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THE BODYGUARD:

THE

DINELARIS- UK TOUR 03-15

BODYGUARD
THE

MUSICAL

BOOK
ALEXANDER

BY

DINELARIS

BASED ON THE FILM


"THE BODYGUARD"
WRITTEN BY LAWRENCE KASDAN
Updated:

08/03/16

Olivier Sultan - Agent Creative


Artists Agency 162 5th Avenue
New York, NY 10003

THE BODYGUARD:

DINELARIS- UK TOUR 03-15

THE BODYGUARD
ACT ONE
A GUNSHOT EXPLODES, echoing through the
darkened house...
SCENE I

BASEMENT PARKING GARAGE

Through the smoke of the gunfire, we see FRANK


FARMER, protectively shielding his client, MR.
KLINGMAN. His gun is cocked and pointing at the
would-be ASSASSIN who sits slumped over, staring
at his gut, which is gradually turning bloody
red. The assassins gun is only inches from his
extended hand...

FRANK
Dont. (A beat.) Dont. Just slide it over.
KLINGMAN (Panicking under
Frank.)

Oh, God...
FRANK
Get down...
KLINGMAN
Jesus, Frank. Is he--

Down!

FRANK
(Pressing Klingmans head to the
floor.)

(Then coolly to the Assassin.) Look at


me. You know what I am.
They continue to hold each others stare, only now,
the Assassin is leaning toward his gun... A light
catches Franks face.

FRANK (CONTD) (contd)


Dont...
THE LIGHTS GO TO BLACK. The SOUND of
two
gunshots,
followed
by...
An
EXPLOSION OF DRUMS...

THE BODYGUARD:
SCENE II

DINELARIS- 10-24 DRAFT

THE RACHEL MARRON CONCERT

Light and sound fill the theatre.


RACHEL
strides downstage followed by her
back up
dancers.
QUEEN OF THE NIGHT
RACHEL

&

ENSEMBLE

IVE

GOT

THE

STUFF

THAT

YOU

WANT

IVE

GOT

THE

THING

THAT

YOU

NEED

IVE GOT MORE THAN ENOUGH


TO MAKE YOU DROP TO YOUR KNEES
CAUSE IM THE QUEEN OF THE NIGHT
THE QUEEN OF THE NIGHT
OOH, YEAH. OOH, YEAH. OOH, YEAH

DONT MAKE NO

RACHEL
DIFFERENCE

IF IM WRONG OR IM RIGHT
IVE GOT THE FEELING,
AND IM WILLING TONIGHT
WELL, I AINT NOBODYS ANGEL
WHAT CAN I SAY?
WELL, IM JUST THAT WAY
RACHEL

&

ENSEMBLE

IVE

GOT

THE

STUFF

THAT

YOU

WANT

IVE

GOT

THE

THING

THAT

YOU

NEED

IVE

GOT

MORE

THAN

ENOUGH

TO MAKE YOU DROP TO YOUR KNEES


CAUSE IM THE QUEEN OF THE NIGHT
THE QUEEN OF THE NIGHT
OOH, YEAH. OOH, YEAH.
JUST SAY IT, SAY IT, SAY...
CAUSE IM THE QUEEN OF THE NIGHT
THE QUEEN OF THE NIGHT
OOH, YEAH. OOH, YEAH. OOH, YEAH
RACHEL
YOU GOT A PROBLEM

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

WITH THE WAY THAT I AM?


THEY SAY IM

TROUBLE

AND I DONT GIVE A DAMN


BUT WHEN IM BAD, I KNOW IM BETTER
I JUST WANNA TO GET LOOSE
AND TURN IT UP FOR YOU

SCENE IIA

BACKSTAGE
... BILL DEVANEY,
Rachels manager,
stands back stage,
with TONY, Rachels
personal security.
Tony hands Devaney a
letter.
DEVANEY

Where was it?


TONY
On her dressing room table.
God damn it!

DEVANEY
How did it get there?
TONY

I dont know.
DEVANEY
How did it get there?
TONY
Devaney, Im tellin you... It wasnt
there before the show.
DEVANEY
Youre our security, Tony. You wanna
tell me who the hell is walking
around back here?
TONY
Ill find out.

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

DEVANEY
Yeah...
TONY
Ill find out.
Tony
exits.
Devaney
stares at the letter as,
the lights fade out on
him... and we return to
Rachel
RACHEL & ENSEMBLE
CAUSE IM THE QUEEN OF THE NIGHT
THE QUEEN OF THE NIGHT
OOH, YEAH. OOH, YEAH. OOH, YEAH...
Dance break...
RACHEL

&

ENSEMBLE

(CONTD)

(contd)
*
IVE

GOT

THE

STUFF

THAT

YOU

WANT

IVE

GOT

THE

THING

THAT

YOU

NEED

IVE GOT MORE THAN ENOUGH


TO MAKE YOU DROP TO YOUR KNEES
CAUSE IM THE QUEEN OF THE
THE QUEEN OF THE NIGHT
OOH, YEAH. OOH, YEAH.

NIGHT

SAY IT AGAIN
CAUSE IM THE QUEEN OF THE NIGHT
THE QUEEN OF THE NIGHT
OOH, YEAH.
OOH, YEAH.

The chorus repeats until


a massive finish.

THE BODYGUARD:

SCENE

III

PARK

DINELARIS- 10-24 DRAFT

BENCH

FRANK
No.
DEVANEY
Farmer-FRANK
No.
Sixty-five

DEVANEY
hundred

What

did

FRANK
I just

say?

You

said

DEVANEY
no.

And

what

FRANK
does

that

week.

mean?

DEVANEY
It means I should offer you more
money.
FRANK
Really?
DEVANEY
thousand.

Seven

FRANK
Look, there are plenty of qualified
guys you could get for that kind of
money.
DEVANEY
Im

told

youre

the

best.

FRANK
Theres

no

such

thing.

DEVANEY
Is that right? (A beat.) What
happened with your guy in New York?
FRANK
Its

over.

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

DEVANEY
Yeah. You ended it. But he asked
you to stay on, didnt he?

FRANK
Im not good in permanent
positions.
DEVANEY
Eight thousand.
FRANK
I

dont

do

celebrities.

DEVANEY
Why not? Its where all the money
is.
FRANK
Yeah, its also where all the
bullshit is.
DEVANEY
(Holding out an envelope.) Take
a look at this letter for me.
FRANK
Devaney...
DEVANEY
Just take a look. And Ill leave
you alone. I swear.
Alright

FRANK
let me

see

it.

DEVANEY
Someone left it in her dressing room
during the show. Stage Manager said
none of their people were in or out
of there once the performance began.
You

FRANK
pull the employee

files?

DEVANEY
It was all our people there. But
were checking it out.
STALKER
QUEEN

RACHEL.

YOU

HAVE

EVERYTHING
7

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

AND I HAVE NOTHING.


YET I AM
EVERYTHING AND YOU ARE NOTHING.
ONLY YOU UNDERSTAND THE PAIN. SO
ONLY

YOU

WILL

SHARE

NOT

BEFORE

THE

MY

QUEEN.

IM

THE

FIRE.

SACRIFICE.

BUT

PREPARE,

COMING...

FRANK
You have it professionally
assessed?
DEVANEY
(Shakes his head no.)
You think its for real?

FRANK
Someone manages to break into her
dressing room in the middle of a
show and leave a letter. Yeah, Id
say theres a chance its for
real...Is that all?
DEVANEY
Yes, well, no. Actually we
think one of her costumes may
have gone missing. Frank, Im
not talking about a celebrity
here...
FRANK
Come on, Bill. Youre talking about
one of the biggest stars on the
planet -DEVANEY
Im talking about a scared girl with
a ten-year old son. Believe me, I
wouldnt be here if I didnt think-FRANK
Wait.

Yeah.

(A

beat.)

She

DEVANEY
Fletcher. (A

has

son?

beat.)

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
(After a beat.)
Alright,

Ill

come

take

look.

DEVANEY
Really?
FRANK
Im

just

gonna

look

it

over.

DEVANEY
Alright.

Good.

Thats--

Good.

FRANK
Ill

be

Thanks

in

touch.

DEVANEY
Farmer.
FRANK

Yeah.
SCENE IV

SOMEWHERE

OUTSIDE

RACHELS

ESTATE

FRANK is left, taking it all in. From the


other side of the stage, FLETCHER enters
with a toy car.
FLETCHER
Hi.
FRANK
Hey.
FLETCHER
Im

Fletcher.
FRANK

Im
A

beat.

Frank.
Fletcher

approaches

Frank.

FLETCHER
My

car

Let

me

wont

work.

FRANK
see it.

THE BODYGUARD:
Fletcher
examines

hands
it.

DINELARIS- 10-24 DRAFT

it

to

Frank,

who

FRANK (CONTD)
Well, first of all,
this isnt a car.
Yes

FLETCHER
is.

it

FRANK
No.

Its

What

is

Its
500
KR.

not.
FLETCHER
it, then?
FRANK
1968 Shelby

Mustang

GT

FLETCHER
Really?
FRANK
You know what the KR
stands for?
FLETCHER
Uh-uh.
FRANK
King of the Road.
Its true. 7 litre
supercharged V8
engine.

FLETCHER
Wow.
FRANK
There

are

no

batteries

in

here.

FLETCHER
Really?

10

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
(Handing him back the car.)
You didnt come over here to show me
the car, did you?
FLETCHER
Youre
What
I

the

new

bodyguard.

FRANK
makes you say that?

have

FLETCHER
ears.
FRANK

Okay.

FLETCHER
If youre looking for Mr.
Devaney, hes in the studio.
FRANK
Thanks. Fletcher How did you really
know who I was?
FLETCHER
I saw the way you were looking
around. Plus you are carrying a
gun
Oh, and nobody around here dresses
like that.
(Fletcher Exits)
The

scenery

opens

up

to

reveal...

11

THE BODYGUARD:
SCENE V

RACHELS REHEARSAL ROOM

DINELARIS- 10-24 DRAFT

AFTERNOON

The sound of the percussive section to


HOW WILL I KNOW, leads us into a large
room in Rachels estate. Rachels
choreographer, RORY, rehearses a group of
dancers as they go through a routine.
FRANK stands quietly at the back of the
room, surveying the surroundings. After a
bit, NICKI, Rachels sister enters.

RORY
Alright. Everybody take five and well try to put
Rachel into it.
The dancers break standing around talking
or stretching. Nicki and Rory go over
some notes.
Fletcher heads toward The table. And with that
SY SPECTOR, Rachels publicist, enters the room
followed by DOUGLAS, a rep from their high
powered ad agency, TONY, the bodyguard who we
saw earlier, is revealed leaning against the
table immediately eyeing Frank.
SPECTOR
Now look Douglas, all of this is an Oscar campaign, were
trying to win her an Oscar! Can you give me one idea-DOUGLAS
Im giving you several-SPECTOR
Youre giving me a pain in the balls. I have an actual pain
in the testicles because of your ideas.
(Yelling out to RORY.)
Are we seeing something here? Cause Im, you know, in the
middle of a day!
NICKI
Waiting on Rachel!
SPECTOR
And there goes the day.
DOUGLAS
12

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Im saying we could gain some traction with the


Cinderella angle.
SPECTOR
Shes not Cinderella.
DOUGLAS
Its her first film. Shes an outsider...

SPECTOR
But shes not Cinderella. And there are three reasons I know
that to be true...
DOUGLAS
Listen-SPECTOR
Firstly: tiny rodents dont design her clothing...
DOUGLAS
Sy-SPECTOR
Secondly: somewhere in her closet full of awards, sit six
Grammys.
DOUGLAS
Yeah, I get it.
SPECTOR
And finally: SHE LIVES IN A MANSION!!!
DOUGLAS
Okay.
SPECTOR
Youre standing in her mansion. Cinderella didnt have a
mansion. She had-- What did she have?
TONY
A pumpkin.
SPECTOR
She had a pumpkin.
DOUGLAS
Actually, the pumpkin was the carriage.
13

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

SPECTOR
Go far away from me.
GO!
DOUGLAS exits as DEVANEY enters. Devaney spots
Frank.
DEVANEY
Frank. Im glad youre here. What do you think?
FRANK
This a typical day around here?
NICKI
Theres no such thing as a typical day around here.
DEVANEY
This is Nicki Marron, Rachels sister.
NICKI
Nice to meet you.
FRANK
You, too.
DEVANEY
And this is Rory, Rachels choreographer.
RORY
How you doin?
Frank goes to shake hands and Rory pulls him
into an awkward embrace.
RORY (CONTD) (contd)
Take it easy.
Rory strides back toward the dancers.
Devaney points out Tony, who flirts with
dancer, and Sy who is typing into his phone.

