Footloose: Musical script

Footloose script

FOOTLOOSE opened on Broadway at the Richard Rodgers Theatre on October 22, 1998.
Produced by Dodger Endimol Theatricals; Executive Producers: Dodger Management Group and
Tim Hawkins; Associate Producers: The John F. Kennedy Center for the Performing Arts, Joop
van den Ende; Developed and Produced in Association with Radio City Entertainment, a
Cablevision Company; Presented Through Special Arrangement with The Rodgers &
Hammerstein Organization; Scenery Designed by John Lee Beatty; Costumes Designed by ToniLeslie James; Lighting Designed by Ken Billington; Sound Design by Tony Meola;
Orchestrations by Danny Troob; Musical Supervision and Vocal Arrangements by Doug
Katsaros; Dance Music Arrangements by Joe Baker; Music Coordinator: John Miller; Hair
Designed by Ross Ringo; Casting by Julie Hughes and Barry Moss; Production Supervisor:
Steven Beckler; Technical Supervisor: Peter Fulbright; Marketing Consultant: Margery Singer;
Press Representative: Boneau/Bryan-Brown; Choreographed by A.C. Ciulla; Directed by Walter
Bobbie; with the following cast:
Ren McCormack ...................................................................................................... Jeremy Kushnier
Ethel McCormack ........................................................................................................Catherine Cox
Reverend Shaw Moore .................................................................................. Stephen Lee Anderson
Vi Moore ............................................................................................................................ Dee Hoty
Ariel Moore .............................................................................................. Jennifer Laura Thompson
Lulu Warnicker ................................................................................................... Catherine Campbell
Wes Warnicker ........................................................................................................... Adam LeFevre
Coach Roger Dunbar ...................................................................................................... John Hillner
Eleanor Dunbar .................................................................................................. Donna Lee Marshall
Rusty ............................................................................................................................. Stacy Francis
Urleen ........................................................................................................................... Kathy Deitch
Wendy Jo .................................................................................................................. Rosalind Brown
Chuck Cranston ............................................................................................................ Billy Hartung
Lyle .................................................................................................................................. Jim Ambler
Travis ...........................................................................................................................Bryant Carroll
A Cop/Country Fiddler ................................................................................................. Nick Sullivan
Betty Blast/Irene ........................................................................................................... Robin Baxter
Willard Hewitt ................................................................................................................Tom Plotkin
Principal Harry Clark ....................................................................................................... John Deyle
Jeter/Cowboy Bob .......................................................................................................... Artie Harris
Bickle ........................................................................................................................... Hunter Foster
Garvin ............................................................................................................................. Paul Castree
and Billy Angell, Susan Bigelow, Angela Brydon, Ben Cameron, Rick Crom, Kristen Leigh
Gorski, Jamie Gustis, Sean Haythe, Paige Hinton, Lori Holmes, Daniel Karaty, Katherine
Leonard, Bradley Madison, Jeanine Meyes, Mark Myars, Orfeh, JoAnna Ross, Serena Soffer,
Ron Todorowski
iiCAST OF CHARACTERS
Ren McCormack – a teenage boy from Chicago
Ethel McCormack – his mother
Reverend Shaw Moore – the minister of Bomont
Vi Moore – his wife
Ariel Moore – their teenage daughter
Lulu Warnicker – Ren’s aunt
Wes Warnicker – her husband
Coach Roger Dunbar – the high school gym teacher
Eleanor Dunbar – his wife
Rusty – Ariel’s best friend
Urleen – Ariel’s friend
Wendy Jo – Ariel’s friend
Chuck Cranston – Ariel’s boyfriend
Lyle – Chuck’s buddy
Travis – Chuck’s buddy
A Cop
Betty Blast – owner of The Burger Blast
Willard Hewitt – Ren’s friend, a country boy
Principal Harry Clark
Jeter – Ren’s friend
Bickle – Ren’s friend
Garvin – Ren’s friend
Cowboy Bob – lead vocalist at the Bar-B-Que
Cowboy Bob’s Band
Townspeople and High School Students
iiiMUSICAL SYNOPSIS
ACT I
Scene 1: The City of Chicago
FOOTLOOSE* ...................................................... Rusty, Wendy Jo, Urleen and the Company
The Town of Bomont, in Church
ON ANY SUNDAY ....................................... Rev. Shaw Moore, Ren, Ethel and the Company
Scene 2: The Churchyard
Scene 3: Behind a Gas Station
THE GIRL GETS AROUND** .................................................. Chuck, Ariel, Travis and Lyle
Scene 4: A High School Hallway
I CAN’T STAND STILL ..................................................................................................... Ren
SOMEBODY’S EYES .......................................... Rusty, Urleen, Wendy Jo and the Company
Scene 5: The Moore Home
LEARNING TO BE SILENT ...................................................................... Vi, Ethel and Ariel
Scene 6: The Burger Blast
HOLDING OUT FOR A HERO† ....................................... Ariel, Rusty, Wendy Jo and Urleen
Scene 7: The Great Plains of Bomont
SCENE CHANGE (“SOMBODY’S EYES”) ............................... Rusty, Wendy Jo and Urleen
Scene 8: The Moore Home
SOMEBODY’S EYES (REPRISE) .................................................. Rusty, Wendy Jo, Urleen,
Chuck, Lyle and Travis
HEAVEN HELP ME.......................................................................................................... Shaw
Scene 9: The High School Gym/The Church
I’M FREE*/ HEAVEN HELP ME .............................................. Ren, Shaw and the Company
ivACT II
Scene 1: The Bar-B-Que, a Country/Western Dance Hall
STILL ROCKIN’ ............................................................................. Cowboy Bob and his Band
LET’S HEAR IT FOR THE BOY ....................................................... Rusty and the Company
Scene 2: The Moore Home
CAN YOU FIND IT IN YOUR HEART? .............................................................................. Vi
Scene 3: The Junk Yard
DANCING IS NOT A CRIME ............................................................................................ Ren
MAMA SAYS (YOU CAN’T BACK DOWN) ................................... Willard, Bickle, Garvin,
Jeter and Ren
MAMA SAYS (ENCORE) ............................................................................. Willard and Boys
Scene 4: Under the Train Bridge
ALMOST PARADISE†† ..................................................................................... Ren and Ariel
Scene 5: The Town Hall
Scene 6: The Moore Home
HEAVEN HELP ME (REPRISE) ...................................................................................... Shaw
Scene 6a: The Church
Scene 6b: The Churchyard
CAN YOU FIND IT IN YOUR HEART? (REPRISE) ...................................................... Shaw
Scene 7: The Gym
FOOTLOOSE* (Finale) ....................................................................................... The Company
MEGAMIX (Optional) ......................................................................................... The Company
All music by Tom Snow except: *Kenny Loggins; **Sammy Hagar; †Jim Steinman; ††Eric Carmen
All Lyrics by Dean Pitchford except: FOOTLOOSE – Lyrics by Dean Pitchford and Kenny Loggins
vAUTHOR’S NOTES
WHO ARE THESE PEOPLE?
The major characters in FOOTLOOSE have one trait in common: they are all survivors. Their
circumstances – no matter how tragic – have not defeated them, and, as a consequence, we, the
audience, find them likable, sympathetic…and human.
That having been said, each role is unique and presents an actor or actress with specific
challenges; the following thumbnail sketches of the major characters may give you ideas about
the qualities to look for and pitfalls to be avoided when casting your production.
REV. SHAW MOORE – The secret to the character of Rev. Moore is that he is charismatic.
Charming, even. Shaw has a quick mind, a loving heart and a sense of humor, all of which endear
him to his congregation. While trying to be strong for so many people, however, he continues to
mourn the death of his son – the one person he could not save. Only Ariel and Vi (and eventually
Ren) get a glimpse of this private anguish and the flashes of frustration and temper that arise from
that.
And age-wise, remember that Shaw is the father of a teenage girl; then, do the math.
VI MOORE – Despite the loss of her son and the strained relationship with her husband, Vi fully
understands what kind of unflagging good humor she must display in order to keep her household
– and her husband’s congregation – running smoothly. And with her plucky irreverence, she gives
us a glimpse of what life with Shaw was like before the tragedy, when theirs was a marriage both
passionate and playful.
ARIEL MOORE – Ariel is smart; she understands the rules of the different worlds she moves
between and, in each situation, she plays her part brilliantly. When she’s in her father’s presence,
for instance, she is buttoned-up and demure; with Chuck, she burns off all her unexpressed,
explosive energy with raucous, thrill-seeking behavior.
Ariel loves to laugh – with Chuck, with her girlfriends and, eventually, with Ren – but her high
spirits are, quite often, her attempt to keep a lid on the grief she feels about her brother’s death
and the loss of her once loving relationship with her father.
REN McCORMACK – Any actor playing Ren has not only got to be able to sing and dance and
act – he must also be witty.
After all, Ren is a cut-up, a joker who enjoys a good time (which is why his Pals are upset to find
out he’s leaving in the opening number). Lately, though, his fun-loving attitude has taken on a
tone of desperation, as he tries too hard to convince the world – and himself – that his father’s
desertion hasn’t wounded him as deeply as it has. Ariel is the first character to get Ren to talk
about that sticky subject; sharing that intimacy early on becomes the basis for their relationship.
Ren’s emotional journey starts with his being feisty and flippant in Act I, continues through his
thoughtful argument to the Town Council and ends with his emotional final confrontation with
Rev. Moore. It’s a journey from boyhood to maturity.
ETHEL McCORMACK – Where does Ren get his intelligence, his resilience and his sense of
humor? From his mother, of course! It’s hard for Ethel to be living in her sister’s home and
viabiding by her brother-in-law’s rules, but she never succumbs to the pathos of her situation; after
all, she has to be strong for Ren. Their mutual loss has brought them closer together, and they
share a teasing, good-natured relationship.
WILLARD HEWITT – Willard is not dumb; he is a gentle soul with quick fists, which are his
defense against a world that he often has trouble comprehending. Willard just hasn’t had anyone
come along to puncture that macho belligerence – until Ren arrives. After that, the humor in the
character of Willard derives from his gradual, innocent and giddy discovery of the new worlds
that Ren opens up to him.
RUSTY – Rusty may come off as sassy and self-assured, but, in many ways, she is the most
deeply romantic character in FOOTLOOSE. She truly believes that she and Willard were meant
to be together, but they’re both so inept about expressing themselves that it takes Ren – and a
little time on the dance floor – to ultimately bring that about.
FOOTLOOSE BY THE NUMBERS
In staging your production of FOOTLOOSE, always remember:
FOOTLOOSE takes place in a town where nobody’s allowed to dance.
This is not to say that characters in Bomont can’t move, because they certainly can (they must!),
but that movement should be inventive and clever; early on it should be restrained, otherwise the
story of FOOTLOOSE stops in its tracks. The payoff will be all the greater if the explosion of
dance energy at the end of Act II is not only a catharsis for the characters onstage but for your
audience as well.
Here are a few additional suggestions that we hope might enhance your experience of doing our
show.
Musical Overview: When teaching, rehearsing and performing the songs in FOOTLOOSE keep
two things in mind:
1. Our score draws influences from the worlds of rock ‘n’ roll, R&B, pop, gospel and
Broadway music. Despite that diversity, there is one constant: all these styles demand
rhythm. FOOTLOOSE comes alive when singers feel a song’s pulse, when they
experience its beat in their bodies and when they dig deep to express its inherent musical
muscle. Don’t confuse intensity with speed; performing a song fast is never as effective
as performing it with energy and clarity of attack.
2. Notice how the first few lines of each of the character songs in FOOTLOOSE flow
from the spoken words that precede them. When these transitions are smooth, the
characters can continue at a conversational clip as they slip easily into their numbers.
ACT I
In the opening number (Footloose) it’s important to stress the distinction between raucous,
energetic Chicago and the laid-back, bucolic Bomont that arrives onstage in On Any Sunday.
In The Girl Gets Around, the playful banter of the lyric (“Well, she’d like you to think she was
born yesterday….” “Yeah, he likes to pretend he’s a man among men…”) masks a subtext of
genuine physical attraction.
viiI Can’t Stand Still is not a number about Ren dancing; what it is about is the beginning of an
unlikely friendship between him and Willard.
What happens here is that, in Willard, Ren finds the first person he can talk to in Bomont; and
Willard finds himself collared by this tightly-wound “big city” fellow. By the end of the number,
Willard has been drawn in by Ren’s charm, so much so that he defends his new friend to
Principal Clark.
In Somebody’s Eyes, there’s a spirited energy and a mischievous wink in the way that Rusty,
Wendy Jo and Urleen explain life in Bomont to Ren.
Learning To Be Silent is a song of survival. Vi, Ethel and Ariel are plucky and defiant, drolly
cataloguing the many ways in which they preoccupy themselves as they choke back their
thoughts: “Counting little cracks in the tile…,” “Contemplating taking up smoking,” etc.
In Holding Out For A Hero, Ariel, Rusty, Wendy Jo and Urleen sing: “Late at night I toss and I
turn/And I dream of what I need.” The song gives them a chance to share that fantasy with us.
Rev. Moore is a smart man who depends on logic to provide him with a compass by which he can
steer his life and the lives of his parishioners; but in Heaven Help Me, Rev. Moore loses his
bearings. He veers between rationalizing arguments (“I don’t enjoy being her jailer!”; “I strive
to be a good preacher!”) and outright pleas to his Lord (“Heaven help me shoulder my load!”).
This vigorous agitation propels the number, straight through to Shaw’s final snap: “Who can?!”
I’m Free is one of the potential pitfalls to which I alluded in the opening paragraphs above; just
because Ren is talking about having a dance in Bomont doesn’t give these characters the license
to actually dance. The scene is set in a gymnasium, where basketballs, jump ropes, trampolines,
climbing ropes, gymnastic apparati, etc. and all sorts of sports and exercise moves can provide
many opportunities for movement.
ACT II
Still Rockin’ is a good-time, rock ‘n’ roll, two-steppin’ bar-band number that introduces us to the
world of the Bar-B-Que as well as to the simple pleasure of dance that has been so long denied
the residents of Bomont (especially Rusty!).
In Let’s Hear It For The Boy two separate and distinct stories are being told:
1. Willard is trying to learn to dance from the Cowboys while…
2. Rusty is rationalizing her attraction to Willard by confiding to the Cowgirls.
Eventually these separate stories converge… with humorous results.
Can You Find It In Your Heart? is a good example of the point I made above (Musical
Overview #2) about creating an uninterrupted transition from speaking dialogue to singing it.
The fun to be had with Ren’s terrible speech (Dancing Is Not A Crime) comes when Ren
gradually discovers that “Hey! I’m bustin’ a rhyme!” and he gets swept up into his patter, to the
dismay of his Pals.
Afraid of failure, Ren wants to quit his campaign for a dance, but Willard and his Buddies have to
persuade him not to; Mama Says is their “recruitment,” song in which they must convince Ren
that he “can’t back down!”
viiiix
Almost Paradise is a tentative, steadily-building courtship in which private thoughts (“I thought
that dreams belonged to other men…”; “I feared my heart would beat in secrecy…”) eventually
become shared intimacies (“I swear that I can see forever in your eyes.”).
Shaw’s reprises of Heaven Help Me and Can You Find It In Your Heart? are the unadorned
thoughts of a man who has survived a long and painful journey to redemption.
The Footloose Finale has been carefully constructed to build, build, build; but be careful that the
tempo doesn’t run away.
We have no doubt that with your imagination, talent and inspiration, you and your cast will create
a unique and thrilling experience for your audience. And when it comes to opening night for
FOOTLOOSE, remember to….
…break a leg.
—Dean Pitchford
ACKNOWLEDGEMENTS
The score of FOOTLOOSE has benefited enormously from the talented input of many fine
musicians and musical directors, beginning with our original Broadway team of Doug Katsaros,
Joe Baker and Danny Troob.
On its journey around the country and around the world, our show has also had the good fortune
to receive the input and contributions of Steve Parsons (Akron); Ryan Nelson & Patti Garwood
(Chicago); Darren Cohen (New York); and Chris Hatt, Mike Dixon & Chris Egan (U.K.). We are
deeply grateful to all of them.
And finally, a special thank-you must be extended to Wayne Blood for pulling all the many
pieces together.I-1-1
ACT I
Scene 1: The City of Chicago/The Town of Bomont, in Church
MUSIC 1: FOOTLOOSE/ON ANY SUNDAY
(A beat begins as the house lights dim. YOUNG PEOPLE enter, getting ready for a night
out. Except for REN and ETHEL, all persons appearing in this opening number should be
thought of as “Chicago Ensemble;” the character names used refer to their eventual
“Bomont” identities.)
RUSTY
BEEN WORKING SO HARD
I’M PUNCHING MY CARD
EIGHT HOURS, FOR WHAT?
OH, TELL ME WHAT I GOT
WENDY JO
BEEN WORKING SO HARD
I’M PUNCHING MY CARD
EIGHT HOURS, FOR WHAT?
OTHERS
FOR WHAT? FOR WHAT?
FOR WHAT? FOR WHAT?
FOR WHAT?
URLEEN
BEEN WORKING TOO DAMN HARD
I’M PUNCHING THAT SAME CARD
EIGHT HOURS BUSTIN’ MY BUTT
OH, TELL ME WHAT I GOT
KIDS
I GOT THIS FEELING
THAT TIME’S JUST HOLDING ME DOWN
RUSTY, URLEEN & WENDY JO
I HATE THIS FEELING
TIME IS HOLDING ME DOWN
KIDS
I’LL HIT THE CEILING
OR ELSE I’LL TEAR UP THIS TOWN
TONIGHT I GOTTA CUT LOOSE
FOOTLOOSE
KICK OFF YOUR SUNDAY SHOES
PLEASE, LOUISE,
PULL ME OFFA MY KNEES
JACK, GET BACKI-1-2
COME ON BEFORE WE CRACK
LOSE YOUR BLUES
EVERYBODY CUT FOOTLOOSE
(REN, a charismatic teen, breaks from the pack; he is surrounded by FRIENDS patting
his back, shaking his hand, etc; they are in a dance club, shouting to be heard.)
BOY 1
Ren! Ren, hey, Ren. I heard you’re moving away.
BOY 2
(To BOYS 1 & 3.)
Ren’s leaving Chicago?
(To REN.)
You’re leaving Chicago?
REN
(Playful.)
That’s right! I’m leavin’ you clowns for the wide open spaces.
BOY 3
(To BOY 2.)
What he means is that he’s moving to some little hick town that nobody’s ever heard of.
REN
(Defensive, good-humored.)
Hey! People have heard of it!
BOY 1
Oh, yeah? What’s the name of it?
REN
You can find it on any map.
BOY 3
What’s the name of it?
REN
Folks are flocking there from all over.
BOYS 1, 2, 3
WHAT’S THE NAME OF IT?
REN
BOMONT!
ALL
(Turning, shouting.)
Bomont? Where the hell is Bomont?I-1-3
RUSTY, URLEEN & WENDY JO
(To REN.)
YOU’RE PLAYIN’ SO COOL
OBEYIN’ EVERY RULE
DIG WAY DOWN IN YOUR HEART
YOU’RE BURNIN’, YEARNIN’ FOR SOME…
SOMEBODY TO TELL YOU
THAT LIFE AIN’T PASSIN’ YOU BY
REN & RUSTY, URLEEN & WENDY JO
LIFE AIN’T PASSIN’ ME BY
ALL
I’M TRYIN’ TO TELL YOU
IT WILL IF YOU DON’T EVEN TRY
YOU CAN FLY! YOU CAN FLY!
YOU CAN FLY!
RUSTY, WENDY JO & URLEEN
IF YOU’D ONLY CUT LOOSE
ALL
CUT FOOTLOOSE! (WHOA!)
CUT FOOTLOOSE! (AAWWW)
CUT FOOTLOOSE!
(The rhythmic pulse continues under as the lights shift. REN spins out from the Disco
setting to find his Mom, ETHEL MCCORMACK, at home, packing. She is in her late
30’s, still attractive but nervously troubled right now. Their relationship is playful but
respectful.)
REN
Mom! Where’re you gonna put that? The back seat of the car is full. I can’t close the trunk…
ETHEL
Ren, don’t start! I don’t want to move any more than you do.
REN
Then let’s not go.
ETHEL
Look! I, too, wish your father hadn’t left. I, too, wish that things could be the way they were…
REN
Okay, okay…
ETHEL
…and we both wish I could be one of those strong single mothers who suddenly becomes selfsufficient! But I’m not.
(Tongue-in-cheek:)I-1-4
Please feel free to disagree.
REN
Mom, we’ve got a ten-hour drive ahead of us. We’ve got a lot of time to disagree.
(He and OTHERS grab suitcases, etc., and “move” him and ETHEL; as REN and
ETHEL “leave Chicago,” the lights restore onstage.)
ALL
FIRST
WE’VE GOT TO TURN YOU AROUND.
SECOND
THEN PUT YOUR FEET ON THE GROUND.
THIRD
NOW TAKE A HOLD OF YOUR SOUL!
AAWWW…
AHH…
EV’RYBODY CUT, EV’RYBODY CUT,
EV’RYBODY CUT, EV’RYBODY CUT,
EV’RYBODY CUT, EV’RYBODY CUT,
AH-AH-AH-AH…
AH-AH-AH-AH…
(The DANCERS spin off, revealing REVEREND SHAW MOORE – 40’s, Vigorous,
authoritative; he stands centre stage listening to the sounds of a CHOIR warming up
sweetly in the distance.)
Scene 1B: In Church
CHOIR
(Offstage.)
AHH…
ON ANY SUNDAY HERE WE’LL BE
RAISING OUR VOICES IN HARMONY
ONE DAY ONCE OUR TRIALS HAVE CEASED
WE WILL BE RELEASED
SHAW
(Heartfelt, conversational.)
ON ANY SUNDAY, LORD, I PRAY
TELL ME EXACTLY THE WORDS TO SAY.
GIVE ME STRENGTH AND MAYBE THEN
I CAN REACH MY FELLOW MEN
SO WE ALL MAY RISE AGAIN
THANK YOU, LORD. AMEN
(The backdrop flies out as the choir loft and pews of the church appear. The CHOIR is
seated in the loft.)I-1-5
CHOIR
AH…
(When the scenery settles, the PARISHIONERS enter church and take seats in the pews.
REN and ETHEL enter; SHAW greets them.)
SHAW
Welcome to Bomont!
(SHAW mounts to the pulpit.)
Good morning!
PARISHIONERS
Good morning, Reverend!
SHAW
I took the long way to church this morning, down past the old creek. I heard birds chirping and
our own choir warming up in the distance. I was reminded of a line from our great poet, Walt
Whitman, who wrote, “I hear America singing.” And I thought, “Aren’t we the song that we sing?
Don’t we lift our voices to tell the world who we are? And what we believe?” So I ask you this
morning – what song are you singing?
REN
(Turning in his pew.)
WE’VE ONLY BEEN HERE TWO DAYS AND ALREADY
CHICAGO SEEMS A MILLION MILES AWAY
BUT WE WERE BARELY HANGING ON THERE
‘SPECIALLY WITH MY FATHER GONE THERE’S
NOT TOO MANY PLACES WE COULD STAY
BUT MAYBE MOM CAN FIND A JOB THAT’S STEADY
AND MAYBE I CAN STAND IT FOR A YEAR
AND MAYBE THINGS WON’T BE SO BAD
AND MAYBE I WON’T MISS MY DAD
AND MAYBE WE COULD START A NEW LIFE HERE
PARISHIONERS
OOH, AH… START A NEW LIFE HERE!
OOH OOH OOH OOH
SHAW
But if Walt Whitman were alive today, what song would he hear America singing? When I turn
on television, all I hear is the music of easy sexuality and relaxed morals. I hear rock and roll and
the endless chant of pornography. And I ask myself, “Why does our Lord allow this?” We know
God has the power to turn all those records and books and videos into one big fiery cinder like…
(Clapping his hands before a sleeping boy.)
…that!
(The BOY startles awake.)
But He doesn’t. And why? Because God is testing us. He’s watching to see whether we’ll choose
his path. And that is why, every day, we must ask ourselves: “Have I done the right thing?”I-1-6
ETHEL & REN
HAVE I DONE THE RIGHT THING?
PICKING UP MY LIFE
PACKING UP THE PAST
THAT’S ALWAYS FRIGHT’NING
HAVE I DONE THE RIGHT THING?
ADULT PARISHIONERS
THE RIGHT THING! THE RIGHT THING!
WE STRIVE TO DO WHAT’S RIGHT!
THE RIGHT THING! THE RIGHT THING!
SIN IS A MATTER OF BLACK AND WHITE!
SHAW
This morning we welcome to our parish two new souls just arrived from Chicago. Ethel
McCormack and her son… Ron, is it?
REN
(Mumbles.)
Ren.
SHAW
Huh? Speak up! Let the Lord hear your voice!
REN
(Stands. Louder.)
Ren.
CHUCK
(Snidely mimicking.)
“Ren!”
(Other KIDS laugh.)
REN
(Ignoring the jibe.)
Ren McCormack.
SHAW
“Ren.” Interesting name. Is that short for something?
REN
(Cheeky.)
Nope!
(Sits abruptly.)
KIDS
THERE’S RUMORS GOIN’ ‘ROUND ABOUT THE NEW KID
AND EVERYBODY’S TALKIN’ ‘TIL THEY’RE BLUE
CUZ YOU KNOW HOW A STRANGER IS –I-1-7
IF HE’S NOT DUMB HE’S DANGEROUS –
BUT EITHER WAY AT LEAST IT’S SOMETHING NEW.
SHAW
Now I invite you to join my wife Vi and our daughter Ariel in this morning’s convocation.
(ARIEL and VI ascend to the altar and flank SHAW; they all sing from missals.)
SHAW, VI & ARIEL
GOD IS LOVE
FOLLOW HIM AND NEVER ROAM
HE HAS MADE THE STARS ABOVE
JUST TO LIGHT YOUR WAY BACK HOME
SHAW
(To the Congregation.)
Everybody!
(REN and ETHEL, the CHOIR, SHAW and the OTHERS sing their respective sections in
counterpoint.)
REN & ETHEL
WE’VE ONLY BEEN HERE TWO DAYS AND ALREADY
CHICAGO SEEMS A MILLION MILES AWAY
BUT WE WERE BARELY HANGING ON THERE
‘SPECIALLY WITH MY/HIS FATHER GONE THERE’S
NOT TOO MANY PLACES WE COULD STAY
BUT MAYBE MOM/I CAN FIND A JOB THAT’S STEADY
AND MAYBE I/REN CAN STAND IT FOR A YEAR
AND MAYBE THINGS WON’T BE SO BAD
AND MAYBE I/REN WON’T MISS MY/HIS DAD
AND MAYBE WE CAN START A NEW LIFE HERE
SHAW, VI & ARIEL
GOD IS LOVE
FOLLOW HIM AND NEVER ROAM
HE HAS MADE THE STARS ABOVE
JUST TO LIGHT YOUR WAY BACK HOME
ADULT PARISHIONERS
THE RIGHT THING! THE RIGHT THING!
WE STRIVE TO DO WHAT’S RIGHT!
THE RIGHT THING! THE RIGHT THING!
SIN IS A MATTER OF BLACK AND WHITE!
THE RIGHT THING! THE RIGHT THING!
WE DO THE RIGHT THING!
WE STRIVE TO DO THE RIGHT THING!I-2-8
KIDS
THERE’S RUMORS GOIN’ ‘ROUND ABOUT THE NEW KID
AND EV’RYBODY’S TALKIN’ ‘TIL THEY’RE BLUE
BUT EITHER WAY, IT’S SOMETHING NEW
EITHER WAY, AT LEAST IT’S SOMETHING NEW
ALL
ON ANY SUNDAY MORNING, HERE WE’LL BE
RAISING OUR VOICES IN HARMONY
GATHERING TO JOIN THE FEAST
ASKING NAUGHT BUT, LORD, AT LEAST
WE PRAY THAT ONE DAY ONCE OUR TRIALS HAVE CEASED
WE WILL BE RELEASED!
SHAW
Go in peace!
Scene 2: The Churchyard
(As the service ends, PARISHIONERS gather in small groups outside the church. One group
includes SHAW, VI, REN, ETHEL, and her sister and brother-in-law LULU and WES
WARNICKER.)
SHAW
Well, Mrs. McCormack, your sister has certainly been excited about your moving in with them.
ETHEL
Lulu and Wes have been my rock.
LULU
Oh, it’s been no trouble. Ethel just moved right into the guest room.
SHAW
And, Ren, where’d your uncle put you?
WES
(Eagerly jumping in.)
You remember my old tool-shop over the garage?
VI
Wes, that place is a greasy dump.
LULU
Well, no more.
WES
Picture this: powder-blue wallpaper, chocolate brown carpet.
VI
Oh, no!I-2-9
REN
(Aside to VI, gravely.)
Oh, yes.
(VI chuckles, sympathetic; then turns to ETHEL.)
VI
When will Mr. McCormack be joining us?
REN
Mr. McCormack won’t be joining us.
ETHEL
My husband and I are separated.
REN
He ran off to find himself.
ETHEL
Ren, please…
(ELEANOR and COACH ROGER DUNBAR join the group.)
ELEANOR
Vi, Vi, I made some of my Toll House cookies. Lulu, you taste one and you’ll burn every recipe
in your kitchen.
(She hustles LULU offstage; as she goes:)
VI
Won’t you join us, Mrs. McCormack? Eleanor wants to show us what heaven tastes like.
ETHEL
Call me Ethel. Please.
VI
Only if you’ll call me Vi.
(They exit.)
REN
(To ETHEL as she goes.)
Save me a cookie, Ethel.
(ETHEL’S look back to REN says: “Please, behave!”)
SHAW
So, Ren, all set for school tomorrow?I-2-10
WES
We took care of that last week. Coach here helped get him registered.
COACH
Reverend, did you hear that new English teacher is planning to introduce some vulgar modern
novel into our American Lit course?
SHAW
“Slaughterhouse Five.” Yes, Coach, I’ve received several calls.
REN
“Slaughterhouse Five?”
(To WES and COACH.)
Cool book, cover to cover!
(To SHAW.)
That’s one bitchin’ story!
(He stops, abashed.)
“Slaughterhouse Five,” right? Yeah. It’s a classic.
COACH
Do you read much?
WES
Well, Coach, maybe in another town it’s a classic.
REN
In any town, Uncle Wes.
COACH
“Tom Sawyer” is a classic.
(ARIEL and her girlfriend RUSTY rush on.)
ARIEL
Daddy, excuse me, Rusty and the girls are going out for burgers tonight. Can I?
REVEREND
Tomorrow is a school day.
ARIEL
Aw, Daddy…!
SHAW
Ask your mother.
RUSTY
(Always speaking a mile-a-minute.)
We already did, Reverend Moore, and she said it was okay with her if it was okay with you, so is
it okay with you?!I-2-11
SHAW
(Reacts to RUSTY’S barrage; then, to ARIEL:)
Ten o’clock.
ARIEL
Ten o’clock.
RUSTY
Great sermon, Reverend.
SHAW
Thank you, Rusty.
RUSTY
And, oh! What you said about Walt Whitman and rock ‘n’ roll and “listen to the music in your
soul,” and all that, I mean, I was, like, “Who knew?”
SHAW
High praise, indeed.
(Turning to COACH and WES.)
Gentlemen.
(They exit.)
ARIEL
I, on the other hand, thought my daddy was never going to shut up.
(She starts to peel off her Sunday best; she’s underdressed with sexier clothes.)
RUSTY
Well, then, Ariel, why don’t you just talk to him?
ARIEL
Why? He never listens to me. And anyway, I…
(She sees REN watching her and stops talking; beat.)
Welcome to Bomont.
(Pause.)
REN
(Like a drawling cowboy.)
Howdy.
(His attempt at humor is met with blanks stares; embarrassed, REN starts to go but is
stopped by URLEEN and WENDY JO as they enter.)
URLEEN
Ooooo! You are cute. Wendy Jo, isn’t he cute?
WENDY JO
Uh-huh.I-2-12
URLEEN
I bet he knows he’s cute, doncha think, Wendy Jo?
WENDY JO
Uh-huh.
(REN leaves.)
URLEEN & WENDY JO
(Calling after him, teasing.)
Ouch! Oh, baby…! You got that sweet stuff…!
(Etc.)
RUSTY
(Stopping them.)
Hey! Put your tongues back in your mouths, and let’s get outta here.
(The GIRLS start off in one direction, ARIEL in the other.)
ARIEL
See ya!
URLEEN
And where’re you going?
ARIEL
Where do you think?
WENDY JO & URLEEN
(They know.)
Oooh.
ARIEL
And if the question ever comes up, I was with you guys all evening, right?
WENDY JO
Are you asking us to lie for you?
ARIEL
Yeah!
(The GIRLS look to each other, shrug.)
RUSTY, URLEEN & WENDY JO
Okay!
(All exit, GIRLS one way, ARIEL the other.)I-3-13
MUSIC 2: THE GIRL GETS AROUND
(The twang of electric guitars brings on CHUCK CRANSTON and his buddies, TRAVIS
and LYLE.)
Scene 3: Behind a Gas Station
(ARIEL enters.)
CHUCK
Hey, good-lookin’.
(He and ARIEL kiss.)
Miss me?
ARIEL
You wish.
(TRAVIS and LYLE, thuggish and grease-stained, approach.)
TRAVIS
Hey, there, Ariel.
LYLE
How’s it goin’?
ARIEL
(Regards them.)
Hey, Travis. Lyle.
(Gasps, turns to CHUCK.)
Omigod. Did I interrupt your weekly poetry club meeting?
CHUCK
Very funny.
(He caresses her.)
So. Who was that new guy in church?
ARIEL
Who…? Oh, him. He’s our new classmate.
(Playful.)
A Chicago transplant with all the charm and sophistication that comes from living in a bustling
metropolis.
CHUCK
Should I be jealous?
ARIEL
(Teasing.)
I’m counting on it.
(They grab each other and kiss.)I-3-14
LYLE
Hey, Cranston. Jus’ what’re you doin’ with the preacher’s daughter?
CHUCK
(Singing.)
ANYTHING THAT I WANT
TRAVIS
Oh, yeah? What does she get out of it?
CHUCK
EV’RYTHING THAT SHE NEEDS
(ARIEL is suddenly proper.)
ARIEL
Like you’d know.
(CHUCK wags a finger at her and sings to his buddies.)
CHUCK
WELL, SHE’D LIKE YOU TO THINK SHE WAS BORN YESTERDAY
WITH HER INNOCENT LOOKS AND HER LITTLE TOWN WAYS
WHEN SHE’S SMILIN’ AT ME SHE’S GOT ANGELS IN HER EYES
BUT I’VE SEEN HOW SHE MOVES AND THIS GIRL REALLY COOKS
SHE TAUGHT ME SOME TRICKS YOU CAN’T LEARN IN BOOKS
AND I’M STARTING TO THINK SHE’S THE DEVIL IN DISGUISE
CHUCK, TRAVIS & LYLE
THE GIRL GETS AROUND
SHE KNOWS WHAT SHE LIKES
TRAVIS & LYLE
HUNH!
CHUCK TRAVIS & LYLE
I GOT WHAT SHE NEEDS NEEDS
JUST WAIT’LL TONIGHT
JUST WAIT!
WE’LL BOTH MAKE OUR MOVES MAKE OUR MOVES
CHUCK, TRAVIS & LYLE
YEAH, WE’LL COVER SOME GROUND
CHUCK
THE GIRL GETS AROUND
AROUND AROUND AROUND AROUND AROUND
GOOD GOD, THIS GIRL GETS AROUNDI-3-15
TRAVIS
Ariel, I swear, God’s gonna strike you down with a lightning bolt.
