME:   Jerome, you stupid, extravagant, fool!
Madame thrusts a piece of calico towards Jerome who raises himself a bit
Here use this scrap of calico.  Make a baseball cap for her.  Then get these people and their giraffe out of here!

DESIGNER:   "Tra-la-la-la-la"
She will be the tallest, proudest model in the business.
Only Jerome Gavotte will dress such a figure!
I will use satin and lace and roses and jewels.
I may float her down the river Seine on a bateau.

BILL:   I will film her on the river barge under a huge bejewelled parasol!

DESIGNER:   Inspirational!  Mama can we borrow your jewels?

MADAME:   Most certainly not!

TAYVIA:   I see myself riding through a park in a small chariot under your gorgeous silk and lace parasol.
I will be swathed in flowers and jewels as I am pulled along by the giraffe.

ONREE:   M'zelle, I'll find some cheap coach wheels for your chariot.

TAYVIA:   M'sieur, please do not!
I don't ride on cheap wheels!

BILL:   I must film your whole show?

DESIGNER:   Ah, M'sieur.  I am honoured.
You shall have exclusive rights to film everything.

MADAME:   Along with other more famous film makers who want to work without any payment.

MARIE:   Papa! Bill! just stop and think about Lucille in all this!!

BILL:   She will be magnificent up there in the spotlights!

ONREE:   She will be totally dazzling!

DESIGNER:   A dazzling, beautiful, courageous, magnificent star!

TAYVIA:   Well, of course I must ‘present’ this fashion show!
Your show will be my show with my giraffe in it.
What do you say?

MARIE:   I say you are all completely selfish and absolutely mad.

MADAME:   You and I are the only hope for saving them, M'zelle.
I was almost persuaded to pay these bills, Jerome.
But I'd be mad to pay to dress a giraffe?!

Music:  Introduction to the Designer's song

During the song actors unroll materials, try costumes against each other and Lucille (even using a ladder).
Marie watches gloomily until a roll of material unrolls to her feet.
Then she helps Madame to roll it up.

Tune: Living

# song

DESIGNER:   How can a man make a living?
How will he ever survive?
When creation's his reason for being
And he's filled with an artistic drive.

                    My dresses need sumptuous satins,

MADAME:   But what will a customer pay
There's no time nor reason to change them
My savings are melting away.

DESIGNER:   To eyes that are filled with great visions,
Accountants are never in sight.
How can I work as an artist,
And still get my books to look right?

MADAME:   The bailiff has sent you a letter
Creditors pound on your gate.
Sense says a halt would be better
Be calm and make genius wait.

TAYVIA:   He is a wonderful artist,
With designs steaming out of his ears,
His talent so ripe it's exploding,
Please don't hold him back with your fears.

                    The show is three weeks from tomorrow.
The photos, the slogan must go.
We'll change all the posters and adverts,
Think up a new name for the show.

DESIGNER:   It may bring success or disaster.
The out-come I really don't know
But I'll have been true to my talent
When the curtain goes up on my show.

Curtain CLOSE.

(All make a quick costume change to clothes they would wear to attend a fashion show)

Act 3, Scene 3       Ceelie's dress at the Fashion Show


Disco Lights twirl.

# Music builds towards the fashion show.

Tayvia enters to the apron at one side of the catwalk.

She speaks into an 'announcer's microphone'.

Fashion models parade ON CAT WALK following each other as described.

Models enter in sports gear with beach balls and hula-whoops.

TAYVIA:   Sports wear.  Lanky legs and elegant necks!  If you've got it, flaunt it.  Ride high with leggings, necks and tufty tops.

Butterfly models with gossamer wings.  They almost fly.

    Fling away caution, stretch to your heart's desire.  Fly on gossamer wings, show off in figure tight, ever hugging leotards.

Models in bright luminous beachwear skip in, shouting and waving.

    Tropical wear in keep it cool, or hot it up, summer days and winter nights, the light, airy fairy jungle days.

Actor with rainbow colours.

    Rainforest parrots, colours of the rainbow, tree tops,  the exuberance of wild life has inspired these colours. 

More than one of our actors appear in the fashion show.

The curtain closes further.

Madam pokes her head through the narrow gap,

She is picked out by spot.

MADAME:   She is ready.  We will let her in.

Spot iris closes

TAYVIA:   And now I present Mamzelle Lucille, the tallest, most exquisite model ever seen on the cat walk.
This is La Gavotte, Summer Collection, 'Quel Tailleur,'
the height of fashion, starring, Lucille, the giraffe.

#SQ Drum roll.

Curtain opens to two metres

Spot lights up Lucille.

Lucille is revealed in her dress.

Lucille enters through curtain.

LUCILLE:   I am a very fine lady
Just look how I dazzle and shine.

# Music

LUCILLE:   Style and beauty I posses.
I stand here in my party dress.
My dreams are coming true-oo-oo-oo!

                        I am in a grand parade,
Listening to fine music played.
My dreams-are coming-true-oo-oo-oo!

# SQ: a twittering swallow sings above in the (imaginary) rafters.

LUCILLE:   Little swallow look at me.  Look at me.
Please take the news home to my birds for me.

# Fashion show music plays and rises to a crescendo, then fades to silence.

Exit Lucille through curtain during music.

Lights dim.


Act 3,  Scene 4   After Fashion Show     Dreamer Take Care

Lights come up:

On stage Madame, Designer and Tayvia.

Madame is folding up Lucille's chiffon dress with great patience.

The designer is stretching, exhilarated and dazed.

Madame has the dress folded when Jerome picks it up absent mindedly.  It unfolds.

Madame was just fetching over a carton/trunk for it.

Tayvia is on her mobile phone when lights come up.

All are tired but happy, amidst some drinks and snacks, boxes and trunks.

Throughout the scene everyone packs and folds, except Tayvia.

MADAME:   Well, it was all very spectacular.

TAYVIA on mobile
Yes, Sir Archie!  Thank you and Lady Jessie.
It was so kind of you to call me.  Goodbye!

Her call ends. She switches off mobile, and is excited.

    That was Sir A. and Lady J. our patrons  —
they saw us on TV.
They loved us!

Designer is hugging Lucille's dress in a daze.