DEVANEY
Thats Tony Scibelli, security. And that is Sy Spector,
Rachels publicist.
NICKI
14

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

(Noticing Rachel enter.) Here


she is...
DEVANEY
Rachel, honey come here for a second! (Rachel comes over.)
Say hello to Frank Farmer.
RACHEL
Who?
DEVANEY
Frank Farmer. The gentleman I was telling you about.
RACHEL
You dont look like a bodyguard.
FRANK
Whatd you expect?
RACHEL
I dont know. Someone bigger...
FRANK
This is my disguise...
They eye each other for a moment, then
Rachel turns to Devaney.
RACHEL
(To Devaney)
Devaney, Can I talk to you for a minute?
They start to walk away.
FRANK
Nice to meet you.
They
cross
back
over
and
prepare
to
rehearse. SPECTOR and Tony approach Frank.
SPECTOR
Frank Farmer?
FRANK
Thats right.
SPECTOR
Is it okay if I call you Frank?
FRANK
15

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Sure.
SPECTOR
Great. Im sure youre gonna blend in just fine. You can... I
dont know, select whatever alarm systems you want for
the house. Tighten up the security-FRANK
Tighten it up...
SPECTOR
Yeah. What?
Devaney returns to join the conversation.
FRANK
You have no security. Anybody who wanted to, could walk up
and get handed the keys to this place.
SPECTOR
Is that right?
TONY
And how exactly would you know that?
FRANK
(Holds up a ring of keys.)
Because I walked up and got handed the keys to this
place.
throws the keys to Tony.
DEVANEY
How the hell...
FRANK
I told the porter I was Thomas Edison, the new head of
security. Said I needed to check his keys and alarm codes.
Even got his drivers licence. But to be fair to Edgar, that's
not a great picture of him.
DEVANEY
Jesus...
FRANK
So, yeah. Maybe its time to tighten up your security...
Frank crosses to exit. Devaney follows after
him.
16

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

DEVANEY
Farmer, wait. Please.
Frank stops and hands the letter back to
Devaney.
FRANK
Listen to me, Bill. Somebody walks into her dressing room in
the middle of a show, leaves a letter and walks out with a
dress. All without anybody noticing. I wouldnt call that a
harmless prank. I would call that a legitimate threat. And if
Im right, your crew here isnt nearly prepared to handle it.
You wanted my opinion. Thats it.
Frank turns to go.
RORY
CUE TRACK!
DEVANEY
We need you,Frank. She needs you.(A beat.) Just talk
to her.
And with that the dancers are in place
and the music begins.

HOW WILL I KNOW

17

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

THERES A BOY. I KNOW; HES THE ONE I DREAM OF.


LOOKS INTO MY EYES; TAKES ME TO THE CLOUDS ABOVE.
OOH I LOSE CONTROL, CANT SEEM TO GET ENOUGH.
WHEN I WAKE FROM DREAMIN, TELL ME IS IT REALLY LOVE?
OOH, HOW WILL I KNOW.HOW WILL I KNOW?
HOW WILL I KNOW IF HE REALLY LOVES ME?
I SAY A PRAYER WITH EVRY HEART-BEAT.
I FALL IN LOVE WHENEVER WE MEET.
IM ASKING YOU CAUSE YOU KNOW ABOUT THESE THINGS.
HOW WILL I KNOW IF HES THINKING OF ME?
I TRY TO PHONE, BUT IM TOO SHY. CANT SPEAK.
FALLING IN LOVE IS SO BITTER SWEET. THIS LOVE IS
STRONG: WHY DO I FEEL WEAK.
IF HE LOVES ME, IF HE LOVES ME NOT, IF HE LOVES ME IF
HE LOVES ME NOT
OH, HOW WILL I KNOW?
HOW WILL I KNOW IF HE REALLY LOVES ME?
I SAY A PRAYER WITH EVRY HEART-BEAT.
FALLING IN LOVE IS SO BITTER SWEET. THIS LOVE IS
STRONG: WHY DO I FEEL WEAK?
IF HE LOVES ME, IF HE LOVES ME NOT. HOW WILL I KNOW
HOW WILL I KNOW!
[RACHEL SINGS SONG WITH BACKUPS BEHIND
HER. AT ONE MOMENT SHE CALLS FLETCHER TO
JOIN HER. HE DOES THEY LAUGH AND SING
TOGETHER. FRANK TAKES IT ALL IN.]
Rachel and Fletcher bring the song home
and finish to laughter and cheers.
Devaney walks away to join Rachel. The
lights go out on the room. Frank walks
downstage and into...
SCENE VI

THE F.B.I. OFFICE

IN

*
*
*

LOS ANGELES

Special agent RAY COURT discusses his


18

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

findings with Frank.


COURT
From everything youve given us, I think these are the
two that correlate to the letter from your guy.
He hands two more letters/sketches to Frank.
FRANK
So, were sure the subject is a male?
COURT
The scenarios and sexual violence in these drawings push
us that way. Were running the handwriting through a FISH
analysis, see if it matches any samples from the
database. Tracing the paper and the ink sample is gonna
take some time.
FRANK
Break it down for me.
Above we see a projection of the STALKER with the
missing dress, he is naked from the waist up.
COURT
No surprises. Male, late twenties early thirties. I.Q.
in the bright/normal range. Likely he has a history of
physical or sexual abuse.
FRANK
What about the dress?
COURT
If he took the dress, its about sympathetic
identification. He feels a deep connection with her...
as a victim...
FRANK
(Quoting the letter.)

...Only you understand the pain...


COURT
The guys meticulous. We couldnt get a print off any of
the samples.
(Another document.)
19

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

But we did get this...


Court hands Frank the document.
FRANK
What am I looking at?
COURT
Look at the dot over the i in mine...
FRANK
Is that blood?
COURT
Yeah. Isnt his though. Its canine blood.

FRANK
So, either hes got a pet... or hes rehearsing.
COURT
Frank, This guys for real. Whatever hes up to, he
isnt gonna be satisfied on the sidelines. Eventually,
hes gonna want to come out and play...
FRANK
So, whats he waiting for?
COURT
He just hasnt gotten his courage up yet.
FRANK
Why?
COURT
Cause he loves her...
The opening strains to GREATEST LOVE OF ALL begin

20

THE BODYGUARD:
SCENE VII

A ROOM

IN

RACHELS

ESTATE -

DINELARIS- 10-24 DRAFT

MORNING

We hear the opening strains of GREATEST


LOVE OF ALL.

*
*

A light comes up on Fletcher with car.

*
*

ON another part of the stage, RACHEL sits


at a piano, playing as she sings...

*
*

THE GREATEST LOVE OF ALL

RACHEL
I BELIEVE THE CHILDREN ARE OUR FUTURE
TEACH THEM WELL AND LET THEM LEAD THE WAY
SHOW THEM ALL THE BEAUTY THEY POSSESS INSIDE
GIVE THEM A SENSE OF PRIDE TO MAKE IT EASIER
LET THE CHILDREN'S LAUGHTER
REMIND US HOW WE USED TO BE

*
*
*
*
*
*

FRANK enters and watches Fletcher for a


moment. Then he crosses in and sits.
After a moment, he takes the car.
They sit working side by side. Over the
following verse, Frank begins to interact
with Fletcher, explaining various things.

*
*
*
*
*
*

RACHEL (contd)
EVERYBODY'S SEARCHING FOR A HERO
PEOPLE NEED SOMEONE TO LOOK UP TO
I NEVER FOUND ANYONE WHO FULFILLED MY NEEDS
A LONELY PLACE TO BE
AND SO I LEARNED TO DEPEND ON ME

*
*
*
*
*

I DECIDED LONG AGO,


NEVER TO WALK IN ANYONE'S SHADOWS
IF I FAIL, IF I SUCCEED
AT LEAST I'LL LIVE AS I BELIEVE
NO MATTER WHAT THEY TAKE FROM ME
THEY CAN'T TAKE AWAY MY DIGNITY

*
*
*
*
*
*

Nicki appears behind her, listening quietly.


She stops playing and jots something down
on her pad. Nicky crosses in...

*
*
*

21

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

NICKI

Thats really pretty.

RACHEL

Yeah. Im not sure about the bridge.

NICKI
No. It sounds great. If you wanted, you might try--

*
*

RACHEL

Hey, wheres Fletch? I havent seen him all day.

NICKI

Hes been hanging around Frank all day. Its actually


kind of sweet.

*
*

Rachel stares out, mind elsewhere.

NICKI (CONTD)
When you get a chance, Sy needs to talk to you.
Something about the benefit in Miami, okay?

*
*
*

Rachel still elsewhere.

NICKI (CONTD) (contd)

*
*

Rachel?
RACHEL
(Finally looking over.)

*
*

What? Yeah. Ill be there in a minute


Nicki exits.
Rachel tries to refocus as she moves D/S

Lights up on Frank and Fletcher.


FLETCHER
How did you learn so much about cars?

*
*

FRANK

My mother loved cars. When I was your age shed lecture

me about every cool car wed see on the road.

22

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FLETCHER

But shes a girl.

FRANK

Was. And no, she wasnt a girl. (With affection.) She


was a broad.

*
*

FLETCHER

Whats the difference?

FRANK

Youll figure it out soon enough.

With that Rachel appears...

RACHEL
Fletcher, come over here.

FLETCHER

RACHEL

*
*

(Grumbles)
NOW!
Fletcher stands by his mothers side.

RACHEL (CONTD) (contd)

Look, Im not sure what you think youre doing here, but
I want to be clear about one thing.

*
*

FRANK

Whats that?

RACHEL

Im not going to let any of this alter my life one bit.


So you get Tony to fill you in on how it works, and then
you two figure it out, because I dont want you both

*
*
*

following me around everywhere I go. And I dont want my

son to feel like hes in a prison. Am I clear?

FRANK

*
*

Crystal.

Tony enters.

*
23

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

TONY
Everything alright, Rachel?

*
*

RACHEL
Keep him out of my way.

Rachel moves DSL with Fletcher.

FRANK rolls up a blueprint, holds it out


to Tony..

*
*

FRANK

Tony, get these plans to the contractor. When youre

done, come back and well talk about the new alarm
system.

*
*

Tony doesnt move.

FRANK (contd)

*
*

TONY

What?

Ill tell you what. Im gonna set you straight on a few


things.
FRANK

*
*

Oh, god. Really?


The lights go out on them, and come up
on...

*
*

Rachel & Fletcher.

*
*

RACHEL

You leave that man alone. Hes here to do a job. You


let
him do it. You understand me?

*
*

FLETCHER

*
*

RACHEL

*
*

FLETCHER

*
*

Yes.

Do you understand me?


Yes, mama.

24

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

RACHEL
(Rubs his face.)
Okay. Now go get washed up for dinner.

*
*
*

Fletcher exits. She watches him go.

piano.

Music starts again.

RACHEL (contd)
I DECIDED LONG AGO,
NEVER TO WALK IN ANYONE'S SHADOWS
IF I FAIL, IF I SUCCEED
AT LEAST I'LL LIVE AS I BELIEVE
NO MATTER WHAT THEY TAKE FROM ME
THEY CAN'T TAKE AWAY MY DIGNITY

*
*
*
*
*

BECAUSE THE GREATEST LOVE OF ALL


IS HAPPENING TO ME
I FOUND THE GREATEST LOVE OF ALL
INSIDE OF ME
THE GREATEST LOVE OF ALL
IS EASY TO ACHIEVE
LEARNING TO LOVE YOURSELF
IT IS THE GREATEST LOVE OF ALL

*
*
*
*
*
*
*
*

The lights come up centre stage


where the Stalkers stands.
Over the following he
will hold out Rachels red dress
in front of him,
massaging it tenderly.