ARIEL
No, she’s not!
LYLE
She’s not?
TRAVIS
Excellent!
ARIEL
(To TRAVIS and LYLE.)
YEAH, HE LIKES TO PRETEND HE’S A MAN AMONG MEN
BUT WITH HIS HANDS IN HIS POCKETS, HE CAN’T COUNT TO TEN
(To CHUCK)
DON’T WORRY, BABY; YOUR SECRET’S SAFE WITH ME
TRAVIS & LYLE
(Razzing CHUCK.)
Busted!
ARIEL
AND HE BORES ME TO TEARS WITH HIS BEERS AND HIS BIKES
BUT I KEEP HIM AROUND CUZ WHEN TEMPTATION STRIKES
I GOT THE MOTOR AND HE’S GOT THE KEY!
CHUCK, TRAVIS & LYLE
THE GIRL GETS AROUND
CHUCK
SHE KNOWS WHAT SHE LIKES
TRAVIS & LYLE
HUNH! KNOWS WHAT SHE LIKES!
CHUCK & ARIEL
GOT WHAT YOU NEED
TRAVIS & LYLE
YEAH YEAH YEAH YEAH
CHUCK
JUST WAIT’LL TONIGHT
ARIEL
MAYBE TONIGHT
TRAVIS & LYLE
WAIT’LL TONIGHTI-3-16
CHUCK, ARIEL, TRAVIS & LYLE
WE’LL BOTH MAKE OUR MOVES
YEAH, WE’LL COVER SOME GROUND
THE GIRL GETS AROUND
AROUND AROUND AROUND AROUND AROUND
THE GIRL GETS AROUND
AROUND AROUND AROUND AROUND AROUND
GOOD GOD, THIS GIRL GETS AROUND!
(ARIEL jumps into CHUCK’S arms as SHAW enters.)
SHAW
Ariel?
(ALL freeze. CHUCK puts ARIEL down.)
CHUCK
Evening, Reverend.
SHAW
(To ARIEL.)
I went to The Burger Blast. Your friends suggested I might find you here.
CHUCK
We were just on our way.
(Pause. SHAW nods, unconvinced, then offers a sweater to ARIEL.)
SHAW
Your mother thought you might be cold.
(A chilly pause. ARIEL takes the sweater. SHAW exits. TRAVIS and LYLE call after him:)
TRAVIS & LYLE
Evening, Reverend.
(ARIEL’S good mood evaporates; as she exits, the BOYS tease her with:)
MUSIC 2A: AFTER “GIRL”
CHUCK, TRAVIS & LYLE
THE GIRL GETS AROUND
AND SHE KNOWS WHAT SHE LIKES
I GOT WHAT SHE NEEDS
JUST WAIT’LL TONIGHT
THE GIRL GETS AROUND, AROUND, AROUND, AROUND
GOOD GOD, THIS GIRL GETS AROUND!I-4-17
Scene 4: A High School Hallway
MUSIC 3: I CAN’T STAND STILL
(A row of lockers runs the width of the stage. STUDENTS cross on their ways to class.
REN crosses to ARIEL who enters with RUSTY.)
REN
Hey! Ariel? Right?
ARIEL
Yeah. So?
REN
I’m Ren. Ren McCormack? We met after church? Is this a small world or what? I’m your new
classmate.
(A beat.)
ARIEL
(Mimicking him.)
“Howdy!”
RUSTY
Girl, leave that poor boy alone!
(They leave, joining WENDY JO and URLEEN on their way. REN, in embarrassment,
turns and bumps into WILLARD HEWITT, a hayseed in a hat.)
WILLARD
Hey, mister! You bumped me!
REN
Sorry.
WILLARD
Don’t you ever look where you’re goin’?
REN
I said I was sorry.
WILLARD
Hey! You’re that new guy from Chicago, ain’tcha?
REN
Perhaps.
WILLARD
Smart-ass, huh? Listen, fella, around here you push somebody… they push back. Next thing you
know, you got…
(Gets confused; forges ahead.)I-4-18
…two people pushing. Get it?
REN
Got it. Lemme ask you something. They sell men’s clothes where you got that hat?
(Pause.)
WILLARD
(Suspiciously.)
What is that, some kind of stupid joke?
REN
No. That’s a really good joke.
WILLARD
That’s it, man. I’m gonna kill you!
(He raises his dukes to REN, who throws himself at WILLARD’s fists.)
REN
Oh, please! Kill me!
WILLARD
(Pulls away, startled.)
Huh?
REN
Kill me! KILL ME! That’s the most exciting thing I’ve heard since I hit town!
(Sticks out his hand.)
Ren McCormack. And you are…?
WILLARD
(Wary.)
Willard. Willard Hewitt.
REN
Willard, what do you do around here for a good time?
(WILLARD hesitates, then makes a lewd gesture.)
Yeah. Besides that. You have any clubs?
WILLARD
Nope.
REN
What about movies?
WILLARD
Nope.
REN
What about malls?I-4-19
WILLARD
Nope.
REN
What about…
WILLARD
Nope. Nope. And nope.
(Pause.)
We do have the Bowl-A-Rama down by the interstate.
REN
Wow. I really admire you. I could never do what you guys do around here.
WILLARD
Yeah? What do we do?
REN
(Explodes.)
Nothing!
(Sings.)
I NEVER WALK WHEN I CAN RUN
I DON’T BELIEVE I EVER COULD
PEOPLE TRY TO SLOW ME DOWN
SAYIN,’ “BOY, YOU REALLY SHOULD
KICK BACK AND CHILL”
BUT, I CAN’T STAND STILL!
WILLARD
I can see that.
(WILLARD tries to get away; REN won’t let him leave.)
REN
I CALLED THE DOCTOR, HE SAID, “SON,
I CANNOT OFFER YOU A PILL.”
SO I NEVER FOUND RELIEF
AND NOW I’VE GOT TO MOVE UNTIL
I’VE HAD MY FILL
I CAN’T STAND STILL!
WILLARD
Around here we walk.
REN
BACK WHERE I COME FROM
LIFE’S NEVER HUMDRUM
I WISH I COULD TAKE YOU THERE
OH, WE HAD THE WORLD AT OUR FEET
LIFE WAS SWEET
AIN’T NO DOUBTI-4-20
GRAB A SEAT
CHECK IT OUT!
(He does a few dance moves.)
WILLARD
You’re gonna last about five minutes in this town.
REN
OH, I THOUGHT IT NEVER WOULD END
BUT I LOST IT SOMEHOW
WOULD YOU LOOK AT ME NOW
I’M TRYIN’ HARD TO TONE IT DOWN
GOTTA WATCH MY P’S & Q’S
MAYBE LOOK BEFORE I LEAP
AND THEN I THINK, “HEY, WHAT’S THE USE?”
AIN’T DONE IT YET
AND I CAN’T FORGET HOW IT FEELS WHEN YOU DANCE ‘TIL YOU DROP
SO DON’T EVEN START TO SUGGEST THAT I STOP
I NEVER WILL
I CAN’T STAND
(A la James Brown.)
NO NO NO NO
NO NO NO NO
NO NO NO NO NO NO NO NO
WILLARD
No, no, no, no…!
REN
Then, somebody kill me cuz –
(Sings:)
I CAN’T STAND STILL
No! No! NO!
(As the number ends, PRINCIPAL HARRY CLARK enters.)
PRINCIPAL
Young man! Young man! What do you think you’re doing?
REN
I was just telling Willard about Chicago.
(PRINCIPAL is stone-faced.)
Yeah, Chicago… y’know?… that toddlin’ town…?
PRINCIPAL
That’s not what it looked like.I-4-21
(Other STUDENTS filter in and observe this scene.)
REN
What? Oh, that! I was just showing him some steps. Stuff we used to do at the clubs.
WILLARD
(Frantically.)
Don’t… don’t…!
REN
What? “Don’t” what? You mean this?
(REN dances a few deliberately goofy steps.)
PRINCIPAL
Mr. McCormack!
WILLARD
(Under his breath.)
Oh, shit.
PRINCIPAL
There’s no dancing allowed here!
REN
What?
WILLARD
Listen to the man.
REN
Oh. Sure. Oops. School property. Not supposed to have any fun.
PRINCIPAL
That sort of remark may pass for wit in Chicago, but here we speak simply. Let me make this as
clear as I can: there is absolutely no dancing of any kind allowed at any time anywhere within the
town limits of Bomont.
(REN starts to speak.)
Ever.
(REN laughs. No one else does.)
REN
No, seriously.
(To the KIDS.)
He’s kidding, right?
(No one reacts.)
Okay. I get it. The joke’s on the new kid. Ha-ha.I-4-22
PRINCIPAL
(To WILLARD.)
Mr. Hewitt! Would you inform your friend?
WILLARD
It’s against the law.
REN
Dancing?! Get out!
WILLARD
Shut up.
(To PRINCIPAL.)
Mr. Clark, sir, Ren is very sorry. He was ignorant of our local law, and I will inform him
of his ignorance.
PRINCIPAL
And I will see both of you in my office after school.
(The bell rings; no one moves.)
I’m sure we all have places to be.
(STUDENTS disperse and PRINCIPAL exits. RUSTY grabs WILLARD.)
RUSTY
Omigosh, Willard! The way you spoke to Principal Clark! Wow, that’s, like, the longest sentence
you’ve ever made!
WILLARD
Pwshht.
(WILLARD, flustered and embarrassed, exits. ARIEL walks past REN, playfully chucks
him under the chin and mimics the Principal.)
ARIEL
Chin up… Mister McCormack.
(She chuckles, exits. URLEEN, WENDY JO and RUSTY surround REN.)
URLEEN
It’s such a turn-on, watching a guy fly in the face of authority. Isn’t it, Wendy Jo?
WENDY JO
Uh-huh.
REN
Was he serious?
WENDY JO
Serious as a heart attack.I-4-23
REN
Dancing is against the law?
RUSTY
Has been for five and half years. Ever since the accident.
REN
What accident?
RUSTY, WENDY JO & URLEEN
(Surprised he doesn’t know.)
The Potawney Bridge Accident!
(REN shrugs.)
WENDY JO
You’ve never heard of the Potawney Bridge Accident?!
REN
If I had, would I be doing this?
(He shrugs again, more exaggerated this time.)
RUSTY
Well! Ladies, should I take this one?
WENDY JO
Please.
URLEEN
Be my guest.
RUSTY
There were these four kids we all grew up with. And they were driving back from a big dance
over in Baylor County. Now, maybe it was the rain that night, maybe they were being a little
wild, but somehow they lost control of the car. It skidded across the bridge, crashed through the
railing, and fell thirty-five feet into the Potawney River.
REN
Whoa. Did anybody survive?
(RUSTY shakes her head “no.”)
Oh, god.
RUSTY
Yeah. And when the sheriff’s office published the autopsy report it claimed there was alcohol and
marijuana in their blood. Well! Everybody in town went nuts.
URLEEN
And that’s when Reverend Moore got so righteous. He started blaming anything and everything –
liquor, drugs, rock and roll…I-4-24
REN
And dancing?
URLEEN
You got it.
RUSTY
He convinced the Town Council that it was all a sin and...
(Snaps her fingers.)
…just like that, they passed this law.
REN
Wait. Reverend Moore has that kind of power?
RUSTY
Reverend Moore?
URLEEN
He is the power.
WENDY JO
He is the law.
REN
Man. How can you stand to live like this?
URLEEN
Practice. Years of practice.
RUSTY
It’s not like Chicago. It must be so cool to live in a city where you can walk down the street and
get mugged by people you don’t even know.
REN
Yeah, I miss that. I thought living in a small town was going to be perfect, like one big happy
family.
RUSTY
Let me tell you about that family.
(She checks behind herself to be sure that no one’s listening.)
MUSIC 4: SOMEBODY’S EYES
RUSTY
There’s tongues wagging every time you make a move.
URLEEN
There’s fingers pointing every time you turn around.I-4-25
WENDY JO
There’s heads shaking the minute you cross the line.
RUSTY
And there’s eyes everywhere.
CAREFUL WHAT YOU DO
SOMEONE’S ON TO YOU
CAREFUL WHAT YOU DO
URLEEN
CAREFUL WHAT YOU SAY
CUZ YOU’RE ON DISPLAY
EV’RY NIGHT AND EV’RY DAY
RUSTY
SOMEBODY’S HIDING IN THE GREAT UNKNOWN
RUSTY, WENDY JO & URLEEN
UH-HUH
RUSTY
AND EV’RY TIME YOU THINK THAT YOU’RE ALONE
URLEEN & WENDY JO
HAH!
RUSTY
SOMEBODY’S EYES ARE WATCHING
URLEEN
SOMEBODY’S EYES ARE SEEING YOU COME AND GO
WENDY JO
SOMEBODY’S OUT THERE, WAITING FOR THE SHOW
RUSTY, WENDY JO & URLEEN
YOU’VE GOT NO DISGUISE
FROM SOMEBODY’S EYES
REN
Thanks for the advice. But it’s not going to get to me.
URLEEN
Gets to everybody.
REN
You don’t know me.I-4-26
RUSTY
You don’t know Bomont.
(As the number continues, TOWNSPEOPLE fill the stage and frame the following
vignettes.)
ALL
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
(A COP steps out of the crowd, writing a ticket for REN.)
COP
You’re gonna have to learn that in Bomont, a stop sign means stop.
REN
I thought I did.
COP
And that radio music of yours was blasting pretty loud.
REN
Oh. So you pulled me over because my music’s too loud.
COP
Hey! Watch that attitude, boy.
(CHUCK, LYLE and TRAVIS enter.)
CHUCK
Book ‘im, Jim!
COP
This a friend of yours, Chuck?
CHUCK
The city kid? I wouldn’t let him kiss my ass!
(CHUCK, LYLE and TRAVIS howl with laughter and exit; REN watches them go.)
REN
(To COP, sarcastically cheery.)
They seem nice.
(Stone-faced, the COP slaps a ticket into REN’S hand.)
URLEEN
CAREFUL HOW YOU SPEAK
TURN THE OTHER CHEEKI-4-27
BE CAREFUL HOW YOU SPEAK
WENDY JO
THINK A NAUGHTY THOUGHT
AND IF YOU GET CAUGHT
WELL THEN, BOY, YOU’VE BOUGHT A LOT OF TROUBLE
RUSTY
SOMEWHERE THERE’S SOMEONE WITH A PERFECT VIEW
RUSTY, URLEEN & WENDY JO
YOO-HOO!
RUSTY
AND THEY’RE JUST DYIN’ FOR A LITTLE PEEK-A-BOO
URLEEN & WENDY JO
BOO!
RUSTY, URLEEN & WENDY JO
SOMEBODY’S EYES ARE WATCHING
SOMEBODY’S EYES WILL NEVER CLOSE, NEVER SLEEP
SOMEBODY’S AFTER THE SECRETS THAT YOU KEEP
WHO’S GOT ALIBIS
FROM SOMEBODY’S EYES?
(The Principal’s Office. COACH DUNBAR drags REN in before the PRINCIPAL. With
him are TRAVIS and LYLE in wrestlers’ outfits.)
COACH
Principal Clark, this boy turned my wrestling practice into a brawl!
LYLE
Yeah!
TRAVIS
Yeah!
REN
(To TRAVIS.)
Oh, I suppose my nose just slammed into your fist!
LYLE, TRAVIS & REN
That’s bull…! You started it…! It was you…! Hey…!
COACH
Hey! That’s enough!
(The BOYS hush; to REN.)
My boys know the difference between a wrestling match and a street fight.I-4-28
REN
(Snide.)
Oh, really, Coach? A wrestling match is usually one-on-one.
PRINCIPAL
That is enough out of you! This is the third time in as many weeks that you’ve been dragged into
my office. I’m suspending you from the wrestling team. Indefinitely.
ALL
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
(The Warnicker Home. REN is standing before WES, LULU and ETHEL.)
WES
Do you know how hard it was for me to get you that job at Dillingham’s Hardware Store? It’s not
even a month and you get fired!
LULU
Every day it’s more bad news with you. Every day.
ETHEL
Lulu, don’t exaggerate.
WES
Ethel, now hush! You’re not helping things.
ETHEL
Ren? What did happen?
REN
Nothing I should be fired for! Willard came by the store, and he wanted change of a dollar, so I
popped open the register. And when Mr. Dillingham came out and saw my hand in the drawer, he
went crazy. He accused me of stealing.
LULU
That’s because everything you do makes people suspicious.
WES
Are you on drugs?
REN
No! But why don’t you frisk me? I’m sure you’ve already poked through everything in my room.
ETHEL
Ren, apologize to your uncle.
WES
Look, young man, I know that I’m not your father…I-4-29
REN
You can say that again!
(WES slaps REN. LULU gasps.)
ETHEL
Wes!
WES
Don’t say anything, Ethel.
ETHEL
I can’t not say anything! I don’t know how to do that, Wes.
LULU
Pumpkin, hush, please!
ETHEL
Wes, I realize that we are guests in your home…
WES
Ethel!
(That stops her.)
Right now, just don’t say anything!
(ETHEL bites her lip; the ADULTS disperse.)
URLEEN
(To REN.)
NEVER LAUGH TOO LOUD
NEVER LEAVE A CROWD
WENDY JO
NEVER DRESS RISQUE
THERE’LL BE HELL TO PAY
RUSTY
IF YOU’VE EVER HAD ANYTHING TO HIDE
THINK TWICE BEFORE YOU STEP OUTSIDE
URLEEN & WENDY JO
STEP OUTSIDE
RUSTY, URLEEN & WENDY JO
SOMEBODY’S EYES ARE WATCHING
SOMEBODY’S EYES ARE FOLLOWING EV’RY MOVE
SOMEBODY’S WAITING TO SHOW THEY DON’T APPROVE
URLEEN
NOTHING SATISFIESI-4-30
URLEEN & RUSTY
SOMEBODY’S EYES
WENDY JO
AIN’T NO ALIBIS
WENDY JO & URLEEN
IN SOMEBODY’S EYES
RUSTY
YOU’VE GOT NO DISGUISE
RUSTY, URLEEN & WENDY JO
FROM SOMEBODY’S EYES
TOWNSPEOPLE
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
(EVERYONE exits, leaving only:)
RUSTY, URLEEN & WENDY JO
WHOA-OH
(The Moore Home appears. ARIEL runs on with CHUCK. He is all over her, as she
pushes him away, laughing.)
ARIEL
Chuck! Stop! I don’t want to be late!
CHUCK
What’s a few more minutes?
RUSTY, URLEEN & WENDY JO
WHOA-OH
ARIEL
My Dad is still not crazy about my seeing you.
CHUCK
Well, tell him to get used to it.
ARIEL
You tell him!
CHUCK
(Teasing.)
I will!
(He starts toward the Moore Home.)I-5-31
Reverend Moore…
(Giggling, ARIEL catches his arm and pulls him back.)
ARIEL
Maybe not right now. I’m not in the mood for one of his sermons.
(She kisses CHUCK.)
‘Bye, now.
(ARIEL runs to her front door, turns back and is amused to see that CHUCK hasn’t
moved; she whispers:)
Go! Go home!
(CHUCK struts away.)
RUSTY, URLEEN & WENDY JO
WHOA-OH
(As they exit the music segues into:)
Scene 5: The Moore Home
(A piece of classical music plays softly in the background. SHAW is writing; VI prepares
dinner. ARIEL pulls herself together, dashes in and kisses SHAW on the cheek.)
ARIEL
Hi, Daddy. Mom.
VI
Are you hungry?
ARIEL
I’m starving.
(She listens to the music for a moment.)
A-ha. What’s this? Don’t tell me – Haydn. The Second Sonata?
SHAW
The fourth.
ARIEL
Number four, right. I guess that kind of music’s okay, huh, Daddy?
SHAW
Meaning…?
VI
She’s just making a joke, Shaw.
SHAW
I’m aware of that, Vi.
(To ARIEL)
This “kind” of music is uplifting. It doesn’t confuse the mind.I-5-32
(Not wanting to get drawn into a discussion, ARIEL changes the subject.)
ARIEL
Are you working on your sermon?
SHAW
I am.
ARIEL
Remember when I was a kid? On Saturdays, I would sit in a pew down front and listen to you
practice. Over and over.
SHAW
I do indeed.
ARIEL
And then I would clap. And you would bow. Remember?
SHAW
Well, you seem to have outgrown that.
VI
Shaw!
ARIEL
What just happened? Did I say something wrong?
VI
Your father’s had a difficult day.
SHAW
Vi, I can speak for myself.
VI
(To ARIEL.)
Honey, why don’t you set the table.
ARIEL
I’m not really hungry.
(She goes. VI looks to SHAW.)
VI
Shaw, if you’re angry with Ariel, please tell her why.
SHAW
I’m not angry. I’m concerned.
VI
Then get to the point. You two speak and nothing gets said.I-5-33
SHAW
Have you seen her with this Chuck Cranston? The last time I walked in on the two of them…
VI
You told me.
SHAW
The boy has a record of arrests, Vi.
VI
And the more you object, the more intrigued she’s going to be.
SHAW
So I should hold my peace?
VI
I do. And I pray that her infatuation with Chuck Cranston lasts no longer than mine with Elliot
Criswell.
SHAW
Elliot Criswell was not an overheated delinquent.
VI
Oh, he most certainly was!
SHAW
This is not funny.
VI
I’m trying to lighten the mood.
SHAW
Well, I can’t. I’m frightened about where Ariel is, what she’s doing…
VI
You can’t expect her to sit home with us.
SHAW
Let’s stop this conversation right here.
VI
Conversation?
SHAW
Vi…
VI
I seem to have walked in on one of your sermons.I-5-34
SHAW
Please! Let’s not say anything we might regret.
(He goes, leaving VI alone.)
MUSIC 5: LEARNING TO BE SILENT
VI
SWALLOWING MY WORDS
STARING AT THE FLOOR
COUNTING LITTLE CRACKS IN THE TILE
STRUGGLING TO SMILE WITHOUT CHOKING
LEARNING TO BE SILENT
(ETHEL enters in her own space and sings:)
ETHEL
WATCHING HOW THE DUST
DANCES OUT THE DOOR
NOTICING MY HANDS START TO SHAKE
CONTEMPLATING TAKING UP SMOKING
LEARNING TO BE SILENT
VI & ETHEL
ALWAYS HEARING
ETHEL
“HUSH, ETHEL!”
VI
“PLEASE, VI!”
VI & ETHEL
“LET’S NOT HAVE THIS CONVERSATION.”
ETHEL
AND SO I STAND BY
WHILE MY MIND TAKES A SMALL VACATION
VI & ETHEL
LA LA LA LA LA LA LA LA
(ARIEL enters her own space.)
ARIEL
LA LA LA LA LA LA LA LA
VI
MAKING LITTLE SOUNDS
OTHER FOLKS IGNOREI-5-35
ARIEL
QUIETING THE BEAT OF MY HEART
NEVER BEING PART OF THE MOMENT
ALL
LEARNING TO BE SILENT
ARIEL
LEARNING THERE ARE SOME TOPICS THAT WE DON’T EVEN MENTION
ETHEL
AND IF THEY COME UP, THEN WE TRY TO BE VAGUE
VI
THERE ARE SUBJECTS FROM WHICH WE DIVERT ALL ATTENTION
ARIEL
AND SOME WE AVOID LIKE THE PLAGUE
ALL
I’M BECOMING A MIME
ETHEL
BITING MY TONGUE
VI & ARIEL
BIDING MY TIME
ETHEL
TRYING NOT TO SCREAM
ARIEL
TRYING NOT TO SCREAM
VI
MANAGED IT BEFORE
ARIEL
MANAGED IT BEFORE
ALL
KNOWING IF I’M GOING TO SURVIVE
THEN, DAMMIT!
ETHEL
I’VE GOT TO PRACTICE
VI & ARIEL
PRACTICEI-6-36
ALL
LEARNING …
(They “zip” their lips.)
HM…HM…HM…
(Lights fade on the WOMEN.)
MUSIC 5A: SCENE CHANGE TO BURGER BLAST
Scene 6: The Burger Blast
(ARIEL, WENDY JO, RUSTY and URLEEN are at a table doing homework)
RUSTY
Ariel, this book report you wrote is so great! I almost wish I’d read the book.
URLEEN
Hurry up, Rusty. I have to copy it next.
RUSTY
(Holding up a sheet of paper.)
How do you pronounce this word?
ARIEL
“Camelot.”
URLEEN
Really?
ARIEL
Really.
RUSTY
You know what part sounds great?
WENDY JO
I like the part where King Arthur and Lancelot fight over Guinevere. It’s right after Mordred
shows up and says, “I’m the king! I’m the king!”
(She stops, realizing they are staring.)
What?
URLEEN
You read a book?!
WENDY JO
Cliffs Notes. It took me forever.
ARIEL
It’s even better in the book. There’s all these knights on horseback jousting and storming the
castle.I-6-37
RUSTY
All we get are guys in overalls riding pickup trucks.
(WILLARD enters.)
WENDY JO
Hi, Willard.
WILLARD
Hi. How’re y’all doing?
ALL
Oh… You know… Okay… Good…
WILLARD
Hey, Rusty.
RUSTY
Hey, Willard.
(RUSTY and WILLARD share a long silence; then:)
WILLARD
Well. See ya.
(He shambles over to a table by himself. The GIRLS turn on RUSTY.)
URLEEN
“Hey, Willard?” That’s it?
WENDY JO
You two are pathetic.
ARIEL
When are you two going to have a real conversation?
RUSTY
Oh, Willard is not capable of a real conversation.
(Beat.)
I kinda like that in a guy.
(REN skates up in a Burger Blast uniform and hat, silly and outrageous.)
WENDY JO
Hey, Ren, how’s the new job?
REN
Well, I haven’t been fired and it’s already my second day.
ARIEL
You may have found your future.I-6-38
REN
I may have. What can I get you?
RUSTY
Diet Coke.
URLEEN
Diet Coke.
WENDY JO
I’ll have the Hula Burger Double Patty Cheese Melt with extra mayo and an order of fries. And a
diet Coke.
REN
And Ariel? What’s your pleasure?
ARIEL
It’s not on the menu.
(The GIRLS scream and slap her five with ad libs of “Ouch!” “Girlfriend!” “You go,
girl!” as REN skates over to WILLARD and the lights shift.)
WILLARD
If Chuck sees you flirting with Ariel, you are a dead man.
REN
She usually doesn’t even remember me.
WILLARD
Well, that uniform makes you look like such an asshole, it’s easier to pick you out.
REN
You are always looking for a fight, aren’t you?
WILLARD
My Mama says it’s my nature.
REN
Willard, shut up and tell me what you know about Ariel.
WILLARD
Well, I know she’s been kissed a lot.
REN
And...?
WILLARD
And she is onto you like a hog on slop.I-6-39
REN
Get outta here!
WILLARD
Ariel likes trouble. And you have definitely proved to everybody in this town that you are T-R-UB-L.
(The lights shift back to the GIRLS.)
ARIEL
Come on! I was only teasing him.
RUSTY
That’s more than teasing. Ren is from out of town and don’t tell me that doesn’t curl your toes.
WENDY JO
You want out of Bomont so bad I bet you memorize bus schedules.
URLEEN
You told us that you read just to escape to other worlds.
ARIEL
Exactly! In books, I get to meet guys who amaze me.
WENDY JO
What about Ren?
ARIEL
What about him?
RUSTY
He’s sorta smart.
WENDY JO
He’s kinda tall.
URLEEN
And I think he’s handsome.
ARIEL
(Shrugs.)
Cute, maybe.
WENDY JO
But can he really compete with Chuck Cranston, the rugged, dangerous high school dropoutslash-drug dealer who was recently evicted from a trailer park? I don’t think so.
(The lights shift back to REN and WILLARD.)
REN
What’s the deal with you and Rusty?I-6-40
WILLARD
Beats me. I think she’s good-looking and all. But I never know what the hell she’s talking about.
She talks faster than any girl I ever met.
REN
That’s cuz you make her horny.
WILLARD
(Thrilled.)
Y’think?!
(The lights shift back to the GIRLS.)
MUSIC 6: HOLDING OUT FOR A HERO
RUSTY
If I could only find a guy who’d make the first move.
URLEEN
If I could only find a guy who - when he went to kiss me goodnight – he’d take the toothpick out
of his mouth.
WENDY JO
If I could only find a guy.
ARIEL
WHERE HAVE ALL THE GOOD MEN GONE
AND WHERE ARE ALL THE GODS?
RUSTY, WENDY JO & URLEEN
Yeah.
ARIEL
WHERE’S THE STREET-WISE HERCULES
TO FIGHT THE RISING ODDS?
RUSTY, WENDY JO & URLEEN
I’D LIKE TO KNOW
ARIEL
ISN’T THERE A WHITE KNIGHT UPON A FIERY STEED?
LATE AT NIGHT I TOSS AND I TURN
RUSTY, WENDY JO & URLEEN
I TOSS AND I TURN
OH-OH-OH
ARIEL
AND I DREAM OF WHAT I NEED
I NEED A HEROI-6-41
(Microphones in stands roll on; the GIRLS strut to the microphones and join ARIEL in
her rock-concert fantasy.)
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOO
DOO DOO DOO DOO
AHH! AHH!
ARIEL
SOMEWHERE AFTER MIDNIGHT IN MY WILDEST FANTASY
SOMEWHERE JUST BEYOND MY REACH
THERE’S SOMEONE REACHING BACK FOR ME
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
ARIEL RUSTY, WENDY JO & URLEEN
RACING ON THE THUNDER DOO DOO DOO DOO
AND RISING WITH THE HEAT DOO
IT’S GONNA TAKE A SUPERMAN DOO DOO DOO
TO SWEEP ME OFF MY FEET AHH
ALL
I NEED A HERO!
ARIEL
I’M HOLDING OUT FOR A HERO TIL THE END OF THE NIGHT
WENDY JO
HE’S GOTTA BE STRONG
URLEEN
AND HE’S GOTTA BE FAST
RUSTY
AND HE’S GOTTA BE FRESH FROM THE FIGHT
ALL
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE MORNING LIGHT
HE’S GOTTA BE SURE, AND IT’S GOTTA BE SOON
AND HE’S GOTTA BE LARGER THAN LIFE
ARIEL
LARGER THAN LIFE!
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOOI-6-42
DOO DOO DOO DOO
AHH! AHH!
ARIEL
UP WHERE THE MOUNTAINS MEET THE HEAVENS ABOVE
RUSTY
OUT WHERE THE LIGHTNING SPLITS THE SEA
ALL
I COULD SWEAR THERE IS SOMEONE SOMEWHERE WATCHING ME
THROUGH THE WIND AND THE CHILL AND THE RAIN
AND THE STORM AND THE FLOOD
I CAN FEEL HIS APPROACH LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY…
AHH! AHH!
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE END OF THE NIGHT
HE’S GOTTA BE STRONG AND HE’S GOTTA BE FAST
AND HE’S GOTTA BE FRESH FROM THE FIGHT
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE MORNING LIGHT
HE’S GOTTA BE SURE AND IT’S GOTTA BE SOON
AND HE’S GOTTA BE LARGER THAN LIFE
LARGER THAN LIFE
(As the song ends, their fantasy dissolves and they return to The Burger Blast.)
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOO
DOO DOO DOO DOO
AHH! AHH!
ALL
I NEED A HERO!
(We hear CHUCK’S truck screech up; ARIEL panics, jumps up.)
ARIEL
Oh, no! What time is it?
RUSTY
Eight-thirty. Why?I-6-43
ARIEL
Oh, God! I’m late. Chuck’s gonna lose it.
(CHUCK strides in, furious.)
CHUCK
Ariel, what the hell’s going on? We had a date a half an hour ago.
ARIEL
Chuck, I’m sorry.
CHUCK
I don’t like you making a fool out of me.
RUSTY
And why would you? You do such a good job of it yourself.
CHUCK
Shut up, Rusty.
(REN skates over to CHUCK.)
REN
Will you be joining these ladies for dinner?
(CHUCK turns to REN, looks him up and down, then contemptuously pushes him
backward. REN rolls away slowly. CHUCK grabs ARIEL by the arm and pulls her to one
side.)
CHUCK
When I say “meet me at eight,” what am I – talking to myself?
ARIEL
No. You’re right. Calm down, honey.
CHUCK
Don’t tell me to calm down! Don’t – ever – tell me what to do.
(Glances at RUSTY, et. al.)
I know what your friends think of me. And that’s bullshit. I’m the best party in this town, baby,
and those three dogs oughta be tied up under the porch. Let’s go.
ARIEL
No.
CHUCK
Get in the truck.
ARIEL
No!I-6-44
CHUCK
Excuse me?
ARIEL
I said, “No.” What part of that don’t you understand?
CHUCK
(Fondles her.)
Oh, when the preacher’s daughter says “no,” it just makes me hot. Say it again, baby.
ARIEL
Leave me alone, Chuck. Don’t!
(REN skates over.)
REN
I believe the lady said, “No.”
CHUCK
And I believe this is none of your business.
ARIEL
Ren, don’t…
CHUCK
Ariel, who invited this clown?
REN
Oh, I’m sorry! We’ve never been formally introduced.
(Extends his hand at CHUCK’S eye-level.)
Ren McCormack.
CHUCK
Get your hand outta my face. And get your face outta my sight.
(CHUCK smacks REN’S hand away; WILLARD leaps up.)
WILLARD
Hey, Chuck! You looking for a fight? Let’s party!
REN
Willard! Willard, don’t lose me this job…!
WILLARD
Aw, man, let me nail him! I’ll nail him…!
(CHUCK and WILLARD have a shouting match, which REN tries to subdue. OTHERS
join in. BETTY BLAST, owner of the diner, rolls on carefully, wearing a Burger Blast
uniform. She’s too old to skate but too ornery to admit it.)I-6-45
BETTY
Hey… hey… HEY!
(EVERYONE stops.)
We got a problem here?
REN
Not at all, ma’am. Me and the guys were just discussing the comfort and safety of one of your
valued customers.
(ARIEL & GIRLS chuckle; CHUCK turns on ARIEL.)
CHUCK
What? You think that’s funny?
BETTY
Cranston! Your pick-up truck is in the handicapped parking, which is a space we reserve for
people with physical, not emotional, disabilities.
(CHUCK, humiliated, has no graceful way out.)
CHUCK
You haven’t seen the last of me, McCormack.
(He bumps REN as he exits.)
WILLARD
Could I please kick his ass?
BETTY
Willard! What’s that your mama says? “Before you make a fist, make sure it’s your fight.”
WILLARD
Yes, ma’am.
BETTY
Well, this is not your fight. Now, don’t the rest of you have a curfew?
(We hear CHUCK’S truck varoom away as the CROWD disperses. ARIEL lingers.)
And McCormack?
REN
(Fearing the worst.)
I know, ma’am. I’ll turn in my skates.
BETTY
Listen to me. I’ll see you here after school tomorrow.
REN
Really? So I’m not fired?
BETTY
Not yet. Now, gimme a push, honey.I-7-46
REN
Yes, ma’am.
(She crouches, arms extended; REN gives her a shove and BETTY glides offstage.)
BETTY
Thank you!
(REN and ARIEL are left alone.)
ARIEL
You are either very brave or very stupid.
REN
Which do you think?
ARIEL
I haven’t made up my mind. Wanna see something?
REN
Don’t you have a curfew?
ARIEL
(Mock serious.)
Ooh, you’re right!
(Scoffs.)
Please. My daddy invented it. But don’t you think rules are made to be broken? Come on!
(SOUND CUE: A TRAIN WHISTLE approaches and then fades as ARIEL pulls REN
along on his skates. NOTE: A snare-drum “train” – gradually building, then diminishing
in volume – can enhance this sound cue. )
Scene 7: The Great Plains of Bomont
(The night sky is empty except for a crescent moon. As the whistle gets louder, ARIEL
wails, long and loudly, joining her voice with the whistle as it races by and fades.)