MADAME:   The show was superb!  We were seen on TV in London!
Oh, Jerome, I had just folded Lucille's dress.
Bring it here.  I’ll put it into this carton.
Where are her roses — I must ask Marie?

Enter Onree OP waving a business card.

ONREE:   Here, see this business card.
Just now un type (teep) said to me,
'This giraffe I love her!  I must have her!'
This man wants Tall Girl in London, for an Opera.

Designer pulls out the same card.  He is overwhelmed by this success.

DESIGNER:   Here, I have the same card.  He has appointed me to design costumes for a whole magnifique Opera in London!

MADAME:   C'est vrai?! C'est incroyable!  Unbelievable!
Jerome, I think fame has come to you!
But, perhaps this man just want a giraffe and he
thinks you own the giraffe.

TAYVIA                 No, I've met with him.
I have already agreed to send
Lucille, the giraffe, to London.
The Opera company is covering our expenses and . . .!
Bill and I have been invited to film the Opera and cast backstage - everything - at the London Opera House.
So, splash out, Jerome!
Make your most extravagant costumes.

DESIGNER:   Ah, M'zelle, Merci, thank you - thank you for this chance.

Enter Bill OP.

MADAME:   M'zelle Tayvia.  "You are merveilleux!"
And here comes Bill with mountains of paperwork?
Maybe even more commissions for Jerome.

BILL:   These are all invitations for Lucille.
Just look at this one!

He passes an invitation to Onree

ONREE:   All this money is to be paid for Tall Girl to appear at a football match?!

TAYVIA:   Let me see it!  Aaah!  It's more than I . . .
Oh well to think I gave this chance to a dumb animal
And she can't even thank me!

# (SQ) Tayvia's mobile rings.

She answers it.

MADAME:   Alors!  Fantastique!
The bank manager will soon beg to buy us our dinner!

Jerome sighs out loud with joyful disbelief at it all.

TAYVIA:   Quiet!  I have Harris on the phone!
He saw Marie and Lucille on the TV news in London!
He didn't know about my generosity in bringing Marie and Lucille back together again.  He says he might 'forgive me.'
Huh!  He should be on bended knees to me.

to the phone                Harris, our ratings must be soaring.

Enter Marie with Lucille OP.

(Lucille still has a couple of roses drooping from beside an ear.)

Marie moves downstage.  Lucille follows.

TAVIA to all                They are rocketing!

to Mobile                And you were so nasty to me, Bunny!
And of course Marie adores having
her pet here with her.

MARIE to Tayvia
I am right here listening to you.
How can you tell such awful lies!
You know I hate to have to parade Lucille on the cat walk!
I am barely coping with all this!
Let me speak to Harris!

Tavia moves away as Marie reaches for her mobile.

TAYVIA:   Oh dear!  I've cut Harris off.
What a shame!  laughs

MARIE:   Well, I shall soon escape from your tricks.
Now my beautiful Apple Pie has more than earned
her ticket home to Africa.
We'll buy the ticket and make a donation to the safari-park.
I've tried to explain to her that her stardom is over.

MADAME:   Marie will you take off Lucille’s roses so we can pack them?

Onree moves towards her.

MARIE:   Before she goes home
Bill, take a snapshot of me with her.
She looks so sweet with her roses.

ONREE:   She is so cute, Cherie,
and we have a chance to share her success a little further.
A London Opera wants to employ her on stage in an Opera.
The full Opera to be dressed by Jerome Gavotte!

Designer centre stage.

DESIGNER:   The grand London Opera will be dressed by Moi!

MARIE:   No.  Don't tease me!
Lucille is going home to Africa.  Right away.  As agreed!

Bill approaches Marie, puts a hand on her.

BILL:   Marie, would it hurt to show her off at one more event?

Marie brushes him off.

MARIE:   How stupid you are.  Of course it would be terrible.
I certainly will not take her to London.  No way!

TAYVIA:   Marie, you've trained my giraffe so well.
I can easily manage without you.
My plans are made, whether you like it or not.

ONREE:   Tayvia may not need you in London, Marie,
But I certainly need my Marie here to help me.

MARIE:   Papa you must stand by me.
I call on you to stand by me, against her.

Onree holding a sparkly costume takes Marie's arm and walks her across the stage.

ONREE:   Marie, this trip is for an Opera.
Your mother sang in Opera.  You love Opera.
You used opera music to help revive Our Tall Girl.
She will be back here in no time.

Onree passes Marie to Madame who pats her hands much to her annoyance.
Pulls a photo from her breast to show Marie.

MADAME:   When my Antoine was with us.
He rode our precious Ebony in a parade.
That horse loved a parade.
Your giraffe is just a great overgrown horse, you know.
She will be delighted.

MARIE:   How absurd, Madame.  Don't insult me!

Madame leaves Marie to help Enri shut the case/trunk.  She shows him the picture and he acknowledges it kindly. She then dusts bits of fluff off Onree.

Bill gently walks Marie across the stage.

BILL:   Marie, I'll make sure no harm comes to Lucille in London.

Marie leaves Bill.  She goes to shout at Tavia.

MARIE:   You have nowhere to keep a giraffe in London!

TAYVIA:   I'll find her a place in a zoo when she's not wanted on stage.

MARIE:   But don't you see — the more famous she gets the more people will want her.
All the time she's losing touch with a proper natural life.

Onree helping Madame lift a large case/package is ready to leave OP.

ONREE:   The Opera man has offered to pay our circus
food bill while Lucille is away.
We have a big family to feed.
I must accept this offer.  I have no choice.

MARIE:   You are heartless, uncaring, unfeeling, ruthless thugs.
Business has sucked out your souls!

Madame's end of the case is heavy.  Bill politely takes her place.
The designer piles clothes so high in his arms so that he can hardly see over the top.
Madame picks up another bag and Tayvia piles hats on top.

Onree, the designer, Bill and Madame exit OP with their parcels and boxes.

TAYVIA:   Marie, will you bring Lucille down to the truck?
Or shall I send an attendant to fetch her.

Tayvia exits OP with her mobile phone.

# (SQ) A swallow is heard singing high up in the (imaginary) rafters

Marie stays downstage watching Lucille sadly.

