Professional Documents
Culture Documents
LOVE
A MUSICAL
FIRST
LOVE
A MUSICAL
A THREE ACT, 21 SONG MUSICAL
ISBN - 978-2475015898
LCCN - 2012906343
All the characters in this book are fictitious, and any resemblance to actual
persons, living or dead, is purely coincidental. The names, incidents,
dialogue, and opinions expressed are the products of the authors
imagination and are not to be construed as real.
** * NOTICE * **
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First Love Musical, LLC of Boca Raton, Florida
PRELUDE
ACT I
SCENE ONE
The year is 1964 in the
Bushwick
neighborhood of
Brooklyn, New York.
The area is under
change with many of
the white homeowners
and businesses moving
out. AfricanAmericans and Puerto
Rican immigrants are
replacing them.
The curtain opens and
the sax player walks to
stage DR. He puts his
hat on the floor and
fixes the mouth piece
on the saxophone then
tests the sax by
warming up on the
instrumental of section
the song Our Street.
4 P.M. Graham
Avenue, Bushwick
neighborhood of
Brooklyn, New York.
Lets go.
ANNA
(Grabs Nicks arm and pulls.)
Jim Valerio and the
RBA gang surround
Anna and Nick. The
background music
intensifies. The gang
members sing a phrase,
teasing in nature.
Choreography is by
both male and female
gang members.
[Song 1: Our Street]
NICK
(Extinguishing the cigarette. Half-heartily replies.)
Okay, Ill get right on it.
Nick walks inside the
store from a side door.
He returns with a trash
can. As he puts it into a
dumpster he slips. The
garbage falls on him.
He is on his hands and
knees picking up the
pieces.
Nick stands up.
Disgusted he walks out
of the alley; stage C.
Sax Player; stage DR.
Spotlight is on him but
not fully illuminated as
he begins playing.
[Song 2: Maximum Work, Minimum Wage]
NICK
TAKE IT EASY, MOVE IT SLOW
SOFTER PLEASE WITH THAT RADIO
IM TIRED AND MY EYES JUST WANT TO CLOSE
I WOULD STAND BUT DONT YOU KNOW?
IM SO WORN OUT ON SATURDAYS
WONT GET TOO FAR IN TOWN ON MY PAY
ID READ A BOOK BUT IVE NO STRENGTH TO TURN THE PAGE
BEEN DOIN MAXIMUM WORK, MINIMUM WAGE,
MONDAY MORNING COMES SO FAST
I CANT STAY AWAKE THROUGH SCIENCE CLASS
MOM SAYS I HAVE TO WORK BILLS MUST BE PAID
BUT MY REPORT CARD SHOWS IM NOT MAKING THE GRADE
IM SO WORN OUT ON SATURDAYS
WONT GET TOO FAR IN TOWN ON MY PAY
ID READ A BOOK BUT IVE NO STRENGTH TO TURN THE PAGE
10
NICK (contd)
BEEN DOIN MAXIMUM WORK, MINIMUM WAGE,
I DONT KNOW WHY I STAY
THEY TREAT ME LIKE A SLOB
YOUD KNOW ID WALK AWAY
BUT ITS A JOB
Sax player; stage DR,
has a strong
instrumental.
NICK (contd)
IM SO WORN OUT
WONT GET TOO FAR IN TOWN
ID READ A BOOK, BUT IVE NO STRENGTH TO TURN THE PAGE
BEEN DOIN MAXIMUM WORK, MINIMUM WAGE
MAXIMUM WORK, MINIMUM WAGE
MAXIMUM WORK, WORK, MINIMUM WAGE
MAXIMUM, MAXIMUM, MINIMUM WAGE
MAXIMUM WORK, WORK, WORK, WORK, WORK, WORK, WORK,
MINIMUM WAGE
MAXIMUM WORK, MAXIMUM WORK, MINIMUM WAGE
MINIMUM WAGE, MAXIMUM, MAXIMUM, MINIMUM WAGE
MAXIMUM WORK, MINIMUM WAGE
Lights fade as Nick
walks back to the alley
and kicks the garbage
can inside the store.
Stage goes dark.
SCENE: Lights up. The
RBA gang has returned
standing in front of
Millers Pawn Shop;
stage RC.
Nick is leaving the
store for the night,
walking past the RBA
gang; stage LC to RC.
11
12
NICK
13
14
ACT I
SCENE TWO
SCENE: 8:00 A.M.
Parking lot Bushwick
Academy High School,
Brooklyn New York.
Fence separates the
parking lot from
bleachers and athletic
field.
Nick, Jim and the RBA
gang members are
milling around a new
red 1964 Pontiac GTO,
checking out the car;
stage C.
JIM
(To Nick.)
Hows the job at Millers?
NICK
Great, thanks. I only worked twenty hours last week and made sixty bucks.
Jim walks around the
car, his hand running
over the exterior.
JIM
Oh man, thats one fine ride. Id like to take it for a spin. Who owns it?
MAXI
Coach Burton. Thats one smokin machine.
JIM
Yeah, makes sense. Hes the only teach who could afford such a cool set of
wheels. You know, he played for the Canadian Football league for three
years before he tore up his knee. Got cut from the team, and came back here
to coach.
15
16
17
JIM
SOMETHING IS WRONG
IM HAVING TROUBLE GETTING STARTED
MY SPARK IS STRONG
I GUESS MY TIMING IS RETARDED
MY BODY SEEMS TO BE WORKING FINE
THE TROUBLE MUST BE
ALL IN MY MIND
JIM and MALE GANG MEMBERS
YOU COULD MAKE MY MOTOR START
FEMALE GANG MEMBERS
MOTOR START
JIM and MALE GANG MEMBERS
IF YOU LOOK INTO MY HEART
FEMALE GANG MEMBERS
LOOK INTO MY HEART
JIM and MALE GANG MEMBERS
YOU COULD DO A LOTTA GOOD
UNDER THE HOOD
FEMALE GANG MEMBERS
DO A LOTTA GOOD
JIM and MALE GANG MEMBERS
UNDER THE HOOD
FEMALE GANG MEMBERS
YOU COULD DO A LOTTA GOOD
JIM
IM MOVING SLOW
I PUSH THE PEDAL TO THE FLOOR
UH-OH
MY POWER IS LOW
MY FUEL EFFICIENCY IS POOR
18
JIM (contd)
OUTSIDE IM POLISHED
ALL SHINY BRIGHT
WHY DO I STALL AT
EVERY LIGHT
JIM and MALE GANG MEMBERS
YOU COULD MAKE MY MOTOR START
FEMALE GANG MEMBERS
MAKE MY MOTOR START
JIM and MALE GANG MEMBERS
IF YOU LOOK INTO MY HEART
FEMALE GANG MEMBERS
LOOK INTO MY HEART
JIM and MALE GANG MEMBERS
YOU COULD DO A LOTTA GOOD
UNDER THE HOOD
FEMALE GANG MEMBERS
DO A LOTTA GOOD
JIM and MALE GANG MEMBERS
UNDER THE HOOD
FEMALE GANG MEMBERS
YOU COULD DO A LOTTA GOOD
JIM
HERES MY CONFESSION
JIM and FEMALE GANG MEMBERS
IM LOSING COMPRESSION
JIM
IF THIS GETS WORSE
ILL BE IN REVERSE
19
20
21
22
23
COACH BURTON
(Pushes her slightly with his arm.)