ARIEL
Aah-h-h-h-h-h-h-h-h--…!
REN
What are you doing?
ARIEL
I’m answering the train. I’m saying, “I can’t wait for the day when I get onboard and leave
Bomont!” Try it.
REN
No, thanks. I just ate. You are really something.I-7-47
ARIEL
Whaddya mean?
REN
I mean the whole package. Minister’s kid, Chuck Cranston’s girlfriend.
ARIEL
Guilty.
REN
Just a church goin’ gal with some bad-ass red cowboy boots.
ARIEL
My daddy hates me wearing these boots.
(REN sits on the ground; ARIEL eventually sits nearby.)
REN
And you love that, don’t you? Getting up in his face?
ARIEL
That way he’ll notice when I’m gone.
REN
Where’re you gonna go?
ARIEL
College, for starters. I’ve applied to some places my daddy doesn’t even know about. I wanna
speak five languages and see the world. He wants me to teach English Lit in Baylor County.
(Beat.)
They don’t even speak English in Baylor County.
REN
I can’t picture you as a teacher.
ARIEL
Thank you. Neither can I. I’ll leave that to my daddy.
REN
He’s a preacher, not a teacher.
ARIEL
When you’re good at it, it’s the same thing. And he used to be real good.
REN
What changed?
ARIEL
His mind. He closed it.I-7-48
REN
I noticed.
ARIEL
He used to be so open, so inspiring. I’ve seen him give people hope when hope was gone. I’ve
watched him change lives.
REN
If you love him so much, why do you wanna tick him off?
ARIEL
I didn’t say I love him.
REN
Boy, do I know what you mean! My dad…
(He shakes his head.)
ARIEL
Yeah, what happened there?
REN
He walked out. One day he just walked out the door. No ‘good-bye’. Nothing.
ARIEL
Whew. I bet you’ve got lots to say to him.
REN
Lots.
ARIEL
Like what?
REN
(Suddenly self-conscious.)
No, I couldn’t…
ARIEL
Tell it to the train. I do.
(REN considers her suggestion. Then, in imitation of ARIEL’S earlier wail, he throws his
head back, chases after an imaginary train and screams.)
REN
Aah-h-h-h-h-h-h-h…! How can you be so stupid to leave Mom and me? I… hate… you!
(Spent, he drops to the ground near her; neither speaks.)
MUSIC 7: THE PLAINS OF BOMONTI-8-49
ARIEL
Feel better?
REN
I’m not sure.
(Beat; their faces are close.)
ARIEL
Do you wanna kiss me?
REN
(Startled, amused.)
Someday.
ARIEL
“Someday.” What do you mean, “Someday?”
REN
I’ve got a feeling you’ve been kissed a lot. I’m afraid I’d suffer by comparison.
ARIEL
You don’t think much of me, do you?
REN
Oh. I think of you more than I expected.
(Beat.)
C’mon. I’ll walk you home.
MUSIC 7A: SCENE CHANGE (“SOMEBODY’S EYES”)
(CHUCK enters and spies on REN and ARIEL as they walk. RUSTY, WENDY JO and
URLEEN enter elsewhere.)
RUSTY, WENDY JO & URLEEN
SOMEBODY’S EYES ARE WATCHING
SOMEBODY’S EYES ARE FOLLOWING EV’RY MOVE
SOMEBODY’S WAITING TO SHOW THEY DON’T APPROVE
(The GIRLS exit.)
Scene 8: The Moore Home
(VI, ELEANOR, COACH DUNBAR and PRINCIPAL CLARK sit around the kitchen table
playing cards. SHAW peers out a window.)
COACH
Okay, let’s see… Harry, you owe Eleanor…
ELEANOR
…seventy five cents.I-8-50
(To SHAW.)
And, Reverend, you owe me a buck and a quarter.
SHAW
(Turning from the window.)
Eleanor, why is it that the only place my prayers seem to fail me is at the bridge table?
(EVERYONE laughs.)
(Just outside, REN resists as ARIEL drags him into the house.)
ARIEL
No, c’mon! Just say “hello” to everybody.
(REN and ARIEL enter the room; the ADULTS all stop.)
Hi! You all know Ren McCormack.
(Introducing them.)
Daddy – Ren.
REN
Hey! Reverend Moore! How’s it goin’? Principal Clark – Coach Dunbar!
ARIEL
Hi, Mrs. Dunbar.
REN
Mrs. Moore.
VI
Welcome, Ren.
REN
Whoa! Poker night. Cool!
COACH
Ariel! All this time we thought you were upstairs in your room.
PRINCIPAL
Doing your homework.
SHAW
(Genial, but pointed.)
It’s hard to impose a curfew on the young people of my congregation when I can’t seem to
enforce one in my own home.
REN
Well, what’s that old expression? “It’s the shoemaker’s children who always go barefoot.”
(No one laughs; suddenly ELEANOR gasps and glances at her wristwatch.)
ELEANOR
Oh, will you look at the time!I-8-51
(The ADULTS abruptly stand and exit. VI walks them out. REN stays behind with ARIEL
and SHAW.)
REN
Boy, I can sure empty a room.
SHAW
It’s a rare talent.
REN
I’m gonna take that as a compliment.
SHAW
(With a smile.)
Oh? I can assure you, it was not meant that way.
(REN mimes being impaled in the chest by an arrow.)
REN
THHHHWUMP!
(Mimes pulling out the arrow.)
Arrggggh!
(Offering it to SHAW.)
I believe this is yours.
(SHAW is not amused; ARIEL tries to rescue the moment.)
ARIEL
Ren! Thanks for… you know…
REN
Walking you home?
ARIEL
Yeah. That, too.
(As REN starts out, he turns to SHAW one more time.)
REN
Well, Reverend. This was fun, doncha think?
(SHAW stares. After an uncomfortable pause, REN ducks out.)
MUSIC 7B: SOMEBODY’S EYES (REPRISE)
(RUSTY, WENDY JO and URLEEN enter.)
RUSTY, URLEEN & WENDY JO
SOMEBODY’S EYES ARE SEEING YOU COME AND GOI-8-52
(REN joins VI outside.)
REN
Boy, I really blew it in there, didn’t I?
VI
(Amused.)
Yeah. You did.
REN
I get nervous, I go crazy, and I always end up putting my foot in my mouth.
VI
Your mother said you were good at it, but I had no idea.
(They share a small laugh.)
REN
G’night, Mrs. Moore.
VI
Goodnight.
(REN runs off. VI re-enters the house.)
RUSTY, URLEEN & WENDY JO
SOMEBODY SOMEBODY SOMEBODY SOMEBODY’S EYES
(TRAVIS, LYLE and CHUCK enter, observing REN’S departure.)
CHUCK, TRAVIS & LYLE
WHOA-OH!
I’M GONNA PUNCH OUT
SOMEBODY SOMEBODY SOMEBODY SOMEBODY’S EYES
(They pull ski masks over their faces as they race after REN.)
RUSTY, URLEEN & WENDY JO
WHOA-OH
(They exit as VI observes SHAW and ARIEL.)
SHAW
I don’t want you to see him again.
ARIEL
Ren? Why? Just because he hasn’t lived in this town his whole life?
SHAW
That’s not it. But, clearly, the boy has no respect for authority. And everyone tells me he’s a
troublemaker.I-8-53
ARIEL
Who’s “everyone?”
(Refers to the card table.)
The Bridge Club?! Gimme a break.
SHAW
Ariel! What am I going to do with you?
ARIEL
Me? Daddy, lately all you do is look for the worst in people and then, of course, you find it.
SHAW
My, my, where did that come from?
ARIEL
From you, Daddy! Today’s sermon is: the world is evil, and Ariel has to be locked away in a
tower.
SHAW
That’s a little melodramatic, don’t you think?
ARIEL
No, I don’t. Daddy, you make me feel like a prisoner. And I hate it! I just hate it!
(ARIEL exits; SHAW notices that VI has slipped in and observed this fight.)
SHAW
Someone’s got to put a foot down.
VI
(Blithely.)
I didn’t say anything.
(She exits. Frustrated and agitated, SHAW sings:)
MUSIC 8: HEAVEN HELP ME
SHAW
I DON’T ENJOY BEING HER JAILER
I DON’T RELISH TELLING HER, “NO!”
BUT THEN I THINK – WHAT IF I FAIL HER?
HOW CAN I JUST LET HER GO?
I STRIVE TO BE A GOOD PREACHER
I TRY NOT TO GO OVERBOARD
BUT THEN I THINK – IF I CAN’T REACH HER
HOW CAN I FACE MY LORD?
HEAVEN HELP ME SHOULDER MY LOAD.
EV’RY DAY’S A STRUGGLE, STILL,I-9-54
SOMEONE’S GOT TO TAKE THE HIGH ROAD
IF I DON’T, WHO WILL?
I BECAME A MAN OF GOD
TO DO HIS WORK, TO SPREAD HIS WORD
TO EASE SOME PAIN AND DRY SOME TEARS.
THAT WAS THE PLAN.
BUT I MIGHT HAVE THOUGHT TWICE IF ONLY I KNEW THAT
I’D SPEND ALL OF MY TIME SAYING, “AINH, AINH, AINH, NO, NO!
DON’T DO THAT!”
SEE, EV’RYONE PRAYS FOR SALVATION
I’M HAPPY TO GIVE THEM THE TOOLS
THE PROBLEM IS – HERE’S MY FRUSTRATION –
NOBODY WANTS TO HAVE RULES
SO HEAVEN HELP ME WITH MY LABORS
HOW CAN YOU EXPECT ONE MAN
TO SAVE HIS FAM’LY AND HIS NEIGHBORS?
HEAVEN HELP ME
OH, HEAVEN HELP ME
IF HEAVEN CAN’T, WHO CAN?
(He exits.)
MUSIC 8A: ON ANY SUNDAY – MARCH
Scene 9: The High School Gym/The Church
(Basketball backboards and climbing ropes descend. KIDS are in the middle of gym
class. WILLARD and ARIEL enter with REN; he has a bandage above his blackened eye,
and one hand is wrapped.)
COACH
(Blowing his whistle.)
McCormack! You and your friends are late.
ARIEL
Coach, Ren is hurt. Look at his eye!
WILLARD
(Picks up REN’S hand.)
And his hand! He’s all banged up.
REN
It’s nothing. I was just…
COACH
Please! Don’t waste your breath or my time with another lame excuse.I-9-55
ARIEL
It’s not an excuse! After Ren walked me home last night, some guys jumped him.
WILLARD
They just started wailing on him! There was, like, six of them!
REN
Willard! Willard, it was three guys.
COACH
Anybody you know?
REN
Well, I didn’t take names, if that’s what you mean.
COACH
McCormack, it seems that when you’re not making trouble, it finds you anyway.
(Turning to ARIEL.)
And Ariel, I would encourage you to stay away from this guy. I’ve been asked to keep my eye on
you and…
ARIEL
Oh! My father called you. Surprise, surprise.
COACH
…and if you cooperate, it will make all of our lives much easier.
REN
Gee, if my daddy makes a phone call, will you get offa my back?
COACH
That mouth of yours is probably what made your daddy walk out in the first place.
(REN starts to lunge at Coach; before he can connect, WILLARD grabs him.)
WILLARD
Count to ten, man! Mama says just count to ten.
(REN stops struggling.)
COACH
You’d be wise to take your friend’s advice.
(Turning.)
Ariel, get back to practice.
(To REN.)
And McCormack. Get down and give me thirty.
REN
(Holds up his bandaged hand.)
You’re joking!I-9-56
COACH
You’re right. Make it fifty.
(A few KIDS notice this.)
WILLARD
He’s not faking, Coach. He’s really hurting.
COACH
Thank you for your diagnosis, Dr. Willard. You can give me fifty as well.
(Some of the GUYS laugh; to EVERYONE:)
As a matter of fact, you can all give me fifty. Courtesy of Mr. McCormack.
(EVERYONE grumbles.)
Just do it.
(They ALL get down into position and do push-ups as COACH counts.)
And one, two… I can’t hear you!
ALL
Three, four…
COACH
Only forty-six more.
(He exits; EVERYONE continues to do pushups.)
ALL
Five, six…
BOY 2
Is he gone?
ALL
Seven, eight…
(BOY 1 checks on the COACH’s exit.)
BOY 1
Yeah.
(They ALL collapse.)
Hey, Ren, thanks a lot.
REN
Sorry, guys. It’s just that this whole damn town is so wound up.
WILLARD
Amen!
REN
You guys have no place to blow off any steam.
BOY 2
You said it!I-9-57
REN
At least in Chicago we could go to the clubs.
WILLARD
Hey! Maybe we oughta take the Coach dancing.
REN
(chuckling.)
Willard, you are so…
(His voice trails off as he gets an idea; WILLARD notices REN’S distraction.)
MUSIC 9: I’M FREE/HEAVEN HELP ME
WILLARD
What? What’re you thinking?
REN
That’s IT!
WILLARD
What?
REN
We’re gonna throw a dance! We’re gonna throw a kick-ass party that’s gonna knock Bomont
right off its tractor.
(General skeptical reaction.)
WENDY JO
You’re just asking for a fight.
REN
Bring it on!
URLEEN
Are you ready to take on Reverend Moore?
REN
I’ll take on anybody!
WILLARD
What about the Town Council?
REN
I’ll fight City Hall! If there’s one thing worth fighting for, it’s freedom.
LOOKING INTO YOUR EYES I KNOW I’M RIGHT
IF THERE’S ANYTHING WORTH A FEAR, IT’S WORTH A FIGHTI-9-58
NO ONE CAN TIE MY HANDS
OR MAKE ME CHANGE MY PLANS
I’M CROSSIN’ THE LINE, JUMPIN’ THE TRACK
TAKIN’ WHAT’S MINE AND NOT LOOKIN’ BACK
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
EV’RY DAY I FACE A NEW FRONTIER
I CAN’T WORRY WHAT THE WORLD WILL SAY
I MAY FLY OR FALL BUT EITHER WAY
I’M FREE!
WILLARD
Ren, You’re not free - you’re crazy! You know there’s a law!
REN
Well, maybe that law needs changing.
RUSTY
Hello? Bomont is never gonna let us forget the Potawney Bridge Accident.
(General agreement.)
REN
How long do you have to live in that shadow? There’s gotta be a way out of this.
ARIEL
And the only way out of this is by train!
REN
No! Listen –
RUNNING AWAY WILL NEVER MAKE YOU FREE
DOESN’T MATTER WHERE YOU GO, I GUARANTEE
LONG AS WE HOLD OUR GROUND
WE CANNOT BE BOUND
WE’RE SHAKIN’ THE PAST, MAKIN’ OUR BREAKS
TAKIN’ CONTROL IF THAT’S WHAT IT TAKES
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
WE CAN FACE IT DOWN RIGHT NOW, RIGHT HERE
ONCE YOU’RE STANDING ON YOUR OWN TWO FEET
YOU WILL NOT RETREAT IF YOU REPEAT:
(Shouting.)
I’M FREE!
(Speaking.)
C’mon! Try it!
KIDS
(Tentatively.)
I’M FREE.I-9-59
REN
(Imitating SHAW, booming.)
“Let the Lord hear your voice!”
KIDS
I’M FREE!
REN
Yeah!
KIDS
WE’RE SHAKIN’ THE PAST, MAKIN’ OUR BREAKS
TAKIN’ CONTROL IF THAT’S WHAT IT TAKES
I’M FREE!
(As the number progresses, the KIDS’ workout turns rhythmic and, ultimately, exuberant,
as REN involves everyone in his campaign.)
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
WE CAN FACE THIS DOWN RIGHT NOW, RIGHT HERE
MAYBE WE CAN FIN’LLY RIGHT THIS WRONG
ARM IN ARM AND SIDE BY SIDE, WE’RE STRONG
AND FREE!
(The wall of KIDS parts to reveal SHAW, mid-sermon, and the CHOIR in their loft.)
SHAW
And now word comes to me that some young people in our community want to change our law
and throw a dance. This morning let’s remind ourselves that this law is not about dancing. This
law is a tribute—a tribute to four young people who held the promise of Bomont’s brightest
future…
KIDS
HEAVEN HELPS THE MAN
CHOIR
OOHHSHAW
…And we stand united in honoring their memory.
(REN, the KIDS, SHAW and the CHOIR sing the following sections simultaneously.)
KIDS
WE CAN FACE IT DOWN
CHOIR
YOU WILL SEE US
RAISING OUR VOICES
ALL OF OUR VOICES
FOR HEAVEN SAKES
WE WILL BE RELEASEDI-9-60
SHAW
HEAVEN HELP ME
SOMEONE’S GOT TO SAVE HIS NEIGHBOURS
HEAVEN HELP ME, OH, HEAVEN HELP ME
IF HEAVEN CAN’T, WHO CAN?
REN & KIDS
RIGHT NOW, RIGHT HERE
MAKING OUR BREAKS
FOR HEAVEN SAKES
HEAVEN HELPS THE MAN
HEAVEN HELPS THE MAN
HEAVEN HELPS THE MAN
I’M FREE!
(REN and SHAW defiantly face off as the curtain falls.)
END ACT III-1-61
ACT II
MUSIC 9A: ENTR’ACTE
MUSIC 10: STILL ROCKIN’
(ARIEL, WILLARD, REN and RUSTY rush on, excited and curious. A sign overhead
announces THE BAR-B-QUE! MUSIC! DANCING!)
ARIEL
Ren! Where have you brought us?
REN
It’s called the Bar-B-Que! The billboards say that it’s the finest little dance palace in the tricounty area. Think of it as research.
RUSTY
Then what are we waiting for?
(They start off; RUSTY drags WILLARD.)
WILLARD
Oh, my god!
Scene 1: The Bar-B-Que, a Country-Western Dance Hall
(The curtain rises on a sea of cowboy hats. COUPLES two-step to the live BAND, as lead
vocalist COWBOY BOB sings.)
COWBOY BOB
WOKE UP IN THE DAYLIGHT
DON’T REMEMBER LAST NIGHT
I JUST KNOW I WASN’T ALONE
I PARTIED IN THE FAST LANE
I WAS FEELIN’ NO PAIN
SOMEBODY CARRIED ME HOME
NOW I KICK OFF THE SHEETS
RUN FOR THE STREETS
I’VE GOTTA PUNCH A CLOCK
BUT MY KNEES ARE GOIN’ ONE WAY – WHOO!
AND MY FEET WON’T STOP
GIMME ROOM, CUZ I’M
(REN, ARIEL, WILLARD and RUSTY enter, winding their way through the dancing
CROWD.)
STILL ROCKIN’
STILL ROCKIN’
GOIN’ STRONGII-1-62
STILL GOT THE HEAT
I’M KEEPIN’ THE BEAT
CUZ IT FEELS SO GOOD
LORD, I SWEAR THAT IT
BEATS WALKIN’
I’M STILL ROCKIN’
ALL DAY LONG
SHAKIN’ MY SHOES
I’M SPREADIN’ THE NEWS
THAT I’M FEELIN’ SO GOOD
(The number continues as REN et al join together.)
REN
Look at this! What could Bomont have against dancing? Isn’t this worth fighting for?
RUSTY
Wow! Who’d have guessed that a mere hundred miles outside of Bomont you could find this
much culture?
ARIEL
And this much fun.
REN
Come on. Let’s go break a law.
(He takes ARIEL’S hand, and they dance into the CROWD.)
RUSTY
Willard! You wanna dance?
WILLARD
First thing I wanna do is find us a place to sit down!
(He crosses away; RUSTY sags, frustrated.)
COWBOY BOB
SOMETHIN’ IN THE OZONE
SHIVERS UP MY BACKBONE
MAKIN’ ME ROCK AND ROLL
I SHIMMY UP THE SIDEWALK
FASTER THAN A TICK-TOCK
PEOPLE THINK I’M OUTTA CONTROL
HAH, BUT DON’T WORRY NONE
I’M JUST HAVIN’ FUN
AIN’T GONNA LOSE MY MIND
AND IF ANYBODY ASKS YOUII-1-63
TELL ‘EM THAT I’M DOIN’ FINE
(As the band continues, COWBOY BOB jumps off the bandstand, pulls RUSTY onto the
dance floor and spins her around, none of which is lost on WILLARD.)
COWBOY BOB & BAND MEMBERS
TELL THEM ALL THAT I’M
STILL ROCKIN’
STILL ROCKIN’
GOIN’ STRONG
STILL GOT THE HEAT
I’M KEEPIN’ THE BEAT
CUZ IT FEELS SO GOOD
LORD, I SWEAR THAT IT
BEATS WALKIN’
I’M STILL ROCKIN’
ALL DAY LONG
SHAKIN’ MY SHOES
I’M SPREADIN’ THE NEWS
THAT I’M FEELIN’ SO GOOD
COWBOY BOB
(To RUSTY.)
Hey, you are good!
(Looks her up and down.)
And you are fine!
RUSTY
This is incredible! I haven’t been able to dance like this for years.
COWBOY BOB
Where the hell you been living? Bomont?
RUSTY
Yup.
COWBOY BOB
No shit! Well, darling, no wonder you’re so eager to do some tail-shaking.
(Grabs his microphone and two-steps with RUSTY as he sings:)
BAND MEMBERS COWBOY BOB
LORD, I SWEAR THAT IT
BEATS WALKIN’ YEAH, I’M STILL ROCKIN’
I’M STILL ROCKIN’
ALL DAY LONG ALL DAY LONG
SHAKIN’ MY SHOES I’M SPREADIN’ THE NEWS
I’M SPREADIN’ THE NEWS
THAT I’M FEELIN’ SO GOOD! THAT I’M FEELIN’ SO GOOD!II-1-64
(The number ends. The CROWD applauds; the BAND strikes up a slow song and
COWBOY BOB pulls RUSTY to dance.)
MUSIC 10A: UNDERSCORE
COWBOY BOB
Now, where were we?
(They slow dance; WILLARD watches for a moment before he angrily steps up.)
WILLARD
Hey! She came with me, Cowboy.
COWBOY BOB
Yeah? Well, we all make mistakes.
WILLARD
And what is that supposed to mean?
RUSTY
Willard! He was just being friendly!
WILLARD
Oh, yeah?
(Fists clenched, WILLARD steps up to COWBOY BOB, who gently stops him.)
COWBOY BOB
Look, son, it’s much too early in the evening to get blood on that pretty little shirt of yours.
(To RUSTY.)
And ma’am? My condolences.
(He tips his hat to RUSTY and strides away.)
WILLARD
(To RUSTY.)
What does he mean by that?
(Calling after COWBOY BOB.)
Hey!… Hey! You got something to say?
(REN and ARIEL notice the commotion and rush to WILLARD and RUSTY.)
RUSTY
Willard. Hey, Willard! I know who I came with. Okay?
WILLARD
Oh. Okay.
RUSTY
Now, c’mon. Let’s dance.II-1-65
WILLARD
Uh-h-h… I think I’m gonna get me a beer.
RUSTY
Oh, god!
WILLARD
Ren, you want a beer?
ARIEL
Hold on! Who’s gonna drive?
RUSTY
I’ll drive.
REN
Sounds good. Then I’ll have a beer.
WILLARD
Okay. That’s two beers.
RUSTY
I wanna dance! I wanna dance!
WILLARD
I’ve only got two hands! Ren, could you help me out here?
REN
(Aside, to ARIEL.)
Could you excuse me a minute?
(REN crosses away with WILLARD. RUSTY growls in exasperation.)
RUSTY
Arrgh!
ARIEL
Let me guess. Willard’s acting weird.
RUSTY
So it’s not just me?
ARIEL
Rusty, you and Willard have been weird since kindergarten.
RUSTY
But tonight is different. This is the first time we’ve ever left Bomont together.
(Gasps at a sudden realization.)
Maybe we don’t travel well.II-1-66
ARIEL
Rusty, it’s just a car ride!
RUSTY
(frenetic.)
But that makes it like a first date, doncha see? Oh, I should’ve seen the signs. The whole way up
here I had to do all the talking. All he said was, “Uh-huh, mmm-hmmm, uh-huh, mmm-hmmm.”
You know what that means, doncha? My baby’s in a panic!
ARIEL
Now, don’t make yourself crazy. Come on. I’ll dance with you.
(They join the two-steppin’ crowd; lights come up on REN and WILLARD.)
REN
You okay? You seem jumpy.
WILLARD
That’s why I’m having a beer. Mama says I can have one beer or one cigarette, but if I have both
I should never come home again.
REN
Willard, c’mon. What’s up? You finally go out on a date with Rusty…
WILLARD
Hold on, hold on! Is this a date? You asked me to go for a ride. You told Ariel to invite Rusty.
It’s more like I’m on a date with you.
REN
And you look so handsome tonight.
WILLARD
Thank you. But you stuck me in the back seat with a crazy woman who won’t stop moving and
talking!
REN
She’s excited to be with you.
WILLARD
Oh, well. Sure. That. But the problem is…
REN
Yes?
WILLARD
Between you and me?
REN
Uh-huh?
WILLARD
(With difficulty.)II-1-67
I can’t do it.
REN
Oh. “It?”
(WILLARD nods.)
You can’t do “it?”
WILLARD
No, sir.
REN
Well, that’s okay, Willard. It’s only the first date.
WILLARD
Right.
REN
You don’t have to do “it” on the first date. Even in Chicago some people don’t do it on the first
date.
WILLARD
Really?
REN
I swear.
WILLARD
Well, that makes me feel a lot better.
REN
(Starts back to the dance floor.)
Great! Then let’s dance!
WILLARD
Dance? Dance?! What the hell do you think I’m talking about?
REN
When you said you couldn’t do “it,” I thought you meant…
WILLARD
What?
(It dawns on him.)
Oh, that?! Hell, any idiot can do that!
(Pointing to the dance floor.)
I can’t do this! I can’t dance!
(EVERYBODY turns to WILLARD and freezes; from across the dance floor RUSTY
wails:)
RUSTY
Whaaaaat?!II-1-68
(The COWGIRLS rush to her; the COWBOYS converge on WILLARD.)
COWBOY BOB
(To RUSTY.)
D’ja hear that? Your boyfriend says he can’t dance!
(General reaction; REN tries to calm the mob.)
REN
Now, c’mon! Give the guy a break.
COWBOY BOB
But that ain’t natural!
BAND MEMBER #1
It’s like riding a bike.
BAND MEMBER #2
Or falling off a log.
COWBOY BOB
It’s as easy as learning to swim.
WILLARD
I can’t swim.
COWBOY BOB
Hey, fellas! Whaddya say we push ‘im in the pool!
MUSIC 11: LET’S HEAR IT FOR THE BOY
(The COWBOYS and REN pull WILLARD into a huddle; lights down on them, as the
focus shifts to the GIRLS. A wisecrackin’ COWGIRL questions RUSTY:)
COWGIRL
Darlin’, darlin’, your boyfriend has two left feet and you had no idea?
RUSTY
None.
COWGIRL
Didn’t he never take you in his arms and sweep you off your feet?
RUSTY
Not yet.
COWGIRL
Didn’t he never whisper sweet nothings in your ear?II-1-69
RUSTY
No! But that’s not how it is with me and Willard.
(The COWGIRLS all scoff.)
No, really! Willard has a lot of hidden talents. I mean, just look at him.
(They turn to watch as the COWBOY circle opens to reveal REN showing WILLARD a
rudimentary step; WILLARD fails miserably; the music stops. REN pulls WILLARD back
into the cowboy huddle. Lights down on them. The GIRLS turn to RUSTY.)
COWGIRL
Uhhhh… you were saying?
(RUSTY smiles sheepishly, then suddenly turns front and sings:)
RUSTY
MY BABY, HE DON’T TALK SWEET
HE AIN’T GOT MUCH TO SAY
BUT HE LOVES ME, LOVES ME, LOVES ME
I KNOW THAT HE LOVES ME ANYWAY
(Again, focus shifts to REN & WILLARD; REN demos a step, and WILLARD crashes to
the floor trying to duplicate it. The COWBOYS pick him up and pull him back to their
huddle; RUSTY tries to cover for him.)
RUSTY
AND MAYBE HE DON’T DRESS FINE
BUT I DON’T REALLY MIND
CUZ EV’RY TIME HE PULLS ME NEAR
I JUST WANNA CHEER
LET’S HEAR IT FOR THE BOY!
LET’S GIVE THE BOY A HAND
LET’S HEAR IT FOR MY BABY
YOU KNOW YOU GOTTA UNDERSTAND
WHOA, MAYBE HE’S NO ROMEO
BUT HE’S MY LOVIN’ ONE-MAN SHOW
OH, WHOA, WHOA, WHOA
LET’S HEAR IT FOR THE BOY!
(As the song progresses, WILLARD will get more ambitious and successful in imitating
the steps REN and the COWBOYS demonstrate for him. What he lacks in style, he will
make up for in enthusiasm. The GIRLS sing back-up vocals for RUSTY.)
RUSTY & THE GIRLS
MY BABY MAY NOT BE RICH
HE’S WATCHING EVERY DIME
BUT HE LOVES ME, LOVES ME, LOVES ME
AND WE ALWAYS HAVE A REAL GOOD TIME
AND MAYBE HE SINGS OFF KEYII-2-70
BUT THAT’S ALRIGHT BY ME, YEAH
CUZ WHAT HE DOES, HE DOES SO WELL
MAKES ME WANNA YELL
LET’S HEAR IT FOR THE BOY!
LET’S GIVE THE BOY A HAND
LET’S HEAR IT FOR MY BABY
YOU KNOW YOU GOTTA UNDERSTAND
WHOA, MAYBE HE’S NO ROMEO
BUT HE’S MY LOVIN’ ONE-MAN SHOW
OH, WHOA, WHOA, WHOA
LET’S HEAR IT FOR THE BOY!
(WILLARD Dance Break.)
MAYBE HE’S NO CASANOVA
STILL HIS KISSES KNOCK ME OV-AH!
HEAR IT FOR THE BOY!
LET’S GIVE THE BOY A HAND
LET’S HEAR IT FOR MY BABY
YOU KNOW YOU GOTTA UNDERSTAND
WHOA, MAYBE HE’S NO ROMEO
BUT HE’S MY LOVIN’ ONE-MAN SHOW
OH WHOA WHOA WHOA
LET’S HEAR IT FOR THE BOY
HEAR IT FOR THE BOY
HEAR IT FOR THE BOY
HEAR IT FOR THE BOY
WHOA! HEAR IT FOR THE
HEAR IT FOR THE BOY
(The number ends with WILLARD whipping off a dazzling dance combination, to
everyone’s amazement. The playoff music begins and EVERYONE dances off.)
Scene 2: The Moore Home
(CHUCK is outside, loudly whispering up to ARIEL’S bedroom window.)
CHUCK
Hsst! Ariel! Ariel!
(VI, in a robe, exits the house and crosses to him.)
VI
She’s not here, Chuck.II-2-71
CHUCK
(Yelps, startled.)
Oh…! Mrs. Moore.
VI
Did I scare you?
CHUCK
(Fibbing.)
Nope. Not at all. Did you tell Ariel that…
VI
Yes, Chuck, I’ve told her every time you’ve called.
CHUCK
Thanks. I guess she’s busy and all.
VI
Mmmm. She and the girls went over to Wendy Jo’s to study.
CHUCK
Really? I was just there. Wendy Jo said she left hours ago. With Rusty.
VI
(Surprised.)
Oh.
SHAW
(As he enters.)
Who is it, Vi?
(Seeing CHUCK.)
Mr. Cranston.
CHUCK
Evening, Reverend. I was just looking for Ariel.
SHAW
Isn’t it a bit late, Mr. Cranston?
CHUCK
Yes, sir. That’s why I’m surprised she’s not at home.
(SHAW hides his surprise with a quick glance at VI.)
SHAW
So am I. Goodnight, Mr. Cranston. And next time, please remember, we have a front door for
guests.
CHUCK
Yes, sir.II-2-72
(CHUCK exits. SHAW and VI cross into the house.)
SHAW
Where is she?
VI
She told me she was going to Wendy Jo’s.
(As SHAW reaches for the phone.)
Don’t bother calling. She’s not there.
SHAW
Did you know this?
VI
No. I did not.
SHAW
So, how does it feel, Vi? Now that she’s lying to you?
VI
I’m not saying anything until I hear an explanation from her.
SHAW
It was frightening enough when she was running around with Chuck Cranston. Now, she is out in
the middle of the night, with that punk who’s campaigning to challenge me and the entire Town
Council. How long can you keep defending her?
VI
I’m not defending her. We’re not on opposite sides here, are we? Or are we?
(ARIEL rushes in.)
SHAW
Where were you?
ARIEL
Oh, Rusty and Wendy Jo and me, we were…
SHAW
Don’t even bother.
VI
We know you weren’t at Wendy Jo’s.
ARIEL
I can’t believe you’re checking up on me.
VI
Sweetie, how do we know you’re not sick? Or hurt?II-2-73
SHAW
I am concerned for your well-being.
ARIEL
Then how come when I’m at home, you’re never interested in what I’m thinking or how I feel?
But the minute I walk out that door – wham! Suddenly, you’re the concerned parent!
VI
Shaw, she doesn’t mean that.
SHAW
Stop taking her side! She has to start answering for herself.
ARIEL
I don’t know what good that would do. You don’t listen to me any more than you listen to her!
(SHAW lunges, raising his hand to slap ARIEL.)
VI
Shaw!
(SHAW catches himself and stops. It is an awful moment. There is stunned silence.
Finally, ARIEL turns and runs out. SHAW is shaken.)
SHAW
I’ve never hit anyone.
VI
I know.
SHAW
We’re losing her, Vi. She has become willful and obstinate.
VI
(Kindly.)
Like her father.
SHAW
I am her spiritual guardian.
VI
You used to be her friend.
SHAW
I don’t understand what’s happening. I don’t know what to do anymore.
VI
Yes, you do.II-2-74
MUSIC 12: CAN YOU FIND IT IN YOUR HEART?
CAN YOU FIND IT IN YOUR HEART TO FORGIVE HER?
CAN YOU STOP AND SEE THERE’S PART OF HER THAT’S TRYING TO OBEY
WHILE PART OF HER IS DYING TO RUN AWAY?
CAN’T YOU HEAR WHAT SHE’S TRYING TO SAY?
CAN YOU FIND IT IN YOUR SOUL TO ACCEPT HER?
IF SHE STUMBLES ON YOUR HOLY PATH, DO YOU HAVE TO REPRIMAND?
OR ARE THERE WAYS TO MAKE HER UNDERSTAND
WITHOUT USING THE BACK OF YOUR HAND?
CAN’T YOU REMEMBER WHEN WE WERE THAT AGE?
PUMPED UP WITH PROMISE AND WRESTLING WITH RAGE?
CAN’T YOU REMEMBER WHEN WE WERE A FAMILY BACK WHEN?
COULD WE BE ONE AGAIN?
(The music continues under.)
SHAW
We are a family.
VI
No. The accident changed everything. Ever since Bobby’s death, you make impossible demands
on Ariel.
SHAW
I have not confused Ariel’s behavior with my son’s death.
VI
He was my son, too!
(Pause.)
Shaw, it’s been twenty-one years I’ve been a minister’s wife, and after all that time, I still feel
that you’re a wonderful preacher. You can lift a congregation up so high, they have to look down
to see heaven. It’s the one-on-one where you need a little work.
SHAW
I thought at least you believed in me.
(He exits, leaving VI gazing off after him.)
VI
(To herself.)
I never stopped.
(Sings.)
DOES IT EVER CROSS YOUR MIND THAT I MISS YOU?
IS THERE ANY CHANCE WE’LL FIND THE JOY THAT WE SHARED AT THE
START?