*
*
*
*
*
*

RACHEL (contd)
AND IF, BY CHANCE, THAT SPECIAL PLACE
THAT YOU'VE BEEN DREAMING OF
LEADS YOU TO A LONELY PLACE
FIND YOUR STRENGTH IN LOVE

*
*
*
*
*

As the song finishes, the lights fade on


Rachel. The Stalker exits

*
*

25

THE BODYGUARD:
SCENE VIII

DINELARIS- 10-24 DRAFT

THE EDISON LOUNGE

A old fashioned torch singer lounge in


L.A. There are a few couples scattered
about the tables. As NICKI begins the
song her tone is simple and a bit sad.
SAVING ALL MY LOVE
NICKI
A FEW STOLEN MOMENTS IS ALL THAT WE
SHARE YOUVE GOT YOUR FAMILY, AND THEY
NEED YOU THERE
THOUGH IVE TRIED TO RESIST BEING LAST ON
YOUR LIST BUT NO OTHER MANS GONNA DO...
SO IM SAVING ALL MY LOVE FOR YOU
ITS NOT VERY EASY, LIVING ALL ALONE
MY FRIENDS TRY TO TELL ME, FIND A MAN OF MY OWN
BUT EACH TIME I TRY, I JUST BREAK DOWN AND
CRY CAUSE ID RATHER BE HOME FEELING BLUE
SO IM SAVING ALL MY LOVE FOR YOU
Over the following bridge, FRANK
walks over to one of the tables.
Nicki spots him and is shocked.
She looks away immediately, but
the sudden energy in her voice
betrays her, shes beginning to
really sing...
NICKI (CONTD) (contd)
YOU USED TO TELL ME WED RUN AWAY TOGETHER
LOVE GIVES YOU THE RIGHT TO BE FREE
YOU SAID, BE PATIENT, JUST WAIT A LITTLE LONGER
BUT THATS JUST AN OLD FANTASY
And now she turns her attention
directly to Frank with a
confidence we have not yet seen
from her...

26

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

NICKI (CONTD)
(contd) IVE GOT TO GET READY, JUST A
FEW MINUTES MORE GONNA GET THAT OLD
FEELING
WHEN YOU WALK THROUGH THAT DOOR
CAUSE TONIGHT IS THE NIGHT, FOR FEELING
ALRIGHT WELL BE MAKING LOVE THE WHOLE
NIGHT THROUGH
SO IM SAVING ALL MY LOVE

YES IM SAVING ALL MY LOVE


YES IM SAVING ALL MY LOVE
FOR YOU FOR YOU... FOR
YOU...
As the song ends, a smattering of applause from the
patrons.
As the lounge fades, Nicki grabs her
glass and walks over to Franks table.

NICKI (CONTD) (contd)


What are you doing here?
FRANK
I quit.
NICKI
Really?
FRANK
No. (A beat.) I came to make sure you got home alright.
NICKI
Okay.
FRANK
I didnt know you were a performer.
NICKI
Yeah, well Ive managed to keep it a pretty good secret.
FRANK
Nicki, from now on you have to tell me when youre doing
something like this. I need to know everywhere Rachel
27

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

might be in advance so I can-Nicki chuckles to herself.


FRANK (CONTD) (contd)
What?
NICKI
Rachel doesnt come.
FRANK
Yeah. But Im saying if she decides-NICKI
She never comes.
FRANK
Okay, well, even if Bill or-NICKI
Nobody comes. Really. Its just something I like to do,
so...
A pause.

FRANK
I thought you sounded great.
NICKI
Thank you. (An awkward pause. She wraps her arms
tightly.) God, its always freezing in this place.

Frank takes off his jacket and hands


it to her.
FRANK
Here.
NICKI
(Taking the jacket.)
Wow. A gentleman. Your Mama raised you well. She must be
very proud.

FRANK
I guess. She passed away last year.
NICKI
Shit, Im sorry. Was it sudden or-28

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
We can change the subject now if you want.
NICKI
Okay.
FRANK
Can I ask a question?
NICKI
Sure.
FRANK
Why doesnt she come?
NICKI
Well, for one thing, shes got this new bodyguard who
wont let her out of the-FRANK
Seriously...
NICKI
Its complicated.
FRANK
Try me...
A pause.
NICKI
When I was a kid, I put this little band together. We
played high school dances, stuff like that. One day, my
mother asked-- No. My mother told me to let Rachel join
the act. And that was it. Even then, it was pretty
obvious there was only room for one star in our house.
FRANK
Did you ever talk to her about it, or-NICKI
We can change the subject now. If you want.
A beat.
FRANK
Yeah. Well, I guess I dont know much about it, but I
thought you were really good tonight. (A beat.) Really
good.
29

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

NICKI
Really?
FRANK
Yeah.
NICKI
(A warm smile.)

Thank you. (A beat.) Are you sure youre not cold?


FRANK
Of course Im cold. You could hang meat in this place.
NICKI
Right?
FRANK
Alright, Wait here. Ill bring the car around.
Frank exits. Nicki watches him go. After
a moment, she wraps his jacket tighter
around herself. A smile washes over her
face as a song escapes her lips...

NICKI
NO OTHER WOMAN IS GONNA LOVE YOU MORE, COS TONIGHT IS
THE NIGHT THAT IM FEELING ALRIGHT, WELL BE MAKING LOVE
THE WHOLE NIGHT THROUGH, SO IM SAVING ALL MY LOVE, YES
IM SAVING ALL MY LOVING, YES IM SAVING ALL MY LOVE FOR
YOU...
The music plays out as the lights fade on
Nicki and come up on...

30

THE BODYGUARD:

SCENE IX- RACHELS KITCHEN

DINELARIS- 10-24 DRAFT

AFTERNOON

Rachel chopping fruit, irritated.


Occasionally, Tony who reads a paper,
picks at the fruit.
RACHEL
I mean, who the hell does he think he is to tell me
where Im allowed to eat?
SPECTOR
Rachel, can we focus for one minute, please? Ryan

Thomas has asked if you would do a short set.

RACHEL
No.
SPECTOR
Rachel, listen to me.

You play One night at the Mayan. You hold onto your
edge.

Its win/win.

*
RACHEL

When?
SPECTOR
Friday night.
RACHEL
No. Where?
SPECTOR
The Mayan.
RACHEL
No!My voice is shot, Sy. You have me doing twenty
interviews a day for this Oscar push.
SPECTOR
31

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Yeah. Thats because every day since I was a little


girl, Ive dreamt of winning an Oscar. Oh, wait. No.
Thats you.
RACHEL
What does Bill say?
SPECTOR
He wants to run everything through Frank.
Tony grabs another piece of fruit. NICKI enters.
RACHEL
Tony, you grab one more piece of fruit and Im gonna stab
you in the neck with this knife.
NICKI
Whats going on?
TONY
Frank wont let Rachel go to Charlies for brunch. Shes tense.
(Rachel glares at him.) You are. (To Nicki.) Howd the gig go?
NICKI
It was okay.
RACHEL
What gig?
NICKI
At the Edison
RACHEL
Youre still singing at that dump?
NICKI
Yes, Rachel. Im still singing at that dump.
RACHEL
You should find another spot. Its embarrassing.
(Stung.)

NICKI

For who?
32

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

DEVANEY enters.
DEVANEY
Whats the emergency?
RACHEL
I want him gone.
DEVANEY
What now?
TONY
Frank told Rachel no Sunday brunch at Charlies.
DEVANEY
No Sunday brunch? You have to be-- Thats why you called
me up here?

RACHEL
This is my house! And Im telling you, I want him out
of
here.
SPECTOR
Hes killing us, Bill. We need to be out there right
now. People need to see her face, and hes got her in
a
damn lock down.
FRANK enters.
FRANK
Bill...
RACHEL
Finally...
DEVANEY
Frank, is there anything we can do about this brunch
at

33

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Charlies? Rachels been going there every Sunday for


the last five years.
FRANK
I dont want her doing anything shes always done.
SPECTOR
Can we please talk about the Mayan?

DEVANEY
What do you say, Frank?
FRANK
No. I looked at the plans for the club. The place is a
nightmare. Theres no way we can protect her in there.

The men explode simultaneously.


TONY
...Speak for yourself...
SPECTOR
...Devaney, If I cant get her to do one show...

DEVANEY
...I dont have time for any of this right now. Just
figure out another way...
RACHEL
Can I PLEASE get some peace and quiet around here? And
Im going to tell you something right now. I am going
to
eat wherever the hell I want. Whenever the hell I
want.
AM I UNDERSTOOD?
34

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Silence.
FRANK
Can we have the room? Bill
DEVANEY
Alright. Everybody out.
(To the others.)

Lets go. Out!


Devaney exits. Frank stares at Rachel
squarely...
RACHEL
What?
FRANK
What do you think Im doing here?
RACHEL
This is my house. You dont-FRANK
Answer the question.
RACHEL
I dont know, Frank. I dont know what youre doing here.
Thats what Ive been asking. This is the biggest moment of
my career. The Oscars. The album. This is what Ive been
working for, my whole life. My. Whole. Life. And Im
telling you this... nobody is gonna ruin that for me. Am I
clear?
FRANK
You listen to me. There are people out there who would
hurt you. Who would hurt your son. Im gonna do everything
I can to make sure that doesnt happen. You dont like the
way I go about it? You fire me. But, until then, you ask
me if you can do a concert in a basement club with one
entrance and one exit, Im gonna tell you no. You tell me
you want to do anything that puts you or your family in
danger, Im gonna say no. Thats my job. Thats what Im
doing here. Get used to it.

35

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

SPECTOR
Rachel. I have Ryan Thomas on the phone. He wants to
know what were doing...

A pause.

Rachel...
Finally...
RACHEL
Tell him yes.

SCENE X

INTO THE MAYAN CLUB- CORRIDOR

We see the STALKER putting a letter into an envelope, he turns


upstage and disappears into Rachels dressing room

DJ Voice
Youre listening to KISS Fm, the pulse of L.A. We told you wed
crack the case of the mystery guest and if youre one of the few
that hasnt heard, its Rachel at the Mayan. Thats right. Rachel
Marron, tonight, appearing as Ryan Thomas very special guest. But
if you dont have a bracelet, you can forget going down there
Police are asking us to ask you to stay away. So everybody,
please stay chilled and stay tuned. So, its Rachel at the Mayan.
You heard it here first, on KISS Fm - the station that
delivers

SCENE XI - THE MAYAN CLUB

RACHELS

DRESSING ROOM

The sounds of the cheering continues,


muffled, from the outside the dressing
room. TONY stands at the door. FRANK,
SPECTOR and DEVANEY all surround Rachel
who is in costume, holding the Stalkers
letter in her hands. A shocked expression
on her face.
RACHEL
Where did this come from?
36

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

DEVANEY
Listen, Rachel-RACHEL
How did it get here?
SPECTOR
Someones been sending these letters-RACHEL
There are more? Why the hell didnt you tell me?
SPECTOR
We didnt want to worry you. With everything on
your mind right now we thought-RACHEL
(To Frank)
Shut up Sy. You, Farmer. You told me not to come. Why

didnt you say anything?


FRANK
(He takes a step to her. Calmly
and directly.)
What would you have said to me if I did?
DEVANEY
Were calling this off.
SPECTOR
Wait. Okay? Wait. (A beat.) Lets just think about
this for a second.
DEVANEY
Sy. We have to talk to Ryan.
SPECTOR
Hold on, its Rachel.
(To Rachel.)
Rachel...? Do you want to go home?
RACHEL
(Directly to Frank.)
Do you think hes out there?
37

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
He could be...
DEVANEY
Were getting out of here, Sy. Well have to tell Ryan.

SPECTOR
Are you crazy? Hold on, its Rachel.

TONY
Rachel?
Rachel just stands there.
FRANK
We should go.
RACHEL
Wait...
DEVANEY
Rachel we cant-SPECTOR
She said wait.
FRANK
(He can see it happening.)
Think about this.
RACHEL
(Looking at Frank.)
I came here to do a show. Im not going home.

Frank stares at her for a moment. Seeing the


conviction in her eyes, he gets to business.
FRANK
Tony, clear out anybody behind the stage. I dont care
who they say they are. They dont want to move, you
move em. Once shes on, call in and have them bring
the car around the back. I want it running. No
cigarettes. No bathroom breaks. Running. You hear me?
You take the left side of the room and dont let her
out of your sight. You got that?

*
38

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

TONY
Yeah.
FRANK
You got it?
TONY
I got it.
DEVANEY
Rachel, I'm sorry
FRANK
Lets Go.
Tony & Devaney exits. An awkward moment.
Finally,

Rachel moves towards the door...

Rachel stops at the door. They stand in

silence for a few intentional seconds.

*
*

Frank looks toward Spector.

FRANK (contd)

You got your show.


They exit and the lights begin to change. We
stay with a satisfied Spector as the club
moves into place around him...