Lucille has some remnants of flowers still on her) she is spotlit.

LUCILLE:   Shush little bird, Mama is watching me.
But my Mama is crying.
She took off my dress, and my roses are falling off.
The music has stopped.  I think my party over.
I think Mama is going to send me away again.
But, I didn't make any mistake, did I?
I did not eat Papa's new high hat.
I did not break anything.
I think I have been so good.

Lucille moves downstage towards Marie.

    I must hold my head high and be cheerful,
if only my legs would not tremble.
Tell my birds to be proud of me.

Marie crosses to Lucille's side.

MARIE:   I am so sorry, my Beautiful Apple Pie.
When I made the little film with Bill it was fun,
but it has now taken off like a roller coaster
so big that I don't know how to stop it.

End scene  - lights fade, curtain.

Act 4, Scene 1      London Zoo   The Ostrich

The curtains are nearly closed with a gap of a metre or so.

Action takes place on the apron and the catwalk.

# (SQ) London traffic is heard  and we hear Big-Ben chime 'quarter to' in the distance.

Ostrich and Lucille enter in darkness through the gap in the curtain.

They are at first unseen.

Spot finds the Ostrich

The ostrich dances.  He starts with a slow step dance.

# Music: Ostrich

OSTRICH      Each ^ day ^ I wake in my pen at the zoo.
Each day I’ve practically nothing to do.
I bury my head as the people pass by.
I try not to see them because I’m so shy.
So they go on their way and don’t bother to stay
And I’m badly and sadly ignored.

A spotlight now picks up Lucille.

LUCILLE:   Hello Mr. Ostrich.
I hope you don't mind me sharing this space with you.

OSTRICH                I am pleased to have the company of one so gracious.

Lucille dances as she sings.

LUCILLE:   Each ^ day ^ I wake in my pen at the zoo,
Each ^ day ^ I'm dizzy with so much to do.
I bid Mr Ostrich a very good day;
They bring me my carriage, I'm off on my way
To the Opera House where my beauty holds sway.
On the stage I'm their favourite girl.

Lucille watches as the Ostrich dances

# SQ Repeat of the music of above verse for dance step.

OSTRICH                You’re not from around here, are you?

LUCILLE:   I have come from Africa.
But I have learned that it is very far away from here.

OSTRICH                Africa?  Oh, Africa is my secret dream.

The ostrich becomes very animated and dances faster as his song progresses.

# Music: Sun drenched

                    I have been told it's a glorious land.
Where Ostriches dust-bathe in baking hot sand,

Oh, I long to be a sun drenched Ostrich
Basking in the sun, soaking up the fun
Filling up my soul with joy.

Oh I long to stretch my legs in freedom
Step, step, stepping, pirouetting,
Skipping through the long, high grass.

                    I'd invite my friends to feast.
Lion, deer and wildebeest.
The dainty spotted cheetah
Couldn't possibly be sweeter.
Python snakes and vultures
Would be closest friends of mine!

LUCILLE:   I don't think you would like the menu for their feast!

    And Mr Ostrich, take care when you breath a wish onto the air.  One magical, dewy evening my dreams started to come true — whether I liked it or not!

OSTRICH                You'd never have left Africa if dreams really came true.
How glorious it must be to wander, wild and free.

LUCILLE:   A lake giving birth to the sun as a new day is born,
Flights of flamingoes shine pink in the rose light of dawn,
Sprigs of delicious acacia leaves tempt me to eat,
Maybe a babe of my own reaches up from my feet.

OSTRICH                I can't believe you'd ever choose to leave that place.

LUCILLE:   I was younger then and very timid.
Adorable bird friends tried to help me, but I ignored them.

OSTRICH                We birds are very adorable and so often ignored.

LUCILLE:   I go on the stage and shine in the bright lights.
I am so brave now.

OSTRICH                If you hid your head, like I do, you wouldn't get flashlights in your eyes, but you would soon be left quite alone.

LUCILLE:   Oh, I hate to be alone Mr Ostrich.
I have grown bold.  I want the biggest star.
I want the big bouquet they give out each evening.
I want it before I go home to Africa. 

OSTRICH                Go home to Africa.  You are a very big dreamer!
I just don't think that will happen, not even for you.
I've been wishing to go there all my life, and I'm still here!

Ostrich and Lucille step back through the curtain and exit.

# (SQ) Traffic noise rises, buses pass, horns toot. big ben strikes two o'clock.

Act 4 Scene 2    Dreamer Take Care   The London Opera House.

A flat extending from OP side represents the foyer.

There is room for passage behind it -

to enter the auditorim turn OP, to go 'backstage' turn P

P side there is an oblique flat representing the box office.

# (SQ) We hear hushed traffic noise and a buzz of conversation inside the foyer of the London opera house

On stage is Tayvia.
Enter Bill from upstage P, hurrying with his professional video camera.

TAYVIA:   Bill, where have you been!  It's the big event.
My celebrities will arrive any minute and Harris will be here too.
Now, don't forget, film me from my left side as I greet people.

BILL:   I know.  Calm down, I know.
You will smile towards me when you shake hands with your right hand.

TAYVIA:   But if I don't shake hands, you still film my greetings.

BILL:   I will.

TAYVIA:   You've missed hundreds of good shots of me already.
I've autographed programmes for celebrities and stars.
You should have got all that.
Where were you, Bill?  You let me down.

BILL:   I was backstage, filming Lucille.  She senses the occasion but she's perfect — calmer than most of the crew.  She's just amazing!

TAYVIA:   Well, what a beast she is.
But, I've been dazzled by other people's camera flashes — and spoken on a news report and there will be more.

BILL:   Here comes Onree with Jerome and his mother.
Hello Jerome.  Your costumes are looking splendid!

Enter Designer, Madame and Onree from downstage OP.
Tayvia gives a brief nod to them, then keeps an eager eye open for her celebrities.

DESIGNER:   I must go backstage to make sure they are being worn properly.  Just a last nip and tuck!  Please excuse me.

Exit Designer upstage P.

MADAME:   No serious changes — please Jerome!
He has put his life and soul into the costumes for this show.  It just has to be a splendid success.
What a shame Marie won't be here to enjoy Lucille's performance, and today it is Marie's birthday.