You dont seem to be intimidated when Im in your face.
NADINE
(Laughs.)
Thats different.
COACH BURTON
That fullback Malcolm Chiles can really run. It wont be long before all the
college scouts will be at.
The coach stops and
looks around.
NADINE
Whats the matter?
COACH BURTON
(Pacing back and forth, shouts.)
My car! My new car is gone! Im gonna kill the son-of-a-bitchs who stole it
when I get my hands on them! Those bastards! That car was only three
weeks old.
NADINE
(Grabs the coach by the arm.)
Leroy, its not worth having a heart attack over. Lets go to the school and
call the police. Let them handle it.
Nadine and the coach
head back to the
school; stage DC to DR
and off the set.
Stage goes dark for
scene change.
24
ACT I
SCENE THREE
SET: Hallway at
Bushwick Academy
High School. Theres
an open door to the
principals office, stage
RC exposing a desk,
with telephone and
intercom. To the right
of the office is a
wooden bench, stage
DR. To the left of the
office are rows of
lockers; and a door to a
classroom; stage C.
Further to the left a
cafeteria; stage LC to
L.
SCENE: 9:00 A.M.
Monday morning.
Three students are
sitting on a bench;
stage DR, just outside
of the principals office
waiting to see MR.
PATTERSON, stage
RC. He is visible in the
background sitting at
his desk. Secretary off
stage is not visible.
MALE STUDENT ONE
Did you hear the coachs new GTO was stolen during the football game?
MALE STUDENT TWO
Yeah and the words out, its that low-life Jim Valerio and the RBA gang
who stole it. Who else would want to screw over such a nice guy?
A telephone rings.
25
SECRETARY
Mr. Pattersons office, can I help you?
(Pause.)
Yes, I can have you speak to the principal.
MR. PATTERSON
26
ACT I
SCENE FOUR
7:00 P.M., Dusk,
Graham Avenue. The
RBA gang members are
hanging out in front of
Millers Pawn Shop;
stage RC, and theyre
congratulating each
other on the heist of the
GTO. Jim Valerio;
stage R, walks up to the
gang.
MAXI
Where you been? Were getting hungry.
JIM
At the warehouse with Nick. Hes keeping an eye on the GTO for us.
MAXI
You gonna trust him? He hasnt even been initiated into the gang!
JIM
(Arrogantly.)
Dont worry about it. My cousins cool! Out of my way! I need to call Nick
and give him this phone number.
Jim pushes the gang
aside, and picks up the
payphone receiver,
dials then speaks with
authority.
JIM (contd)
Nick, its Jim! Youre responsible for making sure no one gets inside the
warehouse. If one of the rival gangs gets word that weve got the GTO
theyre going to try and steal it. Ill be at Big Lous. If theres trouble call
this number BW4-2050.
27
28
29
Music for
Troublemaker
begins. Jim turns to see
several NYC police
officers converging on
him and the RBA gang.
The gang members
make an unsuccessful
attempt to escape.
Some of the police go
into Big Lous bringing
out the remainder of the
gang. The police
handcuff Jim; stage C.
An officer wrestles a
female gang member to
the ground. He checks
her for weapons.
FEMALE GANG MEMBER ONE
Hey pig! You forgot to check between my legs. I bet you cuff all your
women before you screw them!
POLICE OFFICER
Shut up and get moving!
The officer pulls her off
the ground and brings
her to where the rest of
the gang members are
being held.
Anna hearing the
commotion comes out
of Colombos Italian
Market; stage LC, to
watch. Maxi turns to
Anna as she stands on
the sidewalk.
30
MAXI
(In handcuffs.)
This happened because that wet-nose punk son of yours ratted us out.
Anna walks up to Maxi
and slaps his face.
ANNA
Dont you ever blame my son for your shortcomings! That bastard Jim has
been in trouble all his life and now Nick and the rest of the gang are going
pay for his crimes.
Jim is being held; stage
C, by two police
officers. Anna walks up
to him. Lights partially
fade with spotlight
illuminating Anna. She
sings, pointing her
finger at Jim as she
walks back and forth in
front of him.
[Song 4: Troublemaker]
ANNA
TROUBLEMAKER
AGITATOR
RABBLE-ROUSER
INSTIGATOR
I TOLD YOUR MAMA WHEN YOU WERE TWO
SHED BETTER KEEP A CLOSE EYE ON YOU
CAUSE THERE WAS DANGER IN YOUR HEART
YOU COULD GIVE THE DEVIL HIMSELF A START
I TOLD YOUR MAMA WHEN YOU WERE TEN
NOT TO BRING YOU ROUND AGAIN
CAUSE EVERY TIME YOU CAME AROUND
SOMETHING WENT MISSING, NEVER TO BE FOUND
31
32
ACT I
SCENE FIVE
Hudson Juvenile
Detention Center,
Upstate New York.
There is a dispensary;
stage LC. An entrance
to a cafeteria; stage UR,
a cell; stage L, with a
sliding door that can
open to show interior of
room. Over top of the
door is a sign
Isolation. There is an
office; stage RC, with a
sign stating
Superintendent. The
desk and chairs are not
illuminated. Only the
dispensary and
cafeteria food line are
lit.
Nick; stage LC, is
waiting in line to
receive his detention
center clothing.
INMATE ONE and
INMATE TWO are
behind him also waiting
for clothing. Three
CORRECTIONAL
OFFICERS: stage DC
and DL, are watching
the group.
INMATE ONE
(To inmate two.)
Hey, isnt that Nick Colombo?
33
INMATE TWO
Yeah, thats him. Hes a member of the Bushwick RBA gang. They got
caught stealing a new GTO that belonged to one of the school teachers.
Heard Colombo snitched on rest of the gang. They all got arrested and are
doing jail time. He got off easy coming here.
NICK
(Overhearing the conversation turns to the two.)
Id didnt snitch on anyone. The cops had it all figured out. When they
fingerprinted the car, they matched up to everyone in the RBA gang.
INMATE ONE
Youll do anything to cover your ass. Youre a dead man here.
NICK
(Drops his detention clothes, knocks him to the floor.)
Get up! Im gonna kick the crap out of you.
INMATE ONE
(Stands up.)
You bastard!
Inmate One starts
hitting Nick and Inmate
two joins the fracas.
There is a lot of
pushing and hitting
before correctional
officers rush in to break
it up. One officer grabs
Nick. Two officers hold
off the other inmates.
Nick keeps struggling
and is pushed down on
the floor. Another
officer comes over,
kneels on Nick back
and cuffs his hands.