CAN YOU REMEMBER WHAT YOU FELT
BEFORE THAT FEELING FELL APART?
CAN YOU FIND IT IN YOUR HEART?II-3-75
HAVE YOU LOST MY LOVE SOMEWHERE FAR BEHIND
OR CAN YOU FIND IT IN YOUR HEART?
MUSIC 12A: TRANSITION
(If needed for scenery.)
MUSIC 12B: CHUCK ACCOSTS ARIEL
(In half-light: from her bedroom window ARIEL drops her shoulder bag to the ground
and climbs down; as she picks up her bag and turns, CHUCK steps out of the shadows,
startling her; defiant, she tries to move past him, but he grabs her arm. A struggle ensues,
and CHUCK drags ARIEL offstage as the scene shifts to:)
Scene3: The Junk Yard
(REN, WILLARD, BICKLE, JETER and GARVIN have been making campaign posters
and flyers; paint cans, brushes and other materials lay about. As the lights come up,
they’re all heatedly giving REN advice.)
WILLARD
Hold it! Hold it!
(They quiet; to REN.)
Ren. All’s we’re sayin’ is: you’re going to be speaking to the Town Council, so don’t mumble.
(The BOYS all mumble.)
Now do that last part one more time.
(REN takes a deep breath, begins:)
REN
Members of the Council: Dancing is not a crime.
MUSIC 12C: DANCING IS NOT A CRIME
WILLARD
Yeah.
BICKLE
Yeah.
JETER
Yeah.
GARVIN
Yeah.
(Feeling his way, REN continues to make his argument; it only slowly dawns on him that
he’s rhyming, but, once he feels the rhythm of his words, he throws himself into this
patter with abandon.)II-3-76
REN
YEAH! EVER SINCE THE DAWN OF TIME
IF ANYTHING, EV’RYBODY HAD THE RIGHT
TO HOWL AT THE MOON AND TO MOVE ALL NIGHT
WHEN FOLKS WERE TRIBAL –
BACK BEFORE THE BIBLE –
THEY WERE LIABLE TO DANCE WHEN THE CROPS CAME IN
OR THEY’D PULL OUT ALL THE STOPS
WHEN THE EARTH WOULD SPIN
OR MAYBE – THEY HAD A BATTLE TO WIN
SO THEY WOULD DANCE!
EVERY TIME THEY HAD THE CHANCE
WHATEVER THE SEASON OR CIRCUMSTANCE
THEY FOUND A REASON TO THROW A PARTY IN THEIR PANTS
SO LET’S DO LIKE THEY DID AND DANCE, DANCE, DANCE!
(He finishes – ta da! – ready for their approval. A pregnant pause. TRAVIS points at
REN and, like a 7-year-old, announces:)
TRAVIS
You said “Party in your pants.”
(The OTHERS now explode.)
BOYS
Are you out of your mind…?/ “Party in their pants?!”/ What are you thinking man!?
WILLARD
Guys! Cool it! Ren, we’re not saying the speech is bad. It’s just that it’s no good.
REN
Then what am I supposed to say? I’ve re-written it nine times.
WILLARD
Here’s the thing: you’re gonna be facing Reverend Moore and some of the stubbornest people in
town.
BICKLE
You’ve already got plenty of people boiling mad.
JETER
Yeah! Folks are picking sides.
GARVIN
And they’re not picking yours!
REN
Then who am I kidding? This whole thing has gotten way out of hand. Maybe I ought to forget it.II-3-77
WILLARD
Whoa there, little buddy! We don’t mean to discourage you.
BICKLE
After all the posters we’ve painted?
JETER
All the flyers we’ve passed out.
GARVIN
Everybody at school is climbing the walls!
WILLARD
So, hang in there! You just gotta re-think your approach. Now, Mama says…
BOYS
Not Mama again…! Who cares what Mama says…?! Oh, man…!
WILLARD
(Silences them.)
Now hold on just one minute!
MUSIC 13: MAMA SAYS (YOU CAN’T BACK DOWN)
WILLARD
EV’RYTHING I EVER LEARNED THAT GETS ME THROUGH THE WORST
I LEARNED AT MY MAMA’S KNEE
NOW ANYTIME I’M TURNED AROUND I TURN TO MAMA FIRST
AND YOU’D BE WISE
TO MEMORIZE
WHAT MAMA SAYS TO ME
Mama ain’t been wrong yet. And I’m the living proof.
JETER
(To REN.)
That’s kind of a frightening thought, isn’t it?
WILLARD
Now, listen up!
MAMA SAYS
DON’T USE A TOASTER WHILE STANDING IN THE SHOWER
NOW WHO CAN ARGUE WITH THAT?
MAMA SAYS
DON’T HOLD YOUR BREATH FOR LONGER THAN AN HOUR
THE WOMAN KNOWS WHERE IT’S AT!
AND MAMA SAYS IT DOESN’T MATTER
IF YOU’RE A KING OR YOU’RE A CLOWN
ONCE YOU DRIVE UP A MOUNTAINII-3-78
YOU CAN’T BACK DOWN
GARVIN
You can’t back down, Ren!
WILLARD
Now, Ren, you’ve not yet had the pleasure of meeting my Mama, but these boys have. C’mon
and help me out here, fellas.
BOYS
MAMA SAYS
WILLARD
DON’T DRINK HOT COFFEE LYING DOWN IN BED
DON’T EVEN GIVE IT A THOUGHT
BOYS
IT’S A MESS!
MAMA SAYS
WILLARD
NEVER EAT ANYTHING THAT’S BIGGER THAN YOUR HEAD
IS SHE A WHIZ OR WHAT?
BOYS
OH, YES!
(The BOYS sing backup for WILLARD.)
WILLARD & BOYS
AND MAMA SAYS IT DOESN’T MATTER
IF YOU’RE A KING OR YOU’RE A CLOWN
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
OH, ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
NOW, MAMA MAKES A LOTTA SENSE
IF YOU KNOW HOW TO LISTEN
SHE IS CLEAR AND CONCISE
DADDY SAYS, “I LOVE HER, SON
BUT SHE’S GOT MARBLES MISSIN’”
BUT I SAY, “HEY! IT’S FREE ADVICE
AND WHAT D’YOU EXPECT AT THAT PRICE?”
REN
Then maybe your Mama oughta give my speech.
WILLARD
Oh, hell no! Everyone thinks Mama’s crazy. The point is, though, she’s got some really good
ideas. Hear me, now –II-3-79
BOYS
MAMA SAYS
WILLARD
WHAT YOU BELIEVE IN IS ALL YOU REALLY OWN
AND I BELIEVE THAT SHE’S RIGHT
BOYS
MAMA SAYS
WILLARD
IF YOU’VE GOT DOUBTS, WELL, THEN, BOY, YOU’RE NOT ALONE
JUST MEANS YOU’RE READY TO FIGHT
WILLARD & BOYS
AND MAMA SAYS IT DOESN’T MATTER
WILLARD
IF YOU DRIVE A HARD BARGAIN OR DRIVE AROUND TOWN
ALL
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
WILLARD
Don’t make me say it again!
(The number ends and they ALL exit. WILLARD re-enters with REN.)
WILLARD
I thought of one more thing.
MUSIC 13A: MAMA SAYS (ENCORE)
WILLARD
NOW, MAMA SAYS
(The BOYS pop in with “Oooohs.”)
DON’T BUY A CHANDELIER UNLESS YOU’VE GOT A CEILING
(Spoken.)
I don’t know what that’s about.
MAMA SAYS
DON’T CHEW ON TIN FOIL, UNLESS YOU LIKE THAT FEELING
SOMEHOW SHE FIGURED THAT OUT!
WILLARD & BOYS
AND MAMA SAYS
IT DOESN’T MATTER
IF YOU’RE A KING OR YOU’RE A CLOWNII-3-80
ONCE YOU DRIVE UP A MOUNTAIN
WILLARD
(To REN.)
REMEMBER, BOY: EV’RYONE’S COUNTIN’ ON YOU
WILLARD & BOYS
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN!
WILLARD
That’s my Mama!
(The number ends. URLEEN and WENDY JO rush on.)
URLEEN
Ren! Ren! Thank God you’re here! Chuck and Ariel got into a big fight!
WENDY JO
Chuck beat her up! She might have a black eye.
WILLARD
C’mon, boys. Let’s get Chuck. Right now!
(They start off and encounter RUSTY entering with ARIEL, who is dabbing at her
reddened eye; her shoulder bag is slung across her chest.)
ARIEL
Willard, stop! Please don’t. I’m in enough trouble tonight. I don’t want to cause any more.
RUSTY
Chuck’s been on a tear since he found out about our little field trip to the Bar-B-Que Dance
Palace.
ARIEL
(To REN.)
He “ordered” me not to see you anymore. I told him I see who I like, and then he just started
swinging.
REN
Lemme look at that eye.
ARIEL
I’m just so mad at myself. I don’t know why I was with him in the first place.
REN
Maybe you should see a doctor.
ARIEL
(Pulling away.)
I am fine.II-4-81
WILLARD
You want me to call your folks?
ARIEL
No! Please. I just wanna be alone. Okay?
RUSTY
Let’s go, guys. C’mon.
(They ALL exit; REN lingers.)
REN
You want some company?
ARIEL
No.
(He starts to go.)
Yes.
(He stops.)
REN
You’re sure? I mean, I won’t take it personally if…
ARIEL
(Holding up a hand.)
Shh!
REN
What?
ARIEL
Listen!
(SOUND CUE: A WHISTLE and the distant RUMBLING of an approaching train.)
ARIEL
Come on!
(She starts to run off and he follows her; the TRAIN SOUNDS get closer, louder.)
REN
What? Where are we going…?
ARIEL
You’ll miss it! Come on!
Scene 4: Under the Train BridgeII-4-82
(REN follows her up a girder under the train bridge and tracks, high above the river. It is
covered with graffiti. They brace themselves as a train rumbles overhead; lights strobe
across their faces. This time, they both scream with abandon:)
REN & ARIEL
Aah-h-h-h-h-h-h-h-h--…!
(When the train sound fades, REN realizes how high they are and pulls back from the
edge.)
REN
Whoa!
(Peering down.)
It’s a free-fall into the river from up here! Are you out of your mind?
ARIEL
You noticed!
REN
What’re we, like, forty feet above the water?
ARIEL
But look around: up here I can pretend I’m halfway to heaven… I listen to the river…
(Indicating the girders.)
…and look what happens!
REN
(Inspecting the girders.)
Whoa! This place is covered with graffiti.
ARIEL
It’s not graffiti! It’s poetry. I call this place, “My Diary.”
REN
You climb all the way up here and write poems?
ARIEL
Uh-huh. They’re all dedicated to Bobby.
REN
Bobby? Who’s Bobby?
ARIEL
My brother.
REN
You never told me you have a brother.
ARIEL
Had a brother. Bobby was one of the four kids who went off the Potawney Bridge.II-4-83
REN
Oh, god. I’m sorry.
ARIEL
Yep. One of the…
(A la SHAW.)
“…four young people who held the promise of Bomont’s brightest future.”
REN
Why didn’t I know this?
ARIEL
We never talk about it. And once Daddy decided the town needed saving, he never mentioned
Bobby again.
REN
You must miss him real bad.
ARIEL
I try not to think about it.
REN
That never works. I’ll bet you think about it all the time.
ARIEL
How did you know that?
REN
I study you.
ARIEL
Oh, yeah? What do you see?
REN
Somebody who’s smart.
ARIEL
Thank you.
REN
Maybe a little bit angry.
ARIEL
Maybe a lot.
REN
And somebody who’s sad.
(Beat.)
I always wondered where that came from.
ARIELII-4-84
(Touched.)
Now you know.
(They’re both silent. She starts to speak, but stops herself.)
MUSIC 14: ALMOST PARADISE
REN
What?
ARIEL
I’ve never felt like anyone’s ever stopped to really look at me.
REN
Oh, no… You’re in my mind, twenty-four hours a day.
(Pause. They grow self-conscious, look away and sing their private thoughts:)
REN
I THOUGHT THAT DREAMS BELONGED TO OTHER MEN
CUZ EACH TIME I GOT CLOSE, THEY’D FALL APART AGAIN
ARIEL
I FEARED MY HEART WOULD BEAT IN SECRECY
BOTH
I FACED THE NIGHTS ALONE
OH, HOW COULD I HAVE KNOWN
THAT ALL MY LIFE I ONLY NEEDED YOU?
WHOA, ALMOST PARADISE
WE’RE KNOCKING ON HEAVEN’S DOOR
ALMOST PARADISE
HOW COULD WE ASK FOR MORE?
I SWEAR THAT I CAN SEE FOREVER IN YOUR EYES.
PARADISE!
(The music continues under as ARIEL turns to REN:)
ARIEL
Y’know, you make me forget everything that’s wrong with my life.
REN
There are some things I’d like to forget.
ARIEL
Like…?
REN
This battle I’m causing in Bomont! And I still don’t know what I’m gonna say to the Town
Council.II-4-85
ARIEL
Oh, that reminds me. You’ll need this.
(From her shoulder bag she pulls a book bristling with paper bookmarks; she hands it to
him.)
REN
(Reading the title.)
The Holy Bible?
ARIEL
I marked all the pages.
REN
(Flipping through, reading.)
Whoa! This is great. How did you know where to find all these passages?
ARIEL
(Regards him with disbelief.)
Are you kidding?
REN
(Realizing she’s the Preacher’s daughter!)
Oh. Thank you.
ARIEL
I THOUGHT THAT PERFECT LOVE WAS HARD TO FIND
I’D ALMOST GIVEN UP
YOU MUST’VE READ MY MIND
REN
AND ALL THOSE DREAMS I SAVED FOR A RAINY DAY
BOTH
THEY’RE FINALLY COMING TRUE
I’LL SHARE THEM ALL WITH YOU
CUZ NOW WE HOLD THE FUTURE IN OUR HANDS.
WHOA, ALMOST PARADISE
WE’RE KNOCKING ON HEAVEN’S DOOR
ALMOST PARADISE
HOW COULD WE ASK FOR MORE?
I SWEAR THAT I CAN SEE FOREVER IN YOUR EYES.
PARADISE!
REN
AND IN YOUR ARMS, SALVATION’S NOT SO FAR AWAY
ARIEL
IT’S GETTING CLOSERII-5-86
BOTH
CLOSER EVERY DAY
ALMOST PARADISE
WE’RE KNOCKING ON HEAVEN’S DOOR
ALMOST PARADISE
HOW COULD WE ASK FOR MORE?
I SWEAR THAT I CAN SEE FOREVER IN YOUR EYES.
PARADISE
PARADISE
PARADISE
(They kiss; the lights fade to black.)
MUSIC 14A: OUT OF “PARADISE”
Scene 5: The Town Hall
(The ENTIRE COMPANY is present in a Town Hall meeting room. At a long table sit
SHAW and MEMBERS of the COUNCIL w/ELEANOR DUNBAR on gavel. The KIDS
and OTHERS face them. LULU, the Secretary, reads from notes:)
LULU
“And so it was unanimously passed that the price of a dog license will go from three-dollars and
fifty cents to four dollars and twenty five cents. A licensed pet is a happy pet.” That takes care of
old business.
ELEANOR
Thank you, Lulu. Now let’s consider new business.
(The KIDS’ enthusiasm grows vocal; she bangs the gavel.)
Before we begin, I want to remind all our young people who have joined us this evening that this
meeting is convened to consider official town business. Disturbances will not be tolerated.
(The KIDS grumble but settle down.)
The floor is now open.
(REN raises his hand.)
Yes.
REN
My name is Ren McCormack and… uh…
(He looks to WILLARD and ARIEL who nod back.)
…on behalf of most of the senior class of Bomont High, I move that local ordinance four-sixteen
– the law against public dancing within the Bomont town limits – be abolished.
WILLARD
(Stands.)
And I, Willard Hewitt of 385 Cloverdale Road, would like to second that motion. Thank you.
(He sits. Applause from the KIDS is silenced by the gavel.)II-5-87
SHAW
Eleanor, may I have the floor, please?
ELEANOR
Certainly, Reverend.
SHAW
Mr. McCormack, you wish to change the law because you want to throw a dance; that is your
right. But it is my duty to challenge any enterprise which, in my experience, fosters the use of
liquor, the abuse of drugs and, most importantly, celebrates spiritual corruption. And I think
you’re going to find that most folks in this community agree with me.
COACH DUNBAR
(From audience.)
You got that right.
(General agreement from COUNCIL.)
SHAW
Now, if anyone can convince me that there is no danger in your raucous party plans, I might
reconsider my stand. But for now? No, I can’t condone it.
(He sits.)
ELEANOR
I believe that a vote is in order. Will all those in favor…
REN
Excuse me, isn’t there any kind of discussion?
COUNCIL MEMBERS
Now just a minute! Discussion is closed. You’re out of order, etc.
COACH DUNBAR
(Points at REN.)
It’s outrageous! If you think that …
(VI stands, shouts over the hubbub.)
VI
Roger!
(All quiet, turn to regard VI.)
Roger. Sit down.
(Stunned, he does.)
I believe that Mr. McCormack has a right to be heard.
REN
(Halting.)
I just wanted to say a few words, cuz I think this idea scares a lot of people. It shouldn’t.
(Unfolds a piece of paper, clears his throat, reads:)II-5-88
“From the oldest times, people danced for many reasons. They danced so their crops would be
plentiful or so that their hunt would be good. They danced to show their community spirit, and
they danced to celebrate. And that’s the dancing we’re talking about.”
SHAW
(Stands.)
Mr. McCormack, we don’t need a history lesson –
(REN pulls the Bible from his jacket and opens it to a bookmark.)
REN
And aren’t we told – excuse me, Reverend – aren’t we told in Psalm 149 to “praise ye the Lord.
Sing unto the Lord a new song. Let them praise his Name in the dance?”
(He looks to SHAW who, stunned, slowly sits.)
And it was King David… King David who we read about in Samuel. And what did David do?
What did David do?
(Stalls, trying to find the passage:)
What did David do?
(He finds it.)
Ah! “David danced before the Lord with all his might. Leaping and dancing before the Lord.”
(Shows the Bible to the Council Members.)
Leaping and dancing. And Ecclesiastes assures us that, “There is a time to every purpose under
heaven – a time to laugh and a time to weep. There is a time to mourn and there is a time to
dance.” There was a time for this law, but not anymore. And this is our time. Our time to
celebrate life. That’s the way it was in the beginning, the way it’s always been and that’s the way
it should be now. Thank you.
(The KIDS try to stifle their enthusiasm as REN returns to his seat, but they make some
noise.)
ELEANOR
Order! Order!
(The COUNCIL MEMBERS seem at a loss as to how to proceed. ELEANOR looks to
SHAW; he nods.)
There is a motion on the floor to repeal local ordinance four-sixteen. How does the Council vote?
COUNCIL MEMBERS
(One after the other.)
No. No. No.
SHAW
No.
ELEANOR
The motion is defeated. And I believe this meeting is adjourned.
MUSIC 14B: OUT OF COUNCIL
(The meeting breaks up and EVERYONE leaves; the KIDS grumble on their way out.
REN is left alone with ETHEL.)II-5-89
ETHEL
Ren. Up ‘til now, I’ve been real proud about keeping my opinion to myself. But, honey, if I don’t
say something I’m gonna bust.
REN
What’s there to say? I lost. The Council voted, and I lost.
ETHEL
Sweetie, you never had a prayer.
REN
That’s not funny, Mom.
ETHEL
Ren, when you got to the part about leaping and laughing and weeping and dancing – which I
loved, don’t get me wrong – I was watching the faces of the Town Council. I promise you: Shaw
Moore had those votes locked up before he walked in here tonight.
REN
(Startled.)
You think he told them how to vote?
ETHEL
You can still sound shocked. I love that about you.
REN
But he’s a man of God!
ETHEL
He’s a man. And you were railroaded.
REN
Damn, that pisses me off!
ETHEL
Good! Now listen: Reverend Moore said he would reconsider only if someone convinced him
there was no danger in your “raucous party plans.”
REN
“Raucous party plans” – do you believe these people? I mean –
(Stops as he notices her stare.)
What?
ETHEL
Make him reconsider.
REN
Me?
ETHEL
You.II-5-90
REN
(Referring to SHAW:)
And him?
ETHEL
Yup.
REN
When?
ETHEL
Now.
REN
But…!
ETHEL
Ren!
REN
Mom!
ETHEL
Stop!
(They stop their ping-pong exchange.)
Until you do, you’ll never make peace with that man. Or this town.
REN
I didn’t convince him in here.
ETHEL
He wasn’t listening in here. Make him listen.
REN
What can I say I haven’t already said? I read my speech, I thumped my Bible -
ETHEL
You did everything but speak from your heart.
(That stops REN.)
REN
Reverend Moore is a really smart man.
ETHEL
So are you.
REN
He’s stubborn.II-6-91
ETHEL
And you’re not?
(She starts off.)
I’d love to be here to watch, but I’ve got to get home and hose down your Aunt and Uncle.
REN
I love you, Mom.
ETHEL
You have no choice. Now, go!
(ETHEL exits. REN runs as the Moore Home enters.)
MUSIC 14C: TRANSITION TO MOORE HOME
Scene 6: The Moore Home
(REN approaches the Moore Home; SHAW – cinching a robe, clasping a prayerbook –
crosses and opens the front door.)
REN
Reverend.
SHAW
Mr. McCormack.
It’s late.
REN
(Cheery.)
Really? I’m wide awake.
(SHAW gives him a withering look.)
I have a question.
SHAW
(Wry.)
And it couldn’t wait until morning.
REN
One question.
(After a pause, SHAW admits him.)
Reverend, before tonight’s meeting, did you tell the Council how to vote?
SHAW
(Caught by surprise.)
We...discussed the issue, of course.
REN
But, did you tell them how to vote?
SHAW
Ren, this is more than a question of a dance...II-6-92
REN
(Forceful.)
Did you?
(SHAW’s silence is his answer.)
Reverend Moore, I understand what this town has been through…
SHAW
No, I don’t think you do. If you did, you wouldn’t have provoked your classmates to re-open the
wounds we have healed. You –
REN
(Interrupting.)
Those wounds are not healed.
(SHAW reacts.)
If they were, people wouldn’t be glaring at me on the street or snubbing my Mom at the market.
They wouldn’t be boycotting my Uncle’s business. And you wouldn’t be fixing the vote on the
Town Council –
SHAW
(Talking over him.)
I thought it was time to put an end to this nonsense.
REN
“Nonsense?!” All I say is, “Who’s up for a little dancing?” And the only thing people here can
think about is the Potawney Bridge and four kids–
SHAW
Mr. McCormack – !
REN
– and I know your son was one of them. And I’m sorry for your loss, I truly am, but honoring
their memory by shutting out the world isn’t working.
SHAW
(Sardonic, heated.)
And I’m sure you have all the answers!
REN
No, I don’t, but I –
SHAW
And you’re going to set me straight!
REN
I didn’t say thSHAW
How can you presume to know what I’ve been through? You don’t have a clue!
(Moves to show him the door.)
Good night, Mr. McCormack.II-6-93
REN
Please! If I could only –
SHAW
Mr. McCormack, I would like to be alone!
REN
(Emphatic.)
Sir, you already are!
(That stops SHAW in his tracks. Long pause. REN realizes that his words have stung
deeply. Now calmly, kindly:)
REN
We both are. You and me. We’ve both lost somebody. And even though people say they
understand, they don’t really. I bet you stop a hundred times a day and wonder “why?” I do. I
wonder why’d my Dad leave? Was it something I did? Something I didn’t do? Could I have made
him stay? Maybe I could bring him back? But I can’t.
(SHAW looks up.)
But I don’t have to tell you. You know what that’s like.
SHAW
(Quietly, defeated.)
I do.
REN
So, I guess I came to town frustrated and angry, and it felt really good to kick up a fuss. And I
know it got people upset, and I’m sorry for that. But I’m just trying to move on. Cuz I’m so tired
of looking back.
(Shrugs.)
And I can’t stand still.
SHAW
I’ve noticed.
(BOTH smile; the ice has been broken, but neither knows what to say next.)
REN
Okay, look, I’m gonna go. I know you’re gonna do what you’ve gotta do – about the dance and
all – but thanks for listening.
(He starts out.)
SHAW
Ren?
(REN turns; SHAW tries to find the words.)
I’m sorry that your father won’t ever get to know you.
REN
(Touched.)II-6-94
Thanks.
(REN goes.)
(SHAW is lost in thought. ARIEL appears and speaks softly.)
ARIEL
Daddy?
SHAW
Oh. I didn’t hear you come down.
ARIEL
I heard voices.
SHAW
That was your friend, Ren. He sure asks a lot of questions.
ARIEL
And what did you tell him?
SHAW
For once, I had very little to say.
(Smiles ruefully, shakes his head.)
I think I’m running out of answers.
(She can see how troubled he is.)
MUSIC 15: ARIEL COMFORTS SHAW (UNDERSCORE)
ARIEL
Daddy? I know it’s hard for you, and I know I don’t make it any easier. It’s just that I don’t know
if I believe in all the things you believe in. But I believe in you.
(He hugs her close. They break.)
Get some sleep. You have a sermon in the morning.
SHAW
If I can figure out what to say.
ARIEL
You will.
(She goes. SHAW is alone with his thoughts.)
MUSIC 16: HEAVEN HELP ME (REPRISE)
SHAW
WHEN SOULS COME TO ME FOR PROTECTION
I GUIDE THEM, WHATEVER THE COST
BUT WHILE I’VE BEEN GIVING DIRECTION
MAYBE IT’S ME WHO GOT LOSTII-6-95
HEAVEN HELP ME FIND MY WAY NOW
OPEN UP MY HEART AGAIN
HELP ME FIND THE WORDS TO SAY NOW
HEAVEN HELP ME
OH, HEAVEN HELP ME
MUSIC 16A: AFTER HEAVEN REPRISE
(The CHOIR joins with soft “ooohs” of ON ANY SUNDAY as the Church assembles
around SHAW, who ascends the pulpit.)
ALL
OOH…
Scene 6A: The Church
SHAW
I’m standing before you this morning with a very troubled heart. You see, my friends, as your
minister, I should be helping you to find the joy in your lives; last night I realized that I haven’t
been doing that. After all, we all remember that terrible night five years ago when the lives of
four young people ended on the Potawney Bridge. Everyone in this community lost someone that
night – a child, a neighbor, a friend. I –Vi and I – we lost our son.
(He looks to his family.)
Ariel lost her brother. Now, somehow I got into my head that my loss was the greatest. That my
pain was the deepest. And then, last night, someone much younger than I made me realize how
tightly I had been holding onto that memory. A memory that has weighed me down as surely as a
great stone. And in that moment, I did something I haven’t done for a very long time: I laid down
my burden. It was a terrifying moment. And it was exhilarating. This morning I offer you the
same opportunity.
(Beat.)
The Senior Class of Bomont High School has asked permission to hold a dance. Ren, I think that
might be a good idea.
(The CONGREGATION reacts with muted jubilation.)
Please join me in asking our Lord to guide and protect our children.
(He bows his head and the CHOIR finishes with a triumphant “Ah-ah-ah-Amen,”
punctuated by RUSTY waving a hand overhead and riffing, “Thank you, Lord, Amen!”)
CHOIR RUSTY
AH-AH-AH-MEN THANK YOU, LORD
(SHAW casts a glance back in her direction – and smiles.)
(The CONGREGATION disperses.)
Scene 6B: The Churchyard
(The KIDS gather to congratulate REN, patting his back, shaking his hand, etc., but they
fall silent and step back when CHUCK struts over to REN and ARIEL. After a tense faceoff, CHUCK sneers.)II-6-96
CHUCK
We’re outta here.
(He turns, snapping his fingers.)
Travis! Lyle! Let’s go!
(The CROWD parts to reveal TRAVIS and LYLE getting an impromptu dance lesson from
TWO GIRLS; when the guys catch CHUCK’S glare, they slow down and stop, selfconscious. After an icky silence:)
TRAVIS
Uh… could you maybe give us a minute here?
(A few KIDS stifle snickers. CHUCK tries to save face by sneering:)
CHUCK
Losers.
(He flips up the collar on his leather jacket and struts off, friendless.)
(As the CROWD disperses, GARVIN and BICKLE push WILLARD toward RUSTY, who
is thrust forward by WENDY JO and URLEEN.)
WILLARD
Rusty, now here’s the deal. I could throw a clean sheet over the front seat of the pick-up so we
don’t end up smelling like the dogs.
RUSTY
Uh-huh.
WILLARD
Daddy’s suit kinda fits and I could roll up the pants legs with duct tape.
RUSTY
I love where this is going.
WILLARD
Mama could whip up one of those…
(Points frantically at his lapel.)
…croissants?
RUSTY
A corsage?
WILLARD
One of them.
RUSTY
You’re painting a picture for me, aren’t you? I see a rusty truck that smells bad, a taped-up brown
suit, and me, wearing a corsage made out of God-knows-what.II-6-97
WILLARD
Whaddya think?
RUSTY
Is there a dance in there someplace?
WILLARD
Yes, ma’am. You wanna?
RUSTY
Willard, I would love to!
(RUSTY and WILLARD exit leaving URLEEN and WENDY JO alone with GARVIN &
BICKLE. The BOYS take a breath to speak to the GIRLS but…)
URLEEN & WENDY JO
Don’t even think about it.
(They exit; the BOYS exit separately. Only SHAW and VI are left.)
VI
Shaw, you did a good thing this morning.
SHAW
I’m still not sure it was the right thing.
VI
I think it comes close.
(Pause.)
I’ve missed you. I’ve missed us.
MUSIC 17: CAN YOU FIND IT IN YOUR HEART? (REPRISE)
SHAW
I HOPE YOU NEVER DOUBT THAT I LOVE YOU
IF THAT’S HARD TO FIGURE OUT SOMETIMES, WELL THEN, I APOLOGIZE
BUT YOU ARE DEARER TO MY LIFE THAN YOU COULD EVER REALIZE
IF I TRY TO MAKE AMENDS, CAN YOU TEACH ME HOW TO START?
CAN YOU FIND IT IN YOUR HEART?
(She regards him, then crosses and embraces him. They hold onto each other, swaying,
until finally:)
VI
Shaw?
SHAW
Yes?
VI
We’re almost dancing.II-6-98
(They laugh and exit, arm in arm.)
MUSIC 18: FOOTLOOSE (FINALE)
(REN enters the empty stage dressed for the dance.)
REN
I RENTED MY TUX
GARVIN & BICKLE
(Entering.)
BOUGHT FLOWERS –
JETER
(Entering.)
TWELVE BUCKS!
WILLARD
(Entering.)
AND ON MY TWENTY-THIRD TRY
I FINALLY TIED MY TIE
BOYS
I GOT THIS FEELING
THAT TIME’S NO LONGER HOLDING ME DOWN
ARIEL
(Entering.)
BEEN FEELING SO STRANGE
MY LIFE IS ABOUT TO CHANGE
RUSTY
(Entering.)
I KNOW JUST HOW SHE FEELS
RUSTY, URLEEN & WENDY JO
(Entering.)
THAT’S WHAT HAPPENS WHEN YOU’RE WEARING HEELS
ALL
LET’S HIT THE CEILING
AND THEN LET’S TEAR UP THIS TOWN
(They swirl into a tableau in which REN faces ARIEL; he stares.)
ARIEL
What?
REN
You’re beautiful.II-7-99
ALL
(“Isn’t that sweet?”)
Awwww...
(As their spoken, “Awww” swoops into the sung “Ah-,” the Gym assembles around the
CAST.)
Scene 7: The Gym
ALL
AH-AH-AH-AH
AH-AH-AH-AH-AH
TONIGHT WE’RE GONNA CUT LOOSE
FOOTLOOSE!
KICK OFF YOUR SUNDAY SHOES
PLEASE, LOUISE
PULL ME OFFA MY KNEES
JACK
RUSTY, WENDY JO & URLEEN
JACK!
ALL
GET BACK
RUSTY, WENDY JO & URLEEN
BACK!
ALL
COME ON BEFORE WE CRACK
LOSE YOUR BLUES
EV’RYBODY CUT FOOTLOOSE!
I GOT THIS FEELING THAT TIME AIN’T HOLDING ME DOWN
RUSTY, WENDY JO & URLEEN
TIME AIN’T HOLDING ME
WILLARD, JETER, GARVIN & BICKLE
LIFE AIN’T HOLDING ME DOWN
ALL
LET’S HIT THE CEILING
AND THEN LET’S TEAR UP THIS TOWN.
ARIEL, RUSTY, URLEEN & WENDY JO
I NEED A HERO
I’M HOLDING OUT FOR A HERO TIL THE END OF THE NIGHT
HE’S GOTTA BE STRONG, AND HE’S GOTTA BE FAST
AND HE’S GOTTA BE FRESH FROM THE FIGHT
I NEED A HERO!II-7-100
BOYS
OO-EE MARIE
SHAKE IT SHAKE IT FOR ME
GIRLS
WHOA! MILO
COME ON COME ON LET’S GO
ALL
CUT FOOTLOOSE
CUT FOOTLOOSE WHOA!
(SHAW and VI enter. Everything stops!)
SHAW
Please. Go on!
(EVERYONE cheers. Dance Break.)
ALL
AH-AH-AH-AH
AH-AH-AH-AH-AH
(Dance Break.)
AH, FIRST, WE’VE GOT TO TURN YOU AROUND
THEN PUT YOUR FEET ON THE GROUND
NOW TAKE AHOLD OF YOUR SOUL
(CUT FOOTLOOSE!)
NOW TAKE AHOLD OF YOUR SOUL
(CUT FOOTLOOSE!)
(Dance Break.)
EV’RYBODY CUT EV’RYBODY CUT
EV’RYBODY CUT EV’RYBODY CUT
REN
EV’RYBODY
KIDS
EV’RYBODY
REN
EV’RYBODY
ALL
EV’RYBODY
EV’RYBODY CUT FOOTLOOSE!
YEAH!II-7-101
(The curtain falls.)
END ACT II
MUSIC 19: BOWS
MUSIC 20: MEGAMIX (OPTIONAL)
ALL
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
WE CAN FACE THIS DOWN RIGHT NOW RIGHT HERE
MAYBE WE CAN FIN’LLY RIGHT THIS WRONG
ARM IN ARM AND SIDE BY SIDE WE’RE STRONG
AND FREE
ARIEL, WENDY JO, RUSTY & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOO
DOO DOO DOO DOO
AHH! AHH!
ARIEL
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TILL THE END OF THE NIGHT
WENDY JO
HE’S GOTTA BE STRONG,
URLEEN
AND HE’S GOTTA BE FAST
RUSTY
AND HE’S GOTTA BE FRESH FROM THE FIGHT
ARIEL, WENDY JO, URLEEN, RUSTY
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE MORNING LIGHT
HE’S GOTTA BE SURE AND IT’S GOTTA BE SOON
AND HE’S GOTTA BE LARGER THAN LIFE
THROUGH THE WIND AND THE CHILL AND THE RAIN
AND THE STORM AND THE FLOOD,
I CAN FEEL HIS APPROACH LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD,
LIKE A FIRE IN MY BLOOD,
LIKE A FIRE IN MY BLOOD,
LIKE A FIRE IN MY
AHH! AHH!
(Instrumental.)II-7-102
RUSTY, ARIEL, WENDY JO, URLEEN FEMALE DANCERS
LET’S HEAR IT FOR THE BOY (HEAR IT FOR THE BOY)
LET’S GIVE THE BOY A HAND (HAND)
LET’S HEAR IT FOR MY BABY (HEAR IT FOR MY BABY)
YOU KNOW YOU GOTTA UNDERSTAND (UNDERSTAND)
WHOA, MAYBE HE’S NO ROMEO (ROMEO)
BUT HE’S MY LOVING ONE-MAN SHOW (ONE-MAN SHOW)
OH WHOA WHOA WHOA WHOA WHOA WHOA
LET’S HEAR IT FOR THE BOY!