BILL:   I sent Marie a ticket for this Gala performance.

MADAME:   She won't use it.
Jerome sent her a superb outfit to wear for the occasion.
She sent it back with a note telling us not to be so unfeeling.

BILL:   Oh dear.

ONREE:   She was heartbroken when M'zelle Tayvia snatched Lucille away from her.  She blames us all.

BILL:   You shouldn't have left Marie alone at the circus on her birthday.  I was sure you'd bring her.

ONREE:   She has the whole circus family around her.
But, I also wish she could see this for herself.
I've been backstage.  They adore Our Tall Girl.
Her handler sings to her and tells her she's as good as a Hollywood star.  And I'm sure she believes him.

BILL:   I wish Marie could see it!

TAYVIA:   Bill, look sharp!  Sir Archie and Lady Jessie are getting out of their limo.

Enter The designer from upstage P: comes in speaking frantically.

DESIGNER:   Oh, aaah!  My life is over!  I have been thrown out of the dressing rooms.  The show may be cancelled!
Marie has arrived.
She is backstage shouting that M'zelle Tayvia has stolen the giraffe from her.
She has dashed here from France to stop the show!

    I think she will rip all my costumes into pieces!
The police will be called and they will shoot the giraffe —
It is too much.  I just don't care!  My life is ended!

MADAME:   Jerome!  Calm down - your are ridiculous.
No one will shoot the giraffe nor rip up your costumes.
They will certainly throw Marie out if she makes trouble.

ONREE:   Marie has come!  Ah, I will go and find her!

Onree hurries to exit upstage P.

BILL:   I must find Marie too.

Tayvia grabs him.

TAVIA                No, no, you won't go anywhere, Bill!

Designer pulls a tape measure from around his neck and collapses before Tayvia.

DESIGNER:   Here, M'zelle — you must put me out of my misery.
It is too cruel to make me suffer like this!
I must not be allowed to suffer any more.

MADAME:   Marie has no power here.  The giraffe has been properly hired through M'zelle Tayvia.
Isn't that right, M'zelle?

Tayvia gives Bill a shove.

TAVIA                Bill!  I've changed my mind.

    Go backstage and take our friends with you.
And then come back by yourself, pronto!

    Madame, go and knock some sense into Marie.
No-one here wants her problems broadcast, especially you.
The show must go on for the sake of your dear son — — look at him — he is in agony!

Bill, Madame and Designer exit upstage P

Tayvia moves down stage to confide in the audience.
# Music: Found out

TAYVIA:   I've been found out!
Marie could stop the show tonight
She owns Lucille and has the right.
My secret's out!

                        And now she knows!
If they believe her all is lost.
They could not bear the awful cost
If forced to close.

                        Can I hold out?
Pretend she's just a silly child
To get her pet back in the wild?
She'll scream and shout.

                        But when at last
The evidence showed what I've done
I'd sacrifice all I have won
I must move fast!

                        I'll speak up first.
I'll tell the truth with brazen face
I'll show my style and stand my place
She'll come off worst!

                        I'll stand my place
She'll come off worst!

The designer is expelled from upstage P and enters at speed.

DESIGNER:   I have been thrown out again.
Backstage is all confusion about the ownership of Lucille.
Please tell me that I am safe in your hands, M'zelle Tayvia!!

TAYVIA:   Jerome, it is true that
the giraffe does belong to Marie.
The safari-park gave Lucille to Marie when Lucille was once a dying baby.

DESIGNER:   Then I am lost!  The stars and the sun will fade. 
My universe crumbles to dust.

Designer groans and moans and flutters.

Enter Marie upstage P.  She comes rushing in to face Tayvia.

MARIE:   Tayvia, you are a thief!
You have stolen Lucille from me.
The safari park phoned to wish me happy birthday!
They asked if I enjoyed the big birthday present they sent me.
You told them I wanted Lucille to be sent to me.
You offered to bring her to me.
You told them I had doubts about her safety out there.

TAYVIA:   Darling, of course the giraffe is yours;
As I was just telling Jerome.
And I did bring her to you.
Ask Bill how hard I fought to save her from lions, and from Grotzi, the worst zoo in the world.
I fed her, when you couldn't afford to feed her.
I've saved your old lion and all your pets from starvation!
I put your circus on the map.
I've given Jerome here the chance of a lifetime,
that is, if you don't spoil it for him.

Enter Onree and Madame and Bill upstage P, linked in tormented anxiety.

MARIE:   So — I can take Lucille away right now and stop the show!

TAYVIA:   If you want to take her away, I can't stop you.
Go backstage and take her at once.

Designer jumps up in haste to stop her with poses of devastation.

Madame and Onree want to stop her.

MARIE:   I will!  But you must come with me and explain everything to them.  Come on then!!
They don't believe me!

DESIGNER:   Oh merde!  Don't do it, Marie.  Wait!

MADAME:   Marie, do you know what will happen if you stop the show?
All the people backstage who are pouring their souls into this Opera, this Opera Company will lose everything!
They are not the ones to blame.
And look how you are destroying Jerome.

Madame takes Jerome aside to comfort him.

BILL:   Marie, I had no idea of this trickery.
I thought Tayvia had bought and paid for Lucille.

ONREE:   But, even so, Cherie, don't spoil this Opera for everyone.
Hundreds of people are already inside waiting to see her.
Tall Girl has rehearsed on the stage for so many days!

# (SQ) noise from the street, preparing us for the arrival of celebrities.

TAYVIA:   Let me share this wonderful occasion with you, Marie.

Enter downstage OP Sir Archie and Lady Jessie (from the street) surrounded by flashlights and reporters.

    My celebrities are arriving.
Come and meet my guests, our patrons and sponsors.

ARCHIE                Good evening everyone. booming laugh

TAYVIA:   Sir Archie, Lady Jessie, let me introduce you to Marie — from the Dupont Circus.
She owns and has so brilliantly trained the giraffe, Lucille.

Marie is wary, but sees that this may bring her a better chance to stage her protest.

ARCHIE                Ah, Marie Dupont.  The little film star who nursed the baby giraffe in a garden?
How charming to meet you.