NICK
(Winces in pain.)
Hey pig, youre ripping my arm off.
34
35
ACT I
SCENE SIX
7:30 A.M., Lights come
up on the detention
center cafeteria; stage
UR. Three correctional
officers; Stage RC, are
watching the inmates.
Inmates; Stage R, are
standing in the food
line. A cafeteria worker
is putting food on their
trays.
INMATE ONE
(Standing behind Nick in line and is taunting him.)
Snitch, ratfink, stool pigeon. Youre nothing but a low-life. Were going to
make your life miserable.
Nick takes his tray full
of food, spins around
and dumps it on the
inmates head. Two
fellow inmates come to
his aid and a brawl
breaks out. The inmates
are shouting at Nick as
the skirmish continues.
INMATE ONE (contd)
You bastard, Im going to wipe the floor with your ass!
The correctional
officers jump in
breaking up the scuffle.
They strong arm Nick
and cuff him.
CORRECTION OFFICER ONE
(Holding Nick.)
This guy never learns. Lets get him to the Superintendents office.
36
37
SUPERINTENDENT (contd)
(Looks directly at Nick.)
We dont tolerate this kind of behavior here. There are other places we can
send you that will make your life miserable. So, I suggest you either cool it
or Im shipping you out.
The LIEUTENANT
and DR. KEATON
arrive at the office and
stand by the side of the
desk.
SUPERINTENDENT (contd)
Weve got a real problem on our hands. Hes only been here a couple of
days and hes been in two fights. Some of the inmates think hes a snitch.
Maybe we need to send him to an adult facility.
LIEUTENANT PEARSON
Im all for that. I dont need some wise-ass getting all the other inmates
worked up. Next thing you know therell be a riot.
DR. KEATON
Not so fast. If hes been labeled a snitch and we send him to an adult facility
hell be dead in forty-eight hours. I recommend we isolate him permanently.
SUPERINTENDENT
Thats going to be very costly!
DR. KEATON
(Pacing.)
No more costly than having a state investigation if hes killed.
SUPERINTENDENT
(Scratches his head, brow wrinkled.)
You got a point, but I dont like it.
DR. KEATON
There will also be endless hearings along with finger pointing and of course
the career limiting aftermath.
38
SUPERINTENDENT
(Turns to the lieutenant.)
We dont have a choice. Have your men isolate him from the others. Assign
someone to watch him day and night. Hes to have a private tutor for his
schoolwork. I dont want him in any area unsupervised. Visitors will only be
allowed in a private room away from all others. I want total isolation.
LIEUTENANT PEARSON
This is going to be one big pain in the ass!
SUPERINTENDENT
Yeah, but its better than you and I being transferred to Green Haven or
worse, Attica.
Stage goes dark for
scene change.
39
ACT I
SCENE SEVEN
Several months later at
the detention center in
Nicks barren cell;
stage UL to L. The cell
door is open to reveal
the interior. A small
window gives minimal
light. Books and paper
are strewn everywhere.
Nicks face is taut, his
brow wrinkles as he
picks up a letter reading
it aloud.
NICK
My Dearest Dominick, Its been eight months since you have been sent away
and I miss you so much. Im sorry I couldnt be there to tell you this in
person, but I have been under a doctors care and unable to travel. On
Monday, August 10th, the Army informed me that your brother John was
killed in Vietnam. The pain and sorrow I feel is almost too much to bear. I
pray every day that you will be safe and will return soon. John was more
than a brother to you. He was your hero and protector. Only God is there to
protect you now. Love, Mom
Nick throws down the
letter, walks around the
cell and hits the wall
several times with his
fist.
NICK (contd)
John, why John?
The lights fade and
spotlight illuminates
Nick as he sings.
40
NICK
JOHN, EVER SINCE DADDY DIED
YOU WERE ALWAYS BY OUR SIDE
MAKING SURE THAT MOM AND I
COULD HOLD OUR HEADS UP HIGH
THEN YOU WERE SENT OFF TO WAR
YOU WROTE TO TELL US, ONLY ONE MONTH MORE
AND YOUD RETURN TO A HEROS WELCOME
BUT THEN A BOMB, BLEW YOU TO KINGDOME COME
WHAT WILL WE DO?
WITHOUT YOU?
HOW WILL WE LIVE?
HOW WILL WE FORGIVE?
MOM, I WISH THAT I COULD HOLD YOU SOMEHOW
CAUSE YOU MUST NEED SOME COMFORT, NOW
BUT IM NOT FREE FOR WHAT IVE DONE
ILL MAKE IT UP ILL BE A BETTER SON
JOHN, WE WILL REMEMBER YOU WITH EVERY BREATH
AND LOVE YOU AS WE DID IN LIFE, IN DEATH.
WHAT WILL WE DO?
WITHOUT YOU?
HOW CAN WE LIVE?
HOW CAN WE FORGIVE?
WHAT WILL WE DO?
WITHOUT YOU?
HOW CAN WE LIVE?
HOW CAN WE FORGIVE?
Nick drops to his knees.
He holds his head with
both hands and weeps.
Stage goes dark for
scene change.
41
ACT I
SCENE EIGHT
Bushwick Academy
High School cafeteria;
stage ULC and UL.
There is a sign over the
cafeteria entrance
saying, Welcome
Graduating Class of
1967. Its the first day
of school and male and
female students are
standing at the cafeteria
entrance; stage LC, as
Nick walks in.
MALE STUDENT ONE
Hey, isnt that Nick Colombo?
MALE STUDENT TWO
Yeah, thats him. Hes got some nerve to show up at Academy High after
what he did. Bet three years in reform school didnt change him one bit.
Nick walks by the
group of students
standing at the cafeteria
entrance; stage LC, and
they turn their back to
him. KIMBERLY
ODONNELL looks
directly at Nick and
winks. Kimberly turns
to her friends.
KIMBERLY
I think hes kinda cute.
CHEERLEADER ONE
(Gives Kimberly a slight push.)
Whats the matter with you, Kimberly? Hes been in jail, and besides your
boyfriend would kick his ass if he knew you were flirting with Colombo.
42
KIMBERLY
(Gives her a defiant look.)
What Brett dont know, wont hurt him.
Stage UL. Nick sits
down at a lunch table
with a Hispanic boy,
CORDERO and two
AFRICANAMERICANS.
NICK
Its nice to hang out with you guys. Not many in this school want anything
to do with me.
Kimberly walks past
them giving a smile to
Nick. She sits down at
a table with several of
her cheerleader
girlfriends.
NICK (contd)
(Watchs her go by.)
Hey Cordero, whos that babe? Shes pretty hot.
CORDERO
Thats Kimberly ODonnell. Shes the head cheerleader and I heard her old
man is loaded.
AFRICAN-AMERICAN
Yeah and her boyfriend is Brett Dickerson. Hes captain of the football team,
and thats one whitey with a bad attitude. Id steer clear of him.
NICK
(Turns around to take a look at Kimberly.)