END OF SCENE

The crowd noise dissolves into thunderous


music...
*

39

THE BODYGUARD:
SCENE XII

DINELARIS- 10-24 DRAFT

THE MAYAN CLUB

A heavy riff of club music pounds the


audience. The bass shakes the floors. The
ensemble are all dressed as party-goers.
As the music thunders along, a light
catches FRANK, scouring the room. The music
settles into a low, pulsing rhythm.
MILLION DOLLAR BILL/IWDWS/SO EMOTIONAL MEDLEY
Oh yeah, oh, oh.
IF HE MAKES YOU FEEL LIKE A MILLION DOLLAR BILL SAY
OH OH OH
SAY
OH OH OH
MAKES YOU GO LEFT RIGHT UP DOWN GOT YOU SPINNING
ROUND AND ROUND SAY
OH OH OH
SAY
OH OH OH
CAME IN THE DOOR, CHECKED IN MY COAT, AND WHO IM
LOOKING FOR IN STARING IN MY FACE.
OH, THEY PLAYED OUR SONG WE HIT THE FLOOR HE HELD ME
STRONG AND WE DANCED THE NIGHT AWAY.
OH, I CAN SEE THE WAY THAT HES MAKING ME FEEL THIS
WAY ABOUT HIS LOVE.
IVE BEEN LOOKING FOR SOMETHING LIKE THIS IM SAYING
OH OH
IF HE
OH OH
SAY
OH OH
MAKES
ROUND
OH OH

OH..
MAKES YOU FEEL LIKE A MILLION DOLLAR BILL SAY
OH
OH
YOU GO LEFT RIGHT UP DOWN GOT YOU SPINNING
AND ROUND SAY
OH, SAY

IVE DONE ALRIGHT UP TILL NOW, ITS THE LIGHT OF DAY


THAT SHOWS ME HOW.
BUT WHEN THE NIGHT FALLS, THE LONLINESS CALLS.
OH, I WANNA DANCE WITH SOMEBODY.
I WANNA FEEL THE HEAT WITH SOMEBODY.
YEAH, I WANNA DANCE WITH SOMEBODY, WITH SOMEBODY WHO
LOVES ME
40

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

IVE BEEN HEARING YOUR HEARTBEAT INSIDE OF ME:


I KEEP YOUR PHOTOGRAPH BESIDE ME BED.
LIVING IN A WORLD OF FANTASIES, I CANT GET YOU OUT OF
MY HEAD.
I REMEMBER THE WAY THAT WE TOUCH; I WISH I DIDNT LIKE
IT SO MUCH.
I GET SO EMOTIONAL BABY, EVRY TIME I THINK OF YOU.
I GET SO EMOTIONAL BABY, AINT IT SHOCKING WHAT LOVE CAN
DO?
In the middle of the madness we catch our
first glimpse of the STALKER. He blends in
with the others and little by little, he
works his way to Rachel. FRANK signals to
Tony as he makes his way toward Rachel, who
is now being grabbed and swallowed by the
crowd. We see the Stalker directly behind
Rachel. But Frank is there. He scoops
Rachel up off the stage, and carries her
down stage to the bridge where he holds her
safe in his arms...

41

THE BODYGUARD:
SCENE XIII

DINELARIS- 10-24 DRAFT

RACHELS ESTATE
The scene is dimly lit. RACHEL sits in an
armchair. FRANK stands over her. She
finishes a glass of water and hands it back
to Frank.

FRANK
You okay? (She nods her head.) Alright.
Frank goes to leave. Rachel grabs his
hand.
RACHEL
Frank...
FRANK
Im gonna be right inside.
He places his hand on her shoulder and
she holds on to it for just a moment. He
begins to leave...
RACHEL
Arent you going to ask me why I behave like that? Why
I went on?
FRANK
I know why.
He exits.
RUN

TO YOU

RACHEL
I KNOW THAT WHEN YOU LOOK AT ME
THERE'S SO MUCH THAT YOU JUST DON'T SEE
BUT IF YOU WOULD ONLY TAKE THE TIME
I KNOW IN MY HEART YOU'D FIND
OH A GIRL
WHO ISN'T
CAN'T YOU
I FEEL SO

WHO'S SCARED SOMETIMES


ALWAYS STRONG
SEE THE HURT IN ME?
ALL ALONE

I WANNA RUN TO YOU, I WANNA RUN TO YOU


WON'T YOU HOLD ME IN YOUR ARMS
AND KEEP ME SAFE FROM HARM?
I WANNA RUN TO YOU BUT IF I COME TO YOU

42

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

TELL ME, WILL YOU STAY OR WILL YOU RUN AWAY?


A soft spotlight comes up on NICKI...

NICKI
EACH DAY, EACH DAY I PLAY THE ROLE
OF SOMEONE ALWAYS IN CONTROL
BUT AT NIGHT I COME HOME AND TURN THE KEY
THERE'S NOBODY THERE, NO ONE CARES FOR ME
OH WHAT'S THE SENSE
OF TRYING HARD TO FIND YOUR DREAMS
WITHOUT SOMEONE TO SHARE IT WITH
TELL ME WHAT DOES IT MEAN?
I WANNA RUN TO YOU, I WANNA RUN TO
YOU WON'T YOU HOLD ME IN YOUR ARMS
AND KEEP ME SAFE FROM HARM?
I WANNA RUN TO YOU BUT IF I COME TO YOU TELL ME,
WILL YOU STAY OR WILL YOU RUN AWAY, RUN AWAY, NO
NICKI & RACHEL
I NEED YOU HERE
I NEED YOU HERE TO WIPE AWAY MY TEARS
TO KISS AWAY MY FEARS, NO
IF YOU ONLY KNEW HOW MUCH
I WANNA RUN TO YOU AND I WANNA RUN TO YOU
NICKI
OH WON'T YOU HOLD ME IN YOUR ARMS
AND KEEP ME SAFE FROM HARM?
I WANNA RUN TO YOU
RACHEL
BUT IF I COME TO YOU
NICKI
TELL ME, WILL YOU STAY OR WILL YOU
NICKI & RACHEL
RUN AWAY?
As the song comes to a close, the lights
fade on Nicki and we are left with Rachel
watching Frank.

43

THE BODYGUARD:

SCENE XIV

RACHELS KITCHEN

DINELARIS- 10-24 DRAFT

MORNING

FRANK sits at the table, looking over


some blueprints. After a moment Rachel

enters, silently sitting down next to

Frank. A pause.

RACHEL
Farmer... I have this problem.
FRANK
Okay.
RACHEL
This, I dont know, this minor little problem.
FRANK
Whats that?
RACHEL
Well... its embarrassing. I-- Okay, Id like to
go out, you know, for an evening... With a guy...
(Makes a
funny face.) ... Like... a date. But I cant go
out on a date, because you have to be with me
every minute. I mean, what if he invited me up to
his place afterwards? I mean, would you come,
too? Cause that would just be-- ( A beat.) See
what I mean? So... Well, the only thing I can
figure is that maybe, I dont know, maybe you
should take me out. (A pause.) Yeah. So... thats
what I was wondering. You know. (A Beat.) What do
you think? (A beat.) I mean, only if you want
to... Only if you want to. (No response.) What?
Im not so bad... (She catches half a smile from
Frank.) Oh, My God, this is embarrassing.
Nicki enters carrying a bag.
NICKI
Rachel...
RACHEL
Thank God. (A beat.) Think about it.
44

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Rachel stands.
NICKI
Sy wants to talk to you about the Miami benefit.
RACHEL
Alright. Great. (A beat.) Ill um... Ill see ya, Frank.
And shes gone.

NICKI
Shes in a good mood.(A beat.)

Howre you doing?

FRANK
We had a rough night.
NICKI
I heard. You alright?
FRANK
Were good.
NICKI
I got you something.
She produces the jacket he loaned her.
FRANK
Will you look at that?
NICKI
Nice, huh?
FRANK
Exactly my taste. Thank you.
NICKI
No, Thank you. It was really sweet of you to show up.
She smiles and exits. Frank sits for a
moment.

45

THE BODYGUARD:

SCENE XV

KARAOKE BAR

DINELARIS- 10-24 DRAFT

EVENING

In the blackout we hear the opening


refrain to WHERE DO BROKEN HEARTS GO.

After a bit of it a spotlight slowly fades


up centre. We expect to see one of our
stars, but what we get is THREE DRUNK
COLLEGE GIRLS. They are all crowding a
microphone singing karaoke. The lyrics to
the song are displayed on the screen above
them...
WHERE

DO BROKEN HEARTS GO
DRUNK COLLEGE GIRLS

WHERE DO BROKEN HEARTS GO? CAN


THEY FIND THEIR WAY HOME? BACK
TO THE OPEN ARMS
OF A LOVE THAT'S WAITING THERE
AND IF SOMEBODY LOVES YOU, WON'T
THEY ALWAYS LOVE YOU?
I LOOK IN YOUR EYES AND I KNOW THAT YOU STILL CARE FOR
ME
AND NOW THAT I AM HERE WITH YOU, ILL NEVER LET YOU GO.
I LOOK INTO YOUR EYES AND NOW I KNOW. NOW I KNOW
WHERE DO BROKEN HEARTS GO? CAN
THEY FIND THEIR WAY HOME? BACK
TO THE OPEN ARMS
OF A LOVE THAT'S WAITING THERE
AND IF SOMEBODY LOVES YOU, WON'T
THEY ALWAYS LOVE YOU?
I LOOK IN YOUR EYES AND I KNOW THAT YOU STILL CARE FOR
ME
The lights come up on the bar. It's a bit of
a dive but the atmosphere is great. The bar
is filled with college students and
regulars. JIMMY runs the karaoke from his
station.
When the song is over, they join their
friends. The lights come up on FRANK and
RACHEL sitting at a table. Rachel is
dressed very casually so that she blends
in. They have drinks in front of them.
Music continues in the background
RACHEL
46

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Your kind of place?


FRANK
Yeah.. Sure
RACHEL
Your kinda music?
FRANK
I forgot it was karaoke night.
RACHEL
Yeah, Right. I bet you get up there and sing all the
time.
FRANK
No.
RACHEL
Never? You never got up there?
A beat.
FRANK
Tequila can do strange things to a man.
RACHEL
I know. Youre having a drink. I cant believe it.
FRANK
Im off duty.
RACHEL
Sort of.
FRANK
Sort of.
RACHEL
So why this place? You figure nobodyll get past you
here?
FRANK
I guess.
RACHEL
You guess?

47

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
If someone's ready to swap their life for a kill, nothings
gonna stop em.
RACHEL
Great. So, what do I need you for?
FRANK
He might get me instead.
RACHEL
And youre-- What, youre ready to die for me?
FRANK
Thats the job.
RACHEL
And you would do it?
FRANK
Yes.
RACHEL
Why?
FRANK
Cause I cant sing.
A beat.
RACHEL
Whats your story Frank Farmer?
FRANK
I dont have a story.
RACHEL
Sure you do. Youre just not gonna tell it to me.
FRANK
Probably not, no.
A smile crosses her face.
RACHEL
I have an idea.

48

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
Oh, this is not gonna be good...
RACHEL
(Excited now.)

Yes, it is. Were gonna make a bet. Youre a man of your word,
right?
FRANK
Sure.
RACHEL
Then youll pay up if you lose?
FRANK
Can I hear the bet first?

RACHEL
Alright. Im gonna tell you all about yourself. And if Im
close, you have to get up and sing a song.
FRANK
No. (A beat.) What does close mean?
RACHEL
Ill let you decide.
FRANK
Really. You trust me?
RACHEL
(Sincerely.)

Yes.
A pause.
FRANK
Youve got a bet.
RACHEL
Really? Okay. Let me-- Okay. (She looks into his eyes,
searching.) You were a star when you were young. Baseball,
football... something. But you were good. You were close to
your mother and she supported anything you wanted to do. Your
dad was proud, too. But he wasnt
very good at showing it...

49

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
You could be talking about any guy in the-RACHEL
Im not done yet. (A beat.) In college... You went to
college, right?
FRANK
What, you think Im gonna help?
RACHEL
In college you werent really comfortable with the jocks.
But you werent comfortable with the smart kids either. You
had girlfriends, but they couldnt hold up to your
ridiculously high standards. So you were alone. A lot. (A
beat.) You... joined the military or the police force or
something, until you found this. The perfect job. Never in
one place for too long. Never getting too attached to
anyone. (A beat.) Thats why youre so damned good at it.
Frank smiles.

RACHEL (CONTD)
What? How did I do? Did I win?
A beat.
FRANK
You said close.
RACHEL
Was I close?
FRANK
No. You know what? You put so much effort into it, that
Im gonna go humiliate myself for you.
RACHEL
You are? Yay!
FRANK
And I want you to know whatever happens up there, I hate you.