    We are patrons and sponsors of Animal Screen
and of this evening's exciting Opera.

MARIE:   Well, I am here to protest against exploiting a wild animal.

ARCHIE                So you should, that just wouldn't be right.
But, Lady Jessie has strict instructions to get your autograph for our grandson.

Sir Archie booming laughter as flash photos are taken from all directions and news video.  He offers Lady Jessie to Marie, putting them into the spotlight.

JESSIE                I so much enjoyed the film of you with Lucille in the garden.
I watched it with young Tim in the Children's hospital.
We cried our eyes out, it was such a sweet film.

ARCHIE                You know that all the profits from tonight's show go to
'The RSPCA  to protect our dear animals'.
I'm sure you'd approve of that.

JESSIE                Just here, darling, would you write, "to darling Tim."
This thrill will brighten his life.

Sir Archie indicates the autograph book, Marie signs it.

ARCHIE                Who would ever have expected your pet giraffe to have risen to such heights?

JESSIE                Is tonight's giraffe the same darling giraffe that you wrapped in a shawl not so very long ago.

MARIE:   She is the same giraffe - but while the cameras are on me let me tell you.  I don't want her exposed to all this publicity.

ARCHIE                We all get jitters before a big occasion
— The London Opera House, Gala Night!
But, no need to worry either of you
 - she'll be a great success - you'll see!

Sir Archie turns to Tayvia.

    And who did you say you are, young lady?

TAYVIA:   I am Tayvia Raven of Animal Screen.  —
You do know me, Sir Archie.

# (SQ) Cameras flashes, clicks and whirrs.

ARCHIE                 Tayvia Raven of Animal Screen!  Ah-ha!  Of course you are!

More booming laughter, and almost immediately he is back to Marie.

    Jessie, we might fix a garden party for Marie and Lucille to come and meet people.

MARIE:   I'm trying to tell you that I want Lucille sent back to Africa.

JESSIE                Africa?  Oh, much better not.
Africa is full of dangerous snakes and tigers.

MARIE:   Ma'am, there are lions, but no wild tigers in Africa.

ARCHIE                Jessie, come along my dear; we have a show to watch.
Good evening everyone!

Sir Archie and Lady Jessie exit upstage behind flat, turn OP to the Auditorium.

DESIGNER:   Marie — when this Opera is over I will buy the giraffe a first class ticket to send the giraffe home to Africa!

MADAME:   Jerome, you have large debts to clear or you'll be sent to prison.

# (SQ) A bell rings.

ONREE:   This bell means we must go in.

MARIE:   Why should you all  make me feel guilty.
I only want what's best for Lucille and you all know that.
And now you've got her so well trained even I have to wonder how she would survive in the wild?

MADAME:   After this Opera is ended I will bring my great batteries to your defence.  Together we'll save her.

# (SQ) A bell rings.

ONREE:   That's the final bell.
Our chance to see this Opera will be lost forever if we don't go in now.

BILL:   Tayvia's deceit has been wicked.
After this show I'll show her up for what she is.
But please will you watch one performance.
I truly believe that Lucille is proud of what she's doing.
Just give it a chance.

MARIE:   I can't go in.  I tore up my ticket.

MADAME:   All our seats are together and your place is still reserved. 
After this wonderful, funny show your tears will all be dry.

BILL:   Your seat is next to mine.
Tayvia aside to Madame and Jerome.

TAYVIA:   It's too late to do anything to stop the Opera now.
You two should go in and watch it.

# (SQ) TANNOY        Please take your seats, there will be no admission to                           the auditorium once the performance starts.

MADAME:   Jerome we will go in.

She offers a hand to Onree who gestures 'go on in'.


Madame and Jerome exit upstage behind flat, turn OP to the Auditorium.

MARIE:   We'll go in, Bill.

Bill and Marie exit together exit upstage behind flat, turn OP to the Auditorium.

Onree is aware that Tayvia is unaccompanied.  He turns to her.

ONREE:   Will you accompany me, M'zelle Tayvia?

TAYVIA:   Please go on in, M'sieur.  I am waiting for someone.

ONREE:   I hope M'sieur Harris will arrive in time.

Onree exits upstage behind flat, turns OP to the Auditorium.

TAYVIA                 Bunny, what has happened to you?
Have I worked so hard only to be forgotten and deserted?
It seems that I must go in alone.

Tayvia exits hastily upstage behind flat, turns OP to the Auditorium.

The lights start to dim.

A figure enters hastily downstage OP, look around. 

He is too late to go into the auditorium. 

He exits upstage P.  It is Harris carrying a big bouquet of acacia leaves.

curtain closes.

Act 4 Scene 3  Dreamer Take Care Opera - A spelling Mistake

A flat extending from OP has plenty of space behind it for Lucille's later entrance.

It has a coloured glass 'window' in it (not transparent).

It is extended with an archway through which the Princess can move

# SQ: Orchestra tuning up.

Conductor enters auditorium, takes up a position in front of the stage.

# SQ: Conductor raps baton (on apron) and tuning falls silent.

# SQ: Conductor waves baton, introduction commences.

Curtain opens smartly to reveal Princess and King.

the stage shows an old fashioned  king's castle.

PRINCESS      My room's been entered, my things are gone
All my possessions have disappeared.
Gone my treasures which you call junk,
My clothes, my ornaments, which you think weird.

                        My lizard's missing, my toad is too,
My faith-ful raven's no longer there.
His shiny feathers, his cheery song,
His perch is empty, his cage is bare.

                        Gone are my dresses,
Bright scarlet tresses,
Rings for my lips,
My neck lace of zips.

                        Taken my pretty glitter,
Stuff that you call litter,
Stud for my tongue.
Do you resent that I am young?

                        My suitors are not to your liking,
My friends are not welcome to stay,
My players and dancers and artists
And all my musicians are sent away.

KING              Your appearance was not to our liking.
We in-sist on some polish and grace.
We've taken your old rags and tatters
And we have replaced them with satins and lace.

                        Wigs were despoiled by your raven
Pooping from high chandeliers.
We were driven to rage as his exploits
Brought more than one Lady to tears.