I think Ill check out the cheerleading practice this afternoon.
Kimberly notices Nick
is looking at her and
gives him a small wave
with her hand.
43
CORDERO
(Shakes his head.)
Man either youre crazy or suicidal. That Bretts a mean dude!
NICK
(Looks at Cordero.)
Im supposed to be scared, after what Ive been through for the past three
years? I dont think so.
Stage goes dark for
scene change.
44
ACT I
SCENE NINE
SCENE: 4:00 P.M.
Bushwick Academy
High School athletic
field. Cheerleaders are
practicing in the
foreground; stage DLC.
There are rows of
wooden bleachers;
stage L. Painted into
the background is a
track circling the
athletic field. The
football team is doing
calisthenics in; stage R
and UR. Nick; stage
DL is sitting, watching
the cheerleaders.
Cheerleading practice
finishes. Kimberly
walks up to Nick.
KIMBERLY
(With a sexy voice.)
What brings you here?
NICK
(Eyeing Kimberly up and down, he smiles.)
You, Miss Kimberly ODonnell.
KIMBERLY
Youre pretty brazen arent you?
NICK
(Stands up.)
Had to be, in order to survive. Im Nick Colombo.
KIMBERLY
(Smugly.)
I know all about you, and that youve been a real troublemaker.
45
NICK
Thats all in the past. I need to stay in school, get my diploma and go to
college.
KIMBERLY
(Sarcastically.)
Why? So you wont get drafted and sent to Vietnam?
NICK
(Laughing and sarcastic.)
I dont have to worry about that. Once youre arrested they wont take you.
Its like the Monopoly game get out of jail card, except the card says get out
of being killed. Funny, you can go to jail for stealing, and thats supposed to
be worse than going to Vietnam to kill someone because of a crazy ideology.
I think the whole worlds screwed up. My brother was stationed at the Bien
Hoa Air Base when the Viet Cong attacked and he was killed. They say by a
mortar round.
KIMBERLY
(Her voice softens.)
Im real sorry about your brother. I think the whole war is a waste. So many
young men have died and for what? My father thinks were doing the right
thing stopping Communism, and we have lots of arguments over the war.
NICK
I wish I had a father to argue with. Its just me and my mom and at times it
gets pretty rough.
KIMBERLY
(Turns to look at the football team practicing.)
Oh God, Bretts heading here with a couple of other guys. You better take
off.
NICK
(Defiantly.)
Im not afraid of him.
KIMBERLY
(Her face shows concern.)
You dont know him. Hes got a mean temper.
46
47
KIMBERLY
IM FINE AND THE SUN IS SHINING
AND IM THROUGH PINING AWAY
MY LIFE WHILE WAITING FOR YOU
YOU START ACTING, LIKE YOU LOVE ME
YOU KEEP TELLING ME YOU DO,
BUT YOUR ACTIONS SHOW ME THAT ITS NOT TRUE
48
49
mimicking lovers by
hugging one another
and then showing
contempt by pushing
their partners back.
When the sax player
has completed his
instrumental the
spotlight dims on him.
KIMBERLY
SOMEDAY, DARLING YOULL SAY
THAT YOURE SORRY FOR THE WAY THAT YOU BEHAVED WILL
I PLEASE TAKE YOU BACK
IM NOT MEAN BUT
WHEN YOURE MISSING WHAT YOU HAD I WILL BE HAPPY JUST
TO SEE YOU SAD
KIMBERLY and THE CHEERLEADERS
LOSERS WAIT FOREVER, FOR LOVE TO FALL ON THEM
AND THEN THEY WALLOW IN THE SORROW AND SUFFERING
YOUR LOVE HIT ME THE WRONG WAY
IM BLACK AND BLUE
NOW MY HEART IS A LONG WAY FROM LOVING YOU
LOSERS WAIT FOREVER, FOR LOVE TO FALL ON THEM
AND THEN THEY WALLOW IN THE SORROW AND SUFFERING
YOUR LOVE HIT ME THE WRONG WAY
RUNNING FOR COVER
IN THE ARMS OF A NEW LOVER
RUNNING FOR COVER
The spotlight
illuminating Kimberly,
the cheerleaders and the
sax players spotlight
dims. The sax player
leaves; stage DR. The
cheerleaders continue
to practice silently.
50
Spotlight illuminates
Coach Burton; stage R.
There are five football
players doing pushups
and are obviously
fatigued.
COACH BURTON
(Leading the calisthenics. Yelling.)
I want to see ten more pushups. Show me some muscle!
COACH BURTON (contd)
(He looks in the direction of Brett.)
Brett, get those guys over here now or youll be sitting out the next game.
The five teammates
return to the practice
squad panting.
COACH BURTON (contd)
(Shaking his head.)
Some athletes you guys are. He left you like you were standing still. Who
was that?
BRETT
Nick Colombo. You know the punk who stole your car. When I get my
hands on him hes dead meat.
COACH BURTON
(Pushes Brett.)
You get into any fights and youre off the team, understood?
BRETT
(Walks away muttering.)
Ill get my revenge.
SCENE: Spotlight dims
on Coach Burton and
illuminates the
cheerleaders who are
practicing.
51
Brett walks up to
Kimberly. The rest of
the cheerleaders leave;
stage DL.
BRETT
What were you doing with that loser?
KIMBERLY
(Kimberly flips back her hair smugly looking at Brett.)
Ill talk to anyone I want to, and Nicks right, you dont own me.
Brett grabs Kimberlys
arm spinning her
around. She winches in
pain.
BRETT
As long as youre my girl youre not talking to him or any other guy unless I
say so!
Kimberly breaks loose
from Bretts grip.
She pulls on the
necklace shes wearing
thats holding a ring
and the chain snaps.
She flings the ring at
Brett, and walks away;
stage DL.
KIMBERLY
Take your ring and shove it! Im no longer your girlfriend and I dont take
orders from you or anyone else! Im also sending back all those expensive
gifts you gave me. Were done!
BRETT
(Picks up his ring and shaking his fist, shouts.)
Ill get him and you too. Just wait.
52
53
NICK
(Nervously shifting his feet.)
During the time I was in reform school, I couldnt have contact with the
other inmates, even for exercising. Kind of hard playing most sports alone,
so I took to running. It also helped me cope with being locked up.
COACH BURTON
(Places his hand on Nicks shoulder.)
I think you could be a great asset to our track team. Change and Ill have you
do some time trials.
At a low volume, an
instrumental version of
RUNNING FOR
COVER is playing.
Nick leaves; stage DL.
Coach Burton takes a
pencil and marks up
papers on the clipboard.
Nick returns in running
clothes. Nick and
Coach Burton walk on
to the athletic track.
Coach Burton has a
stopwatch in his hand.
A spotlight illuminates
both of them. The
background is dark.
COACH BURTON (contd)
I want you to try out for the 1,500-meter competition. Lets see what you
do? Thats three times completely around the track and then three-quarters of
the last lap. Ill place myself at the finish.