(STILL ROCKIN’ dance break.)
KIDS
AH-AH-AH-AH-AH
REN
TONIGHT I GOTTA CUT LOOSE
REN AND KIDS
FOOTLOOSE
KICK OFF YOUR SUNDAY SHOES
PLEASE, LOUISE
PULL ME OFF A MY KNEES
REN, KIDS, URLEEN, WENDY JO, RUSTY
JACK (JACK!) GET BACK (BACK!)
COME ON BEFORE WE CRACK
KIDS
LOSE YOUR BLUES
EV’RYBODY CUT EV’RYBODY CUT
EV’RYBODY CUT EV’RYBODY CUT
REN & ARIEL
EV’RYBODY
KIDS
EV’RYBODY
REN & ARIEL
EV’RYBODY
KIDS & ADULTS
EV’RYBODY
ALL
EV’RYBODY CUT FOOTLOOSE!
YEAH!
MUSIC 21: EXIT MUSICAST OF CHARACTERS
Ren McCormack – a teenage boy from Chicago
Ethel McCormack – his mother
Reverend Shaw Moore – the minister of Bomont
Vi Moore – his wife
Ariel Moore – their teenage daughter
Lulu Warnicker – Ren’s aunt
Wes Warnicker – her husband
Coach Roger Dunbar – the high school gym teacher
Eleanor Dunbar – his wife
Rusty – Ariel’s best friend
Urleen – Ariel’s friend
Wendy Jo – Ariel’s friend
Chuck Cranston – Ariel’s boyfriend
Lyle – Chuck’s buddy
Travis – Chuck’s buddy
A Cop
Betty Blast – owner of The Burger Blast
Willard Hewitt – Ren’s friend, a country boy
Principal Harry Clark
Jeter – Ren’s friend
Bickle – Ren’s friend
Garvin – Ren’s friend
Cowboy Bob – lead vocalist at the Bar-B-Que
Cowboy Bob’s Band
Townspeople and High School Students
iiiMUSICAL SYNOPSIS
ACT I
Scene 1: The City of Chicago
FOOTLOOSE* ...................................................... Rusty, Wendy Jo, Urleen and the Company
The Town of Bomont, in Church
ON ANY SUNDAY ....................................... Rev. Shaw Moore, Ren, Ethel and the Company
Scene 2: The Churchyard
Scene 3: Behind a Gas Station
THE GIRL GETS AROUND** .................................................. Chuck, Ariel, Travis and Lyle
Scene 4: A High School Hallway
I CAN’T STAND STILL ..................................................................................................... Ren
SOMEBODY’S EYES .......................................... Rusty, Urleen, Wendy Jo and the Company
Scene 5: The Moore Home
LEARNING TO BE SILENT ...................................................................... Vi, Ethel and Ariel
Scene 6: The Burger Blast
HOLDING OUT FOR A HERO† ....................................... Ariel, Rusty, Wendy Jo and Urleen
Scene 7: The Great Plains of Bomont
SCENE CHANGE (“SOMBODY’S EYES”) ............................... Rusty, Wendy Jo and Urleen
Scene 8: The Moore Home
SOMEBODY’S EYES (REPRISE) .................................................. Rusty, Wendy Jo, Urleen,
Chuck, Lyle and Travis
HEAVEN HELP ME.......................................................................................................... Shaw
Scene 9: The High School Gym/The Church
I’M FREE*/ HEAVEN HELP ME .............................................. Ren, Shaw and the Company
ivACT II
Scene 1: The Bar-B-Que, a Country/Western Dance Hall
STILL ROCKIN’ ............................................................................. Cowboy Bob and his Band
LET’S HEAR IT FOR THE BOY ....................................................... Rusty and the Company
Scene 2: The Moore Home
CAN YOU FIND IT IN YOUR HEART? .............................................................................. Vi
Scene 3: The Junk Yard
DANCING IS NOT A CRIME ............................................................................................ Ren
MAMA SAYS (YOU CAN’T BACK DOWN) ................................... Willard, Bickle, Garvin,
Jeter and Ren
MAMA SAYS (ENCORE) ............................................................................. Willard and Boys
Scene 4: Under the Train Bridge
ALMOST PARADISE†† ..................................................................................... Ren and Ariel
Scene 5: The Town Hall
Scene 6: The Moore Home
HEAVEN HELP ME (REPRISE) ...................................................................................... Shaw
Scene 6a: The Church
Scene 6b: The Churchyard
CAN YOU FIND IT IN YOUR HEART? (REPRISE) ...................................................... Shaw
Scene 7: The Gym
FOOTLOOSE* (Finale) ....................................................................................... The Company
MEGAMIX (Optional) ......................................................................................... The Company
All music by Tom Snow except: *Kenny Loggins; **Sammy Hagar; †Jim Steinman; ††Eric Carmen
All Lyrics by Dean Pitchford except: FOOTLOOSE – Lyrics by Dean Pitchford and Kenny Loggins
vAUTHOR’S NOTES
WHO ARE THESE PEOPLE?
The major characters in FOOTLOOSE have one trait in common: they are all survivors. Their
circumstances – no matter how tragic – have not defeated them, and, as a consequence, we, the
audience, find them likable, sympathetic…and human.
That having been said, each role is unique and presents an actor or actress with specific
challenges; the following thumbnail sketches of the major characters may give you ideas about
the qualities to look for and pitfalls to be avoided when casting your production.
REV. SHAW MOORE – The secret to the character of Rev. Moore is that he is charismatic.
Charming, even. Shaw has a quick mind, a loving heart and a sense of humor, all of which endear
him to his congregation. While trying to be strong for so many people, however, he continues to
mourn the death of his son – the one person he could not save. Only Ariel and Vi (and eventually
Ren) get a glimpse of this private anguish and the flashes of frustration and temper that arise from
that.
And age-wise, remember that Shaw is the father of a teenage girl; then, do the math.
VI MOORE – Despite the loss of her son and the strained relationship with her husband, Vi fully
understands what kind of unflagging good humor she must display in order to keep her household
– and her husband’s congregation – running smoothly. And with her plucky irreverence, she gives
us a glimpse of what life with Shaw was like before the tragedy, when theirs was a marriage both
passionate and playful.
ARIEL MOORE – Ariel is smart; she understands the rules of the different worlds she moves
between and, in each situation, she plays her part brilliantly. When she’s in her father’s presence,
for instance, she is buttoned-up and demure; with Chuck, she burns off all her unexpressed,
explosive energy with raucous, thrill-seeking behavior.
Ariel loves to laugh – with Chuck, with her girlfriends and, eventually, with Ren – but her high
spirits are, quite often, her attempt to keep a lid on the grief she feels about her brother’s death
and the loss of her once loving relationship with her father.
REN McCORMACK – Any actor playing Ren has not only got to be able to sing and dance and
act – he must also be witty.
After all, Ren is a cut-up, a joker who enjoys a good time (which is why his Pals are upset to find
out he’s leaving in the opening number). Lately, though, his fun-loving attitude has taken on a
tone of desperation, as he tries too hard to convince the world – and himself – that his father’s
desertion hasn’t wounded him as deeply as it has. Ariel is the first character to get Ren to talk
about that sticky subject; sharing that intimacy early on becomes the basis for their relationship.
Ren’s emotional journey starts with his being feisty and flippant in Act I, continues through his
thoughtful argument to the Town Council and ends with his emotional final confrontation with
Rev. Moore. It’s a journey from boyhood to maturity.
ETHEL McCORMACK – Where does Ren get his intelligence, his resilience and his sense of
humor? From his mother, of course! It’s hard for Ethel to be living in her sister’s home and
viabiding by her brother-in-law’s rules, but she never succumbs to the pathos of her situation; after
all, she has to be strong for Ren. Their mutual loss has brought them closer together, and they
share a teasing, good-natured relationship.
WILLARD HEWITT – Willard is not dumb; he is a gentle soul with quick fists, which are his
defense against a world that he often has trouble comprehending. Willard just hasn’t had anyone
come along to puncture that macho belligerence – until Ren arrives. After that, the humor in the
character of Willard derives from his gradual, innocent and giddy discovery of the new worlds
that Ren opens up to him.
RUSTY – Rusty may come off as sassy and self-assured, but, in many ways, she is the most
deeply romantic character in FOOTLOOSE. She truly believes that she and Willard were meant
to be together, but they’re both so inept about expressing themselves that it takes Ren – and a
little time on the dance floor – to ultimately bring that about.
FOOTLOOSE BY THE NUMBERS
In staging your production of FOOTLOOSE, always remember:
FOOTLOOSE takes place in a town where nobody’s allowed to dance.
This is not to say that characters in Bomont can’t move, because they certainly can (they must!),
but that movement should be inventive and clever; early on it should be restrained, otherwise the
story of FOOTLOOSE stops in its tracks. The payoff will be all the greater if the explosion of
dance energy at the end of Act II is not only a catharsis for the characters onstage but for your
audience as well.
Here are a few additional suggestions that we hope might enhance your experience of doing our
show.
Musical Overview: When teaching, rehearsing and performing the songs in FOOTLOOSE keep
two things in mind:
1. Our score draws influences from the worlds of rock ‘n’ roll, R&B, pop, gospel and
Broadway music. Despite that diversity, there is one constant: all these styles demand
rhythm. FOOTLOOSE comes alive when singers feel a song’s pulse, when they
experience its beat in their bodies and when they dig deep to express its inherent musical
muscle. Don’t confuse intensity with speed; performing a song fast is never as effective
as performing it with energy and clarity of attack.
2. Notice how the first few lines of each of the character songs in FOOTLOOSE flow
from the spoken words that precede them. When these transitions are smooth, the
characters can continue at a conversational clip as they slip easily into their numbers.
ACT I
In the opening number (Footloose) it’s important to stress the distinction between raucous,
energetic Chicago and the laid-back, bucolic Bomont that arrives onstage in On Any Sunday.
In The Girl Gets Around, the playful banter of the lyric (“Well, she’d like you to think she was
born yesterday….” “Yeah, he likes to pretend he’s a man among men…”) masks a subtext of
genuine physical attraction.
viiI Can’t Stand Still is not a number about Ren dancing; what it is about is the beginning of an
unlikely friendship between him and Willard.
What happens here is that, in Willard, Ren finds the first person he can talk to in Bomont; and
Willard finds himself collared by this tightly-wound “big city” fellow. By the end of the number,
Willard has been drawn in by Ren’s charm, so much so that he defends his new friend to
Principal Clark.
In Somebody’s Eyes, there’s a spirited energy and a mischievous wink in the way that Rusty,
Wendy Jo and Urleen explain life in Bomont to Ren.
Learning To Be Silent is a song of survival. Vi, Ethel and Ariel are plucky and defiant, drolly
cataloguing the many ways in which they preoccupy themselves as they choke back their
thoughts: “Counting little cracks in the tile…,” “Contemplating taking up smoking,” etc.
In Holding Out For A Hero, Ariel, Rusty, Wendy Jo and Urleen sing: “Late at night I toss and I
turn/And I dream of what I need.” The song gives them a chance to share that fantasy with us.
Rev. Moore is a smart man who depends on logic to provide him with a compass by which he can
steer his life and the lives of his parishioners; but in Heaven Help Me, Rev. Moore loses his
bearings. He veers between rationalizing arguments (“I don’t enjoy being her jailer!”; “I strive
to be a good preacher!”) and outright pleas to his Lord (“Heaven help me shoulder my load!”).
This vigorous agitation propels the number, straight through to Shaw’s final snap: “Who can?!”
I’m Free is one of the potential pitfalls to which I alluded in the opening paragraphs above; just
because Ren is talking about having a dance in Bomont doesn’t give these characters the license
to actually dance. The scene is set in a gymnasium, where basketballs, jump ropes, trampolines,
climbing ropes, gymnastic apparati, etc. and all sorts of sports and exercise moves can provide
many opportunities for movement.
ACT II
Still Rockin’ is a good-time, rock ‘n’ roll, two-steppin’ bar-band number that introduces us to the
world of the Bar-B-Que as well as to the simple pleasure of dance that has been so long denied
the residents of Bomont (especially Rusty!).
In Let’s Hear It For The Boy two separate and distinct stories are being told:
1. Willard is trying to learn to dance from the Cowboys while…
2. Rusty is rationalizing her attraction to Willard by confiding to the Cowgirls.
Eventually these separate stories converge… with humorous results.
Can You Find It In Your Heart? is a good example of the point I made above (Musical
Overview #2) about creating an uninterrupted transition from speaking dialogue to singing it.
The fun to be had with Ren’s terrible speech (Dancing Is Not A Crime) comes when Ren
gradually discovers that “Hey! I’m bustin’ a rhyme!” and he gets swept up into his patter, to the
dismay of his Pals.
Afraid of failure, Ren wants to quit his campaign for a dance, but Willard and his Buddies have to
persuade him not to; Mama Says is their “recruitment,” song in which they must convince Ren
that he “can’t back down!”
viiiix
Almost Paradise is a tentative, steadily-building courtship in which private thoughts (“I thought
that dreams belonged to other men…”; “I feared my heart would beat in secrecy…”) eventually
become shared intimacies (“I swear that I can see forever in your eyes.”).
Shaw’s reprises of Heaven Help Me and Can You Find It In Your Heart? are the unadorned
thoughts of a man who has survived a long and painful journey to redemption.
The Footloose Finale has been carefully constructed to build, build, build; but be careful that the
tempo doesn’t run away.
We have no doubt that with your imagination, talent and inspiration, you and your cast will create
a unique and thrilling experience for your audience. And when it comes to opening night for
FOOTLOOSE, remember to….
…break a leg.
—Dean Pitchford
ACKNOWLEDGEMENTS
The score of FOOTLOOSE has benefited enormously from the talented input of many fine
musicians and musical directors, beginning with our original Broadway team of Doug Katsaros,
Joe Baker and Danny Troob.
On its journey around the country and around the world, our show has also had the good fortune
to receive the input and contributions of Steve Parsons (Akron); Ryan Nelson & Patti Garwood
(Chicago); Darren Cohen (New York); and Chris Hatt, Mike Dixon & Chris Egan (U.K.). We are
deeply grateful to all of them.
And finally, a special thank-you must be extended to Wayne Blood for pulling all the many
pieces together.I-1-1
ACT I
Scene 1: The City of Chicago/The Town of Bomont, in Church
MUSIC 1: FOOTLOOSE/ON ANY SUNDAY
(A beat begins as the house lights dim. YOUNG PEOPLE enter, getting ready for a night
out. Except for REN and ETHEL, all persons appearing in this opening number should be
thought of as “Chicago Ensemble;” the character names used refer to their eventual
“Bomont” identities.)
RUSTY
BEEN WORKING SO HARD
I’M PUNCHING MY CARD
EIGHT HOURS, FOR WHAT?
OH, TELL ME WHAT I GOT
WENDY JO
BEEN WORKING SO HARD
I’M PUNCHING MY CARD
EIGHT HOURS, FOR WHAT?
OTHERS
FOR WHAT? FOR WHAT?
FOR WHAT? FOR WHAT?
FOR WHAT?
URLEEN
BEEN WORKING TOO DAMN HARD
I’M PUNCHING THAT SAME CARD
EIGHT HOURS BUSTIN’ MY BUTT
OH, TELL ME WHAT I GOT
KIDS
I GOT THIS FEELING
THAT TIME’S JUST HOLDING ME DOWN
RUSTY, URLEEN & WENDY JO
I HATE THIS FEELING
TIME IS HOLDING ME DOWN
KIDS
I’LL HIT THE CEILING
OR ELSE I’LL TEAR UP THIS TOWN
TONIGHT I GOTTA CUT LOOSE
FOOTLOOSE
KICK OFF YOUR SUNDAY SHOES
PLEASE, LOUISE,
PULL ME OFFA MY KNEES
JACK, GET BACKI-1-2
COME ON BEFORE WE CRACK
LOSE YOUR BLUES
EVERYBODY CUT FOOTLOOSE
(REN, a charismatic teen, breaks from the pack; he is surrounded by FRIENDS patting
his back, shaking his hand, etc; they are in a dance club, shouting to be heard.)
BOY 1
Ren! Ren, hey, Ren. I heard you’re moving away.
BOY 2
(To BOYS 1 & 3.)
Ren’s leaving Chicago?
(To REN.)
You’re leaving Chicago?
REN
(Playful.)
That’s right! I’m leavin’ you clowns for the wide open spaces.
BOY 3
(To BOY 2.)
What he means is that he’s moving to some little hick town that nobody’s ever heard of.
REN
(Defensive, good-humored.)
Hey! People have heard of it!
BOY 1
Oh, yeah? What’s the name of it?
REN
You can find it on any map.
BOY 3
What’s the name of it?
REN
Folks are flocking there from all over.
BOYS 1, 2, 3
WHAT’S THE NAME OF IT?
REN
BOMONT!
ALL
(Turning, shouting.)
Bomont? Where the hell is Bomont?I-1-3
RUSTY, URLEEN & WENDY JO
(To REN.)
YOU’RE PLAYIN’ SO COOL
OBEYIN’ EVERY RULE
DIG WAY DOWN IN YOUR HEART
YOU’RE BURNIN’, YEARNIN’ FOR SOME…
SOMEBODY TO TELL YOU
THAT LIFE AIN’T PASSIN’ YOU BY
REN & RUSTY, URLEEN & WENDY JO
LIFE AIN’T PASSIN’ ME BY
ALL
I’M TRYIN’ TO TELL YOU
IT WILL IF YOU DON’T EVEN TRY
YOU CAN FLY! YOU CAN FLY!
YOU CAN FLY!
RUSTY, WENDY JO & URLEEN
IF YOU’D ONLY CUT LOOSE
ALL
CUT FOOTLOOSE! (WHOA!)
CUT FOOTLOOSE! (AAWWW)
CUT FOOTLOOSE!
(The rhythmic pulse continues under as the lights shift. REN spins out from the Disco
setting to find his Mom, ETHEL MCCORMACK, at home, packing. She is in her late
30’s, still attractive but nervously troubled right now. Their relationship is playful but
respectful.)
REN
Mom! Where’re you gonna put that? The back seat of the car is full. I can’t close the trunk…
ETHEL
Ren, don’t start! I don’t want to move any more than you do.
REN
Then let’s not go.
ETHEL
Look! I, too, wish your father hadn’t left. I, too, wish that things could be the way they were…
REN
Okay, okay…
ETHEL
…and we both wish I could be one of those strong single mothers who suddenly becomes selfsufficient! But I’m not.
(Tongue-in-cheek:)I-1-4
Please feel free to disagree.
REN
Mom, we’ve got a ten-hour drive ahead of us. We’ve got a lot of time to disagree.
(He and OTHERS grab suitcases, etc., and “move” him and ETHEL; as REN and
ETHEL “leave Chicago,” the lights restore onstage.)
ALL
FIRST
WE’VE GOT TO TURN YOU AROUND.
SECOND
THEN PUT YOUR FEET ON THE GROUND.
THIRD
NOW TAKE A HOLD OF YOUR SOUL!
AAWWW…
AHH…
EV’RYBODY CUT, EV’RYBODY CUT,
EV’RYBODY CUT, EV’RYBODY CUT,
EV’RYBODY CUT, EV’RYBODY CUT,
AH-AH-AH-AH…
AH-AH-AH-AH…
(The DANCERS spin off, revealing REVEREND SHAW MOORE – 40’s, Vigorous,
authoritative; he stands centre stage listening to the sounds of a CHOIR warming up
sweetly in the distance.)
Scene 1B: In Church
CHOIR
(Offstage.)
AHH…
ON ANY SUNDAY HERE WE’LL BE
RAISING OUR VOICES IN HARMONY
ONE DAY ONCE OUR TRIALS HAVE CEASED
WE WILL BE RELEASED
SHAW
(Heartfelt, conversational.)
ON ANY SUNDAY, LORD, I PRAY
TELL ME EXACTLY THE WORDS TO SAY.
GIVE ME STRENGTH AND MAYBE THEN
I CAN REACH MY FELLOW MEN
SO WE ALL MAY RISE AGAIN
THANK YOU, LORD. AMEN
(The backdrop flies out as the choir loft and pews of the church appear. The CHOIR is
seated in the loft.)I-1-5
CHOIR
AH…
(When the scenery settles, the PARISHIONERS enter church and take seats in the pews.
REN and ETHEL enter; SHAW greets them.)
SHAW
Welcome to Bomont!
(SHAW mounts to the pulpit.)
Good morning!
PARISHIONERS
Good morning, Reverend!
SHAW
I took the long way to church this morning, down past the old creek. I heard birds chirping and
our own choir warming up in the distance. I was reminded of a line from our great poet, Walt
Whitman, who wrote, “I hear America singing.” And I thought, “Aren’t we the song that we sing?
Don’t we lift our voices to tell the world who we are? And what we believe?” So I ask you this
morning – what song are you singing?
REN
(Turning in his pew.)
WE’VE ONLY BEEN HERE TWO DAYS AND ALREADY
CHICAGO SEEMS A MILLION MILES AWAY
BUT WE WERE BARELY HANGING ON THERE
‘SPECIALLY WITH MY FATHER GONE THERE’S
NOT TOO MANY PLACES WE COULD STAY
BUT MAYBE MOM CAN FIND A JOB THAT’S STEADY
AND MAYBE I CAN STAND IT FOR A YEAR
AND MAYBE THINGS WON’T BE SO BAD
AND MAYBE I WON’T MISS MY DAD
AND MAYBE WE COULD START A NEW LIFE HERE
PARISHIONERS
OOH, AH… START A NEW LIFE HERE!
OOH OOH OOH OOH
SHAW
But if Walt Whitman were alive today, what song would he hear America singing? When I turn
on television, all I hear is the music of easy sexuality and relaxed morals. I hear rock and roll and
the endless chant of pornography. And I ask myself, “Why does our Lord allow this?” We know
God has the power to turn all those records and books and videos into one big fiery cinder like…
(Clapping his hands before a sleeping boy.)
…that!
(The BOY startles awake.)
But He doesn’t. And why? Because God is testing us. He’s watching to see whether we’ll choose
his path. And that is why, every day, we must ask ourselves: “Have I done the right thing?”I-1-6
ETHEL & REN
HAVE I DONE THE RIGHT THING?
PICKING UP MY LIFE
PACKING UP THE PAST
THAT’S ALWAYS FRIGHT’NING
HAVE I DONE THE RIGHT THING?
ADULT PARISHIONERS
THE RIGHT THING! THE RIGHT THING!
WE STRIVE TO DO WHAT’S RIGHT!
THE RIGHT THING! THE RIGHT THING!
SIN IS A MATTER OF BLACK AND WHITE!
SHAW
This morning we welcome to our parish two new souls just arrived from Chicago. Ethel
McCormack and her son… Ron, is it?
REN
(Mumbles.)
Ren.
SHAW
Huh? Speak up! Let the Lord hear your voice!
REN
(Stands. Louder.)
Ren.
CHUCK
(Snidely mimicking.)
“Ren!”
(Other KIDS laugh.)
REN
(Ignoring the jibe.)
Ren McCormack.
SHAW
“Ren.” Interesting name. Is that short for something?
REN
(Cheeky.)
Nope!
(Sits abruptly.)
KIDS
THERE’S RUMORS GOIN’ ‘ROUND ABOUT THE NEW KID
AND EVERYBODY’S TALKIN’ ‘TIL THEY’RE BLUE
CUZ YOU KNOW HOW A STRANGER IS –I-1-7
IF HE’S NOT DUMB HE’S DANGEROUS –
BUT EITHER WAY AT LEAST IT’S SOMETHING NEW.
SHAW
Now I invite you to join my wife Vi and our daughter Ariel in this morning’s convocation.
(ARIEL and VI ascend to the altar and flank SHAW; they all sing from missals.)
SHAW, VI & ARIEL
GOD IS LOVE
FOLLOW HIM AND NEVER ROAM
HE HAS MADE THE STARS ABOVE
JUST TO LIGHT YOUR WAY BACK HOME
SHAW
(To the Congregation.)
Everybody!
(REN and ETHEL, the CHOIR, SHAW and the OTHERS sing their respective sections in
counterpoint.)
REN & ETHEL
WE’VE ONLY BEEN HERE TWO DAYS AND ALREADY
CHICAGO SEEMS A MILLION MILES AWAY
BUT WE WERE BARELY HANGING ON THERE
‘SPECIALLY WITH MY/HIS FATHER GONE THERE’S
NOT TOO MANY PLACES WE COULD STAY
BUT MAYBE MOM/I CAN FIND A JOB THAT’S STEADY
AND MAYBE I/REN CAN STAND IT FOR A YEAR
AND MAYBE THINGS WON’T BE SO BAD
AND MAYBE I/REN WON’T MISS MY/HIS DAD
AND MAYBE WE CAN START A NEW LIFE HERE
SHAW, VI & ARIEL
GOD IS LOVE
FOLLOW HIM AND NEVER ROAM
HE HAS MADE THE STARS ABOVE
JUST TO LIGHT YOUR WAY BACK HOME
ADULT PARISHIONERS
THE RIGHT THING! THE RIGHT THING!
WE STRIVE TO DO WHAT’S RIGHT!
THE RIGHT THING! THE RIGHT THING!
SIN IS A MATTER OF BLACK AND WHITE!
THE RIGHT THING! THE RIGHT THING!
WE DO THE RIGHT THING!
WE STRIVE TO DO THE RIGHT THING!I-2-8
KIDS
THERE’S RUMORS GOIN’ ‘ROUND ABOUT THE NEW KID
AND EV’RYBODY’S TALKIN’ ‘TIL THEY’RE BLUE
BUT EITHER WAY, IT’S SOMETHING NEW
EITHER WAY, AT LEAST IT’S SOMETHING NEW
ALL
ON ANY SUNDAY MORNING, HERE WE’LL BE
RAISING OUR VOICES IN HARMONY
GATHERING TO JOIN THE FEAST
ASKING NAUGHT BUT, LORD, AT LEAST
WE PRAY THAT ONE DAY ONCE OUR TRIALS HAVE CEASED
WE WILL BE RELEASED!
SHAW
Go in peace!
Scene 2: The Churchyard
(As the service ends, PARISHIONERS gather in small groups outside the church. One group
includes SHAW, VI, REN, ETHEL, and her sister and brother-in-law LULU and WES
WARNICKER.)
SHAW
Well, Mrs. McCormack, your sister has certainly been excited about your moving in with them.
ETHEL
Lulu and Wes have been my rock.
LULU
Oh, it’s been no trouble. Ethel just moved right into the guest room.
SHAW
And, Ren, where’d your uncle put you?
WES
(Eagerly jumping in.)
You remember my old tool-shop over the garage?
VI
Wes, that place is a greasy dump.
LULU
Well, no more.
WES
Picture this: powder-blue wallpaper, chocolate brown carpet.
VI
Oh, no!I-2-9
REN
(Aside to VI, gravely.)
Oh, yes.
(VI chuckles, sympathetic; then turns to ETHEL.)
VI
When will Mr. McCormack be joining us?
REN
Mr. McCormack won’t be joining us.
ETHEL
My husband and I are separated.
REN
He ran off to find himself.
ETHEL
Ren, please…
(ELEANOR and COACH ROGER DUNBAR join the group.)
ELEANOR
Vi, Vi, I made some of my Toll House cookies. Lulu, you taste one and you’ll burn every recipe
in your kitchen.
(She hustles LULU offstage; as she goes:)
VI
Won’t you join us, Mrs. McCormack? Eleanor wants to show us what heaven tastes like.
ETHEL
Call me Ethel. Please.
VI
Only if you’ll call me Vi.
(They exit.)
REN
(To ETHEL as she goes.)
Save me a cookie, Ethel.
(ETHEL’S look back to REN says: “Please, behave!”)
SHAW
So, Ren, all set for school tomorrow?I-2-10
WES
We took care of that last week. Coach here helped get him registered.
COACH
Reverend, did you hear that new English teacher is planning to introduce some vulgar modern
novel into our American Lit course?
SHAW
“Slaughterhouse Five.” Yes, Coach, I’ve received several calls.
REN
“Slaughterhouse Five?”
(To WES and COACH.)
Cool book, cover to cover!
(To SHAW.)
That’s one bitchin’ story!
(He stops, abashed.)
“Slaughterhouse Five,” right? Yeah. It’s a classic.
COACH
Do you read much?
WES
Well, Coach, maybe in another town it’s a classic.
REN
In any town, Uncle Wes.
COACH
“Tom Sawyer” is a classic.
(ARIEL and her girlfriend RUSTY rush on.)
ARIEL
Daddy, excuse me, Rusty and the girls are going out for burgers tonight. Can I?
REVEREND
Tomorrow is a school day.
ARIEL
Aw, Daddy…!
SHAW
Ask your mother.
RUSTY
(Always speaking a mile-a-minute.)
We already did, Reverend Moore, and she said it was okay with her if it was okay with you, so is
it okay with you?!I-2-11
SHAW
(Reacts to RUSTY’S barrage; then, to ARIEL:)
Ten o’clock.
ARIEL
Ten o’clock.
RUSTY
Great sermon, Reverend.
SHAW
Thank you, Rusty.
RUSTY
And, oh! What you said about Walt Whitman and rock ‘n’ roll and “listen to the music in your
soul,” and all that, I mean, I was, like, “Who knew?”
SHAW
High praise, indeed.
(Turning to COACH and WES.)
Gentlemen.
(They exit.)
ARIEL
I, on the other hand, thought my daddy was never going to shut up.
(She starts to peel off her Sunday best; she’s underdressed with sexier clothes.)
RUSTY
Well, then, Ariel, why don’t you just talk to him?
ARIEL
Why? He never listens to me. And anyway, I…
(She sees REN watching her and stops talking; beat.)
Welcome to Bomont.
(Pause.)
REN
(Like a drawling cowboy.)
Howdy.
(His attempt at humor is met with blanks stares; embarrassed, REN starts to go but is
stopped by URLEEN and WENDY JO as they enter.)
URLEEN
Ooooo! You are cute. Wendy Jo, isn’t he cute?
WENDY JO
Uh-huh.I-2-12
URLEEN
I bet he knows he’s cute, doncha think, Wendy Jo?
WENDY JO
Uh-huh.
(REN leaves.)
URLEEN & WENDY JO
(Calling after him, teasing.)
Ouch! Oh, baby…! You got that sweet stuff…!
(Etc.)
RUSTY
(Stopping them.)
Hey! Put your tongues back in your mouths, and let’s get outta here.
(The GIRLS start off in one direction, ARIEL in the other.)
ARIEL
See ya!
URLEEN
And where’re you going?
ARIEL
Where do you think?
WENDY JO & URLEEN
(They know.)
Oooh.
ARIEL
And if the question ever comes up, I was with you guys all evening, right?
WENDY JO
Are you asking us to lie for you?
ARIEL
Yeah!
(The GIRLS look to each other, shrug.)
RUSTY, URLEEN & WENDY JO
Okay!
(All exit, GIRLS one way, ARIEL the other.)I-3-13
MUSIC 2: THE GIRL GETS AROUND
(The twang of electric guitars brings on CHUCK CRANSTON and his buddies, TRAVIS
and LYLE.)
Scene 3: Behind a Gas Station
(ARIEL enters.)
CHUCK
Hey, good-lookin’.
(He and ARIEL kiss.)
Miss me?
ARIEL
You wish.
(TRAVIS and LYLE, thuggish and grease-stained, approach.)
TRAVIS
Hey, there, Ariel.
LYLE
How’s it goin’?
ARIEL
(Regards them.)
Hey, Travis. Lyle.
(Gasps, turns to CHUCK.)
Omigod. Did I interrupt your weekly poetry club meeting?
CHUCK
Very funny.
(He caresses her.)
So. Who was that new guy in church?
ARIEL
Who…? Oh, him. He’s our new classmate.
(Playful.)
A Chicago transplant with all the charm and sophistication that comes from living in a bustling
metropolis.
CHUCK
Should I be jealous?
ARIEL
(Teasing.)
I’m counting on it.
(They grab each other and kiss.)I-3-14
LYLE
Hey, Cranston. Jus’ what’re you doin’ with the preacher’s daughter?
CHUCK
(Singing.)
ANYTHING THAT I WANT
TRAVIS
Oh, yeah? What does she get out of it?
CHUCK
EV’RYTHING THAT SHE NEEDS
(ARIEL is suddenly proper.)
ARIEL
Like you’d know.
(CHUCK wags a finger at her and sings to his buddies.)
CHUCK
WELL, SHE’D LIKE YOU TO THINK SHE WAS BORN YESTERDAY
WITH HER INNOCENT LOOKS AND HER LITTLE TOWN WAYS
WHEN SHE’S SMILIN’ AT ME SHE’S GOT ANGELS IN HER EYES
BUT I’VE SEEN HOW SHE MOVES AND THIS GIRL REALLY COOKS
SHE TAUGHT ME SOME TRICKS YOU CAN’T LEARN IN BOOKS
AND I’M STARTING TO THINK SHE’S THE DEVIL IN DISGUISE
CHUCK, TRAVIS & LYLE
THE GIRL GETS AROUND
SHE KNOWS WHAT SHE LIKES
TRAVIS & LYLE
HUNH!
CHUCK TRAVIS & LYLE
I GOT WHAT SHE NEEDS NEEDS
JUST WAIT’LL TONIGHT
JUST WAIT!
WE’LL BOTH MAKE OUR MOVES MAKE OUR MOVES
CHUCK, TRAVIS & LYLE
YEAH, WE’LL COVER SOME GROUND
CHUCK
THE GIRL GETS AROUND
AROUND AROUND AROUND AROUND AROUND
GOOD GOD, THIS GIRL GETS AROUNDI-3-15
TRAVIS
Ariel, I swear, God’s gonna strike you down with a lightning bolt.
ARIEL
No, she’s not!
LYLE
She’s not?
TRAVIS
Excellent!
ARIEL
(To TRAVIS and LYLE.)
YEAH, HE LIKES TO PRETEND HE’S A MAN AMONG MEN
BUT WITH HIS HANDS IN HIS POCKETS, HE CAN’T COUNT TO TEN
(To CHUCK)
DON’T WORRY, BABY; YOUR SECRET’S SAFE WITH ME
TRAVIS & LYLE
(Razzing CHUCK.)
Busted!
ARIEL
AND HE BORES ME TO TEARS WITH HIS BEERS AND HIS BIKES
BUT I KEEP HIM AROUND CUZ WHEN TEMPTATION STRIKES
I GOT THE MOTOR AND HE’S GOT THE KEY!
CHUCK, TRAVIS & LYLE
THE GIRL GETS AROUND
CHUCK
SHE KNOWS WHAT SHE LIKES
TRAVIS & LYLE
HUNH! KNOWS WHAT SHE LIKES!
CHUCK & ARIEL
GOT WHAT YOU NEED
TRAVIS & LYLE
YEAH YEAH YEAH YEAH
CHUCK
JUST WAIT’LL TONIGHT
ARIEL
MAYBE TONIGHT
TRAVIS & LYLE
WAIT’LL TONIGHTI-3-16
CHUCK, ARIEL, TRAVIS & LYLE
WE’LL BOTH MAKE OUR MOVES
YEAH, WE’LL COVER SOME GROUND
THE GIRL GETS AROUND
AROUND AROUND AROUND AROUND AROUND
THE GIRL GETS AROUND
AROUND AROUND AROUND AROUND AROUND
GOOD GOD, THIS GIRL GETS AROUND!
(ARIEL jumps into CHUCK’S arms as SHAW enters.)