PRINCESS                I laugh so loudly when that happens.
Your guests are such fools.
Raven's pooping on them is the best entertainment.
Is that all that's bothering you!!  Well?

KING                clearing his throat rather nervously, but determinedly.

                        Outside our gates struts King Ferdondo.
He has great plans to conquer all our land.
He has an army camped on our border.
To buy his peace, we'll give your hand.
We'll give your hand.

PRINCESS                You'll give my what!!?

KING                Shall We run it past you again, dear?

                        —We'll give your hand!!

    Look, I've a picture of him, here.
He looks quite nice, and handsome and young.

PRINCESS      What a ridiculous thought that you'd give my hand!
Fly a man to the moon,
Buy a talking baboon,
I won't marry Ferdondo.

                        How could you think I would answer to your demand?
Buy a pig in a poke,
Make me laugh at your joke,
I won't marry Ferdondo.

                        Look at his acne,
It's looks con-tag-ious.
How could you ask?

                        I never will
Marry that dope,
You haven't a hope!

KING              Never an easy girl,
So hard to pleasey girl
Wilful and naughty the bane of my life.

                        I am imploring you
Down on my kneesy girl,
Please make Ferdondo a wonderful wife.


K                     Never an easy girl, so hard to pleasey girl,

P                      Look at his acne,

K                     Wilful and naughty the bane of my life.

P                      It looks contagious.

K                     I am implor-ing you down on my kneesy girl,

P                      How could you ask me

K                     Please make Ferdondo a wonderful wife.

P                      To marry that oaf?

# SQ: Sound OP of coach and eight with outriders coming up driveway.

King goes to window and looks out

KING                Here he comes!
His coach is coming up our driveway!

    Hurry away and change your gown,
put on a powdered wig, don't frown.
Exchange those hobnailed boots for slippers,
Save my nerves that are in jitters.

PRINCESS                I will do no such thing!

KING  calling                Wizard come here this very minute!
Save my kingdom and all that's in it.

Enter Wizard.

    Make our Princess kind and sweet
Elegant from head to feet
Give her a tall and slender grace.
A gentle manner, a docile face.
Give her gifts that will allure
This Prince - whose motives are none to pure.

PRINCESS                pealing laugh. 
This old Wizard knows no spells.
He mixes up and makes bad smells!
This Wizard isn't half a Wiz
His magic is a total fizz!

WIZARD                Hmn, hmn, hmn!
Sire, your commands are always my greatest pleasure to perform.  Especially this one!

KING                Well, then hurry, Master Wizard!


WIZARD         Hokery, pokery, viruses vile,
Software bugs in computer file,
Rusty bits on the kitchen knife,
Make this Prince a wonderful wife.

    Has that done it, Sire?

PRINCESS                Hasn't changed me a jot.

KING                No, it has not!

Wizard takes parchment paper from his pocket

WIZARD                Ah, ha, hum.

                        Hickory, dickory, lettuce and ham,
Hot sticky pudding with apricot jam.

    Ah, and I have blobs of pudding on my wand.
That was my wife's sticky pudding
 — very sticky pudding it was too — very treacly!

Wizard wipes sticky pudding off his wand

KING                But Master Wizard, get on with it!
King Ferdondo has crossed the drawbridge.
He is rapping at our big front door.

Wizard with nervous haste dancing round.

WIZ                   Um, er, um, er . . .

                            Hokery pokery, bat's claw and wing,
Dry powdered lettuce and bee with a sting,
Minced-up lobsters just two and a half,
Lofty young person become a gir . . .

    What's the thing called,
Tall with knobs on top,
Starts with 'g',
Rhymes with 'half'?”

PRINCESS      Do you mean a giraffe? pert rising tone.

Exit Princess , backing through archway.

A flash or a twirl of the Wizard's cloak obscures archway.

Enter Lucille OP behind flat to be seen through archway.

Enter Lucille around end of flat - not through arch.  Remains upstage.

She is unseen by King and Wizard.

WIZARD                Sire, do I have egg on my face?

KING                No.

WIZARD                Is there fat in the fire?

KING                No.

WIZARD                Then my spell must have worked!

King turns round, arms raised in despair, then sees the giraffe.

KING                Ah! Oh!  Undo the spell at once, Master Wizard!
You have turned the Royal Princess into a giraffe.
She is magnificent, but she is a giraffe!

Wizard looks round and is amazed to see her

WIZARD                I am greatly distressed, Sire,
But there is no undo, command — Your Majesty, Sire!

A VOICE                 His Royal Highness, Prince Ferdondo!

Enter young King Ferdondo OP, through arch.

Lucille turns downstage, moves to face him across stage.

FERD                Ah, Princess, I prostrate myself before you faultless virtue!
I drool at your feet.
I sigh at your knee
I throb on your breast
and swoon in the light of your gentle gaze.

WIZARD                My spell must have infected him too, Sire.

Ferdondo notices the King and Wizard, turns towards King

FERD                May I ask for the Princess giraffe's hoof in marriage?

WIZARD                They might be better outside Sire.
Mind the Royal rugs, Sire!

KING                Once you persuade her to walk with you out of doors, great King.  Then she shall be your very own bride.

FERD                I will take my beautiful love out to meet my countrymen.

Exit Ferdondo with Lucille, upstage, turning OP behind flat..

# Sounds/music for King and Wizard dance step.

The King frowns down his nose at the Wizard but a wicked smile breaks across the Royal face and turns into a gleeful grin.
He invites the Wizard to join him and they link arms for some snappy dance stepping.
The King is out of breath and sends the Wizard to look out of the window.
Wizard scuttles across to look out.

KING                Eh, Wizard, what are they are doing down there?

WIZARD                They are walking towards our grand entrance gates.

Wizard comes back into the room hand on chin, thinking of the consequences, hunching shoulders, scuffles, turning head right, then left, right, again left.
The King strides with him left then right questioningly waiting/encouraging the Wizard to speak his thoughts.
King takes stock of situation, flutters a hand nervously and impatiently at Wizard and sends him back to the window.

KING                And now, Wiz?  What is happening now?

Wizard springs back to action and scurries back to the window.

WIZARD                Sire, they are facing King Ferdondo's great army.  His generals are saluting.  He is introducing his bride to them.

KING                And now?