Nick walks up to the
starting line; stage L.
Coach Burton walks to
the three-quarter mark;
stage R.
54
55
COACH BURTON
You heard me. Youve got a place on the track and field team. With some
practice and instructions you could improve you running significantly. See
you tomorrow afternoon at practice.
Lights come up as Nick
is leaving the field;
stage R, to DLC.
Kimberly is walking
with the other
cheerleaders; stage DL
to DLC, towards Nick.
KIMBERLY
Why have you been avoiding me? I havent seen you in the past few days.
NICK
(Shrugs his shoulders.)
I didnt want to get between you and your Neanderthal boyfriend, and cause
you any trouble
KIMBERLY
(Curtly.)
Bretts not my boyfriend! I broke up with him the same day he started the
fight with you. I thought after you showed interest in me, youd at least talk
to me or ask me out.
The sax player; stage
UR begins playing.
There is a faded
spotlight illuminating
him. A separate
spotlight illuminates
Kimberly as she sings
directly to Nick. The
cheerleaders provide
backup and a dance
routine.
56
[Song 7: 7:02]
KIMBERLY
SEVEN FIFTEEN FINISHED DRYING MY HAIR
CHECK THE CLOSET SEE WHAT I COULD FIND TO WEAR
SO HOT TO SEE YOU I CAN HARDLY WAIT
SITTING BY THE PHONE AT TEN TIL EIGHT
KIMBERLY and CHEERLEADERS
NOW I FEEL LIKE A FLOWER ON THE WALL,
I WAITED ALL NIGHT FOR YOU TO CALL,
NOW ITS SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
YES ITS SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
KIMBERLY
THOUGHT YOU WOULD CALL AT EIGHT OCLOCK
NINE THIRTY-FIVE, I MUST BE IN SHOCK
TEN TWENTY-SEVEN, DONT KNOW WHAT TO THINK
THOUGHT THE COPS HAD THROWN YOU, BACK INTO THE BRINK
KIMBERLY and CHEERLEADERS
NOW I FEEL LIKE A FLOWER ON THE WALL
I WAITED ALL NIGHT FOR YOU TO CALL
NOW ITS SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
KIMBERLY
CHANCELLOR, CARSON, CRANE ALL TALK,
EVERY STATION SIGNS OFF, THINK ILL TAKE A WALK
SNEAKING OUT THE DOOR, TRYING NOT TO MAKE A SOUND
HOPING NO ONE HEARS ME, TIPTOEING AROUND
KIMBERLY and CHEERLEADERS
NOW I FEEL LIKE A FLOWER ON THE WALL
I WAITED ALL NIGHT FOR YOU TO CALL
NOW ITS SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
57
Spotlight illuminates
sax player while the
cheerleaders do a short
dance routine. The sax
player finishes and the
spotlight dims on him.
KIMBERLY
TRY TO KEEP MY FEET FROM WALKING YOUR WAY
THEY DONT WANT TO LISTEN TO A WORD I SAY
FIVE FIFTY-FIVE FEELING SCARED AND ALL ALONE
FIVE FIFTY-SEVEN, AND IM RUNNING BACK HOME
KIMBERLY and CHEERLEADERS
SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
ITS SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
NOW ITS SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
SEVEN-O-TWO, WHO KNOWS WHOS THERE WITH YOU
The song ends and all
the cheerleaders walk
out of the scene; stage
DR, talking.
NICK
(Takes Kimberlys hand.)
I need to get cleaned up. Would you like to go with me to Big Lous for
pizza?
KIMBERLY
Id really like that. Please hurry.
(As Nick leaves she sits on a bench to wait and sings.)
NOW, ITS SEVEN-O-TWO, AND I KNOW EXACTLY, WHOS THERE
WITH YOU,
Stage goes dark for
scene change.
58
ACT I
SCENE TEN
Highland Park across
from Millers Pawn
Shop. Nick and
Kimberly are sitting on
a bench; stage DR,
holding hands.
NICK
(Turns to Kimberly.)
Almost everyone in school was avoiding me. Why did you befriend me
when you knew Id been in reform school?
KIMBERLY
My mother always said, never believe rumors. Most the time theyre
outright lies or at best half-truths. She also told me to be cautious when
dealing with people, especially men.
NICK
(Laughs.)
You didnt seem too cautious with me.
KIMBERLY
(Gently stroking Nicks face.)
When you stood up for me in front of Brett, I knew you were a good person.
NICK
I only did what was right.
KIMBERLY
(Softly.)
Not many people would have done that. The world is very cruel.
They stand up facing
each other. Lights fade.
Spotlight is on both of
them.
59
NICK
YOU AND I TALKING TO EACH OTHER, WITHOUT A WORD
THE SMILE ON YOUR FACE, WAS THE SWEETEST SOUND I EVER
HEARD
YOU REACH OUT TO ME, I REACH OUT TO YOU
YOU AND I, FOUND EACH OTHER AT THE PERFECT PLACE IN
TIME
NOT AFRAID TO FACE THAT LOVES AN UPHILL CLIMB
BOTH OF US WILLING, TO PAY THE COST
NOW THAT OUR PATHS HAVE FINALLY CROSSED
NICK and KIMBERLY
NO ONES ON A PEDESTAL, NO ONES ON THE GROUND
THINGS ARE LOOKING UP NOW THAT NO ONES LOOKING DOWN
OUR LOVE IS NOT BLIND, OUR LOVE SEES EYE TO EYE
KIMBERLY
YOU AND I, STARTING ON THE JOURNEY OF OUR LIVES
HOPING THAT THIS TIME WERE GOING TO MAKE IT RIGHT
PROMISING NEVER, TO NEGLECT
ONE ANOTHERS DUE RESPECT
NICK and KIMBERLY
NO ONES ON A PEDESTAL, NO ONES ON THE GROUND
THINGS ARE LOOKING UP NOW THAT NO ONES LOOKING DOWN
OUR LOVE IS NOT BLIND, OUR LOVE SEES EYE TO EYE
EYE TO EYE
NO ONES ON A PEDESTAL, NO ONES ON THE GROUND
THINGS ARE LOOKING UP NOW THAT NO ONES LOOKING DOWN
OUR LOVE IS NOT BLIND, OUR LOVE SEES EYE TO EYE
NICK
YOU AND I
KIMBERLY
EYE TO EYE
NICK
EYE TO EYE
60
61
ACT I
SCENE ELEVEN
12:00 Noon, Bushwick
Academy High School
cafeteria weeks later.
Many students
especially the girls are
congratulating Nick,
and are openly flirting
with him. Nicks friend
Cordero and two of the
African-Americans is
sitting with him at the
lunch table . Cordero
puts his hand on Nicks
shoulder.
CORDERO
Man, since you tied the state record last week everyones your friend,
especially the Chicas. What a difference a month makes. But I dont think
Kimberly is taking it too well.
NICK
(Shakes his head.)
Shes got nothing to worry about.
Kimberly walks up and
sits across from Nick at
the lunch table.