SHAW
Ariel?
(ALL freeze. CHUCK puts ARIEL down.)
CHUCK
Evening, Reverend.
SHAW
(To ARIEL.)
I went to The Burger Blast. Your friends suggested I might find you here.
CHUCK
We were just on our way.
(Pause. SHAW nods, unconvinced, then offers a sweater to ARIEL.)
SHAW
Your mother thought you might be cold.
(A chilly pause. ARIEL takes the sweater. SHAW exits. TRAVIS and LYLE call after him:)
TRAVIS & LYLE
Evening, Reverend.
(ARIEL’S good mood evaporates; as she exits, the BOYS tease her with:)
MUSIC 2A: AFTER “GIRL”
CHUCK, TRAVIS & LYLE
THE GIRL GETS AROUND
AND SHE KNOWS WHAT SHE LIKES
I GOT WHAT SHE NEEDS
JUST WAIT’LL TONIGHT
THE GIRL GETS AROUND, AROUND, AROUND, AROUND
GOOD GOD, THIS GIRL GETS AROUND!I-4-17
Scene 4: A High School Hallway
MUSIC 3: I CAN’T STAND STILL
(A row of lockers runs the width of the stage. STUDENTS cross on their ways to class.
REN crosses to ARIEL who enters with RUSTY.)
REN
Hey! Ariel? Right?
ARIEL
Yeah. So?
REN
I’m Ren. Ren McCormack? We met after church? Is this a small world or what? I’m your new
classmate.
(A beat.)
ARIEL
(Mimicking him.)
“Howdy!”
RUSTY
Girl, leave that poor boy alone!
(They leave, joining WENDY JO and URLEEN on their way. REN, in embarrassment,
turns and bumps into WILLARD HEWITT, a hayseed in a hat.)
WILLARD
Hey, mister! You bumped me!
REN
Sorry.
WILLARD
Don’t you ever look where you’re goin’?
REN
I said I was sorry.
WILLARD
Hey! You’re that new guy from Chicago, ain’tcha?
REN
Perhaps.
WILLARD
Smart-ass, huh? Listen, fella, around here you push somebody… they push back. Next thing you
know, you got…
(Gets confused; forges ahead.)I-4-18
…two people pushing. Get it?
REN
Got it. Lemme ask you something. They sell men’s clothes where you got that hat?
(Pause.)
WILLARD
(Suspiciously.)
What is that, some kind of stupid joke?
REN
No. That’s a really good joke.
WILLARD
That’s it, man. I’m gonna kill you!
(He raises his dukes to REN, who throws himself at WILLARD’s fists.)
REN
Oh, please! Kill me!
WILLARD
(Pulls away, startled.)
Huh?
REN
Kill me! KILL ME! That’s the most exciting thing I’ve heard since I hit town!
(Sticks out his hand.)
Ren McCormack. And you are…?
WILLARD
(Wary.)
Willard. Willard Hewitt.
REN
Willard, what do you do around here for a good time?
(WILLARD hesitates, then makes a lewd gesture.)
Yeah. Besides that. You have any clubs?
WILLARD
Nope.
REN
What about movies?
WILLARD
Nope.
REN
What about malls?I-4-19
WILLARD
Nope.
REN
What about…
WILLARD
Nope. Nope. And nope.
(Pause.)
We do have the Bowl-A-Rama down by the interstate.
REN
Wow. I really admire you. I could never do what you guys do around here.
WILLARD
Yeah? What do we do?
REN
(Explodes.)
Nothing!
(Sings.)
I NEVER WALK WHEN I CAN RUN
I DON’T BELIEVE I EVER COULD
PEOPLE TRY TO SLOW ME DOWN
SAYIN,’ “BOY, YOU REALLY SHOULD
KICK BACK AND CHILL”
BUT, I CAN’T STAND STILL!
WILLARD
I can see that.
(WILLARD tries to get away; REN won’t let him leave.)
REN
I CALLED THE DOCTOR, HE SAID, “SON,
I CANNOT OFFER YOU A PILL.”
SO I NEVER FOUND RELIEF
AND NOW I’VE GOT TO MOVE UNTIL
I’VE HAD MY FILL
I CAN’T STAND STILL!
WILLARD
Around here we walk.
REN
BACK WHERE I COME FROM
LIFE’S NEVER HUMDRUM
I WISH I COULD TAKE YOU THERE
OH, WE HAD THE WORLD AT OUR FEET
LIFE WAS SWEET
AIN’T NO DOUBTI-4-20
GRAB A SEAT
CHECK IT OUT!
(He does a few dance moves.)
WILLARD
You’re gonna last about five minutes in this town.
REN
OH, I THOUGHT IT NEVER WOULD END
BUT I LOST IT SOMEHOW
WOULD YOU LOOK AT ME NOW
I’M TRYIN’ HARD TO TONE IT DOWN
GOTTA WATCH MY P’S & Q’S
MAYBE LOOK BEFORE I LEAP
AND THEN I THINK, “HEY, WHAT’S THE USE?”
AIN’T DONE IT YET
AND I CAN’T FORGET HOW IT FEELS WHEN YOU DANCE ‘TIL YOU DROP
SO DON’T EVEN START TO SUGGEST THAT I STOP
I NEVER WILL
I CAN’T STAND
(A la James Brown.)
NO NO NO NO
NO NO NO NO
NO NO NO NO NO NO NO NO
WILLARD
No, no, no, no…!
REN
Then, somebody kill me cuz –
(Sings:)
I CAN’T STAND STILL
No! No! NO!
(As the number ends, PRINCIPAL HARRY CLARK enters.)
PRINCIPAL
Young man! Young man! What do you think you’re doing?
REN
I was just telling Willard about Chicago.
(PRINCIPAL is stone-faced.)
Yeah, Chicago… y’know?… that toddlin’ town…?
PRINCIPAL
That’s not what it looked like.I-4-21
(Other STUDENTS filter in and observe this scene.)
REN
What? Oh, that! I was just showing him some steps. Stuff we used to do at the clubs.
WILLARD
(Frantically.)
Don’t… don’t…!
REN
What? “Don’t” what? You mean this?
(REN dances a few deliberately goofy steps.)
PRINCIPAL
Mr. McCormack!
WILLARD
(Under his breath.)
Oh, shit.
PRINCIPAL
There’s no dancing allowed here!
REN
What?
WILLARD
Listen to the man.
REN
Oh. Sure. Oops. School property. Not supposed to have any fun.
PRINCIPAL
That sort of remark may pass for wit in Chicago, but here we speak simply. Let me make this as
clear as I can: there is absolutely no dancing of any kind allowed at any time anywhere within the
town limits of Bomont.
(REN starts to speak.)
Ever.
(REN laughs. No one else does.)
REN
No, seriously.
(To the KIDS.)
He’s kidding, right?
(No one reacts.)
Okay. I get it. The joke’s on the new kid. Ha-ha.I-4-22
PRINCIPAL
(To WILLARD.)
Mr. Hewitt! Would you inform your friend?
WILLARD
It’s against the law.
REN
Dancing?! Get out!
WILLARD
Shut up.
(To PRINCIPAL.)
Mr. Clark, sir, Ren is very sorry. He was ignorant of our local law, and I will inform him
of his ignorance.
PRINCIPAL
And I will see both of you in my office after school.
(The bell rings; no one moves.)
I’m sure we all have places to be.
(STUDENTS disperse and PRINCIPAL exits. RUSTY grabs WILLARD.)
RUSTY
Omigosh, Willard! The way you spoke to Principal Clark! Wow, that’s, like, the longest sentence
you’ve ever made!
WILLARD
Pwshht.
(WILLARD, flustered and embarrassed, exits. ARIEL walks past REN, playfully chucks
him under the chin and mimics the Principal.)
ARIEL
Chin up… Mister McCormack.
(She chuckles, exits. URLEEN, WENDY JO and RUSTY surround REN.)
URLEEN
It’s such a turn-on, watching a guy fly in the face of authority. Isn’t it, Wendy Jo?
WENDY JO
Uh-huh.
REN
Was he serious?
WENDY JO
Serious as a heart attack.I-4-23
REN
Dancing is against the law?
RUSTY
Has been for five and half years. Ever since the accident.
REN
What accident?
RUSTY, WENDY JO & URLEEN
(Surprised he doesn’t know.)
The Potawney Bridge Accident!
(REN shrugs.)
WENDY JO
You’ve never heard of the Potawney Bridge Accident?!
REN
If I had, would I be doing this?
(He shrugs again, more exaggerated this time.)
RUSTY
Well! Ladies, should I take this one?
WENDY JO
Please.
URLEEN
Be my guest.
RUSTY
There were these four kids we all grew up with. And they were driving back from a big dance
over in Baylor County. Now, maybe it was the rain that night, maybe they were being a little
wild, but somehow they lost control of the car. It skidded across the bridge, crashed through the
railing, and fell thirty-five feet into the Potawney River.
REN
Whoa. Did anybody survive?
(RUSTY shakes her head “no.”)
Oh, god.
RUSTY
Yeah. And when the sheriff’s office published the autopsy report it claimed there was alcohol and
marijuana in their blood. Well! Everybody in town went nuts.
URLEEN
And that’s when Reverend Moore got so righteous. He started blaming anything and everything –
liquor, drugs, rock and roll…I-4-24
REN
And dancing?
URLEEN
You got it.
RUSTY
He convinced the Town Council that it was all a sin and...
(Snaps her fingers.)
…just like that, they passed this law.
REN
Wait. Reverend Moore has that kind of power?
RUSTY
Reverend Moore?
URLEEN
He is the power.
WENDY JO
He is the law.
REN
Man. How can you stand to live like this?
URLEEN
Practice. Years of practice.
RUSTY
It’s not like Chicago. It must be so cool to live in a city where you can walk down the street and
get mugged by people you don’t even know.
REN
Yeah, I miss that. I thought living in a small town was going to be perfect, like one big happy
family.
RUSTY
Let me tell you about that family.
(She checks behind herself to be sure that no one’s listening.)
MUSIC 4: SOMEBODY’S EYES
RUSTY
There’s tongues wagging every time you make a move.
URLEEN
There’s fingers pointing every time you turn around.I-4-25
WENDY JO
There’s heads shaking the minute you cross the line.
RUSTY
And there’s eyes everywhere.
CAREFUL WHAT YOU DO
SOMEONE’S ON TO YOU
CAREFUL WHAT YOU DO
URLEEN
CAREFUL WHAT YOU SAY
CUZ YOU’RE ON DISPLAY
EV’RY NIGHT AND EV’RY DAY
RUSTY
SOMEBODY’S HIDING IN THE GREAT UNKNOWN
RUSTY, WENDY JO & URLEEN
UH-HUH
RUSTY
AND EV’RY TIME YOU THINK THAT YOU’RE ALONE
URLEEN & WENDY JO
HAH!
RUSTY
SOMEBODY’S EYES ARE WATCHING
URLEEN
SOMEBODY’S EYES ARE SEEING YOU COME AND GO
WENDY JO
SOMEBODY’S OUT THERE, WAITING FOR THE SHOW
RUSTY, WENDY JO & URLEEN
YOU’VE GOT NO DISGUISE
FROM SOMEBODY’S EYES
REN
Thanks for the advice. But it’s not going to get to me.
URLEEN
Gets to everybody.
REN
You don’t know me.I-4-26
RUSTY
You don’t know Bomont.
(As the number continues, TOWNSPEOPLE fill the stage and frame the following
vignettes.)
ALL
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
(A COP steps out of the crowd, writing a ticket for REN.)
COP
You’re gonna have to learn that in Bomont, a stop sign means stop.
REN
I thought I did.
COP
And that radio music of yours was blasting pretty loud.
REN
Oh. So you pulled me over because my music’s too loud.
COP
Hey! Watch that attitude, boy.
(CHUCK, LYLE and TRAVIS enter.)
CHUCK
Book ‘im, Jim!
COP
This a friend of yours, Chuck?
CHUCK
The city kid? I wouldn’t let him kiss my ass!
(CHUCK, LYLE and TRAVIS howl with laughter and exit; REN watches them go.)
REN
(To COP, sarcastically cheery.)
They seem nice.
(Stone-faced, the COP slaps a ticket into REN’S hand.)
URLEEN
CAREFUL HOW YOU SPEAK
TURN THE OTHER CHEEKI-4-27
BE CAREFUL HOW YOU SPEAK
WENDY JO
THINK A NAUGHTY THOUGHT
AND IF YOU GET CAUGHT
WELL THEN, BOY, YOU’VE BOUGHT A LOT OF TROUBLE
RUSTY
SOMEWHERE THERE’S SOMEONE WITH A PERFECT VIEW
RUSTY, URLEEN & WENDY JO
YOO-HOO!
RUSTY
AND THEY’RE JUST DYIN’ FOR A LITTLE PEEK-A-BOO
URLEEN & WENDY JO
BOO!
RUSTY, URLEEN & WENDY JO
SOMEBODY’S EYES ARE WATCHING
SOMEBODY’S EYES WILL NEVER CLOSE, NEVER SLEEP
SOMEBODY’S AFTER THE SECRETS THAT YOU KEEP
WHO’S GOT ALIBIS
FROM SOMEBODY’S EYES?
(The Principal’s Office. COACH DUNBAR drags REN in before the PRINCIPAL. With
him are TRAVIS and LYLE in wrestlers’ outfits.)
COACH
Principal Clark, this boy turned my wrestling practice into a brawl!
LYLE
Yeah!
TRAVIS
Yeah!
REN
(To TRAVIS.)
Oh, I suppose my nose just slammed into your fist!
LYLE, TRAVIS & REN
That’s bull…! You started it…! It was you…! Hey…!
COACH
Hey! That’s enough!
(The BOYS hush; to REN.)
My boys know the difference between a wrestling match and a street fight.I-4-28
REN
(Snide.)
Oh, really, Coach? A wrestling match is usually one-on-one.
PRINCIPAL
That is enough out of you! This is the third time in as many weeks that you’ve been dragged into
my office. I’m suspending you from the wrestling team. Indefinitely.
ALL
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
(The Warnicker Home. REN is standing before WES, LULU and ETHEL.)
WES
Do you know how hard it was for me to get you that job at Dillingham’s Hardware Store? It’s not
even a month and you get fired!
LULU
Every day it’s more bad news with you. Every day.
ETHEL
Lulu, don’t exaggerate.
WES
Ethel, now hush! You’re not helping things.
ETHEL
Ren? What did happen?
REN
Nothing I should be fired for! Willard came by the store, and he wanted change of a dollar, so I
popped open the register. And when Mr. Dillingham came out and saw my hand in the drawer, he
went crazy. He accused me of stealing.
LULU
That’s because everything you do makes people suspicious.
WES
Are you on drugs?
REN
No! But why don’t you frisk me? I’m sure you’ve already poked through everything in my room.
ETHEL
Ren, apologize to your uncle.
WES
Look, young man, I know that I’m not your father…I-4-29
REN
You can say that again!
(WES slaps REN. LULU gasps.)
ETHEL
Wes!
WES
Don’t say anything, Ethel.
ETHEL
I can’t not say anything! I don’t know how to do that, Wes.
LULU
Pumpkin, hush, please!
ETHEL
Wes, I realize that we are guests in your home…
WES
Ethel!
(That stops her.)
Right now, just don’t say anything!
(ETHEL bites her lip; the ADULTS disperse.)
URLEEN
(To REN.)
NEVER LAUGH TOO LOUD
NEVER LEAVE A CROWD
WENDY JO
NEVER DRESS RISQUE
THERE’LL BE HELL TO PAY
RUSTY
IF YOU’VE EVER HAD ANYTHING TO HIDE
THINK TWICE BEFORE YOU STEP OUTSIDE
URLEEN & WENDY JO
STEP OUTSIDE
RUSTY, URLEEN & WENDY JO
SOMEBODY’S EYES ARE WATCHING
SOMEBODY’S EYES ARE FOLLOWING EV’RY MOVE
SOMEBODY’S WAITING TO SHOW THEY DON’T APPROVE
URLEEN
NOTHING SATISFIESI-4-30
URLEEN & RUSTY
SOMEBODY’S EYES
WENDY JO
AIN’T NO ALIBIS
WENDY JO & URLEEN
IN SOMEBODY’S EYES
RUSTY
YOU’VE GOT NO DISGUISE
RUSTY, URLEEN & WENDY JO
FROM SOMEBODY’S EYES
TOWNSPEOPLE
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
WHOA-OH
SOMEBODY, SOMEBODY, SOMEBODY, SOMEBODY’S EYES
(EVERYONE exits, leaving only:)
RUSTY, URLEEN & WENDY JO
WHOA-OH
(The Moore Home appears. ARIEL runs on with CHUCK. He is all over her, as she
pushes him away, laughing.)
ARIEL
Chuck! Stop! I don’t want to be late!
CHUCK
What’s a few more minutes?
RUSTY, URLEEN & WENDY JO
WHOA-OH
ARIEL
My Dad is still not crazy about my seeing you.
CHUCK
Well, tell him to get used to it.
ARIEL
You tell him!
CHUCK
(Teasing.)
I will!
(He starts toward the Moore Home.)I-5-31
Reverend Moore…
(Giggling, ARIEL catches his arm and pulls him back.)
ARIEL
Maybe not right now. I’m not in the mood for one of his sermons.
(She kisses CHUCK.)
‘Bye, now.
(ARIEL runs to her front door, turns back and is amused to see that CHUCK hasn’t
moved; she whispers:)
Go! Go home!
(CHUCK struts away.)
RUSTY, URLEEN & WENDY JO
WHOA-OH
(As they exit the music segues into:)
Scene 5: The Moore Home
(A piece of classical music plays softly in the background. SHAW is writing; VI prepares
dinner. ARIEL pulls herself together, dashes in and kisses SHAW on the cheek.)
ARIEL
Hi, Daddy. Mom.
VI
Are you hungry?
ARIEL
I’m starving.
(She listens to the music for a moment.)
A-ha. What’s this? Don’t tell me – Haydn. The Second Sonata?
SHAW
The fourth.
ARIEL
Number four, right. I guess that kind of music’s okay, huh, Daddy?
SHAW
Meaning…?
VI
She’s just making a joke, Shaw.
SHAW
I’m aware of that, Vi.
(To ARIEL)
This “kind” of music is uplifting. It doesn’t confuse the mind.I-5-32
(Not wanting to get drawn into a discussion, ARIEL changes the subject.)
ARIEL
Are you working on your sermon?
SHAW
I am.
ARIEL
Remember when I was a kid? On Saturdays, I would sit in a pew down front and listen to you
practice. Over and over.
SHAW
I do indeed.
ARIEL
And then I would clap. And you would bow. Remember?
SHAW
Well, you seem to have outgrown that.
VI
Shaw!
ARIEL
What just happened? Did I say something wrong?
VI
Your father’s had a difficult day.
SHAW
Vi, I can speak for myself.
VI
(To ARIEL.)
Honey, why don’t you set the table.
ARIEL
I’m not really hungry.
(She goes. VI looks to SHAW.)
VI
Shaw, if you’re angry with Ariel, please tell her why.
SHAW
I’m not angry. I’m concerned.
VI
Then get to the point. You two speak and nothing gets said.I-5-33
SHAW
Have you seen her with this Chuck Cranston? The last time I walked in on the two of them…
VI
You told me.
SHAW
The boy has a record of arrests, Vi.
VI
And the more you object, the more intrigued she’s going to be.
SHAW
So I should hold my peace?
VI
I do. And I pray that her infatuation with Chuck Cranston lasts no longer than mine with Elliot
Criswell.
SHAW
Elliot Criswell was not an overheated delinquent.
VI
Oh, he most certainly was!
SHAW
This is not funny.
VI
I’m trying to lighten the mood.
SHAW
Well, I can’t. I’m frightened about where Ariel is, what she’s doing…
VI
You can’t expect her to sit home with us.
SHAW
Let’s stop this conversation right here.
VI
Conversation?
SHAW
Vi…
VI
I seem to have walked in on one of your sermons.I-5-34
SHAW
Please! Let’s not say anything we might regret.
(He goes, leaving VI alone.)
MUSIC 5: LEARNING TO BE SILENT
VI
SWALLOWING MY WORDS
STARING AT THE FLOOR
COUNTING LITTLE CRACKS IN THE TILE
STRUGGLING TO SMILE WITHOUT CHOKING
LEARNING TO BE SILENT
(ETHEL enters in her own space and sings:)
ETHEL
WATCHING HOW THE DUST
DANCES OUT THE DOOR
NOTICING MY HANDS START TO SHAKE
CONTEMPLATING TAKING UP SMOKING
LEARNING TO BE SILENT
VI & ETHEL
ALWAYS HEARING
ETHEL
“HUSH, ETHEL!”
VI
“PLEASE, VI!”
VI & ETHEL
“LET’S NOT HAVE THIS CONVERSATION.”
ETHEL
AND SO I STAND BY
WHILE MY MIND TAKES A SMALL VACATION
VI & ETHEL
LA LA LA LA LA LA LA LA
(ARIEL enters her own space.)
ARIEL
LA LA LA LA LA LA LA LA
VI
MAKING LITTLE SOUNDS
OTHER FOLKS IGNOREI-5-35
ARIEL
QUIETING THE BEAT OF MY HEART
NEVER BEING PART OF THE MOMENT
ALL
LEARNING TO BE SILENT
ARIEL
LEARNING THERE ARE SOME TOPICS THAT WE DON’T EVEN MENTION
ETHEL
AND IF THEY COME UP, THEN WE TRY TO BE VAGUE
VI
THERE ARE SUBJECTS FROM WHICH WE DIVERT ALL ATTENTION
ARIEL
AND SOME WE AVOID LIKE THE PLAGUE
ALL
I’M BECOMING A MIME
ETHEL
BITING MY TONGUE
VI & ARIEL
BIDING MY TIME
ETHEL
TRYING NOT TO SCREAM
ARIEL
TRYING NOT TO SCREAM
VI
MANAGED IT BEFORE
ARIEL
MANAGED IT BEFORE
ALL
KNOWING IF I’M GOING TO SURVIVE
THEN, DAMMIT!
ETHEL
I’VE GOT TO PRACTICE
VI & ARIEL
PRACTICEI-6-36
ALL
LEARNING …
(They “zip” their lips.)
HM…HM…HM…
(Lights fade on the WOMEN.)
MUSIC 5A: SCENE CHANGE TO BURGER BLAST
Scene 6: The Burger Blast
(ARIEL, WENDY JO, RUSTY and URLEEN are at a table doing homework)
RUSTY
Ariel, this book report you wrote is so great! I almost wish I’d read the book.
URLEEN
Hurry up, Rusty. I have to copy it next.
RUSTY
(Holding up a sheet of paper.)
How do you pronounce this word?
ARIEL
“Camelot.”
URLEEN
Really?
ARIEL
Really.
RUSTY
You know what part sounds great?
WENDY JO
I like the part where King Arthur and Lancelot fight over Guinevere. It’s right after Mordred
shows up and says, “I’m the king! I’m the king!”
(She stops, realizing they are staring.)
What?
URLEEN
You read a book?!
WENDY JO
Cliffs Notes. It took me forever.
ARIEL
It’s even better in the book. There’s all these knights on horseback jousting and storming the
castle.I-6-37
RUSTY
All we get are guys in overalls riding pickup trucks.
(WILLARD enters.)
WENDY JO
Hi, Willard.
WILLARD
Hi. How’re y’all doing?
ALL
Oh… You know… Okay… Good…
WILLARD
Hey, Rusty.
RUSTY
Hey, Willard.
(RUSTY and WILLARD share a long silence; then:)
WILLARD
Well. See ya.
(He shambles over to a table by himself. The GIRLS turn on RUSTY.)
URLEEN
“Hey, Willard?” That’s it?
WENDY JO
You two are pathetic.
ARIEL
When are you two going to have a real conversation?
RUSTY
Oh, Willard is not capable of a real conversation.
(Beat.)
I kinda like that in a guy.
(REN skates up in a Burger Blast uniform and hat, silly and outrageous.)
WENDY JO
Hey, Ren, how’s the new job?
REN
Well, I haven’t been fired and it’s already my second day.
ARIEL
You may have found your future.I-6-38
REN
I may have. What can I get you?
RUSTY
Diet Coke.
URLEEN
Diet Coke.
WENDY JO
I’ll have the Hula Burger Double Patty Cheese Melt with extra mayo and an order of fries. And a
diet Coke.
REN
And Ariel? What’s your pleasure?
ARIEL
It’s not on the menu.
(The GIRLS scream and slap her five with ad libs of “Ouch!” “Girlfriend!” “You go,
girl!” as REN skates over to WILLARD and the lights shift.)
WILLARD
If Chuck sees you flirting with Ariel, you are a dead man.
REN
She usually doesn’t even remember me.
WILLARD
Well, that uniform makes you look like such an asshole, it’s easier to pick you out.
REN
You are always looking for a fight, aren’t you?
WILLARD
My Mama says it’s my nature.
REN
Willard, shut up and tell me what you know about Ariel.
WILLARD
Well, I know she’s been kissed a lot.
REN
And...?
WILLARD
And she is onto you like a hog on slop.I-6-39
REN
Get outta here!
WILLARD
Ariel likes trouble. And you have definitely proved to everybody in this town that you are T-R-UB-L.
(The lights shift back to the GIRLS.)
ARIEL
Come on! I was only teasing him.
RUSTY
That’s more than teasing. Ren is from out of town and don’t tell me that doesn’t curl your toes.
WENDY JO
You want out of Bomont so bad I bet you memorize bus schedules.
URLEEN
You told us that you read just to escape to other worlds.
ARIEL
Exactly! In books, I get to meet guys who amaze me.
WENDY JO
What about Ren?
ARIEL
What about him?
RUSTY
He’s sorta smart.
WENDY JO
He’s kinda tall.
URLEEN
And I think he’s handsome.
ARIEL
(Shrugs.)
Cute, maybe.
WENDY JO
But can he really compete with Chuck Cranston, the rugged, dangerous high school dropoutslash-drug dealer who was recently evicted from a trailer park? I don’t think so.
(The lights shift back to REN and WILLARD.)
REN
What’s the deal with you and Rusty?I-6-40
WILLARD
Beats me. I think she’s good-looking and all. But I never know what the hell she’s talking about.
She talks faster than any girl I ever met.
REN
That’s cuz you make her horny.
WILLARD
(Thrilled.)
Y’think?!
(The lights shift back to the GIRLS.)
MUSIC 6: HOLDING OUT FOR A HERO
RUSTY
If I could only find a guy who’d make the first move.
URLEEN
If I could only find a guy who - when he went to kiss me goodnight – he’d take the toothpick out
of his mouth.
WENDY JO
If I could only find a guy.
ARIEL
WHERE HAVE ALL THE GOOD MEN GONE
AND WHERE ARE ALL THE GODS?
RUSTY, WENDY JO & URLEEN
Yeah.
ARIEL
WHERE’S THE STREET-WISE HERCULES
TO FIGHT THE RISING ODDS?
RUSTY, WENDY JO & URLEEN
I’D LIKE TO KNOW
ARIEL
ISN’T THERE A WHITE KNIGHT UPON A FIERY STEED?
LATE AT NIGHT I TOSS AND I TURN
RUSTY, WENDY JO & URLEEN
I TOSS AND I TURN
OH-OH-OH
ARIEL
AND I DREAM OF WHAT I NEED
I NEED A HEROI-6-41
(Microphones in stands roll on; the GIRLS strut to the microphones and join ARIEL in
her rock-concert fantasy.)
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOO
DOO DOO DOO DOO
AHH! AHH!
ARIEL
SOMEWHERE AFTER MIDNIGHT IN MY WILDEST FANTASY
SOMEWHERE JUST BEYOND MY REACH
THERE’S SOMEONE REACHING BACK FOR ME
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
ARIEL RUSTY, WENDY JO & URLEEN
RACING ON THE THUNDER DOO DOO DOO DOO
AND RISING WITH THE HEAT DOO
IT’S GONNA TAKE A SUPERMAN DOO DOO DOO
TO SWEEP ME OFF MY FEET AHH
ALL
I NEED A HERO!
ARIEL
I’M HOLDING OUT FOR A HERO TIL THE END OF THE NIGHT
WENDY JO
HE’S GOTTA BE STRONG
URLEEN
AND HE’S GOTTA BE FAST
RUSTY
AND HE’S GOTTA BE FRESH FROM THE FIGHT
ALL
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE MORNING LIGHT
HE’S GOTTA BE SURE, AND IT’S GOTTA BE SOON
AND HE’S GOTTA BE LARGER THAN LIFE
ARIEL
LARGER THAN LIFE!
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOOI-6-42
DOO DOO DOO DOO
AHH! AHH!
ARIEL
UP WHERE THE MOUNTAINS MEET THE HEAVENS ABOVE
RUSTY
OUT WHERE THE LIGHTNING SPLITS THE SEA
ALL
I COULD SWEAR THERE IS SOMEONE SOMEWHERE WATCHING ME
THROUGH THE WIND AND THE CHILL AND THE RAIN
AND THE STORM AND THE FLOOD
I CAN FEEL HIS APPROACH LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY…
AHH! AHH!
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE END OF THE NIGHT
HE’S GOTTA BE STRONG AND HE’S GOTTA BE FAST
AND HE’S GOTTA BE FRESH FROM THE FIGHT
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE MORNING LIGHT
HE’S GOTTA BE SURE AND IT’S GOTTA BE SOON
AND HE’S GOTTA BE LARGER THAN LIFE
LARGER THAN LIFE
(As the song ends, their fantasy dissolves and they return to The Burger Blast.)
RUSTY, WENDY JO & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOO
DOO DOO DOO DOO
AHH! AHH!
ALL
I NEED A HERO!
(We hear CHUCK’S truck screech up; ARIEL panics, jumps up.)
ARIEL
Oh, no! What time is it?
RUSTY
Eight-thirty. Why?I-6-43
ARIEL
Oh, God! I’m late. Chuck’s gonna lose it.
(CHUCK strides in, furious.)
CHUCK
Ariel, what the hell’s going on? We had a date a half an hour ago.
ARIEL
Chuck, I’m sorry.
CHUCK
I don’t like you making a fool out of me.
RUSTY
And why would you? You do such a good job of it yourself.
CHUCK
Shut up, Rusty.
(REN skates over to CHUCK.)
REN
Will you be joining these ladies for dinner?
(CHUCK turns to REN, looks him up and down, then contemptuously pushes him
backward. REN rolls away slowly. CHUCK grabs ARIEL by the arm and pulls her to one
side.)
CHUCK
When I say “meet me at eight,” what am I – talking to myself?
ARIEL
No. You’re right. Calm down, honey.
CHUCK
Don’t tell me to calm down! Don’t – ever – tell me what to do.
(Glances at RUSTY, et. al.)
I know what your friends think of me. And that’s bullshit. I’m the best party in this town, baby,
and those three dogs oughta be tied up under the porch. Let’s go.
ARIEL
No.
CHUCK
Get in the truck.
ARIEL
No!I-6-44
CHUCK
Excuse me?
ARIEL
I said, “No.” What part of that don’t you understand?
CHUCK
(Fondles her.)
Oh, when the preacher’s daughter says “no,” it just makes me hot. Say it again, baby.
ARIEL
Leave me alone, Chuck. Don’t!
(REN skates over.)
REN
I believe the lady said, “No.”
CHUCK
And I believe this is none of your business.
ARIEL
Ren, don’t…
CHUCK
Ariel, who invited this clown?
REN
Oh, I’m sorry! We’ve never been formally introduced.
(Extends his hand at CHUCK’S eye-level.)
Ren McCormack.
CHUCK
Get your hand outta my face. And get your face outta my sight.
(CHUCK smacks REN’S hand away; WILLARD leaps up.)
WILLARD
Hey, Chuck! You looking for a fight? Let’s party!
REN
Willard! Willard, don’t lose me this job…!
WILLARD
Aw, man, let me nail him! I’ll nail him…!
(CHUCK and WILLARD have a shouting match, which REN tries to subdue. OTHERS
join in. BETTY BLAST, owner of the diner, rolls on carefully, wearing a Burger Blast
uniform. She’s too old to skate but too ornery to admit it.)I-6-45
BETTY
Hey… hey… HEY!
(EVERYONE stops.)
We got a problem here?
REN
Not at all, ma’am. Me and the guys were just discussing the comfort and safety of one of your
valued customers.
(ARIEL & GIRLS chuckle; CHUCK turns on ARIEL.)
CHUCK
What? You think that’s funny?
BETTY
Cranston! Your pick-up truck is in the handicapped parking, which is a space we reserve for
people with physical, not emotional, disabilities.
(CHUCK, humiliated, has no graceful way out.)
CHUCK
You haven’t seen the last of me, McCormack.
(He bumps REN as he exits.)
WILLARD
Could I please kick his ass?
BETTY
Willard! What’s that your mama says? “Before you make a fist, make sure it’s your fight.”
WILLARD
Yes, ma’am.
BETTY
Well, this is not your fight. Now, don’t the rest of you have a curfew?
(We hear CHUCK’S truck varoom away as the CROWD disperses. ARIEL lingers.)
And McCormack?
REN
(Fearing the worst.)
I know, ma’am. I’ll turn in my skates.
BETTY
Listen to me. I’ll see you here after school tomorrow.
REN
Really? So I’m not fired?
BETTY
Not yet. Now, gimme a push, honey.I-7-46
REN
Yes, ma’am.
(She crouches, arms extended; REN gives her a shove and BETTY glides offstage.)
BETTY
Thank you!
(REN and ARIEL are left alone.)
ARIEL
You are either very brave or very stupid.
REN
Which do you think?
ARIEL
I haven’t made up my mind. Wanna see something?
REN
Don’t you have a curfew?
ARIEL
(Mock serious.)
Ooh, you’re right!
(Scoffs.)
Please. My daddy invented it. But don’t you think rules are made to be broken? Come on!
(SOUND CUE: A TRAIN WHISTLE approaches and then fades as ARIEL pulls REN
along on his skates. NOTE: A snare-drum “train” – gradually building, then diminishing
in volume – can enhance this sound cue. )
Scene 7: The Great Plains of Bomont
(The night sky is empty except for a crescent moon. As the whistle gets louder, ARIEL
wails, long and loudly, joining her voice with the whistle as it races by and fades.)
ARIEL
Aah-h-h-h-h-h-h-h-h--…!
REN
What are you doing?
ARIEL
I’m answering the train. I’m saying, “I can’t wait for the day when I get onboard and leave
Bomont!” Try it.
REN
No, thanks. I just ate. You are really something.I-7-47
ARIEL
Whaddya mean?
REN
I mean the whole package. Minister’s kid, Chuck Cranston’s girlfriend.
ARIEL
Guilty.
REN
Just a church goin’ gal with some bad-ass red cowboy boots.
ARIEL
My daddy hates me wearing these boots.
(REN sits on the ground; ARIEL eventually sits nearby.)
REN
And you love that, don’t you? Getting up in his face?
ARIEL
That way he’ll notice when I’m gone.
REN
Where’re you gonna go?
ARIEL
College, for starters. I’ve applied to some places my daddy doesn’t even know about. I wanna
speak five languages and see the world. He wants me to teach English Lit in Baylor County.
(Beat.)
They don’t even speak English in Baylor County.
REN
I can’t picture you as a teacher.
ARIEL
Thank you. Neither can I. I’ll leave that to my daddy.
REN
He’s a preacher, not a teacher.
ARIEL
When you’re good at it, it’s the same thing. And he used to be real good.
REN
What changed?
ARIEL
His mind. He closed it.I-7-48
REN
I noticed.
ARIEL
He used to be so open, so inspiring. I’ve seen him give people hope when hope was gone. I’ve
watched him change lives.
REN
If you love him so much, why do you wanna tick him off?