WIZARD                The giraffe is leaning down to nuzzle the King's neck.
Oh!  Your Majesty, upon receiving her kiss King Ferdondo has . . . has . . . has been changed into a giraffe too.
Two gracious giraffes now stand before the army.

KING                Wiz, now that great army will overwhelm us and kill us all.

King and Wizard walk out through curtain onto apron

Curtain shuts behind them.

WIZARD                Sire, the army is cheering and throwing down their swords.
I believe they are tired of so many years of endless war.

KING                Ah!  Ah, ring out the bells in church and steeple
Announce a party for all the people.
The marriage of our Princess has forged a fine truce.

WIZARD                And it may be months Sire, months and months before it wears off!

    They will need a King.

WIZARD                A kind and good King, such as yourself, Sire.

The two of them kick up their heels in a gleeful dance.

KING & WIZ      A good King,
A kind King,
A just-the-very-thing King!

WIZARD         Ruling the Kingdom with his wizard by his side.

KING                                                   Indeed
we will make an ideal team.

BOTH              That's us!

Bells start to ring out

King and Wizard bow to each other very courteously.

King disappears through Curtin

Wizard plays a wand conjuring trick/magic then exits through curtain.

Act 4,  Scene 4                    Back in the foyer.

# (SQ) Enthusiastic applause from imagined audience, and talk as they leave the auditorium.

Lighting has become once again the foyer.

Designer, Madame, Marie and Bill together, Tayvia, Onree, Sir Archie and Lady Jessie enter from the auditorium - upstage OP behind flat.

DESIGNER:   Well, my costumes were divine.
Everything was fine.  Tr-la-la-la-la.

MADAME:   I felt a magic in that music that would melt any heart and dissolve all troubles.  And our giraffe looked so happy to receive her bouquet of acacia leaves!

ONREE:   I am sure you sent the bouquet, Madeleina; you think of everything.

MADAME:   No, I did not send it.

    But Marie, you still have tears in your eyes.

MARIE:   It was very lovely!  And Lucille did look proud in it.
She must finish the run of this show.  But then . . .

DESIGNER:   Tayvia, you are my heroine, join me on my cloud boat.

TAVIA                Thank you, but get lost, Jerome.

DESIGNER:   Marie?  Share my happiness!  Let me take you away from your troubles.

MARIE:   Jerome — my heart is not for you!
And nobody can take me away from my troubles.
I must take charge of my troubles.

BILL:   Get lost, Jerome.

JESSIE                Jerome Gavotte! Come here.
I need several little cocktail gowns made.
Will you call on me next week?

DESIGNER:   I will come to you, Lady Jessie.  He hurries over to her, hunting through his pocket rag-bag for a notebook and pencil. 

ARCHIE                Miss Raven, we will make a series about "the Animal Screen of Connoisseurs," the best wines, fastest cars, the richest of the rich.

JESSIE                Having courteously dealt with and then dismissed the Designer - cuts in loud and sharp on Sir Archie, calling him away from Tayvia
ARCHIE! We leaving together, are we not?

TAYVIA:   Thank you, Sir Archie, but I have a phone call to make, please go on ahead to dinner.  I will join you all.

All exit to the street downstage OP except Tayvia.

She sits, mirroring the pose in the circus telephone scene and dials on her mobile.

(SQ) We hear the number being dialled.

# We hear a message that the phone has been switched off or is out of range.

Tune: Black box lover

TAYVIA:   So I've a black box lover with a boring tone
As I listen to his switched off mobile phone.
If Harris was a man of taste,
He be smartly dressed and by my side!
If Harris was a man of taste,
He'd take my arm, or squeeze my hand,
Or his arm might fit neatly around my waist!
If Harris was a man of taste!

Enter Harris, unseen, upstage P.  He is soon picked up by a spotlight.

As Harris speaks, Tayvia gives a little gasp of surprise

HARRIS       If Harris was a man of taste,
He'd have more faith in your madcap schemes.
He'd provide more money for your wildest dreams,
If Harris was a man of taste.

If Harris was a man of taste.

TAYVIA:   Harris, you are here!  But, you missed the show!
And you switched off your phone!

HARRIS                Mobile phones have to be switched off in the Opera house.
I arrived late but I was allowed to watch the show from backstage.
And while I was there I found that you, my Cherub, had personally bought the giraffe a big bouquet of acacia leaves.

TAYVIA:   I thought she'd like them, Bunny.

HARRIS                She stood fifteen feet tall as she ate the leaves.
I have never seen an animal that looked prouder or happier.

    But she is not yours and Marie will insist that she goes back.

TAYVIA:   That is true, Bunny.  I had just saved up enough of my own money to send her home.

    I have even bought the ticket for her to fly.

Tayvia takes a ticket from her bag and passes it to Harris who looks at it.

HARRIS                But you never have any money put by.
Oh!  Where is the ring I gave you?

He puts his arm round her.  She is sad to have given up the ring.  He takes her hand.

TAVIA                It was so beautiful, Bunny —

He holds her hand as they exit through the curtain.

ACT 5,  Scene 1.   Dreamer Take care 'Home Again'.

# (SQ) African music, the sounds of the bush land.

The scene is back in Africa with the bird perspective above the treetops.

Lucille's big head is on stage as lights come up.

LUCILLE:   M'zay!  Undoogoo! My birds, Nar! Dee! (laughs excitedly)
Where are you all?

The birds enter OP.

MZAY:   Ceelie! You are home again!  How did you do it?
You look wonderful and happy.

LUCILLE:   I am happy.  I was longing to see you again and to tell you everything!

UNDOOGOO:   But Princess, we heard that you went to a circus and a zoo.
Was it terrible?  Tell us.

MZAY:   Someone else is still looking out for you!  Do you see him staring through the trees at you?

LUCILLE:   Ah, yes.  It is Georgie.
Oh, George, has such height and such strength now!
Shall I walk with you, George?

DEE:   She is more graceful than before and so confident now.

UNDOOGO                She's a Princess such as I've never met before!

LUCILLE:   I will thunder my hooves across the plain,
I am home with George and my birds again.
My party is here with all of you
Who've travelled so far to go, see and do.