KIMBERLY
I think Bretts coming over here.
BRETT
(Stands behind Nick, with his football buddies.)
Now youre the big man in school just because you won a race. Thats
because all youve ever done is run. When are you going to stand up and
fight like a man?
62
KIMBERLY
(Gets up and walks between Brett and Nick.)
Brett, get the hell out of here. All you want to do is start trouble. Just
because youve got money and your parents have influence, you think
everyone has to bow to you. Your majesty!
Brett grabs Kimberlys
arm pulling her aside.
NICK
Ive had it with you!
Nick jumps up and
pushes Brett, who loses
his balance falling
backwards. Bretts
friends grab him before
he hits the floor, and
stand him up.
BRETT
Youre dead meat!
KIMBERLY
(Grabs Nicks hand pulling him back.)
Its not worth it!
Brett and his friends
form a half circle and
come toward Nick.
Cordero jumps up and
is joined by several
other male students
who have sided with
Nick. There is pushing
and shoving.
COACH BURTON
(Steps in.)
Break it up now or youll be doing detention for two weeks!
Nick and Kimberly
escape from the
cafeteria to the empty
63
NICK
YOU ALWAYS AMAZE ME
YOU SET YOUR GOALS SO HIGH
WHEN I WAS BROKEN DOWN ON MY KNEES
YOU HELPED ME GET IN THERE AND GIVE IT ONE MORE TRY
ALTHOUGH YOU HAVE THE KIND OF FACE THAT
MAKES HISTORY
THERES MORE YOU THAN JUST THE VIEW
THAT EVERYONE CAN SEE
IVE NEVER SEEN ANYONE
DEEP DOWN INSIDE
MORE BEAUTIFUL
MORE BEAUTIFUL THAN YOU
OTHERS SAY THEY LOVE YOU
HOW CAN THAT BE?
WHEN THEY HAVE NEVER LOOKED BEYOND
THE CHARMING FACE THEY SEE
TIME HAS IT SAY AND CAN MAR A PERFECT FACE
YOUR GENTLENESS OF HEART
WILL NEVER BE ERASED
IVE NEVER SEEN ANYONE
DEEP DOWN INSIDE
MORE BEAUTIFUL
MORE BEAUTIFUL THAN YOU
TEMPTATION EVERYWHERE
PAINTING HER LIPS, CURLING HER HAIR
FUNNY HOW I JUST DONT CARE
ALL I EVER WANT IS HERE
64
NICK (contd)
I HOPE THERE COMES A DAY
WHEN IM ABLE TO REPAY
YOUR GENEROSITY
ALL THE LOVE YOUVE GIVEN ME
ALTHOUGH YOU HAVE THE KIND OF FACE THAT
MAKES HISTORY
THERES MORE YOU THAN JUST THE VIEW
THAT EVERYONE CAN SEE
IVE NEVER SEEN ANYONE
DEEP DOWN INSIDE
MORE BEAUTIFUL
MORE BEAUTIFUL THAN YOU
IVE NEVER SEEN ANYONE
DEEP DOWN INSIDE
MORE BEAUTIFUL
THAN YOU
IVE NEVER SEEN ANYONE
MORE BEAUTIFUL THAN YOU
IVE NEVER SEEN ANYONE
MORE BEAUTIFUL
MORE BEAUTIFUL
THAN YOU
NICK
(As they leave the hallway; stage DRC.)
I have practice after school. Will you meet me at the track?
KIMBERLY
(Squeezes Nicks hand.)
Of course I will.
Arm in arm, they walk;
offstage DR.
Stage goes dark for
scene change.
65
ACT I
SCENE TWELVE
Lights come up. High
School athletic field.
Kimberly walks up to
Nick; stage DRC and
kisses him on the
cheek.
NICK
(As he put his arms around Kimberly waist.)
I want to thank you for standing by me at lunch today. But in the future
please dont put yourself in harms way. I dont want you injured, ever.
KIMBERLY
Youre so considerate and different than the other boys at school.
NICK
Youll never have to worry about anyone bothering you. Ill always be there
for you. Ive never felt this way about a girl before. If I had a photograph of
you, I would sleep with it every night.
KIMBERLY
Your thoughts are flattering. Until I met you I really didnt know true
feelings or true love.
NICK
(Pulls Kimberly closer to him.)
I knew from the first time I saw you that you were special. The years I spent
alone in reform school left me empty and cold, but your friendship and
kindness has changed me. Im pledging my body and soul to you. I love you.
Nick and Kimberly
passionately kiss. They
leave the school
grounds stage; DRC to
DC holding hands.
They stop and turn to
one another.
66
67
KIMBERLY
YOU ARE THE ONE I BELIEVE
WILL MAKE MY DREAMS COME TRUE
NICK
MY FIRST LOVE,
KIMBERLY
HERE IN MY HEART THERE WILL ALWAYS BE A PLACE FOR YOU
NICK and KIMBERLY
MY FIRST LOVE, MY FIRST LOVE
KIMBERLY
NOT EVERYONE THINKS OUR LOVE CAN LAST
TRYING TO FILL US WITH DOUBT
WHO CAN EXPLAIN WHEN SO FEW KNOW
WHAT TRUE LOVE IS ALL ABOUT
NICK and KIMBERLY
BUT WERE NOT GIVING IN
ILL BE WITH YOU THROUGH THICK AND THIN
KIMBERLY
MY FIRST LOVE
NICK
YOU ARE THE ONE I BELIEVE WILL MAKE MY DREAMS COME
TRUE
KIMBERLY
MY FIRST LOVE
NICK
HERE IN MY HEART THERE WILL ALWAYS BE A PLACE FOR YOU
NICK and KIMBERLY
MY FIRST LOVE, MY FIRST LOVE
EVERY TIME THAT I SEE YOU, YOUR LOVE FILLS MY HEART
68
CURTAIN
69
ACT II
SCENE ONE
Dining room of the
ODonnells home. The
family is getting ready
to have dinner.
JOSEPH
ODONNELL,
Kimberlys father, is
sitting; stage LC,
directly across the table
from Kimberly; stage
RC. To his right; stage
UC, is Kimberlys
mother MARGARET
ODONNELL, and
Kimberlys brother,
PETER.
JOSEPH
May God bless this food and our family in the name of the Father, the Son
and the Holy Ghost.
Joseph makes the sign
of the cross and looks
across the table. His
voice is very stern.
JOSEPH (contd)
Kimberly, Ive been hearing some disturbing news about you.
KIMBERLY
What would that be, Daddy?
JOSEPH
(Leans forward staring intently.)
Sergeant OReilly tells me youve been hanging around with that convict
Nick Colombo.
KIMBERLY
(Tries not to look at her father, pretending to eat.)
I know him from school.
70
JOSEPH
I also heard you stopped seeing that nice boy Brett Dickerson so you could
be with that convict.
KIMBERLY
(Looks at her father trying to control her emotions.)