50

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

RACHEL
Ok. Im ok with that.
FRANK
Aw, shit...
Frank downs the rest of his beer and
heads to the stage. At the controls is
JIMMY.
JIMMY
How ya doin Frank?
FRANK
(Points into the book.)
that one.
JIMMY
You need the words?
FRANK
I think I got it.
I

WILL ALWAYS LOVE YOU


FRANK
IF I SHOULD STAY, I WOULD ONLY BE IN YOUR WAY.
SO I'LL GO, BUT I KNOW I'LL THINK OF YOU
EACH STEP OF THE WAY.
AND I WILL ALWAYS LOVE YOU.
AND I WILL ALWAYS LOVE YOU.
RACHEL

Louder!

FRANK
BITTERSWEET MEMORIES
THAT IS ALL I'M TAKING WITH ME.
SO, GOODBYE. PLEASE, DON'T CRY.
CAUSE WE BOTH KNOW I'M NOT WHAT YOU NEED.
AND I WILL ALWAYS LOVE YOU.
I WILL ALWAYS LOVE YOU...

51

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK (CONTD)
Thank you very much.
Come here.
RACHEL
Me?
Rachel joins Frank and they begin to slow
dance.
RACHEL (CONTD) (contd)
You were good!
You were! That song is depressing, though.
FRANK
You think?
RACHEL
Its one of those somebody is always leavin somebody songs.
FRANK
I guess. My mother always liked it.
Suddenly a tray drops to the floor. Frank
immediately turns her to put his body between
her and the noise. His head turns to locate the
source. Rachel turns him
back to her.
RACHEL
Dont worry. (A beat.) Ill protect you.
They dance for a bit more...
FRANK
You owe me one.
RACHEL
Yes, I do.
FRANK
Say it.
RACHEL
I owe you one.

52

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FRANK
And youre a woman of your word, right?
RACHEL
Oh, no...
FRANK
Yup. Its your turn.
RACHEL
No.
FRANK
Yes...
RACHEL
Hes not gonna have anything I know.
FRANK
Jimmy? Jimmy has everything in that book of his. (To
Jimmy.)
Jimmy!
JIMMY
Yeah?
FRANK
Do you have any...
(To Rachel.)
Whats her name?

Rachel doesnt say anything.


FRANK (CONTD) (contd)
(To Jimmy.)
Rachel Mallon.
(To Rachel, as if she said
something.)
What?

(Pretending she corrected him.


To Jimmy.)
Oh, Marron. Any Rachel Marron?
JIMMY
Sure, I got a few.

53

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

RACHEL
Cut it out...
FRANK
My friend Paula wants to sing one.
JIMMY
Well, come on up Paula!
RACHEL
Paula?
JIMMY
Dont worry. Youll be fine.
A beat. Reluctantly, Rachel goes to Jimmy,
looks down and points out something in the
book.
RACHEL
This one.
JIMMY
You got it. Do you need the lyrics?
RACHEL
I think Ill be okay.
JIMMY
(Cuing up the music.)
Dont be nervous darlin. Nobody here is any good.
FRANK
Sing it, Paula!
I

HAVE NOTHING
RACHEL
SHARE MY LIFE, TAKE ME FOR WHAT I AM
'CAUSE I'LL NEVER CHANGE ALL MY COLOURS FOR YOU
TAKE MY LOVE, I'LL NEVER ASK FOR TOO MUCH
JUST ALL THAT YOU ARE AND EVERYTHING THAT YOU DO

I DON'T REALLY NEED TO LOOK VERY MUCH FURTHER


I DON'T WANT TO HAVE TO GO WHERE YOU DON'T FOLLOW
I WON'T HOLD IT BACK AGAIN, THIS PASSION INSIDE I
CAN'T RUN FROM MYSELF, THERE'S NOWHERE TO HIDE
54

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

DON'T MAKE ME CLOSE ONE MORE


DOOR, I DON'T WANNA HURT ANYMORE
STAY IN MY ARMS IF YOU DARE
OR MUST I IMAGINE YOU THERE
DON'T WALK AWAY FROM ME
I HAVE NOTHING, NOTHING,
NOTHING. IF I DON'T HAVE YOU
Rachel starts to sing to Frank, while
behind her the karaoke bar begins to
vanish.
RACHEL (CONTD) (contd)
YOU SEE THROUGH, RIGHT TO THE HEART OF ME
YOU BREAK DOWN MY WALLS
WITH THE STRENGTH OF YOUR LOVE
I NEVER KNEW LOVE LIKE I'VE KNOWN IT WITH YOU
WILL A MEMORY SURVIVE, ONE I CAN HOLD ON TO
I DON'T REALLY NEED TO LOOK VERY MUCH FURTHER
I DON'T WANT TO HAVE TO GO WHERE YOU DON'T
FOLLOW I WON'T HOLD IT BACK AGAIN, THIS PASSION
INSIDE I CAN'T RUN FROM MYSELF, THERE'S NOWHERE
TO HIDE YOUR LOVE I'LL REMEMBER FOREVER
The lights pull in on Frank and Rachel...
OH, DON'T MAKE ME CLOSE ONE MORE
DOOR, I DON'T WANNA HURT ANYMORE
STAY IN MY ARMS IF YOU DARE
OR MUST I IMAGINE YOU THERE
DON'T WALK AWAY FROM ME
I HAVE NOTHING, NOTHING, NOTHING...

Rachel stands alone center stage. A


brilliant night sky brimming with stars
above her...
DON'T MAKE ME CLOSE ONE MORE DOOR
I DON'T WANNA HURT ANYMORE
STAY IN MY ARMS IF YOU DARE
OR MUST I IMAGINE YOU THERE
On another part of the stage lights come
up on Nicki and the Stalker watching from

their own place and time...

55

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

DON'T WALK AWAY FROM ME


NO DON'T WALK AWAY FROM ME.
DON'T YOU DARE WALK AWAY FROM ME
I HAVE NOTHING, NOTHING, NOTHING
IF I DON'T HAVE YOU, YOU
NICKI
IF I DON'T HAVE YOU, OH YOU...
Rachel walks towards Frank . They kiss.
The lights fade on Nicki and the Stalker.
The music swells on the image of Frank
and Rachel.

END OF ACT ONE

56

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

ACT TWO
SCENE I

RACHELS BEDROOM
We open up to reveal RACHEL standing in a
spectacular, silk nightgown. FRANK sleeps
peacefully on the bed.

ALL

THE MAN I NEED

RACHEL
I USED TO CRY MYSELF TO SLEEP AT NIGHT
BUT THAT WAS ALL BEFORE HE CAME
I THOUGHT LOVE HAD TO HURT TO TURN OUT RIGHT
BUT NOW HE'S HERE AND IT'S NOT THE SAME
IT'S NOT THE SAME
HE FILLS ME UP
HE GIVES ME LOVE
MORE LOVE THAN I'VE EVER SEEN
HE'S ALL I'VE GOT,
HE'S ALL I'VE GOT IN THIS WORLD
BUT HE'S ALL THE MAN THAT I NEED
AND IN THE MORNING WHEN I KISS HIS EYES
HE TAKES ME DOWN AND ROCKS ME SLOW
AND IN THE EVENING WHEN THE MOON IS HIGH
HE HOLDS ME CLOSE AND WON'T LET GO
HE WON'T LET GO
HE FILLS ME UP
HE GIVES ME LOVE
MORE LOVE THAN I'VE EVER SEEN
HE'S ALL I'VE GOT,
HE'S ALL I'VE GOT IN THIS WORLD
BUT HE'S ALL THE MAN THAT I NEED
During the instrumental break. As Rachel
is caught up in the moment, NICKI
enters...
NICKI
Hey. Are you okay? I saw the light in the-RACHEL
Shhhhh....
She puts her hand to her lips and points
to Frank, sleeping in the bed. Nicki
looks over and her heart is instantly
broken. Rachel not perceiving any of
57

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

this, gestures to Nicki, as if to say, I


know.
Its crazy! Nicki stands for a moment,
trying to find her breath. Then she
gathers her strength and exits.

The stage transforms into a recording


studio.
We see RORY, SPECTOR, NICKI, DEVANEY and
BOBBY, a sound technician, sitting behind a
mixing board. FRANK enters later from the
back of the room.
Rachel is now behind the glass in her
normal clothes, headset on, singing the
song as they record it. She belts the
finale of the song with incredible
passion...
RACHEL (contd) (CONTD)
HE FILLS ME UP
HE GIVES ME LOVE
MORE LOVE THAN I'VE EVER SEEN
HE'S ALL I'VE GOT,
HE'S ALL I'VE GOT IN THIS WORLD
BUT HE'S ALL THE MAN THAT I NEED
HE FILLS ME UP
HE GIVES ME LOVE
MORE LOVE THAN I'VE EVER SEEN
HE'S ALL I'VE GOT,
HE'S ALL I'VE GOT IN THIS WORLD
BUT HE'S ALL THE MAN THAT I NEED
Sy hits the intercom with unbridled
enthusiasm...
SPECTOR
Jesus Christ, Rachel. That was-- I dont know what that
was.
Rachel casts a simple glance toward
Frank.
SPECTOR (contd) (CONTD)
(To Bobby.)
Did we get it? Tell me we got it.

58

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

BOBBY
We got it.

DEVANEY
(Leaning into the intercom.) It
was beautiful, baby.
BOBBY
We got it, Rachel. You can come on out.
SPECTOR
What the hells gotten into her?
NICKI
(Flatly.)
Her bodyguard.

She drops a manila envelope on the mixing


board and exits, casting daggers at Frank on
the way out. The room is stunned and
uncomfortable.
FRANK
Nicki... (But shes gone.)
Franks cell phone rings and he answers it.
On another part of the stage we see AGENT
COURT. The lights fade on the studio.
FRANK (CONTD)
What do you have for me, Court?
COURT
Nothing good. I just sent something to your phone. Take a
look at it.
Frank checks his phone. His expression
changes immediately. A pause.

COURT (CONTD)
Frank...? (A beat.) You there, Farmer?
FRANK
Whered you get this picture?
COURT
We intercepted an e-mail from the account you gave us.
59

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Apparently, he really liked the pink scarf. You, on the


other hand, not so much.
A beat.
COURT (contd)
You got her singing in Karaoke bars, Frank? How
long were you there?
FRANK
Less than an hour.
COURT
And you dont think anyone recognised her when you
walked in?
FRANK
Talk to me about the e-mail?
COURT
I did a trace rout, and the server and the IP address
dont match. You gotta give him credit. The
sonofabitch aint sloppy. (A beat.) Im gonna keep
working my end. Ill let you know what I come up
with.

FRANK
Yeah...
COURT
Hey, Farmer. Dont let these show business guys push
you around. You got a job, right? Let em know the job
comes first.
Frank hangs up the phone.
COURT (contd)
Frank...?
The lights fade on Court.

60

THE BODYGUARD:
SCENE II

DINELARIS- 10-24 DRAFT

FLETCHERS BEDROOM
RACHEL and SPECTOR sit on the bed with
FLETCHER pouring over dozens of
photographs. Fletcher is in pjs.
SPECTOR
(Pointing to a picture.)

This one.
RACHEL
I look terrible in that picture.
FLETCHER
(Looking at photo.)

No.
Rachel hands it back to Sy.
SPECTOR
Youre standing in front of a church. It makes you
seem... devout.
RACHEL
You really need a vacation.
SPECTOR
Yes I do.
RACHEL
This one.
SPECTOR
Yes. Nice.
FLETCHER
Whatre you gonna do with all these?
RACHEL
Its for this benefit in Miami. They want some pictures
of you and me, so they can put them up on a huuuuuge
screen.
FRANK quietly enters the room,
FLETCHER
I want to go.
FRANK
Not this trip, Fletch.
61

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

RACHEL
Youre gonna stay here with Aunt Nicki.
FLETCHER
Are you gonna go to the Seaquarium?
RACHEL
What, without you? Uh-uh. No way. I tell you what
though, when were done with all this award
nonsense, you and mell take a trip there, okay?
FLETCHER
Can Frank come?
RACHEL
Of course he can.
SPECTOR
Frank comes everywhere...
(Frank and Rachel give him a
look.)
What...?
FRANK

Hey, Fletch. You know what Ive got here?


FLETCHER
What?
FRANK
The security tags for the Academy Awards. Only serious
security personnel get to wear these.
(He takes them out one by one.)
One for me. And one for Tony... (A beat.) Hey, wait a
second... Look at that. One for you.
He hangs the tag around Fletchers neck.
FLETCHER
Really?
FRANK
Looks like youre on the team. Why dont you go show
Tony.
And instantly Fletcher has forgotten
about Miami.
FLETCHER
(Excited.)