NAR:   So will yer settle down with us now?

LUCILLE:   Well, I might,
but while I was up in my aeroplane jetting home,
I dreamed another dream!

Birds screech and groan.

NAR:   Aaargh!  I knew it!  She's got plans for a sequel.

# SQ Molecule sound

WISE BIRD                Good evening everyoneOh, no, no, no.  She's not asking for a sequel, is she?

LUCILLE:   Oh, Mr. Wise Bird, Sir.
Please join the party.
Thank you.  You made everything happen for me just right.

WISE BIRD                My holiday turned into a whirlwind of world travel.
I attended a circus, a fashion show and an Opera.
I had to read the minds of humans.
And that was a shocking experience.

LUCILLE:   But you worked everything out so well, sir.
And I heard your laughter at sometimes.

WISE BIRD                Well, well, and I thought your pretty head was way up there dreaming in the clouds.

UNDOOGOO:   She has very large sensitive ears, Sir.

LUCILLE:   And, Sir, Sir, while you're here Sir.
For my next adventure, Sir.
Please, I would so much like to become a movie star, Sir.
I know you can do it, Sir.

WISE BIRD                Oh deary me!  I have a great heap of important work to catch up with.

LUCILLE:   Oh, well, Sir.  I'll stroll here with George and my birds until you're ready to help me again.
Just call on me if you want my help, Sir.

WISE BIRD                (He laughs) Thank you, Lucille. Thank you very much.
(and his chuckles fade to distance.)

#SQ      We hear the molecule sound and Wise Bird's wings beating as he leaves.

LUCILLE:   That's how he laughs.  Did you hear him?

The birds and Lucille move front stage and bow.
Lucille (Big head) exits OP, birds move back into shadows.

The scenery moves to people perspective

Enter Harris OP.

HARRIS                At our viewers' request all Lucille's friends have been invited to give her a magnificent big home coming party.

Enter OP any extras, photographers, news reporters and take a bow
Enter OP Lady Jessie and Sir Archie, they move front stage to speak and bow.

JESSIE                What a beautiful party,
and I have not seen one tiger here yet.

ARCHIE                It is a most enjoyable trip to Africa.
Jessie I knew you liked ostrich feathers, but I didn't think you'd bring the whole ostrich!

Enter Ostrich OP to sing, dance and bow.

# music song

OSTRICH      I am now a sun drenched Ostrich
Basking in the sun, soaking up the fun
Filling up my soul with joy.
I will stretch my legs in freedom
Step, step, stepping, pirouetting,
Skipping through the long, high grass.

Enter OP Madame and Onree, move front stage and bow.

MADAME:   M'sieur, I will.

ONREE:   You will, Madeleina — you will marry me!?
And let me keep the circus too!

MADAME:   We'll run a circus, full and wide,
Where all my loves can safely bide.

ONREE:   Nothing can be wrong,
When you belong.

Onree holds Madame's hand, they turn to welcome Designer.

Enter designer OP, briefly holds their hands and moves front stage to sing and bow.

# Music song

DESIGNER:   How can a man make a living?
How will he ever survive
When creation's his reason for being
And he's filled with an artistic drive?

                        It seems that I can make a living
And do so much more than survive
With good friends, and good luck, and provided
I harnesses my artistic drive.

Enter OP Lucille stilt giraffe.

# music song

LUCILLE:   I am a very fine lady
Just look how I dazzle and shine,
Style and beauty I posses.
I stood there in my party dress.
My dreams have all come true-oo-oo-oo!

Bows to birds who move forward to be thanked for their advice.

# music song

BIRDS             Flick-er-ing light, whis-per-ing sound,
Sparks from the stars, warmth from the ground,
Have hatched bab-y dreams, lit-tle em-bry-o schemes,
Small notes are u-nit-ing, I hear them re-cit-ing,
'We're here we're inv-it-ing, We're call-ing on Cill-ie
to go and see and do.'

                        Mass-es of min-u-scule, mag-net-ic mol-e-cules,
Danc-ing and min-gl-ing, tin-gl-ing, jin-gl-ing.
Gath-er-ing, call-ing, be-guil-ing and urg-ing
"To go and see and do."

LUCILLE:   I never suffered too much fright
You convinced me that all was right!

                        And thank you zoo and the camera crew
And the people who sang in my Opera too.

Opera cast enter OP or if doubled, step forward to take a bow.

Enter OP Marie and Bill.

Lucille continues to sing and bows to Marie and then turns to Onree.

                        Poppa, I know, you cared for me
And thank you for your love, Marie

Marie and Bill caress Lucille and then turn to each other

# music song

MARIE:   Although we disagree
Just occasionally
The world becomes a nicer place,
Troubles easier to face
When you are close to me.

BILL:   When I'm with you, Marie
The world looks good to me,
I find it easier to smile,
My life becomes much more worthwhile

M & BILL:   It's as it ought to be.

Enter Tayvia OP

TAYVIA:   Bill, stop cuddling her,
I am ready to record my final words of this video film.

Bill gets his camera.

    This is Tayvia Raven returning an older, wiser giraffe to the wild.
And next week Animal Screen takes us to the beautiful sunny beaches of Australia.
I hope you will all join us there.
Our senior producer, Mr. Harris Evans, will be with us to offer fascinating new insights into the lives of dolphins.
This is Tavia Raven for Animal Screen.

Harris gives Tayvia a bouquet,

King, Wizard, Ferdondo and Princess (as they are if they have  doubled in two roles) give Lucille a bouquet of acacia leaves accepted by her voice actor who moves forward to sing.

# music song

LUCILLE:   If you breathe a dream on the evening air

MARIE:   Dreamer take care.

JEROME       Dreams are all round us waiting to lead us to wonderful places.

ONREE:   A dream must have company, only together

MADAME:   can dreams reach fulfilment and truly succeed.

TAYVIA:   Dancing together, mingling, merging,
dreams weave a tapestry bright and exciting

LUCILLE:   The most wonderful dream leads you
to a world where you know you belong.

ALL                 Masses of minuscule, magnetic molecules,
Dancing and mingling, tingling, jingling.
Electric, exciting, they are inviting — you,
To go and see and do.
To go and see and do
And make your dreams come true!