First of all Nick isnt a convict, hes a student at my school. Second, that socalled nice boy Brett pushed and shoved me several times. I dont ever want
to see him again.
JOSEPH
(Sneering.)
I kind of know your temper young lady, and Im sure you did something to
provoke him.
KIMBERLY
(Stands up, indignant.)
Youd take the side of a stranger over your own daughter?
JOSEPH
(Nonchalantly.)
There are two sides to every story. When you get involved with a criminal
youre libel to do anything.
(His voice increases.)
Sit down. Im not done talking to you!
KIMBERLY
(Meekly returns to a sitting position.)
Yes, sir.
JOSEPH
I dont want any daughter of mine involved with a criminal, especially that
greasy WOP, Nick Colombo! If you dont follow my instructions, I
guarantee a punishment that will be swift and final!
Kimberly looks across
the table at her brother.
Peter only motions with
his hands, palms up
giving no support.
71
72
ACT II
SCENE TWO
11:30 A.M., In front of
the high school
cafeteria. Nick; stage
DR, sees Kimberly;
stage DC. He waves
and rushes over to her.
NICK
Kim, I tried to call you, but your brother said you were busy studying. How
about stopping at Big Lous after school?
KIMBERLY
(Turns her back to Nick, and walks away; stage DL.)
Cant, Ive got a babysitting job right after school.
Kimberly hurries off;
stage DL, holding back
tears.
NICK
(Perplexed.)
What the hells bothering her?
Nick turns and goes to
the cafeteria; stage LC.
He gets his lunch and
sits down with friends.
Kimberly enters the
cafeteria and sits with
her girlfriends. Nick
comes over to sit with
them. As he arrives, she
gets up and leaves.
NICK (contd)
(Looks at the girls with an expression of frustration.)
What is she pissed about? Did I do something?
73
CHEERLEADER ONE
Dummy, havent you heard? Her father found out youse guys was dating. He
had a fit and she cant see you anymore. Hes got her brother spying on her.
Im surprised he isnt sitting in the stall next to her when shes in the
bathroom.
The other cheerleaders
laugh and giggle.
CHEERLEADER ONE (contd)
(Flipping her hand, mockingly.)
Only trouble is Peters so feminine, no one would notice he was in the girls
room.
More laughter from the
cheerleaders.
NICK
So, thats why shes been acting so cold?
CHEERLEADER TWO
Shes being very careful because of her brother is watching her every move.
Shed like to see you but its way too risky. Her fathers a lunatic!
NICK
(Desperation in his voice.)
Can you help her get to the Halloween dance, Saturday night?
CHEERLEADER TWO
(Laughing.)
Yeah sure, but shell have her brother tagging along as chaperone. Thatll be
a lot of fun!
More laughter from the
cheerleaders.
NICK
(Smiles.)
Ill cross that path after shes there. Let her know Ill be waiting.
Nick leaves the
cafeteria.
74
He sees Kimberly in
the hallway; stage DC.
He walks up behind
her. Lights fade and
spotlight rises on the
both of them.
NICK (contd)
Kimberly, wait up.
She refuses to turn
around and talk to him.
She is looking down,
holding back tears.
Lone sax player is
standing; stage R,
under partial spotlight.
The cheerleaders leave
the cafeteria standing
at; stage DL, and join
Nick on the chorus.
[Song 11: No One]
NICK
NO ONE, CAN GIVE YOU LOVE LIKE MY LOVE
NO ONE, CAN FEEL THE WAY I FEEL
NO ONE, CAN GIVE YOU LOVE SO REAL
NO ONE, CAN GIVE YOU LOVE LIKE MY LOVE
LOVE, THATS TRUE IN WORD AND DEED
LOVE, THATS LIFETIME GUARANTEED
YOU GAVE YOUR LOVE TO A RICH BOY
HE THINKS OF YOU AS ANOTHER NEW TOY
HE BUYS AFFECTION WITH FANCY CLOTHES
AND THINKS YOURE IMPRESSED BY THE PEOPLE HE KNOWS
HE CAN AFFORD TO PLAY WITH FIRE
BUT, THERES ONE THING HELL NEVER BUY YA
75
76
77
ACT II
SCENE THREE
Lights come up with
people decorating the
stage for the Halloween
dance with orange and
black balloons, paper
ghosts and skeletons.
Two cheerleaders are
hanging skeletons;
stage LC.
CHEERLEADER ONE
First dance of the school year and Im really excited. But I heard the RBA
gang is looking for trouble.
CHEERLEADER TWO
With Coach Burton chaperoning, I doubt anyones going to cause any
problems, and live to tell about it!
CHEERLEADER ONE
Word is theyre going to check everyone at the door for knives and guns.
Even the girls!
CHEERLEADER TWO
Id certainly like to get Coach Burton to frisk me! It would be worth coming
to the dance just for that!
Both girls laughing
leave; stage L, as lights
dim.
Scene: Lights come up.
Saturday night. 8:30
P.M., Bushwick
Academy gym.
The DJ is setting up.
78
79
80
Three quarter
illuminated spotlight is
on sax player; stage R,
as he starts the song.
Spotlight will stay on
him as he plays.
ALL
THESE CITY BLOCKS
MALE GANG MEMBERS
GOT TO CHANGE AS THE PEOPLE REARRANGE
TAKE A WRONG TURN AND YOU CAN GET BURNED
ALL
THESE CITY BLOCKS
THESE CITY BLOCKS
AFRICAN-AMERICAN and HISPANIC MALES
A CEMENT BLOCK CITY THAT DOESNT LOOK PRETTY
WHEN BORDERS ARE DEFINED BY RACE AND ETHNICITY
81
ALL FEMALES
THESE CITY BLOCKS
THESE CITY BLOCKS
MALE GANG MEMBERS
MELTING POT OVERHEATED SOMETHINGS GONNA GIVE
STAY WHERE YOU BELONG AND THE LONGER YOU WILL LIVE
ALL
THESE CITY BLOCKS
THESE CITY BLOCKS
THESE CITY BLOCKS
THESE CITY BLOCKS
HISPANIC MALE
WHAT MAKES YOU THINK YOU CAN KEEP ME FROM GOING
WHERE I WANT, WHEN I WANT, IF I WANT TO
MAXI
AFTER A HUNDRED FIFTY YEARS OF SWEAT AND TEARS
WHAT MAKES YOU THINK WERE GONNA UP
AND GIVE THIS NEIGHBORHOOD TO YOU
FEMALE GANG MEMBER
I SEE YOU IN SCHOOL WITH YOUR SKIRT UP TO YOUR CAN
SHOWING TOO MUCH LEG, TRYING TO STEAL MY MAN
AFRICAN-AMERICAN FEMALE
YOUR MANS A WANNA BE, OF WHAT USED TO BE
A WASHED UP HAS BEEN, WAY TOO BLAND FOR ME
ALL
THESE CITY BLOCKS
MALE GANG MEMBERS
GOT TO CHANGE AS THE PEOPLE REARRANGE
TAKE A WRONG TURN AND YOU CAN GET BURNED
82
ALL
THESE CITY BLOCKS
THESE CITY BLOCKS
83
ALL
THESE CITY BLOCKS
WHITE MALES
GOT TO CHANGE AS THE PEOPLE REARRANGE
TAKE A WRONG TURN AND YOU CAN GET BURNED
ALL
THESE CITY BLOCKS
THESE CITY BLOCKS
AFRICAN-AMERICAN and HISPANIC MALES
A CEMENT BLOCK CITY THAT DOESNT LOOK PRETTY
WHEN BORDERS ARE DEFINED BY RACE AND ETHNICITY
ALL FEMALES
THESE CITY BLOCKS
THESE CITY BLOCKS
MALE GANG MEMBERS
MELTING POT OVERHEATED SOMETHINGS GONNA GIVE
STAY WHERE YOU BELONG AND THE LONGER YOU WILL LIVE
ALL
THESE CITY BLOCKS
THESE CITY BLOCKS
THESE CITY BLOCKS
THESE CITY BLOCKS
COACH BURTON
WATCH WHAT YOU SAY, BE CAREFUL WHAT YOU DO
THE HATE YOU FEEL TODAY
MIGHT COME RIGHT BACK ON YOU
ITS A JACKSON POLLOCK GLOBE,
WITH THE COLORS ALL A SCATTERED
YELLOW, BLACK, WHITE, BROWN, WHAT DOES IT MATTER?