ARIEL
I didn’t say I love him.
REN
Boy, do I know what you mean! My dad…
(He shakes his head.)
ARIEL
Yeah, what happened there?
REN
He walked out. One day he just walked out the door. No ‘good-bye’. Nothing.
ARIEL
Whew. I bet you’ve got lots to say to him.
REN
Lots.
ARIEL
Like what?
REN
(Suddenly self-conscious.)
No, I couldn’t…
ARIEL
Tell it to the train. I do.
(REN considers her suggestion. Then, in imitation of ARIEL’S earlier wail, he throws his
head back, chases after an imaginary train and screams.)
REN
Aah-h-h-h-h-h-h-h…! How can you be so stupid to leave Mom and me? I… hate… you!
(Spent, he drops to the ground near her; neither speaks.)
MUSIC 7: THE PLAINS OF BOMONTI-8-49
ARIEL
Feel better?
REN
I’m not sure.
(Beat; their faces are close.)
ARIEL
Do you wanna kiss me?
REN
(Startled, amused.)
Someday.
ARIEL
“Someday.” What do you mean, “Someday?”
REN
I’ve got a feeling you’ve been kissed a lot. I’m afraid I’d suffer by comparison.
ARIEL
You don’t think much of me, do you?
REN
Oh. I think of you more than I expected.
(Beat.)
C’mon. I’ll walk you home.
MUSIC 7A: SCENE CHANGE (“SOMEBODY’S EYES”)
(CHUCK enters and spies on REN and ARIEL as they walk. RUSTY, WENDY JO and
URLEEN enter elsewhere.)
RUSTY, WENDY JO & URLEEN
SOMEBODY’S EYES ARE WATCHING
SOMEBODY’S EYES ARE FOLLOWING EV’RY MOVE
SOMEBODY’S WAITING TO SHOW THEY DON’T APPROVE
(The GIRLS exit.)
Scene 8: The Moore Home
(VI, ELEANOR, COACH DUNBAR and PRINCIPAL CLARK sit around the kitchen table
playing cards. SHAW peers out a window.)
COACH
Okay, let’s see… Harry, you owe Eleanor…
ELEANOR
…seventy five cents.I-8-50
(To SHAW.)
And, Reverend, you owe me a buck and a quarter.
SHAW
(Turning from the window.)
Eleanor, why is it that the only place my prayers seem to fail me is at the bridge table?
(EVERYONE laughs.)
(Just outside, REN resists as ARIEL drags him into the house.)
ARIEL
No, c’mon! Just say “hello” to everybody.
(REN and ARIEL enter the room; the ADULTS all stop.)
Hi! You all know Ren McCormack.
(Introducing them.)
Daddy – Ren.
REN
Hey! Reverend Moore! How’s it goin’? Principal Clark – Coach Dunbar!
ARIEL
Hi, Mrs. Dunbar.
REN
Mrs. Moore.
VI
Welcome, Ren.
REN
Whoa! Poker night. Cool!
COACH
Ariel! All this time we thought you were upstairs in your room.
PRINCIPAL
Doing your homework.
SHAW
(Genial, but pointed.)
It’s hard to impose a curfew on the young people of my congregation when I can’t seem to
enforce one in my own home.
REN
Well, what’s that old expression? “It’s the shoemaker’s children who always go barefoot.”
(No one laughs; suddenly ELEANOR gasps and glances at her wristwatch.)
ELEANOR
Oh, will you look at the time!I-8-51
(The ADULTS abruptly stand and exit. VI walks them out. REN stays behind with ARIEL
and SHAW.)
REN
Boy, I can sure empty a room.
SHAW
It’s a rare talent.
REN
I’m gonna take that as a compliment.
SHAW
(With a smile.)
Oh? I can assure you, it was not meant that way.
(REN mimes being impaled in the chest by an arrow.)
REN
THHHHWUMP!
(Mimes pulling out the arrow.)
Arrggggh!
(Offering it to SHAW.)
I believe this is yours.
(SHAW is not amused; ARIEL tries to rescue the moment.)
ARIEL
Ren! Thanks for… you know…
REN
Walking you home?
ARIEL
Yeah. That, too.
(As REN starts out, he turns to SHAW one more time.)
REN
Well, Reverend. This was fun, doncha think?
(SHAW stares. After an uncomfortable pause, REN ducks out.)
MUSIC 7B: SOMEBODY’S EYES (REPRISE)
(RUSTY, WENDY JO and URLEEN enter.)
RUSTY, URLEEN & WENDY JO
SOMEBODY’S EYES ARE SEEING YOU COME AND GOI-8-52
(REN joins VI outside.)
REN
Boy, I really blew it in there, didn’t I?
VI
(Amused.)
Yeah. You did.
REN
I get nervous, I go crazy, and I always end up putting my foot in my mouth.
VI
Your mother said you were good at it, but I had no idea.
(They share a small laugh.)
REN
G’night, Mrs. Moore.
VI
Goodnight.
(REN runs off. VI re-enters the house.)
RUSTY, URLEEN & WENDY JO
SOMEBODY SOMEBODY SOMEBODY SOMEBODY’S EYES
(TRAVIS, LYLE and CHUCK enter, observing REN’S departure.)
CHUCK, TRAVIS & LYLE
WHOA-OH!
I’M GONNA PUNCH OUT
SOMEBODY SOMEBODY SOMEBODY SOMEBODY’S EYES
(They pull ski masks over their faces as they race after REN.)
RUSTY, URLEEN & WENDY JO
WHOA-OH
(They exit as VI observes SHAW and ARIEL.)
SHAW
I don’t want you to see him again.
ARIEL
Ren? Why? Just because he hasn’t lived in this town his whole life?
SHAW
That’s not it. But, clearly, the boy has no respect for authority. And everyone tells me he’s a
troublemaker.I-8-53
ARIEL
Who’s “everyone?”
(Refers to the card table.)
The Bridge Club?! Gimme a break.
SHAW
Ariel! What am I going to do with you?
ARIEL
Me? Daddy, lately all you do is look for the worst in people and then, of course, you find it.
SHAW
My, my, where did that come from?
ARIEL
From you, Daddy! Today’s sermon is: the world is evil, and Ariel has to be locked away in a
tower.
SHAW
That’s a little melodramatic, don’t you think?
ARIEL
No, I don’t. Daddy, you make me feel like a prisoner. And I hate it! I just hate it!
(ARIEL exits; SHAW notices that VI has slipped in and observed this fight.)
SHAW
Someone’s got to put a foot down.
VI
(Blithely.)
I didn’t say anything.
(She exits. Frustrated and agitated, SHAW sings:)
MUSIC 8: HEAVEN HELP ME
SHAW
I DON’T ENJOY BEING HER JAILER
I DON’T RELISH TELLING HER, “NO!”
BUT THEN I THINK – WHAT IF I FAIL HER?
HOW CAN I JUST LET HER GO?
I STRIVE TO BE A GOOD PREACHER
I TRY NOT TO GO OVERBOARD
BUT THEN I THINK – IF I CAN’T REACH HER
HOW CAN I FACE MY LORD?
HEAVEN HELP ME SHOULDER MY LOAD.
EV’RY DAY’S A STRUGGLE, STILL,I-9-54
SOMEONE’S GOT TO TAKE THE HIGH ROAD
IF I DON’T, WHO WILL?
I BECAME A MAN OF GOD
TO DO HIS WORK, TO SPREAD HIS WORD
TO EASE SOME PAIN AND DRY SOME TEARS.
THAT WAS THE PLAN.
BUT I MIGHT HAVE THOUGHT TWICE IF ONLY I KNEW THAT
I’D SPEND ALL OF MY TIME SAYING, “AINH, AINH, AINH, NO, NO!
DON’T DO THAT!”
SEE, EV’RYONE PRAYS FOR SALVATION
I’M HAPPY TO GIVE THEM THE TOOLS
THE PROBLEM IS – HERE’S MY FRUSTRATION –
NOBODY WANTS TO HAVE RULES
SO HEAVEN HELP ME WITH MY LABORS
HOW CAN YOU EXPECT ONE MAN
TO SAVE HIS FAM’LY AND HIS NEIGHBORS?
HEAVEN HELP ME
OH, HEAVEN HELP ME
IF HEAVEN CAN’T, WHO CAN?
(He exits.)
MUSIC 8A: ON ANY SUNDAY – MARCH
Scene 9: The High School Gym/The Church
(Basketball backboards and climbing ropes descend. KIDS are in the middle of gym
class. WILLARD and ARIEL enter with REN; he has a bandage above his blackened eye,
and one hand is wrapped.)
COACH
(Blowing his whistle.)
McCormack! You and your friends are late.
ARIEL
Coach, Ren is hurt. Look at his eye!
WILLARD
(Picks up REN’S hand.)
And his hand! He’s all banged up.
REN
It’s nothing. I was just…
COACH
Please! Don’t waste your breath or my time with another lame excuse.I-9-55
ARIEL
It’s not an excuse! After Ren walked me home last night, some guys jumped him.
WILLARD
They just started wailing on him! There was, like, six of them!
REN
Willard! Willard, it was three guys.
COACH
Anybody you know?
REN
Well, I didn’t take names, if that’s what you mean.
COACH
McCormack, it seems that when you’re not making trouble, it finds you anyway.
(Turning to ARIEL.)
And Ariel, I would encourage you to stay away from this guy. I’ve been asked to keep my eye on
you and…
ARIEL
Oh! My father called you. Surprise, surprise.
COACH
…and if you cooperate, it will make all of our lives much easier.
REN
Gee, if my daddy makes a phone call, will you get offa my back?
COACH
That mouth of yours is probably what made your daddy walk out in the first place.
(REN starts to lunge at Coach; before he can connect, WILLARD grabs him.)
WILLARD
Count to ten, man! Mama says just count to ten.
(REN stops struggling.)
COACH
You’d be wise to take your friend’s advice.
(Turning.)
Ariel, get back to practice.
(To REN.)
And McCormack. Get down and give me thirty.
REN
(Holds up his bandaged hand.)
You’re joking!I-9-56
COACH
You’re right. Make it fifty.
(A few KIDS notice this.)
WILLARD
He’s not faking, Coach. He’s really hurting.
COACH
Thank you for your diagnosis, Dr. Willard. You can give me fifty as well.
(Some of the GUYS laugh; to EVERYONE:)
As a matter of fact, you can all give me fifty. Courtesy of Mr. McCormack.
(EVERYONE grumbles.)
Just do it.
(They ALL get down into position and do push-ups as COACH counts.)
And one, two… I can’t hear you!
ALL
Three, four…
COACH
Only forty-six more.
(He exits; EVERYONE continues to do pushups.)
ALL
Five, six…
BOY 2
Is he gone?
ALL
Seven, eight…
(BOY 1 checks on the COACH’s exit.)
BOY 1
Yeah.
(They ALL collapse.)
Hey, Ren, thanks a lot.
REN
Sorry, guys. It’s just that this whole damn town is so wound up.
WILLARD
Amen!
REN
You guys have no place to blow off any steam.
BOY 2
You said it!I-9-57
REN
At least in Chicago we could go to the clubs.
WILLARD
Hey! Maybe we oughta take the Coach dancing.
REN
(chuckling.)
Willard, you are so…
(His voice trails off as he gets an idea; WILLARD notices REN’S distraction.)
MUSIC 9: I’M FREE/HEAVEN HELP ME
WILLARD
What? What’re you thinking?
REN
That’s IT!
WILLARD
What?
REN
We’re gonna throw a dance! We’re gonna throw a kick-ass party that’s gonna knock Bomont
right off its tractor.
(General skeptical reaction.)
WENDY JO
You’re just asking for a fight.
REN
Bring it on!
URLEEN
Are you ready to take on Reverend Moore?
REN
I’ll take on anybody!
WILLARD
What about the Town Council?
REN
I’ll fight City Hall! If there’s one thing worth fighting for, it’s freedom.
LOOKING INTO YOUR EYES I KNOW I’M RIGHT
IF THERE’S ANYTHING WORTH A FEAR, IT’S WORTH A FIGHTI-9-58
NO ONE CAN TIE MY HANDS
OR MAKE ME CHANGE MY PLANS
I’M CROSSIN’ THE LINE, JUMPIN’ THE TRACK
TAKIN’ WHAT’S MINE AND NOT LOOKIN’ BACK
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
EV’RY DAY I FACE A NEW FRONTIER
I CAN’T WORRY WHAT THE WORLD WILL SAY
I MAY FLY OR FALL BUT EITHER WAY
I’M FREE!
WILLARD
Ren, You’re not free - you’re crazy! You know there’s a law!
REN
Well, maybe that law needs changing.
RUSTY
Hello? Bomont is never gonna let us forget the Potawney Bridge Accident.
(General agreement.)
REN
How long do you have to live in that shadow? There’s gotta be a way out of this.
ARIEL
And the only way out of this is by train!
REN
No! Listen –
RUNNING AWAY WILL NEVER MAKE YOU FREE
DOESN’T MATTER WHERE YOU GO, I GUARANTEE
LONG AS WE HOLD OUR GROUND
WE CANNOT BE BOUND
WE’RE SHAKIN’ THE PAST, MAKIN’ OUR BREAKS
TAKIN’ CONTROL IF THAT’S WHAT IT TAKES
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
WE CAN FACE IT DOWN RIGHT NOW, RIGHT HERE
ONCE YOU’RE STANDING ON YOUR OWN TWO FEET
YOU WILL NOT RETREAT IF YOU REPEAT:
(Shouting.)
I’M FREE!
(Speaking.)
C’mon! Try it!
KIDS
(Tentatively.)
I’M FREE.I-9-59
REN
(Imitating SHAW, booming.)
“Let the Lord hear your voice!”
KIDS
I’M FREE!
REN
Yeah!
KIDS
WE’RE SHAKIN’ THE PAST, MAKIN’ OUR BREAKS
TAKIN’ CONTROL IF THAT’S WHAT IT TAKES
I’M FREE!
(As the number progresses, the KIDS’ workout turns rhythmic and, ultimately, exuberant,
as REN involves everyone in his campaign.)
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
WE CAN FACE THIS DOWN RIGHT NOW, RIGHT HERE
MAYBE WE CAN FIN’LLY RIGHT THIS WRONG
ARM IN ARM AND SIDE BY SIDE, WE’RE STRONG
AND FREE!
(The wall of KIDS parts to reveal SHAW, mid-sermon, and the CHOIR in their loft.)
SHAW
And now word comes to me that some young people in our community want to change our law
and throw a dance. This morning let’s remind ourselves that this law is not about dancing. This
law is a tribute—a tribute to four young people who held the promise of Bomont’s brightest
future…
KIDS
HEAVEN HELPS THE MAN
CHOIR
OOHHSHAW
…And we stand united in honoring their memory.
(REN, the KIDS, SHAW and the CHOIR sing the following sections simultaneously.)
KIDS
WE CAN FACE IT DOWN
CHOIR
YOU WILL SEE US
RAISING OUR VOICES
ALL OF OUR VOICES
FOR HEAVEN SAKES
WE WILL BE RELEASEDI-9-60
SHAW
HEAVEN HELP ME
SOMEONE’S GOT TO SAVE HIS NEIGHBOURS
HEAVEN HELP ME, OH, HEAVEN HELP ME
IF HEAVEN CAN’T, WHO CAN?
REN & KIDS
RIGHT NOW, RIGHT HERE
MAKING OUR BREAKS
FOR HEAVEN SAKES
HEAVEN HELPS THE MAN
HEAVEN HELPS THE MAN
HEAVEN HELPS THE MAN
I’M FREE!
(REN and SHAW defiantly face off as the curtain falls.)
END ACT III-1-61
ACT II
MUSIC 9A: ENTR’ACTE
MUSIC 10: STILL ROCKIN’
(ARIEL, WILLARD, REN and RUSTY rush on, excited and curious. A sign overhead
announces THE BAR-B-QUE! MUSIC! DANCING!)
ARIEL
Ren! Where have you brought us?
REN
It’s called the Bar-B-Que! The billboards say that it’s the finest little dance palace in the tricounty area. Think of it as research.
RUSTY
Then what are we waiting for?
(They start off; RUSTY drags WILLARD.)
WILLARD
Oh, my god!
Scene 1: The Bar-B-Que, a Country-Western Dance Hall
(The curtain rises on a sea of cowboy hats. COUPLES two-step to the live BAND, as lead
vocalist COWBOY BOB sings.)
COWBOY BOB
WOKE UP IN THE DAYLIGHT
DON’T REMEMBER LAST NIGHT
I JUST KNOW I WASN’T ALONE
I PARTIED IN THE FAST LANE
I WAS FEELIN’ NO PAIN
SOMEBODY CARRIED ME HOME
NOW I KICK OFF THE SHEETS
RUN FOR THE STREETS
I’VE GOTTA PUNCH A CLOCK
BUT MY KNEES ARE GOIN’ ONE WAY – WHOO!
AND MY FEET WON’T STOP
GIMME ROOM, CUZ I’M
(REN, ARIEL, WILLARD and RUSTY enter, winding their way through the dancing
CROWD.)
STILL ROCKIN’
STILL ROCKIN’
GOIN’ STRONGII-1-62
STILL GOT THE HEAT
I’M KEEPIN’ THE BEAT
CUZ IT FEELS SO GOOD
LORD, I SWEAR THAT IT
BEATS WALKIN’
I’M STILL ROCKIN’
ALL DAY LONG
SHAKIN’ MY SHOES
I’M SPREADIN’ THE NEWS
THAT I’M FEELIN’ SO GOOD
(The number continues as REN et al join together.)
REN
Look at this! What could Bomont have against dancing? Isn’t this worth fighting for?
RUSTY
Wow! Who’d have guessed that a mere hundred miles outside of Bomont you could find this
much culture?
ARIEL
And this much fun.
REN
Come on. Let’s go break a law.
(He takes ARIEL’S hand, and they dance into the CROWD.)
RUSTY
Willard! You wanna dance?
WILLARD
First thing I wanna do is find us a place to sit down!
(He crosses away; RUSTY sags, frustrated.)
COWBOY BOB
SOMETHIN’ IN THE OZONE
SHIVERS UP MY BACKBONE
MAKIN’ ME ROCK AND ROLL
I SHIMMY UP THE SIDEWALK
FASTER THAN A TICK-TOCK
PEOPLE THINK I’M OUTTA CONTROL
HAH, BUT DON’T WORRY NONE
I’M JUST HAVIN’ FUN
AIN’T GONNA LOSE MY MIND
AND IF ANYBODY ASKS YOUII-1-63
TELL ‘EM THAT I’M DOIN’ FINE
(As the band continues, COWBOY BOB jumps off the bandstand, pulls RUSTY onto the
dance floor and spins her around, none of which is lost on WILLARD.)
COWBOY BOB & BAND MEMBERS
TELL THEM ALL THAT I’M
STILL ROCKIN’
STILL ROCKIN’
GOIN’ STRONG
STILL GOT THE HEAT
I’M KEEPIN’ THE BEAT
CUZ IT FEELS SO GOOD
LORD, I SWEAR THAT IT
BEATS WALKIN’
I’M STILL ROCKIN’
ALL DAY LONG
SHAKIN’ MY SHOES
I’M SPREADIN’ THE NEWS
THAT I’M FEELIN’ SO GOOD
COWBOY BOB
(To RUSTY.)
Hey, you are good!
(Looks her up and down.)
And you are fine!
RUSTY
This is incredible! I haven’t been able to dance like this for years.
COWBOY BOB
Where the hell you been living? Bomont?
RUSTY
Yup.
COWBOY BOB
No shit! Well, darling, no wonder you’re so eager to do some tail-shaking.
(Grabs his microphone and two-steps with RUSTY as he sings:)
BAND MEMBERS COWBOY BOB
LORD, I SWEAR THAT IT
BEATS WALKIN’ YEAH, I’M STILL ROCKIN’
I’M STILL ROCKIN’
ALL DAY LONG ALL DAY LONG
SHAKIN’ MY SHOES I’M SPREADIN’ THE NEWS
I’M SPREADIN’ THE NEWS
THAT I’M FEELIN’ SO GOOD! THAT I’M FEELIN’ SO GOOD!II-1-64
(The number ends. The CROWD applauds; the BAND strikes up a slow song and
COWBOY BOB pulls RUSTY to dance.)
MUSIC 10A: UNDERSCORE
COWBOY BOB
Now, where were we?
(They slow dance; WILLARD watches for a moment before he angrily steps up.)
WILLARD
Hey! She came with me, Cowboy.
COWBOY BOB
Yeah? Well, we all make mistakes.
WILLARD
And what is that supposed to mean?
RUSTY
Willard! He was just being friendly!
WILLARD
Oh, yeah?
(Fists clenched, WILLARD steps up to COWBOY BOB, who gently stops him.)
COWBOY BOB
Look, son, it’s much too early in the evening to get blood on that pretty little shirt of yours.
(To RUSTY.)
And ma’am? My condolences.
(He tips his hat to RUSTY and strides away.)
WILLARD
(To RUSTY.)
What does he mean by that?
(Calling after COWBOY BOB.)
Hey!… Hey! You got something to say?
(REN and ARIEL notice the commotion and rush to WILLARD and RUSTY.)
RUSTY
Willard. Hey, Willard! I know who I came with. Okay?
WILLARD
Oh. Okay.
RUSTY
Now, c’mon. Let’s dance.II-1-65
WILLARD
Uh-h-h… I think I’m gonna get me a beer.
RUSTY
Oh, god!
WILLARD
Ren, you want a beer?
ARIEL
Hold on! Who’s gonna drive?
RUSTY
I’ll drive.
REN
Sounds good. Then I’ll have a beer.
WILLARD
Okay. That’s two beers.
RUSTY
I wanna dance! I wanna dance!
WILLARD
I’ve only got two hands! Ren, could you help me out here?
REN
(Aside, to ARIEL.)
Could you excuse me a minute?
(REN crosses away with WILLARD. RUSTY growls in exasperation.)
RUSTY
Arrgh!
ARIEL
Let me guess. Willard’s acting weird.
RUSTY
So it’s not just me?
ARIEL
Rusty, you and Willard have been weird since kindergarten.
RUSTY
But tonight is different. This is the first time we’ve ever left Bomont together.
(Gasps at a sudden realization.)
Maybe we don’t travel well.II-1-66
ARIEL
Rusty, it’s just a car ride!
RUSTY
(frenetic.)
But that makes it like a first date, doncha see? Oh, I should’ve seen the signs. The whole way up
here I had to do all the talking. All he said was, “Uh-huh, mmm-hmmm, uh-huh, mmm-hmmm.”
You know what that means, doncha? My baby’s in a panic!
ARIEL
Now, don’t make yourself crazy. Come on. I’ll dance with you.
(They join the two-steppin’ crowd; lights come up on REN and WILLARD.)
REN
You okay? You seem jumpy.
WILLARD
That’s why I’m having a beer. Mama says I can have one beer or one cigarette, but if I have both
I should never come home again.
REN
Willard, c’mon. What’s up? You finally go out on a date with Rusty…
WILLARD
Hold on, hold on! Is this a date? You asked me to go for a ride. You told Ariel to invite Rusty.
It’s more like I’m on a date with you.
REN
And you look so handsome tonight.
WILLARD
Thank you. But you stuck me in the back seat with a crazy woman who won’t stop moving and
talking!
REN
She’s excited to be with you.
WILLARD
Oh, well. Sure. That. But the problem is…
REN
Yes?
WILLARD
Between you and me?
REN
Uh-huh?
WILLARD
(With difficulty.)II-1-67
I can’t do it.
REN
Oh. “It?”
(WILLARD nods.)
You can’t do “it?”
WILLARD
No, sir.
REN
Well, that’s okay, Willard. It’s only the first date.
WILLARD
Right.
REN
You don’t have to do “it” on the first date. Even in Chicago some people don’t do it on the first
date.
WILLARD
Really?
REN
I swear.
WILLARD
Well, that makes me feel a lot better.
REN
(Starts back to the dance floor.)
Great! Then let’s dance!
WILLARD
Dance? Dance?! What the hell do you think I’m talking about?
REN
When you said you couldn’t do “it,” I thought you meant…
WILLARD
What?
(It dawns on him.)
Oh, that?! Hell, any idiot can do that!
(Pointing to the dance floor.)
I can’t do this! I can’t dance!
(EVERYBODY turns to WILLARD and freezes; from across the dance floor RUSTY
wails:)
RUSTY
Whaaaaat?!II-1-68
(The COWGIRLS rush to her; the COWBOYS converge on WILLARD.)
COWBOY BOB
(To RUSTY.)
D’ja hear that? Your boyfriend says he can’t dance!
(General reaction; REN tries to calm the mob.)
REN
Now, c’mon! Give the guy a break.
COWBOY BOB
But that ain’t natural!
BAND MEMBER #1
It’s like riding a bike.
BAND MEMBER #2
Or falling off a log.
COWBOY BOB
It’s as easy as learning to swim.
WILLARD
I can’t swim.
COWBOY BOB
Hey, fellas! Whaddya say we push ‘im in the pool!
MUSIC 11: LET’S HEAR IT FOR THE BOY
(The COWBOYS and REN pull WILLARD into a huddle; lights down on them, as the
focus shifts to the GIRLS. A wisecrackin’ COWGIRL questions RUSTY:)
COWGIRL
Darlin’, darlin’, your boyfriend has two left feet and you had no idea?
RUSTY
None.
COWGIRL
Didn’t he never take you in his arms and sweep you off your feet?
RUSTY
Not yet.
COWGIRL
Didn’t he never whisper sweet nothings in your ear?II-1-69
RUSTY
No! But that’s not how it is with me and Willard.
(The COWGIRLS all scoff.)
No, really! Willard has a lot of hidden talents. I mean, just look at him.
(They turn to watch as the COWBOY circle opens to reveal REN showing WILLARD a
rudimentary step; WILLARD fails miserably; the music stops. REN pulls WILLARD back
into the cowboy huddle. Lights down on them. The GIRLS turn to RUSTY.)
COWGIRL
Uhhhh… you were saying?
(RUSTY smiles sheepishly, then suddenly turns front and sings:)
RUSTY
MY BABY, HE DON’T TALK SWEET
HE AIN’T GOT MUCH TO SAY
BUT HE LOVES ME, LOVES ME, LOVES ME
I KNOW THAT HE LOVES ME ANYWAY
(Again, focus shifts to REN & WILLARD; REN demos a step, and WILLARD crashes to
the floor trying to duplicate it. The COWBOYS pick him up and pull him back to their
huddle; RUSTY tries to cover for him.)
RUSTY
AND MAYBE HE DON’T DRESS FINE
BUT I DON’T REALLY MIND
CUZ EV’RY TIME HE PULLS ME NEAR
I JUST WANNA CHEER
LET’S HEAR IT FOR THE BOY!
LET’S GIVE THE BOY A HAND
LET’S HEAR IT FOR MY BABY
YOU KNOW YOU GOTTA UNDERSTAND
WHOA, MAYBE HE’S NO ROMEO
BUT HE’S MY LOVIN’ ONE-MAN SHOW
OH, WHOA, WHOA, WHOA
LET’S HEAR IT FOR THE BOY!
(As the song progresses, WILLARD will get more ambitious and successful in imitating
the steps REN and the COWBOYS demonstrate for him. What he lacks in style, he will
make up for in enthusiasm. The GIRLS sing back-up vocals for RUSTY.)
RUSTY & THE GIRLS
MY BABY MAY NOT BE RICH
HE’S WATCHING EVERY DIME
BUT HE LOVES ME, LOVES ME, LOVES ME
AND WE ALWAYS HAVE A REAL GOOD TIME
AND MAYBE HE SINGS OFF KEYII-2-70
BUT THAT’S ALRIGHT BY ME, YEAH
CUZ WHAT HE DOES, HE DOES SO WELL
MAKES ME WANNA YELL
LET’S HEAR IT FOR THE BOY!
LET’S GIVE THE BOY A HAND
LET’S HEAR IT FOR MY BABY
YOU KNOW YOU GOTTA UNDERSTAND
WHOA, MAYBE HE’S NO ROMEO
BUT HE’S MY LOVIN’ ONE-MAN SHOW
OH, WHOA, WHOA, WHOA
LET’S HEAR IT FOR THE BOY!
(WILLARD Dance Break.)
MAYBE HE’S NO CASANOVA
STILL HIS KISSES KNOCK ME OV-AH!
HEAR IT FOR THE BOY!
LET’S GIVE THE BOY A HAND
LET’S HEAR IT FOR MY BABY
YOU KNOW YOU GOTTA UNDERSTAND
WHOA, MAYBE HE’S NO ROMEO
BUT HE’S MY LOVIN’ ONE-MAN SHOW
OH WHOA WHOA WHOA
LET’S HEAR IT FOR THE BOY
HEAR IT FOR THE BOY
HEAR IT FOR THE BOY
HEAR IT FOR THE BOY
WHOA! HEAR IT FOR THE
HEAR IT FOR THE BOY
(The number ends with WILLARD whipping off a dazzling dance combination, to
everyone’s amazement. The playoff music begins and EVERYONE dances off.)
Scene 2: The Moore Home
(CHUCK is outside, loudly whispering up to ARIEL’S bedroom window.)
CHUCK
Hsst! Ariel! Ariel!
(VI, in a robe, exits the house and crosses to him.)
VI
She’s not here, Chuck.II-2-71
CHUCK
(Yelps, startled.)
Oh…! Mrs. Moore.
VI
Did I scare you?
CHUCK
(Fibbing.)
Nope. Not at all. Did you tell Ariel that…
VI
Yes, Chuck, I’ve told her every time you’ve called.
CHUCK
Thanks. I guess she’s busy and all.
VI
Mmmm. She and the girls went over to Wendy Jo’s to study.
CHUCK
Really? I was just there. Wendy Jo said she left hours ago. With Rusty.
VI
(Surprised.)
Oh.
SHAW
(As he enters.)
Who is it, Vi?
(Seeing CHUCK.)
Mr. Cranston.
CHUCK
Evening, Reverend. I was just looking for Ariel.
SHAW
Isn’t it a bit late, Mr. Cranston?
CHUCK
Yes, sir. That’s why I’m surprised she’s not at home.
(SHAW hides his surprise with a quick glance at VI.)
SHAW
So am I. Goodnight, Mr. Cranston. And next time, please remember, we have a front door for
guests.
CHUCK
Yes, sir.II-2-72
(CHUCK exits. SHAW and VI cross into the house.)
SHAW
Where is she?
VI
She told me she was going to Wendy Jo’s.
(As SHAW reaches for the phone.)
Don’t bother calling. She’s not there.
SHAW
Did you know this?
VI
No. I did not.
SHAW
So, how does it feel, Vi? Now that she’s lying to you?
VI
I’m not saying anything until I hear an explanation from her.
SHAW
It was frightening enough when she was running around with Chuck Cranston. Now, she is out in
the middle of the night, with that punk who’s campaigning to challenge me and the entire Town
Council. How long can you keep defending her?
VI
I’m not defending her. We’re not on opposite sides here, are we? Or are we?
(ARIEL rushes in.)
SHAW
Where were you?
ARIEL
Oh, Rusty and Wendy Jo and me, we were…
SHAW
Don’t even bother.
VI
We know you weren’t at Wendy Jo’s.
ARIEL
I can’t believe you’re checking up on me.
VI
Sweetie, how do we know you’re not sick? Or hurt?II-2-73
SHAW
I am concerned for your well-being.
ARIEL
Then how come when I’m at home, you’re never interested in what I’m thinking or how I feel?
But the minute I walk out that door – wham! Suddenly, you’re the concerned parent!
VI
Shaw, she doesn’t mean that.
SHAW
Stop taking her side! She has to start answering for herself.
ARIEL
I don’t know what good that would do. You don’t listen to me any more than you listen to her!
(SHAW lunges, raising his hand to slap ARIEL.)
VI
Shaw!
(SHAW catches himself and stops. It is an awful moment. There is stunned silence.
Finally, ARIEL turns and runs out. SHAW is shaken.)
SHAW
I’ve never hit anyone.
VI
I know.
SHAW
We’re losing her, Vi. She has become willful and obstinate.
VI
(Kindly.)
Like her father.
SHAW
I am her spiritual guardian.
VI
You used to be her friend.
SHAW
I don’t understand what’s happening. I don’t know what to do anymore.
VI
Yes, you do.II-2-74
MUSIC 12: CAN YOU FIND IT IN YOUR HEART?
CAN YOU FIND IT IN YOUR HEART TO FORGIVE HER?
CAN YOU STOP AND SEE THERE’S PART OF HER THAT’S TRYING TO OBEY
WHILE PART OF HER IS DYING TO RUN AWAY?
CAN’T YOU HEAR WHAT SHE’S TRYING TO SAY?
CAN YOU FIND IT IN YOUR SOUL TO ACCEPT HER?
IF SHE STUMBLES ON YOUR HOLY PATH, DO YOU HAVE TO REPRIMAND?
OR ARE THERE WAYS TO MAKE HER UNDERSTAND
WITHOUT USING THE BACK OF YOUR HAND?
CAN’T YOU REMEMBER WHEN WE WERE THAT AGE?
PUMPED UP WITH PROMISE AND WRESTLING WITH RAGE?
CAN’T YOU REMEMBER WHEN WE WERE A FAMILY BACK WHEN?
COULD WE BE ONE AGAIN?
(The music continues under.)
SHAW
We are a family.
VI
No. The accident changed everything. Ever since Bobby’s death, you make impossible demands
on Ariel.
SHAW
I have not confused Ariel’s behavior with my son’s death.
VI
He was my son, too!
(Pause.)
Shaw, it’s been twenty-one years I’ve been a minister’s wife, and after all that time, I still feel
that you’re a wonderful preacher. You can lift a congregation up so high, they have to look down
to see heaven. It’s the one-on-one where you need a little work.
SHAW
I thought at least you believed in me.
(He exits, leaving VI gazing off after him.)
VI
(To herself.)
I never stopped.
(Sings.)
DOES IT EVER CROSS YOUR MIND THAT I MISS YOU?
IS THERE ANY CHANCE WE’LL FIND THE JOY THAT WE SHARED AT THE
START?
CAN YOU REMEMBER WHAT YOU FELT
BEFORE THAT FEELING FELL APART?
CAN YOU FIND IT IN YOUR HEART?II-3-75
HAVE YOU LOST MY LOVE SOMEWHERE FAR BEHIND
OR CAN YOU FIND IT IN YOUR HEART?
MUSIC 12A: TRANSITION
(If needed for scenery.)
MUSIC 12B: CHUCK ACCOSTS ARIEL
(In half-light: from her bedroom window ARIEL drops her shoulder bag to the ground
and climbs down; as she picks up her bag and turns, CHUCK steps out of the shadows,
startling her; defiant, she tries to move past him, but he grabs her arm. A struggle ensues,
and CHUCK drags ARIEL offstage as the scene shifts to:)
Scene3: The Junk Yard
(REN, WILLARD, BICKLE, JETER and GARVIN have been making campaign posters
and flyers; paint cans, brushes and other materials lay about. As the lights come up,
they’re all heatedly giving REN advice.)
WILLARD
Hold it! Hold it!
(They quiet; to REN.)
Ren. All’s we’re sayin’ is: you’re going to be speaking to the Town Council, so don’t mumble.
(The BOYS all mumble.)
Now do that last part one more time.
(REN takes a deep breath, begins:)
REN
Members of the Council: Dancing is not a crime.
MUSIC 12C: DANCING IS NOT A CRIME
WILLARD
Yeah.
BICKLE
Yeah.
JETER
Yeah.
GARVIN
Yeah.