Roger that!
62

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

He bounds out of the room. Rachel smiles at


Frank.
RACHEL
That was sweet...
SPECTOR
(Holding a some pictures.)
Alright. Im gonna scan these and get them out.
(As he crosses the room.) Frank.
Can I talk to you a second?
They move toward the door. Rachel remains
seated, looking over the remaining pictures.
SPECTOR (contd)
(Quietly to Frank.)
Look, I know weve had some differences, but I have to
say... That bit at the karaoke bar. That was genius. Its
gone totally viral. You got her out there in a big way,
and... Well, I just want to say thank you for that.
(To Rachel.)
Ill see you at the airport, babe.
RACHEL
Good night, Sy.
Spector exits. Rachel turns to Frank,
finally they are alone. Rachel moves toward
Frank.
RACHEL (CONTD) (contd)
Come here, you.
She wraps her arms around him.
FRANK
Wait.
RACHEL
What?
She goes in to
away, firmly.

kiss him. He

moves her

FRANK

63

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

This has to stop.


RACHEL
What does?

FRANK
We have to stop.
Now Rachel backs away. It takes a second
to register.
RACHEL
What are you doing? What is this?
FRANK
Sorry.
RACHEL
Did I do something wrong?
FRANK
It was me, I involved myself with a client.
RACHEL
A client...?
FRANK
I made a mistake. I cant protect you this way.
RACHEL
(Trying to hold on.)
Then quit...

FRANK
...No...
RACHEL
Quit. Ill have Devaney-FRANK
Rachel...
RACHEL
Ill have him find someone else who can-FRANK
(Exploding.)

64

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

I cant quit!
Rachel is stunned by the outburst.
RACHEL
Why...?
FRANK
(Quietly.)

I cant quit.
A pause.
RACHEL
(A long pause.)
Fine.
FRANK
Rachel, listen to me-RACHEL
I said fine. You told me the situation. What do you
want
to do now? Talk about it? I said fine.
Frank stands there.
RACHEL (contd)

RACHEL(contd)

Get out, Frank.


A beat.

GET OUT!
He falters for a moment then exits. Rachel
stands alone on stage the lights go down,
but she remains in silhouette. and we are
in...

65

THE BODYGUARD:

SCENE III

THEATRE

IN

DINELARIS- 10-24 DRAFT

MIAMI

Several cast members help Rachel change


into costume in shadow. It looks like
her entourage addressing hair, applying
make-up etc. We hear a gentle intro to
the song

IM

EVERY WOMAN

RACHEL
WHATEVER YOU WANT
WHATEVER YOU NEED
ANYTHING YOU WANT DONE BABY
ILL DO IT NATURALLY
CAUSE IM EVERY WOMAN
ITS ALL IN ME
ITS ALL IN ME...
And as the music explodes, Rachel takes the
stage...
We see her backup performers behind
her on stage dressed in fabulous
costumes..
I CAN CAST A SPELL
OF SECRETS YOU CAN TELL
MIX A SPECIAL BREW
PUT FIRE INSIDE OF YOU
ANYTIME YOU FEEL DANGER OR FEAR
THEN INSTANTLY I WILL APPEAR, CAUSE
IM EVERY WOMAN
ITS ALL IN ME
ANYTHING YOU WANT DONE BABY
I DO IT NATURALLY
OH I CAN SENSE YOUR NEEDS
LIKE RAIN UNTO THE
SEEDS I CAN MAKE A
RHYME
OF CONFUSION IN YOUR MIND
AND WHEN IT COMES DOWN TO SOME GOOD OLD FASHIONED LOVE
I GOT IT... I GOT IT
I GOT IT, GOT IT BABY
66

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

IM EVERY WOMAN
ITS ALL IN ME
ANYTHING YOU WANT DONE BABY
I DO IT NATURALLY
IM EVERY WOMAN ITS ALL IN ME
I CAN READ YOUR THOUGHTS RIGHT NOW
EVERY ONE FROM A TO Z
I AINT BRAGGIN CAUSE IM THE ONE
JUST ASK ME OH, AND IT SHALL BE DONE
AND DONT BOTHER TO COMPARE
I GOT IT
IM EVERY WOMAN... IM EVERY WOMAN
IM EVERY WOMAN... IM EVERY WOMAN
IM EVERY WOMAN... IM EVERY WOMAN
IM EVERY WOMAN... IM EVERY WOMAN
The number comes to a rousing finish.
The lights reveal Frank and Fletcher on
opposing sides of the stage...

67

THE BODYGUARD:
SCENE IIIA

DINELARIS- 10-24 DRAFT

RACHELS ESTATE

FRANK takes out his cell phone and dials.


Fletcher answers the phone, excitedly. We
can see the AGENT in the room behind him.
FRANK
Fletch?
FLETCHER
Hi, Frank!
FRANK
How you doing, buddy?
FLETCHER
Im good.
FRANK
Yeah? Everythings okay over there?
FLETCHER
Uh-huh.
FRANK
Can I talk to Aunt Nicki?
FLETCHER
She went to her room.
FRANK
Is Agent Laney there with you guys, too?
FLETCHER
Yeah, he's here.
FRANK
Let me talk to him, Fletch.
FLETCHER
Okay. Say hi to Mom for me.
FRANK
I will. Dont go to bed too late, okay?

Okay.

FLETCHER
(To the Agent)
68

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Sir, Frank would like to talk to you.


As the agent turns, we see it is actually
the STALKER, dressed like an agent.

The Stalker takes the phone.


STALKER
Laney here.
FRANK
Give me the code.
STALKER
Alpha-Romeo-1-2-1-5.
FRANK
Everything quiet there?
STALKER
All quiet, sir.
FRANK
Alright. You have this number if you need me.
STALKER
Ive got your number. Sir.
They hang up. The Stalker looks at the
phone a beat.

69

THE BODYGUARD:
SCENE IV

DINELARIS- 10-24 DRAFT

RACHELS ESTATE
The lights come up on Fletcher and the
Stalker.
FLETCHER

Frank said I shouldnt stay up late.


STALKER
Well, we oughta listen to him.
Hey, Ive got a present for your mom.
FLETCHER
Really? Can I see it?
STALKER
No. (Beat. Then lightening his tone.) Its a surprise.
FLETCHER
I wont tell.
STALKER
(Smiling. Touching his
face.)I know you wont.
You think you could show me where her room is?
FLETCHER
Sure. Its upstairs.
STALKER
Okay. (Touching the tag around Fletchers neck.)
Hey, this is cool.
FLETCHER
(Proudly.)

Its for the Academy Awards. Im on the security


team. Are you gonna be there?
STALKER
I dont know. Maybe.

FLETCHER
(Noticing something on his belt.) Can I see your gun?
STALKER
70

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

(Unholsters it and hands it to Fletcher.)


FLETCHER
(Examining it.)

Cool.
STALKER
(Takes it back.)

Come on.

Lets go upstairs...
The lights fade on them and slowly rise
on...

71

THE BODYGUARD:

SCENE IVA

ALL

DINELARIS- 10-24 DRAFT

ANOTHER PART OF RACHELS ESTATE

AT ONCE

NICKI
ALL AT ONCE,
I FINALLY TOOK A MOMENT AND I'M REALISING THAT
YOU'RE NOT COMING BACK
AND IT FINALLY HIT ME ALL AT ONCE
I STARTED COUNTING TEARDROPS
AND AT LEAST A MILLION FELL
MY EYES BEGAN TO SWELL,
AND ALL MY DREAMS WERE SHATTERED ALL AT ONCE
EVER SINCE I MET YOU
YOU'RE THE ONLY LOVE I'VE KNOWN
AND I CAN'T FORGET YOU
THOUGH I MUST FACE IT ALL ALONE...
ALL AT ONCE, I LOOKED AROUND AND FOUND
THAT YOU WERE WITH ANOTHER LOVE
IN SOMEONE ELSE'S ARMS,
AND ALL MY DREAMS WERE SHATTERED, ALL AT ONCE
THE SMILE THAT USED TO GREET ME
BRIGHTENED SOMEONE ELSE'S DAY
SHE TOOK YOUR SMILE AWAY,
AND LEFT ME WITH JUST MEMORIES ALL AT ONCE
EVER SINCE I MET YOU
YOU'RE THE ONLY LOVE I'VE KNOWN
AND I CAN'T FORGET YOU
THOUGH I MUST FACE IT ALL ALONE...
We follow Nicki as she walks towards
Fletchers bedroom...
ALL AT ONCE, I'M DRIFTING ON A LONELY SEA
WISHING YOU'D COME BACK TO ME
AND IT HURTS ME MORE THAN YOU KNOW
SO MUCH MORE THAN IT SHOWS, ALL AT ONCE

72

THE BODYGUARD:

IVB

DINELARIS- 10-24 DRAFT

FLETCHERS BEDROOM

The room is dark and we can barely make


out Fletchers bed. NICKI enters the
room...
NICKI
(Quietly.)
Fletcher? Fletcher, baby. You sleeping?
She approaches the bed. As she does we

can make out the figure of the Stalker

exiting behind her.

NICKI (contd)

You sleeping, angel?


(She arrives at the bed.)
Thats my boy. You sleep. You sleep and dream of good
things. My baby... My angel...
Are you hiding from Aunt Nicki
She bends over to stroke his head.
Something is wrong. Fletcher is not in his
bed

*
NICKI (contd)

Fletcher???
She tuns on a light and in a flash we see
that the bed is drenched in blood, and
a message is smeared on the wall

73

THE BODYGUARD:

SCENE V

RACHELS ESTATE

DINELARIS- 10-24 DRAFT

EARLY MORNING

FRANK, DEVANEY and COURT stand talking.


COURT
We found Agent Laney in his vehicle. When he woke up
he
couldnt remember anything.
FRANK
What did you get from the car?
COURT
The car was clean. Were doing a second round on the
kids bedroom. There seems to be traces of blood mixed

in with the paint, were checking it out, but to tell

you the truth. I dont think its going to lead


anywhere

new.

*
(A beat.)

Frank, we need to talk about-RACHEL enters. And Court immediately


stops talking.
DEVANEY
Rachel, honey. You should go inside. This isnt-RACHEL
Im not going anywhere, Bill. No more secrets.
DEVANEY
Fletchers gonna want you to-RACHEL

74

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Fletchers asleep.
A beat.
COURT
Frank...?
FRANK
(To Court.)
Its okay.
COURT
(To Rachel.)
Maam.
(To Frank.)
Nothing about the profile makes sense. On one hand,
hes
exhibiting obsessional characteristics. Emotional
instability, delusion, rage.

Those things usually add up to passionate, impulsive


behaviour. He oughta be sloppy. But your guy is
calculating, cautious... deliberate.
RACHEL
Why didnt he hurt my son?
COURT
Maam?
RACHEL
He was here alone. Why didnt he-- Why didnt he hurt my baby?
COURT
He doesnt want to hurt your son.
RACHEL
He wants to hurt me...
COURT

75

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Actually, he wants to save you.


RACHEL
Save me? From what?
FRANK
From me.
DEVANEY
What?
COURT
In this guys mind, you love him and you would be with him
if it werent for... external forces...
DEVANEY
Like Frank?
COURT
When he saw you two at the bar, he thought-- Forgive me maam,
he thought you were in a relationship. What happened with your
son was a warning.
FRANK
Devaney, show the agent Court out?
DEVANEY
Of course.
COURT
(To Frank.)
Frank, Ill call you with a follow up.
Devaney and Court exit. A moment
of silence.
FRANK
RachelListen
RACHEL
Frank... Nothing that happened between us matters. I
understand that now. And youre going to have to
believe me, because Im not going to beg. If anything
would have happened to Fletcher, I-- Do what you have
to. Protect us. (A pause.) Ill do whatever you say. I

76

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

promise.
FRANK
Id want to take you away from here.
RACHEL
We can do that.
FRANK
Itd mean cancelling the rest of your concert dates...
RACHEL
Alright.
FRANK
No more Sy. (A beat.) You give Devaney and Tony a
vacation.
RACHEL
Where are we going?
FRANK
Home...

RUN TO YOU REPRISE


I KNOW IN
OH A GIRL
WHO ISN'T
CAN'T YOU
I FEEL SO

MY HEART YOU'D FIND


WHO'S SCARED SOMETIMES
ALWAYS STRONG
SEE THE HURT IN ME?
ALL ALONE

I WANNA RUN TO YOU, I WANNA RUN TO YOU


WON'T YOU HOLD ME IN YOUR ARMS
AND KEEP ME SAFE FROM HARM?
*

77

THE BODYGUARD:

SCENE VI

DINELARIS- 10-24 DRAFT

THE LAKE HOUSE


The lights come up on a simple cottage
living room. There is a breakfast bar
S.R., which separates the kitchen area
from the living room. A screen door is
Upstage right, in the kitchen.