(Feeling his way, REN continues to make his argument; it only slowly dawns on him that
he’s rhyming, but, once he feels the rhythm of his words, he throws himself into this
patter with abandon.)II-3-76
REN
YEAH! EVER SINCE THE DAWN OF TIME
IF ANYTHING, EV’RYBODY HAD THE RIGHT
TO HOWL AT THE MOON AND TO MOVE ALL NIGHT
WHEN FOLKS WERE TRIBAL –
BACK BEFORE THE BIBLE –
THEY WERE LIABLE TO DANCE WHEN THE CROPS CAME IN
OR THEY’D PULL OUT ALL THE STOPS
WHEN THE EARTH WOULD SPIN
OR MAYBE – THEY HAD A BATTLE TO WIN
SO THEY WOULD DANCE!
EVERY TIME THEY HAD THE CHANCE
WHATEVER THE SEASON OR CIRCUMSTANCE
THEY FOUND A REASON TO THROW A PARTY IN THEIR PANTS
SO LET’S DO LIKE THEY DID AND DANCE, DANCE, DANCE!
(He finishes – ta da! – ready for their approval. A pregnant pause. TRAVIS points at
REN and, like a 7-year-old, announces:)
TRAVIS
You said “Party in your pants.”
(The OTHERS now explode.)
BOYS
Are you out of your mind…?/ “Party in their pants?!”/ What are you thinking man!?
WILLARD
Guys! Cool it! Ren, we’re not saying the speech is bad. It’s just that it’s no good.
REN
Then what am I supposed to say? I’ve re-written it nine times.
WILLARD
Here’s the thing: you’re gonna be facing Reverend Moore and some of the stubbornest people in
town.
BICKLE
You’ve already got plenty of people boiling mad.
JETER
Yeah! Folks are picking sides.
GARVIN
And they’re not picking yours!
REN
Then who am I kidding? This whole thing has gotten way out of hand. Maybe I ought to forget it.II-3-77
WILLARD
Whoa there, little buddy! We don’t mean to discourage you.
BICKLE
After all the posters we’ve painted?
JETER
All the flyers we’ve passed out.
GARVIN
Everybody at school is climbing the walls!
WILLARD
So, hang in there! You just gotta re-think your approach. Now, Mama says…
BOYS
Not Mama again…! Who cares what Mama says…?! Oh, man…!
WILLARD
(Silences them.)
Now hold on just one minute!
MUSIC 13: MAMA SAYS (YOU CAN’T BACK DOWN)
WILLARD
EV’RYTHING I EVER LEARNED THAT GETS ME THROUGH THE WORST
I LEARNED AT MY MAMA’S KNEE
NOW ANYTIME I’M TURNED AROUND I TURN TO MAMA FIRST
AND YOU’D BE WISE
TO MEMORIZE
WHAT MAMA SAYS TO ME
Mama ain’t been wrong yet. And I’m the living proof.
JETER
(To REN.)
That’s kind of a frightening thought, isn’t it?
WILLARD
Now, listen up!
MAMA SAYS
DON’T USE A TOASTER WHILE STANDING IN THE SHOWER
NOW WHO CAN ARGUE WITH THAT?
MAMA SAYS
DON’T HOLD YOUR BREATH FOR LONGER THAN AN HOUR
THE WOMAN KNOWS WHERE IT’S AT!
AND MAMA SAYS IT DOESN’T MATTER
IF YOU’RE A KING OR YOU’RE A CLOWN
ONCE YOU DRIVE UP A MOUNTAINII-3-78
YOU CAN’T BACK DOWN
GARVIN
You can’t back down, Ren!
WILLARD
Now, Ren, you’ve not yet had the pleasure of meeting my Mama, but these boys have. C’mon
and help me out here, fellas.
BOYS
MAMA SAYS
WILLARD
DON’T DRINK HOT COFFEE LYING DOWN IN BED
DON’T EVEN GIVE IT A THOUGHT
BOYS
IT’S A MESS!
MAMA SAYS
WILLARD
NEVER EAT ANYTHING THAT’S BIGGER THAN YOUR HEAD
IS SHE A WHIZ OR WHAT?
BOYS
OH, YES!
(The BOYS sing backup for WILLARD.)
WILLARD & BOYS
AND MAMA SAYS IT DOESN’T MATTER
IF YOU’RE A KING OR YOU’RE A CLOWN
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
OH, ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
NOW, MAMA MAKES A LOTTA SENSE
IF YOU KNOW HOW TO LISTEN
SHE IS CLEAR AND CONCISE
DADDY SAYS, “I LOVE HER, SON
BUT SHE’S GOT MARBLES MISSIN’”
BUT I SAY, “HEY! IT’S FREE ADVICE
AND WHAT D’YOU EXPECT AT THAT PRICE?”
REN
Then maybe your Mama oughta give my speech.
WILLARD
Oh, hell no! Everyone thinks Mama’s crazy. The point is, though, she’s got some really good
ideas. Hear me, now –II-3-79
BOYS
MAMA SAYS
WILLARD
WHAT YOU BELIEVE IN IS ALL YOU REALLY OWN
AND I BELIEVE THAT SHE’S RIGHT
BOYS
MAMA SAYS
WILLARD
IF YOU’VE GOT DOUBTS, WELL, THEN, BOY, YOU’RE NOT ALONE
JUST MEANS YOU’RE READY TO FIGHT
WILLARD & BOYS
AND MAMA SAYS IT DOESN’T MATTER
WILLARD
IF YOU DRIVE A HARD BARGAIN OR DRIVE AROUND TOWN
ALL
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN
WILLARD
Don’t make me say it again!
(The number ends and they ALL exit. WILLARD re-enters with REN.)
WILLARD
I thought of one more thing.
MUSIC 13A: MAMA SAYS (ENCORE)
WILLARD
NOW, MAMA SAYS
(The BOYS pop in with “Oooohs.”)
DON’T BUY A CHANDELIER UNLESS YOU’VE GOT A CEILING
(Spoken.)
I don’t know what that’s about.
MAMA SAYS
DON’T CHEW ON TIN FOIL, UNLESS YOU LIKE THAT FEELING
SOMEHOW SHE FIGURED THAT OUT!
WILLARD & BOYS
AND MAMA SAYS
IT DOESN’T MATTER
IF YOU’RE A KING OR YOU’RE A CLOWNII-3-80
ONCE YOU DRIVE UP A MOUNTAIN
WILLARD
(To REN.)
REMEMBER, BOY: EV’RYONE’S COUNTIN’ ON YOU
WILLARD & BOYS
ONCE YOU DRIVE UP A MOUNTAIN
YOU CAN’T BACK DOWN!
WILLARD
That’s my Mama!
(The number ends. URLEEN and WENDY JO rush on.)
URLEEN
Ren! Ren! Thank God you’re here! Chuck and Ariel got into a big fight!
WENDY JO
Chuck beat her up! She might have a black eye.
WILLARD
C’mon, boys. Let’s get Chuck. Right now!
(They start off and encounter RUSTY entering with ARIEL, who is dabbing at her
reddened eye; her shoulder bag is slung across her chest.)
ARIEL
Willard, stop! Please don’t. I’m in enough trouble tonight. I don’t want to cause any more.
RUSTY
Chuck’s been on a tear since he found out about our little field trip to the Bar-B-Que Dance
Palace.
ARIEL
(To REN.)
He “ordered” me not to see you anymore. I told him I see who I like, and then he just started
swinging.
REN
Lemme look at that eye.
ARIEL
I’m just so mad at myself. I don’t know why I was with him in the first place.
REN
Maybe you should see a doctor.
ARIEL
(Pulling away.)
I am fine.II-4-81
WILLARD
You want me to call your folks?
ARIEL
No! Please. I just wanna be alone. Okay?
RUSTY
Let’s go, guys. C’mon.
(They ALL exit; REN lingers.)
REN
You want some company?
ARIEL
No.
(He starts to go.)
Yes.
(He stops.)
REN
You’re sure? I mean, I won’t take it personally if…
ARIEL
(Holding up a hand.)
Shh!
REN
What?
ARIEL
Listen!
(SOUND CUE: A WHISTLE and the distant RUMBLING of an approaching train.)
ARIEL
Come on!
(She starts to run off and he follows her; the TRAIN SOUNDS get closer, louder.)
REN
What? Where are we going…?
ARIEL
You’ll miss it! Come on!
Scene 4: Under the Train BridgeII-4-82
(REN follows her up a girder under the train bridge and tracks, high above the river. It is
covered with graffiti. They brace themselves as a train rumbles overhead; lights strobe
across their faces. This time, they both scream with abandon:)
REN & ARIEL
Aah-h-h-h-h-h-h-h-h--…!
(When the train sound fades, REN realizes how high they are and pulls back from the
edge.)
REN
Whoa!
(Peering down.)
It’s a free-fall into the river from up here! Are you out of your mind?
ARIEL
You noticed!
REN
What’re we, like, forty feet above the water?
ARIEL
But look around: up here I can pretend I’m halfway to heaven… I listen to the river…
(Indicating the girders.)
…and look what happens!
REN
(Inspecting the girders.)
Whoa! This place is covered with graffiti.
ARIEL
It’s not graffiti! It’s poetry. I call this place, “My Diary.”
REN
You climb all the way up here and write poems?
ARIEL
Uh-huh. They’re all dedicated to Bobby.
REN
Bobby? Who’s Bobby?
ARIEL
My brother.
REN
You never told me you have a brother.
ARIEL
Had a brother. Bobby was one of the four kids who went off the Potawney Bridge.II-4-83
REN
Oh, god. I’m sorry.
ARIEL
Yep. One of the…
(A la SHAW.)
“…four young people who held the promise of Bomont’s brightest future.”
REN
Why didn’t I know this?
ARIEL
We never talk about it. And once Daddy decided the town needed saving, he never mentioned
Bobby again.
REN
You must miss him real bad.
ARIEL
I try not to think about it.
REN
That never works. I’ll bet you think about it all the time.
ARIEL
How did you know that?
REN
I study you.
ARIEL
Oh, yeah? What do you see?
REN
Somebody who’s smart.
ARIEL
Thank you.
REN
Maybe a little bit angry.
ARIEL
Maybe a lot.
REN
And somebody who’s sad.
(Beat.)
I always wondered where that came from.
ARIELII-4-84
(Touched.)
Now you know.
(They’re both silent. She starts to speak, but stops herself.)
MUSIC 14: ALMOST PARADISE
REN
What?
ARIEL
I’ve never felt like anyone’s ever stopped to really look at me.
REN
Oh, no… You’re in my mind, twenty-four hours a day.
(Pause. They grow self-conscious, look away and sing their private thoughts:)
REN
I THOUGHT THAT DREAMS BELONGED TO OTHER MEN
CUZ EACH TIME I GOT CLOSE, THEY’D FALL APART AGAIN
ARIEL
I FEARED MY HEART WOULD BEAT IN SECRECY
BOTH
I FACED THE NIGHTS ALONE
OH, HOW COULD I HAVE KNOWN
THAT ALL MY LIFE I ONLY NEEDED YOU?
WHOA, ALMOST PARADISE
WE’RE KNOCKING ON HEAVEN’S DOOR
ALMOST PARADISE
HOW COULD WE ASK FOR MORE?
I SWEAR THAT I CAN SEE FOREVER IN YOUR EYES.
PARADISE!
(The music continues under as ARIEL turns to REN:)
ARIEL
Y’know, you make me forget everything that’s wrong with my life.
REN
There are some things I’d like to forget.
ARIEL
Like…?
REN
This battle I’m causing in Bomont! And I still don’t know what I’m gonna say to the Town
Council.II-4-85
ARIEL
Oh, that reminds me. You’ll need this.
(From her shoulder bag she pulls a book bristling with paper bookmarks; she hands it to
him.)
REN
(Reading the title.)
The Holy Bible?
ARIEL
I marked all the pages.
REN
(Flipping through, reading.)
Whoa! This is great. How did you know where to find all these passages?
ARIEL
(Regards him with disbelief.)
Are you kidding?
REN
(Realizing she’s the Preacher’s daughter!)
Oh. Thank you.
ARIEL
I THOUGHT THAT PERFECT LOVE WAS HARD TO FIND
I’D ALMOST GIVEN UP
YOU MUST’VE READ MY MIND
REN
AND ALL THOSE DREAMS I SAVED FOR A RAINY DAY
BOTH
THEY’RE FINALLY COMING TRUE
I’LL SHARE THEM ALL WITH YOU
CUZ NOW WE HOLD THE FUTURE IN OUR HANDS.
WHOA, ALMOST PARADISE
WE’RE KNOCKING ON HEAVEN’S DOOR
ALMOST PARADISE
HOW COULD WE ASK FOR MORE?
I SWEAR THAT I CAN SEE FOREVER IN YOUR EYES.
PARADISE!
REN
AND IN YOUR ARMS, SALVATION’S NOT SO FAR AWAY
ARIEL
IT’S GETTING CLOSERII-5-86
BOTH
CLOSER EVERY DAY
ALMOST PARADISE
WE’RE KNOCKING ON HEAVEN’S DOOR
ALMOST PARADISE
HOW COULD WE ASK FOR MORE?
I SWEAR THAT I CAN SEE FOREVER IN YOUR EYES.
PARADISE
PARADISE
PARADISE
(They kiss; the lights fade to black.)
MUSIC 14A: OUT OF “PARADISE”
Scene 5: The Town Hall
(The ENTIRE COMPANY is present in a Town Hall meeting room. At a long table sit
SHAW and MEMBERS of the COUNCIL w/ELEANOR DUNBAR on gavel. The KIDS
and OTHERS face them. LULU, the Secretary, reads from notes:)
LULU
“And so it was unanimously passed that the price of a dog license will go from three-dollars and
fifty cents to four dollars and twenty five cents. A licensed pet is a happy pet.” That takes care of
old business.
ELEANOR
Thank you, Lulu. Now let’s consider new business.
(The KIDS’ enthusiasm grows vocal; she bangs the gavel.)
Before we begin, I want to remind all our young people who have joined us this evening that this
meeting is convened to consider official town business. Disturbances will not be tolerated.
(The KIDS grumble but settle down.)
The floor is now open.
(REN raises his hand.)
Yes.
REN
My name is Ren McCormack and… uh…
(He looks to WILLARD and ARIEL who nod back.)
…on behalf of most of the senior class of Bomont High, I move that local ordinance four-sixteen
– the law against public dancing within the Bomont town limits – be abolished.
WILLARD
(Stands.)
And I, Willard Hewitt of 385 Cloverdale Road, would like to second that motion. Thank you.
(He sits. Applause from the KIDS is silenced by the gavel.)II-5-87
SHAW
Eleanor, may I have the floor, please?
ELEANOR
Certainly, Reverend.
SHAW
Mr. McCormack, you wish to change the law because you want to throw a dance; that is your
right. But it is my duty to challenge any enterprise which, in my experience, fosters the use of
liquor, the abuse of drugs and, most importantly, celebrates spiritual corruption. And I think
you’re going to find that most folks in this community agree with me.
COACH DUNBAR
(From audience.)
You got that right.
(General agreement from COUNCIL.)
SHAW
Now, if anyone can convince me that there is no danger in your raucous party plans, I might
reconsider my stand. But for now? No, I can’t condone it.
(He sits.)
ELEANOR
I believe that a vote is in order. Will all those in favor…
REN
Excuse me, isn’t there any kind of discussion?
COUNCIL MEMBERS
Now just a minute! Discussion is closed. You’re out of order, etc.
COACH DUNBAR
(Points at REN.)
It’s outrageous! If you think that …
(VI stands, shouts over the hubbub.)
VI
Roger!
(All quiet, turn to regard VI.)
Roger. Sit down.
(Stunned, he does.)
I believe that Mr. McCormack has a right to be heard.
REN
(Halting.)
I just wanted to say a few words, cuz I think this idea scares a lot of people. It shouldn’t.
(Unfolds a piece of paper, clears his throat, reads:)II-5-88
“From the oldest times, people danced for many reasons. They danced so their crops would be
plentiful or so that their hunt would be good. They danced to show their community spirit, and
they danced to celebrate. And that’s the dancing we’re talking about.”
SHAW
(Stands.)
Mr. McCormack, we don’t need a history lesson –
(REN pulls the Bible from his jacket and opens it to a bookmark.)
REN
And aren’t we told – excuse me, Reverend – aren’t we told in Psalm 149 to “praise ye the Lord.
Sing unto the Lord a new song. Let them praise his Name in the dance?”
(He looks to SHAW who, stunned, slowly sits.)
And it was King David… King David who we read about in Samuel. And what did David do?
What did David do?
(Stalls, trying to find the passage:)
What did David do?
(He finds it.)
Ah! “David danced before the Lord with all his might. Leaping and dancing before the Lord.”
(Shows the Bible to the Council Members.)
Leaping and dancing. And Ecclesiastes assures us that, “There is a time to every purpose under
heaven – a time to laugh and a time to weep. There is a time to mourn and there is a time to
dance.” There was a time for this law, but not anymore. And this is our time. Our time to
celebrate life. That’s the way it was in the beginning, the way it’s always been and that’s the way
it should be now. Thank you.
(The KIDS try to stifle their enthusiasm as REN returns to his seat, but they make some
noise.)
ELEANOR
Order! Order!
(The COUNCIL MEMBERS seem at a loss as to how to proceed. ELEANOR looks to
SHAW; he nods.)
There is a motion on the floor to repeal local ordinance four-sixteen. How does the Council vote?
COUNCIL MEMBERS
(One after the other.)
No. No. No.
SHAW
No.
ELEANOR
The motion is defeated. And I believe this meeting is adjourned.
MUSIC 14B: OUT OF COUNCIL
(The meeting breaks up and EVERYONE leaves; the KIDS grumble on their way out.
REN is left alone with ETHEL.)II-5-89
ETHEL
Ren. Up ‘til now, I’ve been real proud about keeping my opinion to myself. But, honey, if I don’t
say something I’m gonna bust.
REN
What’s there to say? I lost. The Council voted, and I lost.
ETHEL
Sweetie, you never had a prayer.
REN
That’s not funny, Mom.
ETHEL
Ren, when you got to the part about leaping and laughing and weeping and dancing – which I
loved, don’t get me wrong – I was watching the faces of the Town Council. I promise you: Shaw
Moore had those votes locked up before he walked in here tonight.
REN
(Startled.)
You think he told them how to vote?
ETHEL
You can still sound shocked. I love that about you.
REN
But he’s a man of God!
ETHEL
He’s a man. And you were railroaded.
REN
Damn, that pisses me off!
ETHEL
Good! Now listen: Reverend Moore said he would reconsider only if someone convinced him
there was no danger in your “raucous party plans.”
REN
“Raucous party plans” – do you believe these people? I mean –
(Stops as he notices her stare.)
What?
ETHEL
Make him reconsider.
REN
Me?
ETHEL
You.II-5-90
REN
(Referring to SHAW:)
And him?
ETHEL
Yup.
REN
When?
ETHEL
Now.
REN
But…!
ETHEL
Ren!
REN
Mom!
ETHEL
Stop!
(They stop their ping-pong exchange.)
Until you do, you’ll never make peace with that man. Or this town.
REN
I didn’t convince him in here.
ETHEL
He wasn’t listening in here. Make him listen.
REN
What can I say I haven’t already said? I read my speech, I thumped my Bible -
ETHEL
You did everything but speak from your heart.
(That stops REN.)
REN
Reverend Moore is a really smart man.
ETHEL
So are you.
REN
He’s stubborn.II-6-91
ETHEL
And you’re not?
(She starts off.)
I’d love to be here to watch, but I’ve got to get home and hose down your Aunt and Uncle.
REN
I love you, Mom.
ETHEL
You have no choice. Now, go!
(ETHEL exits. REN runs as the Moore Home enters.)
MUSIC 14C: TRANSITION TO MOORE HOME
Scene 6: The Moore Home
(REN approaches the Moore Home; SHAW – cinching a robe, clasping a prayerbook –
crosses and opens the front door.)
REN
Reverend.
SHAW
Mr. McCormack.
It’s late.
REN
(Cheery.)
Really? I’m wide awake.
(SHAW gives him a withering look.)
I have a question.
SHAW
(Wry.)
And it couldn’t wait until morning.
REN
One question.
(After a pause, SHAW admits him.)
Reverend, before tonight’s meeting, did you tell the Council how to vote?
SHAW
(Caught by surprise.)
We...discussed the issue, of course.
REN
But, did you tell them how to vote?
SHAW
Ren, this is more than a question of a dance...II-6-92
REN
(Forceful.)
Did you?
(SHAW’s silence is his answer.)
Reverend Moore, I understand what this town has been through…
SHAW
No, I don’t think you do. If you did, you wouldn’t have provoked your classmates to re-open the
wounds we have healed. You –
REN
(Interrupting.)
Those wounds are not healed.
(SHAW reacts.)
If they were, people wouldn’t be glaring at me on the street or snubbing my Mom at the market.
They wouldn’t be boycotting my Uncle’s business. And you wouldn’t be fixing the vote on the
Town Council –
SHAW
(Talking over him.)
I thought it was time to put an end to this nonsense.
REN
“Nonsense?!” All I say is, “Who’s up for a little dancing?” And the only thing people here can
think about is the Potawney Bridge and four kids–
SHAW
Mr. McCormack – !
REN
– and I know your son was one of them. And I’m sorry for your loss, I truly am, but honoring
their memory by shutting out the world isn’t working.
SHAW
(Sardonic, heated.)
And I’m sure you have all the answers!
REN
No, I don’t, but I –
SHAW
And you’re going to set me straight!
REN
I didn’t say thSHAW
How can you presume to know what I’ve been through? You don’t have a clue!
(Moves to show him the door.)
Good night, Mr. McCormack.II-6-93
REN
Please! If I could only –
SHAW
Mr. McCormack, I would like to be alone!
REN
(Emphatic.)
Sir, you already are!
(That stops SHAW in his tracks. Long pause. REN realizes that his words have stung
deeply. Now calmly, kindly:)
REN
We both are. You and me. We’ve both lost somebody. And even though people say they
understand, they don’t really. I bet you stop a hundred times a day and wonder “why?” I do. I
wonder why’d my Dad leave? Was it something I did? Something I didn’t do? Could I have made
him stay? Maybe I could bring him back? But I can’t.
(SHAW looks up.)
But I don’t have to tell you. You know what that’s like.
SHAW
(Quietly, defeated.)
I do.
REN
So, I guess I came to town frustrated and angry, and it felt really good to kick up a fuss. And I
know it got people upset, and I’m sorry for that. But I’m just trying to move on. Cuz I’m so tired
of looking back.
(Shrugs.)
And I can’t stand still.
SHAW
I’ve noticed.
(BOTH smile; the ice has been broken, but neither knows what to say next.)
REN
Okay, look, I’m gonna go. I know you’re gonna do what you’ve gotta do – about the dance and
all – but thanks for listening.
(He starts out.)
SHAW
Ren?
(REN turns; SHAW tries to find the words.)
I’m sorry that your father won’t ever get to know you.
REN
(Touched.)II-6-94
Thanks.
(REN goes.)
(SHAW is lost in thought. ARIEL appears and speaks softly.)
ARIEL
Daddy?
SHAW
Oh. I didn’t hear you come down.
ARIEL
I heard voices.
SHAW
That was your friend, Ren. He sure asks a lot of questions.
ARIEL
And what did you tell him?
SHAW
For once, I had very little to say.
(Smiles ruefully, shakes his head.)
I think I’m running out of answers.
(She can see how troubled he is.)
MUSIC 15: ARIEL COMFORTS SHAW (UNDERSCORE)
ARIEL
Daddy? I know it’s hard for you, and I know I don’t make it any easier. It’s just that I don’t know
if I believe in all the things you believe in. But I believe in you.
(He hugs her close. They break.)
Get some sleep. You have a sermon in the morning.
SHAW
If I can figure out what to say.
ARIEL
You will.
(She goes. SHAW is alone with his thoughts.)
MUSIC 16: HEAVEN HELP ME (REPRISE)
SHAW
WHEN SOULS COME TO ME FOR PROTECTION
I GUIDE THEM, WHATEVER THE COST
BUT WHILE I’VE BEEN GIVING DIRECTION
MAYBE IT’S ME WHO GOT LOSTII-6-95
HEAVEN HELP ME FIND MY WAY NOW
OPEN UP MY HEART AGAIN
HELP ME FIND THE WORDS TO SAY NOW
HEAVEN HELP ME
OH, HEAVEN HELP ME
MUSIC 16A: AFTER HEAVEN REPRISE
(The CHOIR joins with soft “ooohs” of ON ANY SUNDAY as the Church assembles
around SHAW, who ascends the pulpit.)
ALL
OOH…
Scene 6A: The Church
SHAW
I’m standing before you this morning with a very troubled heart. You see, my friends, as your
minister, I should be helping you to find the joy in your lives; last night I realized that I haven’t
been doing that. After all, we all remember that terrible night five years ago when the lives of
four young people ended on the Potawney Bridge. Everyone in this community lost someone that
night – a child, a neighbor, a friend. I –Vi and I – we lost our son.
(He looks to his family.)
Ariel lost her brother. Now, somehow I got into my head that my loss was the greatest. That my
pain was the deepest. And then, last night, someone much younger than I made me realize how
tightly I had been holding onto that memory. A memory that has weighed me down as surely as a
great stone. And in that moment, I did something I haven’t done for a very long time: I laid down
my burden. It was a terrifying moment. And it was exhilarating. This morning I offer you the
same opportunity.
(Beat.)
The Senior Class of Bomont High School has asked permission to hold a dance. Ren, I think that
might be a good idea.
(The CONGREGATION reacts with muted jubilation.)
Please join me in asking our Lord to guide and protect our children.
(He bows his head and the CHOIR finishes with a triumphant “Ah-ah-ah-Amen,”
punctuated by RUSTY waving a hand overhead and riffing, “Thank you, Lord, Amen!”)
CHOIR RUSTY
AH-AH-AH-MEN THANK YOU, LORD
(SHAW casts a glance back in her direction – and smiles.)
(The CONGREGATION disperses.)
Scene 6B: The Churchyard
(The KIDS gather to congratulate REN, patting his back, shaking his hand, etc., but they
fall silent and step back when CHUCK struts over to REN and ARIEL. After a tense faceoff, CHUCK sneers.)II-6-96
CHUCK
We’re outta here.
(He turns, snapping his fingers.)
Travis! Lyle! Let’s go!
(The CROWD parts to reveal TRAVIS and LYLE getting an impromptu dance lesson from
TWO GIRLS; when the guys catch CHUCK’S glare, they slow down and stop, selfconscious. After an icky silence:)
TRAVIS
Uh… could you maybe give us a minute here?
(A few KIDS stifle snickers. CHUCK tries to save face by sneering:)
CHUCK
Losers.
(He flips up the collar on his leather jacket and struts off, friendless.)
(As the CROWD disperses, GARVIN and BICKLE push WILLARD toward RUSTY, who
is thrust forward by WENDY JO and URLEEN.)
WILLARD
Rusty, now here’s the deal. I could throw a clean sheet over the front seat of the pick-up so we
don’t end up smelling like the dogs.
RUSTY
Uh-huh.
WILLARD
Daddy’s suit kinda fits and I could roll up the pants legs with duct tape.
RUSTY
I love where this is going.
WILLARD
Mama could whip up one of those…
(Points frantically at his lapel.)
…croissants?
RUSTY
A corsage?
WILLARD
One of them.
RUSTY
You’re painting a picture for me, aren’t you? I see a rusty truck that smells bad, a taped-up brown
suit, and me, wearing a corsage made out of God-knows-what.II-6-97
WILLARD
Whaddya think?
RUSTY
Is there a dance in there someplace?
WILLARD
Yes, ma’am. You wanna?
RUSTY
Willard, I would love to!
(RUSTY and WILLARD exit leaving URLEEN and WENDY JO alone with GARVIN &
BICKLE. The BOYS take a breath to speak to the GIRLS but…)
URLEEN & WENDY JO
Don’t even think about it.
(They exit; the BOYS exit separately. Only SHAW and VI are left.)
VI
Shaw, you did a good thing this morning.
SHAW
I’m still not sure it was the right thing.
VI
I think it comes close.
(Pause.)
I’ve missed you. I’ve missed us.
MUSIC 17: CAN YOU FIND IT IN YOUR HEART? (REPRISE)
SHAW
I HOPE YOU NEVER DOUBT THAT I LOVE YOU
IF THAT’S HARD TO FIGURE OUT SOMETIMES, WELL THEN, I APOLOGIZE
BUT YOU ARE DEARER TO MY LIFE THAN YOU COULD EVER REALIZE
IF I TRY TO MAKE AMENDS, CAN YOU TEACH ME HOW TO START?
CAN YOU FIND IT IN YOUR HEART?
(She regards him, then crosses and embraces him. They hold onto each other, swaying,
until finally:)
VI
Shaw?
SHAW
Yes?
VI
We’re almost dancing.II-6-98
(They laugh and exit, arm in arm.)
MUSIC 18: FOOTLOOSE (FINALE)
(REN enters the empty stage dressed for the dance.)
REN
I RENTED MY TUX
GARVIN & BICKLE
(Entering.)
BOUGHT FLOWERS –
JETER
(Entering.)
TWELVE BUCKS!
WILLARD
(Entering.)
AND ON MY TWENTY-THIRD TRY
I FINALLY TIED MY TIE
BOYS
I GOT THIS FEELING
THAT TIME’S NO LONGER HOLDING ME DOWN
ARIEL
(Entering.)
BEEN FEELING SO STRANGE
MY LIFE IS ABOUT TO CHANGE
RUSTY
(Entering.)
I KNOW JUST HOW SHE FEELS
RUSTY, URLEEN & WENDY JO
(Entering.)
THAT’S WHAT HAPPENS WHEN YOU’RE WEARING HEELS
ALL
LET’S HIT THE CEILING
AND THEN LET’S TEAR UP THIS TOWN
(They swirl into a tableau in which REN faces ARIEL; he stares.)
ARIEL
What?
REN
You’re beautiful.II-7-99
ALL
(“Isn’t that sweet?”)
Awwww...
(As their spoken, “Awww” swoops into the sung “Ah-,” the Gym assembles around the
CAST.)
Scene 7: The Gym
ALL
AH-AH-AH-AH
AH-AH-AH-AH-AH
TONIGHT WE’RE GONNA CUT LOOSE
FOOTLOOSE!
KICK OFF YOUR SUNDAY SHOES
PLEASE, LOUISE
PULL ME OFFA MY KNEES
JACK
RUSTY, WENDY JO & URLEEN
JACK!
ALL
GET BACK
RUSTY, WENDY JO & URLEEN
BACK!
ALL
COME ON BEFORE WE CRACK
LOSE YOUR BLUES
EV’RYBODY CUT FOOTLOOSE!
I GOT THIS FEELING THAT TIME AIN’T HOLDING ME DOWN
RUSTY, WENDY JO & URLEEN
TIME AIN’T HOLDING ME
WILLARD, JETER, GARVIN & BICKLE
LIFE AIN’T HOLDING ME DOWN
ALL
LET’S HIT THE CEILING
AND THEN LET’S TEAR UP THIS TOWN.
ARIEL, RUSTY, URLEEN & WENDY JO
I NEED A HERO
I’M HOLDING OUT FOR A HERO TIL THE END OF THE NIGHT
HE’S GOTTA BE STRONG, AND HE’S GOTTA BE FAST
AND HE’S GOTTA BE FRESH FROM THE FIGHT
I NEED A HERO!II-7-100
BOYS
OO-EE MARIE
SHAKE IT SHAKE IT FOR ME
GIRLS
WHOA! MILO
COME ON COME ON LET’S GO
ALL
CUT FOOTLOOSE
CUT FOOTLOOSE WHOA!
(SHAW and VI enter. Everything stops!)
SHAW
Please. Go on!
(EVERYONE cheers. Dance Break.)
ALL
AH-AH-AH-AH
AH-AH-AH-AH-AH
(Dance Break.)
AH, FIRST, WE’VE GOT TO TURN YOU AROUND
THEN PUT YOUR FEET ON THE GROUND
NOW TAKE AHOLD OF YOUR SOUL
(CUT FOOTLOOSE!)
NOW TAKE AHOLD OF YOUR SOUL
(CUT FOOTLOOSE!)
(Dance Break.)
EV’RYBODY CUT EV’RYBODY CUT
EV’RYBODY CUT EV’RYBODY CUT
REN
EV’RYBODY
KIDS
EV’RYBODY
REN
EV’RYBODY
ALL
EV’RYBODY
EV’RYBODY CUT FOOTLOOSE!
YEAH!II-7-101
(The curtain falls.)
END ACT II
MUSIC 19: BOWS
MUSIC 20: MEGAMIX (OPTIONAL)
ALL
HEAVEN HELPS THE MAN WHO FIGHTS HIS FEAR
WE CAN FACE THIS DOWN RIGHT NOW RIGHT HERE
MAYBE WE CAN FIN’LLY RIGHT THIS WRONG
ARM IN ARM AND SIDE BY SIDE WE’RE STRONG
AND FREE
ARIEL, WENDY JO, RUSTY & URLEEN
DOO DOO DOO DOO
DOO DOO DOO DOO
DOO DOO DOO DOO
AHH! AHH!
ARIEL
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TILL THE END OF THE NIGHT
WENDY JO
HE’S GOTTA BE STRONG,
URLEEN
AND HE’S GOTTA BE FAST
RUSTY
AND HE’S GOTTA BE FRESH FROM THE FIGHT
ARIEL, WENDY JO, URLEEN, RUSTY
I NEED A HERO!
I’M HOLDING OUT FOR A HERO TIL THE MORNING LIGHT
HE’S GOTTA BE SURE AND IT’S GOTTA BE SOON
AND HE’S GOTTA BE LARGER THAN LIFE
THROUGH THE WIND AND THE CHILL AND THE RAIN
AND THE STORM AND THE FLOOD,
I CAN FEEL HIS APPROACH LIKE A FIRE IN MY BLOOD
LIKE A FIRE IN MY BLOOD,
LIKE A FIRE IN MY BLOOD,
LIKE A FIRE IN MY BLOOD,
LIKE A FIRE IN MY
AHH! AHH!
(Instrumental.)II-7-102
RUSTY, ARIEL, WENDY JO, URLEEN FEMALE DANCERS
LET’S HEAR IT FOR THE BOY (HEAR IT FOR THE BOY)
LET’S GIVE THE BOY A HAND (HAND)
LET’S HEAR IT FOR MY BABY (HEAR IT FOR MY BABY)
YOU KNOW YOU GOTTA UNDERSTAND (UNDERSTAND)
WHOA, MAYBE HE’S NO ROMEO (ROMEO)
BUT HE’S MY LOVING ONE-MAN SHOW (ONE-MAN SHOW)
OH WHOA WHOA WHOA WHOA WHOA WHOA
LET’S HEAR IT FOR THE BOY!
(STILL ROCKIN’ dance break.)
KIDS
AH-AH-AH-AH-AH
REN
TONIGHT I GOTTA CUT LOOSE
REN AND KIDS
FOOTLOOSE
KICK OFF YOUR SUNDAY SHOES
PLEASE, LOUISE
PULL ME OFF A MY KNEES
REN, KIDS, URLEEN, WENDY JO, RUSTY
JACK (JACK!) GET BACK (BACK!)
COME ON BEFORE WE CRACK
KIDS
LOSE YOUR BLUES
EV’RYBODY CUT EV’RYBODY CUT
EV’RYBODY CUT EV’RYBODY CUT
REN & ARIEL
EV’RYBODY
KIDS
EV’RYBODY
REN & ARIEL
EV’RYBODY
KIDS & ADULTS
EV’RYBODY
ALL
EV’RYBODY CUT FOOTLOOSE!
YEAH!
MUSIC 21: EXIT MUSIC
Last Update:September, 03rd 2025

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