RACHEL
That lake is beautiful.
FRANK
My father and I hooked a lot of bass out of there.
RACHEL
Youre such a... guy. (A beat.) When did you lose him?
FRANK
About nine years ago.
RACHEL
Im sorry.
FRANK
Yeah. Me too.
RACHEL
Well, this place is really nice. Whens the last
time you came out here?
FRANK
Two years and eight months ago.
RACHEL
Two years and eight months is pretty specific.
FRANK
Yeah. It is.
RACHEL
You gonna tell me about it?
(He is silent.)
You might as well just tell me, cause otherwise Im gonna

start guessing and then youre gonna have to sing, and


none of us wants that.

78

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Frank smiles.
FRANK
Its when my mother died.
FRANK
She was pretty tough. Fought it really hard for
about a year, but--

*
*

RACHEL
Mustve been really difficult...
FRANK
I was working at the time. I tried to get back to see her, and
she was trying to hang on. She passed away while I was on the
plane. I decided to take a few extra days off after the
funeral, just to... I decided to take a few days off.
RACHEL
Of course.
FRANK
I was protecting Senator Willis at the time.
RACHEL
(Her expression changes.) Senator Willis?
FRANK
Thats when he got shot outside his hotel.
RACHEL
No...
FRANK
Yeah. I wasnt there for either one of them. (A beat.) I
havent been back since then.
Rachel looks at Frank for a moment. She
steps toward him wanting to hold him.
Instead, she grabs his hand firmly.

79

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

From off stage...


NICKI (O.S.) (In
her mothers voice.)
Sing it, child!

FLETCHER (O.S.)
I dont want to!
NICKI (O.S.)
Sing it!
FLETCHER (O.S.)
(Singing.)
JESUS LOVES ME THIS I KNOW...
Frank and Rachel smile.
RACHEL
My mother used to force us to sing this.
FLETCHER
FOR THE BIBLE TELLS ME SO...
JESUS

LOVES ME

RACHEL
(Their mothers voice.)
From the belly, Children!
FLETCHER
LITTLE ONES TO HIM BELONG
BOTH
THEY ARE WEAK BUT HE IS STRONG...
Rachel
sits
listening
to
Nicki
Fletcher. Frank stands back listening.

and

RACHEL
Come on, now...
NICKI & FLETCHER
JESUS LOVES ME,
YES, JESUS LOVES ME
YES, JESUS LOVES ME
FOR THE BIBLE TELLS ME SO...

80

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

RACHEL
PRESSING ON THE UPPER WAY,
ALWAYS GUIDE ME LORD I PRAY
UNDESERVED AND STUBBORN WILL,
NEVER FAIL TO LOVE ME STILL
ALL
YES JESUS LOVES ME, YES JESUS LOVES ME
YES JESUS LOVES ME,
FOR THE BIBLE TELLS ME SO
FLETCHER
SO...
RACHEL
SO...
NICKI
SO...
FRANK
We should be in a band
RACHEL
No way!, Ive heard you sing!
As they finish, they laugh and joke with one
another. Frank is enjoying all this... until
his cell phone rings. His expression changes
and he walks to another part of the stage away
from them.
The lights dim on the living room. Frank goes
outside and answers the call.

FRANK
Whats going on, Ray?
COURT
Listen, we may have something.
FRANK
Talk to me.
COURT
We did a reverse rout and traced down the origin of that email address.
FRANK

81

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

And...?
COURT
The name on the account is Margaret Wheeler.
FRANK
Its a woman?
COURT
No. Margaret Wheeler has been dead for fourteen years.
But we did some digging and we found her son...
FRANK
This is good news...
COURT
Maybe not. Her son is Sergeant First Class, Daniel
Wheeler.
FRANK
Hes military...
COURT
Was. But, it gets worse. He was a ranger. Six months
special forces training. Four tours. Three in Iraq, one
in Afghanistan. Released on an honourable discharge.
Section eight. Get this, he was writing threatening
letters to a female officer.
FRANK
Where is he?
COURT
Were narrowing it down now. Stay put. Well find him.
The final strains of music and laughter
as Frank hangs up. The lights fade out.

82

THE BODYGUARD:

SCENE VII

THE LIVING ROOM

LATER

DINELARIS- 10-24 DRAFT

THAT NIGHT

The scene is dimly lit. we can barely


make out Rachel standing in her
beautiful silk nightgown. After a few
moments FRANK enters. He notices her
standing by the fire.
FRANK
Rachel?
She turns, and we see that it is
NICKI, not Rachel in the gown.
NICKI
No. (A beat.) But we could pretend...
...For tonight.
FRANK
Nicki...
He spots a half-empty bottle of
scotch on the table.
FRANK
Did you drink all that?
Not yet...

NICKI
(A beat.)

Whats going on with you and Rachel?


FRANK
Nothing.
NICKI
Nothing. One minute youre in her bed. The next,
shes barely talking to you.
FRANK
You always follow her personal life this closely?
NICKI
Its a living.
FRANK
83

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

No, its not.


A pause.
NICKI
Why did you come to my show?
FRANK
Nicki...
NICKI
Why did you come to my show?
FRANK
I came because I wanted to make sure you got home
safe. (A beat.) I came because someone else should
have.
A pause.
RACHEL (O.S.)
Frank...?
A moment between them.
NICKI

Go

Frank turns to head upstairs.


NICKI (CONTD) (contd)
I wrote him back.
FRANK
What?
NICKI
Before you ever showed up. I answered one of those
letters. I knew I shouldnt have but, I just-- (A
beat.) I just wanted to feel like her. For once, I
wanted to feel... worshipped. (A beat.) This is my
fault...
FRANK
No, (She wont look at him.) Hey. No. Its not.

RACHEL (O.S.)
Frank...?
Frank exits.
84

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Behind Nicki, from out of the shadows,


steps the STALKER. He approaches Nicki
from behind. She hears his steps...
NICKI

(contd)

What did she want?


The stalker caresses her face and hair.
Nicki leans her head back, thinking that
for the first time she is in Franks
embrace. As she tilts her head back
further and looks up, she sees the eyes
of the Stalker.
Before she can scream, he covers her
mouth, and lifts her at knife point off
the sofa. As he pulls her from the room
he notices something strange. He turns
her head towards him, still covering her
mouth and looks into her eyes, confused.
Realising she is not Rachel, his body
tremors with rage, he pulls her in close
to him,

FRANK (O.S.)
NICKI!!!
Hearing Frank, the stalker pulls away and
runs out the door...
Frank rushes in to Nicki.
FRANK (CONTD) (contd)
No...
Rachel rushes in and kneels by
her sister.
Frank flies out the door, gun drawn.
Rachel takes off her robe and holds it
against the wound. Fletcher enters
terrified.
FLETCHER
Aunt Nicki.
RACHEL
Get in the room and lock the door. NOW!
Fletcher runs off
85

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

At the explosion of gunshots off in the


distance. Rachel cradles Nickis head ...
As Nicki trails off, Rachel rocks her
gently back and forth holding her
tight.
Rachel sings to her sister, holding
her in her arms.
RACHEL (contd) (CONTD)
JESUS LOVES ME,
THIS I KNOW
FOR THE BIBLE TELLS ME SO.
LITTLE ONES TO HIM BELONG,
THEY ARE WEAK BUT HE IS STRONG.
As she cradles Nicki the cabin begins
to pull away and her voice is added to
by a full gospel choir that fills the
space, as if we were at Nickis funeral
...
YES, JESUS LOVES ME.
OH YES, JESUS LOVES ME.
YES, JESUS LOVES ME
FOR THE BIBLE TELLS ME SO...
Over the last moments of the song, as
the cabin disappears, a light comes up
on FRANK downstage...

86

THE BODYGUARD:
SCENE VIII

RACHELS

ESTATE

DINELARIS- 10-24 DRAFT

NIGHT

FRANK pours himself a scotch from a


drinks cabinet next to an armchair, very
much alone. After a few moments,
FLETCHER enters in his pyjamas.
FLETCHER
Frank...?
FRANK
(Caught off guard)

Whats up, Pal?


FLETCHER
I cant sleep.
FRANK
Come here.
Fletcher goes and sits by Frank.
FLETCHER
I keep thinking about it.
FRANK
Okay...
FLETCHER
It was so scary.
FRANK
I know.
FLETCHER
Were you scared?
FRANK
Everybody gets scared sometime.
FLETCHER
Even you?
FRANK
Even me.
FLETCHER
Are you scared of the man who killed Aunt Nicki?
FRANK
No!
87

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Frank takes Fletchers hand, and then


pulls him to him and holds him close.
Rachel comes in, unseen by either of
them.
FRANK (contd)
You gotta try to get to sleep, pal...

FLETCHER
Okay.
RACHEL
You want me to come tuck you in?
FLETCHER
No. Ill do it myself.
She hugs him and lets him go.
FLETCHER (contd)
(Turning back.)
Good night.

He exits. She crosses to Frank.


RACHEL
Can I have a sip of that?
Frank passes her the drink. She takes a
sip.
RACHEL

(contd) *

It isnt over yet, is it?


FRANK
No.
A beat.
RACHEL
The Oscars...?
FRANK
Maybe.

88

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

RACHEL
When Nicki and I were kids, we used to dress up to watch
the Academy Awards. Wed put on these ridiculous dresses
and Mamas jewellery and wed sit by the tv, making up
our acceptance speeches and interviewing each other. All
the neighbourhood girls made fun of us, but Nicki didnt
care. One year, she started betting them fifty bucks
each that one day we would win an Academy Award. (A
beat.) Fifty bucks...
FRANK
I think its dangerous...
RACHEL
I know. But Im not gonna hide in here forever. And Im
not going to teach my son to live in fear. I wont do
it. So Im going to the Oscars. And Im gonna see if I
can win my sister her Academy Award. And Im not going
to worry about it at all. Because, youre gonna be
there to protect me. (A beat.) Right?
Frank is looking down at Rachel
who stares out.
FRANK
Thats right.
They sit quietly...

*
89

THE BODYGUARD:
SCENE IX

DINELARIS- 10-24 DRAFT

THE STALKERS ROOM


As the lights come
Stalker, in a tuxedo.

up,

we

see

the

He picks up what we recognise as the


security tag that Fletcher was wearing
earlier and drapes it around his neck as
he stares out at the audience.
After a moment, he gets out his
sophisticated gun. He cocks it, and aims
it out at the audience. It has a laser
scope which casts its sinister red bead
against the scrim. He aims it right at
us.
After a moment he turns the gun on an
image of Rachel above the stage. The red
bead settles directly on her forehead...
He fires...

90

THE BODYGUARD:
SCENE X

THE OSCARS

DINELARIS- 10-24 DRAFT

BACKSTAGE

RACHEL sits at a dressing table. A


MAKEUP PERSON putting the final touches
on her. FLETCHER, in the seat next to
her, plays with some makeup. TONY
stands guarding the door. FRANK is in a
corner. DEVANEY paces. SY hovers over
Rachels shoulder.
SPECTOR
You remember everything?
RACHEL
Dont play with the makeup, Fletcher.
RACHEL
Yes.
SPECTOR
You remember about the Online Camera Zone backstage?
RACHEL
Yes.
SPECTOR
Those cameras are live the whole time, so dont
open your mouth when youre-RACHEL
Sy! I know. You told me a thousand times! Fletcher.
SPECTOR
Afterwards its the Governors Ball first. Gordon
Ramsey is making gourmet soul food. I dont think he
means any offence. Hes Scottish... or something.
Then, Vanity Fair and finally over to Elton-RACHEL
Will somebody get this man away from me?
The STAGE MANAGER enters with a
headset and a clipboard.
STAGE
MANAGER (Noticing
the group.)
91

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Must we have everyone in here? We have security in


the-RACHEL
I want them.
STAGE MANAGER
Its like a Marx brothers movie in here.

RACHEL
What do you want, Skip?
STAGE MANAGER
Were at four minutes. Im gonna need you backstage for
the entrance on your number.
RACHEL
Okay.
A beat.
STAGE MANAGER
Four minutes.
RACHEL
I got it.
A beat.
STAGE MANAGER
From now.
RACHEL
Go away, Skip.
As he exits he runs

smack into Tony.

STAGE MANAGER
(Looking up.)

Youre big. (Tony stares at him.) Im just sayin...


He exits. The makeup assistant finishes
her work and scuttles out. Rachel turns
to face the group.
RACHEL
Well... here goes nothing.
She stands and Devaney, nervous, walks up
92

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

to her.
DEVANEY
(Fatherly.)

This aint nothing. Im proud of you, Rachel. Im always


proud of you.
She kisses him.
RACHEL
Thank you.
DEVANEY
Tony, make sure-FRANK
(Firmly.)

Tony knows what hes doing.


DEVANEY
Okay...
Devaney exits.
SPECTOR
Break a leg. Rachel. (A beat.) And if you see the signs
that say Online Camera Zone
RACHEL
Go away.
SPECTOR
Youre Rachel Marron.

Youre a superstar.

He kisses her and exits. Frank rises.


FLETCHER
(Hugging her.)
Youre gonna be great, Mom.
She hugs him back and wont let go.
FRANK
Tony, take Fletch to his seat. Ill meet you on stage
right.
TONY
You got it. Come on, Fletch.
93

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Tony takes Fletchers hand and they exit.


RACHEL
Is something wrong?
FRANK
No. Were good. You ready?
RACHEL
Lets do it...

94

THE BODYGUARD:
SCENE XI

THE OSCARS

DINELARIS- 10-24 DRAFT

ON STAGE

In the dark we hear the stirring of Oscar


fanfare music. Then we hear the host.
HOST
Ladies and Gentlemen, singing the final Oscar nominated
song of the evening, from the film, Queen of the
Night. This is One Moment in Time, music and lyrics
by Nicki Marron and Rachel Marron. Please welcome, twotime Academy Award nominee... Rachel Marron.
The lights come up to reveal Rachel on
stage.
As the Host makes the introduction,
various cast members enter the auditorium
dressed as security and television
personnel.
ONE

MOMENT IN TIME

RACHEL
EACH DAY I LIVE, I WANT TO BE
A DAY TO GIVE THE BEST OF ME
I'M ONLY ONE, BUT NOT ALONE
MY FINEST DAY IS YET UNKNOWN
I BROKE MY HEART FOR EVERY GAIN
TO TASTE THE SWEET, I FACED THE PAIN
I RISE AND FALL, YET THROUGH IT ALL
THIS MUCH REMAINS
I WANT ONE MOMENT IN TIME
WHEN I'M MORE THAN I THOUGHT I COULD BE
WHEN ALL OF MY DREAMS ARE A HEARTBEAT AWAY
AND THE ANSWERS ARE ALL UP TO ME
GIVE ME ONE MOMENT IN TIME
WHEN I'M RACING WITH DESTINY
THEN IN THAT ONE MOMENT OF TIME
I WILL FEEL... I WILL FEEL ETERNITY

95

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

YOU'RE A WINNER FOR A LIFETIME


IF YOU SEIZE THAT ONE MOMENT IN TIME...
MAKE IT SHINE
GIVE ME ONE MOMENT IN TIME
WHEN I'M MORE THAN I THOUGHT I COULD BE
WHEN ALL OF MY DREAMS ARE A HEART BEAT AWAY
AND THE ANSWERS ARE ALL UP TO ME
GIVE ME ONE MOMENT IN TIME
WHEN I'M RACING WITH DESTINY
THEN IN THAT ONE MOMENT OF TIME...
I WILL BE
I WILL BE
And now we see it. The bead of the red
laser focusing its aim on Rachel...
I WILL BE FREE
I WILL BE, I WILL BE...
FRANK races onto the stage hurling
himself in front of Rachel. The SOUND OF
A GUNSHOT. Frank and Rachel fall to the
floor. Chaos as security and stage
management flood the stage.
Frank jerks his body into a sitting
position and fires into the house,
hitting the Stalker in one of the boxes
and sending him crashing backwards.
The guards immediately grab at Frank,
trying to disarm him.
RACHEL (contd) (CONTD)
Let him go!!! Let him go!!! Hes my Bodyguard!

She grabs Frank, not letting him go.


We see the blood seeping through his
white shirt as the Safety Curtain
falls.

96

THE BODYGUARD:
SCENE XII

THE HALLWAY

IN

DINELARIS- 10-24 DRAFT

RACHELS ESTATE

A number of bags packed and waiting.


Devaney and Fletcher are listening to
Spector who reads the coverage from a
script.
SPECTOR
Its science fiction. A summer picture. Shes a
bounty hunter, come from the future. Only, we
eventually find out shes a robot...
FLETCHER
That is stupid.
SPECTOR
And there goes our audience.
DEVANEY
How many bad scripts are we gonna get?
SPECTOR
Shes an Oscar winner. Get used to it.
TONY and FRANK enter through
the front door. Franks left
arm is in a sling.
TONY
I found this guy sneaking around the
grounds. Says his name is Edison.
FLETCHER
Frank!
Fletcher jumps up and hugs Frank.
Rachel enters quietly, watching
them.
FRANK
Okay! Watch the arm! Watch the arm...
FLETCHER
Are you coming with us?
FRANK
No, buddy. I came to say goodbye.
FLETCHER
What do you mean?
FRANK
I gotta go away for a while. I have a job.
97

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

Fletcher backs away, confused and sad.


FLETCHER
Where?
FRANK
In Washington D.C.. You know where that is?
FLETCHER
(Sad)
Why do you have a job?
DEVANEY
Cause thats his work, Fletch.
FLETCHER
What if someone tries to hurt us?
FRANK
Hey, Fletch. (A beat.) Fletch, come here. Come over
here.
Fletcher tentatively moves to Frank,
who kneels to face him.
FRANK

(contd)

Look at me. (Fletcher does.) Nobodys gonna hurt you.


Alright? Besides, if anyone tried, Tony, here, would
pound them into the ground. Isnt that right Tony?
TONY
Bet your life on it.
Fletcher jumps into Franks embrace,
holding him for dear life. Rachel is
heartbroken.
FRANK
(Holding his shoulders.)
Listen, I got you a present. Its the big box in the
driveway. The guys are gonna help you open it, okay?
Fletcher is tentative but nods.
FRANK (contd)
Go head

98

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

TONY picks up some bags and leads Fletcher out.


TONY
Take care, boss.
Tony and Fletcher exit. Devaney moves to
shake Franks hand.
DEVANEY
Thank you, Frank.
Frank nods. Spector pauses on his way
out.
SPECTOR
Mr. Farmer...
FRANK
Sy...
And they are all gone, leaving Frank and
Rachel alone.
RACHEL
You quitting show business?
FRANK
Oh, yeah.
RACHEL
Its a shame. You really had a future.
FRANK
Hows the new guy doing?
RACHEL
Hes quiet. And hes old.
FRANK
Hes not that old.
RACHEL
Hes really old.
They both laugh and instinctively embrace.
Holding each other for a while. Neither of
them wanting to let go. Finally...

99

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

RACHEL (CONTD)
Don't go. (A beat.) Stay with us
He pulls her in and they kiss. Finally, they separate.
RACHEL

(contd)

Somebodys always leaving somebody...


FRANK
Yeah...
RACHEL
Goodbye, Frank Farmer.
They hold the gaze for a second longer,
until Rachel exits. Frank stays looking
around the house one last time...
SCENE XIIA

- I

WILL ALWAYS LOVE YOU

RACHEL
IF I SHOULD STAY
I WOULD ONLY BE IN YOUR WAY
SO I'LL GO, BUT I KNOW
I'LL THINK OF YOU EVERY STEP OF THE WAY
AND I WILL ALWAYS LOVE YOU
I WILL ALWAYS LOVE YOU
YOU, MY DARLING YOU
BITTERSWEET MEMORIES
THAT IS ALL I'M TAKING WITH ME
SO, GOODBYE. PLEASE, DON'T CRY
WE BOTH KNOW I'M NOT WHAT YOU NEED
AND I WILL ALWAYS LOVE YOU
I WILL ALWAYS LOVE YOU
I HOPE LIFE TREATS YOU KIND
AND I HOPE YOU HAVE ALL YOU'VE DREAMED OF
AND I WISH YOU JOY AND HAPPINESS
BUT ABOVE ALL THIS, I WISH YOU LOVE
AND I WILL ALWAYS LOVE YOU
I WILL ALWAYS LOVE YOU
I WILL ALWAYS LOVE YOU
I WILL ALWAYS LOVE YOU
I WILL ALWAYS LOVE YOU
I WILL ALWAYS LOVE YOU
YOU, DARLING, I LOVE YOU.
OOH, I'LL ALWAYS, I'LL ALWAYS LOVE YOU...
100

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

CURTAIN

101

THE BODYGUARD:

ENCORE

DINELARIS- 10-24 DRAFT

I WANNA DANCE WITH SOMEBODY

RACHEL
CLOCK STRIKES UPON THE HOUR,
AND THE SUN BEGINS TO FADE
STILL ENOUGH TIME TO FIGURE OUT,
HOW TO CHASE MY BLUES AWAY
I'VE DONE ALRIGHT UP TO NOW.
IT'S THE LIGHT OF DAY THAT SHOWS ME HOW
AND WHEN THE NIGHT FALLS, LONELINESS CALLS
RACHEL & BV GIRLS
OH, WANNA DANCE WITH SOMEBODY.
I WANNA FEEL THE HEAT WITH SOMEBODY
YEAH WANNA DANCE WITH SOMEBODY.
WITH SOMEBODY WHO LOVES ME
OH, WANNA DANCE WITH SOMEBODY.
I WANNA FEEL THE HEAT WITH SOMEBODY
YEAH WANNA DANCE WITH SOMEBODY.
WITH SOMEBODY WHO LOVES ME
DEVANEY
I'VE BEEN IN LOVE AND LOST MY SENSES,
SPINNING THROUGH THE TOWN
SY & TONY
SOONER OR LATER THE FEVER ENDS,
AND I WIND UP FEELING DOWN
NICKI
I NEED A MAN WHO'LL TAKE A CHANCE,
ON A LOVE THAT BURNS HOT ENOUGH TO LAST
DEVANEY, TONY & SY
SO WHEN THE NIGHT FALLS,
NICKI
MY LONELY HEART CALLS
RACHEL, NICKY & BV GIRLS
OH, WANNA DANCE WITH SOMEBODY.
I WANNA FEEL THE HEAT WITH SOMEBODY
YEAH WANNA DANCE WITH SOMEBODY.
WITH SOMEBODY WHO LOVES ME
BV GIRLS
SOMEBODY WHO... SOMEBODY WHO...

102

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

FLETCHER
SOMEBODY WHO LOVES ME
RACHEL & NICKI
SOMEBODY WHO... SOMEBODY WHO...
FLETCHER
TO HOLD ME IN HER ARMS
RACHEL
I NEED A MAN WHO'LL TAKE A CHANCE
ON A LOVE THAT BURNS HOT ENOUGH TO LAST
SO WHEN THE NIGHT FALLS, MY LONELY HEART CALLS
ALL
OH, WANNA DANCE WITH SOMEBODY.
I WANNA FEEL THE HEAT WITH SOMEBODY
YEAH WANNA DANCE WITH SOMEBODY.
WITH SOMEBODY WHO LOVES ME
OH, WANNA DANCE WITH SOMEBODY.
MEN
DANCE...
ALL
I WANNA FEEL THE HEAT WITH SOMEBODY
MEN
DANCE
ALL
YEAH WANNA DANCE WITH SOMEBODY.
MEN
DANCE
ALL
WITH SOMEBODY WHO LOVES ME
ALL (CONTD)
(contd) (ACAPELLA)
OH, WANNA DANCE WITH SOMEBODY.
I WANNA FEEL THE HEAT WITH
SOMEBODY YEAH WANNA DANCE WITH
SOMEBODY. WITH SOMEBODY WHO
LOVES ME
OH, WANNA DANCE WITH SOMEBODY.
I WANNA FEEL THE HEAT WITH

103

THE BODYGUARD:

DINELARIS- 10-24 DRAFT

SOMEBODY YEAH WANNA DANCE WITH


SOMEBODY. WITH SOMEBODY WHO
LOVES ME

RACHEL & NICKI


DONT YOU WANNA DANCE? SAY YOU WANNA DANCE
ALL
OH, I WANNA DANCE WITH SOMEBODY
MEN
DANCE
RACHEL & NICKI
DONT YOU WANNA DANCE? SAY YOU WANNA DANCE
ALL
I WANNA FEEL THE HEAT WITH SOMEBODY
MEN
DANCE
RACHEL & NICKI
DONT YOU WANNA DANCE? SAY YOU WANNA DANCE
ALL
YEAH, I WANNA DANCE WITH SOMEBODY
MEN
DANCE
RACHEL & NICKI
DONT YOU WANNA DANCE? SAY YOU WANNA DANCE
ALL
WITH SOMEBODY WHO LOVES ME
FINAL CURTAIN

104