COACH BURTON and MR. PATTERSON
CANT WIN THIS WAR, EVEN IF YOU WIN THIS FIGHT
JUST REMEMBER YOUVE BEEN WARNED
GET THE HELL OUT OF MY SIGHT
84
ALL
THESE CITY BLOCKS
85
An intense
choreography dance is
being performed
around the sax player.
The dance finished the
two groups are glaring
at one another and
more obscene gestures
are being made.
Coach Burton and Mr.
Patterson look at each
other and step in
between the two
groups.
COACH BURTON
(Angry.)
Enough of this crap. If you think a rumble is going to break out in this gym,
youre gonna have to go through me.
Coach Burton grabs
MALCOLM the largest
African-American in
the group by the arm
and marches him
between the two
factions.
COACH BURTON (contd)
Malcolm, you want to continue to be on the football team?
MALCOLM
(Arrogant.)
Coach you know Im your best player.
Coach Burton pushes
Malcolm back to the
group of AfricanAmericans and
Hispanics. He is glaring
at the two factions.
86
COACH BURTON
(Rapping and animated.)
I DONT CARE IF YOURE GODS GIFT TO SPORTS
THINKING YOURE REAL HOT, IN THOSE TIGHT GYM SHORTS
ITS GONNA BE MY RULES, OR YOURE OFF THE TEAM
CAUSE IM THE ONE RUNNING, THIS STRICT REGIME
DO YALL UNDERSTAND, YOU GOTTA PLAY NICE
CAUSE IF YOU DONT, IM GONNA PUT YOU ON ICE
The two groups are
murmuring amongst
themselves. A couple
of the RBA gang
members turn to the
other group grabbing
their crotch.
Mr. Patterson walks up
behind the two guys
and smacks them on the
back of the head.
MR. PATTERSON
Im done with you two. Detention next week.
MAXI
Hey, that aint fair. No ones going after them!
MR. PATTERSON
(Rapping and animated.)
DONT WANT DETENTION, THEN HERES THE DEAL
FROM THE OTHER SIDE, FIND SOMEONE WITH APPEAL
YOU GOTTA PARTICIPATE, IN THIS NEXT DANCE
AND IF YOU DONT, IM TAKEN A STRONG STANCE
ANYONE WHOS STAGNATE, IS GONNA PAY THE PRICE
SO IM GONNA GIVE YOU, SOME VERY GOOD ADVICE
YOU CAN COUNT ON A WEEK, OF AFTER SCHOOL DETENTION
OR MAYBE EVEN MORE, KNOWING MY FICKLE DISPOSITION
All the students are
complaining.
87
COACH BURTON
You heard Mr. Patterson, find yourself a partner or face the consequences.
The students reluctantly
intermingle. The music
begins and they dance
first by themselves then
as a group as they are
so caught up in the
beat.
Kimberly is dancing
with Cordero and Nick
with Corderos sister.
During the dance Nick
and Kimberly switch
and dance with each
other.
[Song 13: Ready To Dance]
AFRICAN-AMERICAN MALE
JUST LIKE THIS NATION
ALWAYS AT WAR
WE DONT REALLY KNOW
WHAT WERE FIGHTING FOR
FULL OF FRUSTRATION
SOME TIME WE VENT
AND THEN WERE SORRY
FOR HOW FAR IT WENT
SO, FOR TONIGHT
RATHER THAN FIGHT
ALL
WERE MOVING IN TIME
FORWARD AND BACK
FORMING A LIFELINE
SYNCHED WITH THE TRACK
DONT BE A VICTIM
OF CIRCUMSTANCE
SHAKE UP YOUR WORLD
GET READY TO DANCE
88
MAXI
AND WHILE WERE FEELING
THE PULSE OF THE BEAT
WE CAN FORGET
THE HATE IN THE STREETS
TOMORROW MORNING
THIS TRUCE ENDS
BUT, FOR THE MOMENT
WE CAN BE FRIENDS
SO, FOR TONIGHT
RATHER THAN FIGHT
ALL
WERE MOVING IN TIME
FORWARD AND BACK
FORMING A LIFELINE
SYNCHED WITH THE TRACK
DONT BE A VICTIM
OF CIRCUMSTANCE
SHAKE UP YOU WORLD
GET READY TO DANCE
WERE MOVING IN TIME
FORWARD AND BACK
FORMING A LIFELINE
SYNCHED WITH THE TRACK
DONT BE A VICTIM
OF CIRCUMSTANCE
SHAKE UP YOU WORLD
GET READY TO DANCE
89
ACT II
SCENE FOUR
The high school athletic
field. The field is dark
and Nick is sitting on a
wooden bench; stage
DL. Kimberly joins
him. A single spotlight
illuminates both of
them.
NICK
(Picks up both of Kimberlys hands.)
Im certainly glad you could make it to the dance. I was going crazy, not
seeing you.
KIMBERLY
My fathers making my life miserable. Hes so old-fashioned and has very
little patience. Now he controls everything I do.
NICK
Well, hes your dad and as long as you live under his roof, you have to obey.
That doesnt mean you cant get around him, like you did tonight.
KIMBERLY
Im just glad I get to spend time with you. I brought you the picture of me
you asked for. You have no idea how much I missed you.
Kimberly hands the
photo to Nick then
kisses him passionately.
They get up from the
bench and stroll to a
secluded wooded area
near the athletic field;
stage UR. There they
make out.
90
91
KIMBERLY
THOUGH WE CANT SEE, WHATS AROUND THE BEND
BUT WHATEVER THAT MAY BE, I HOPE IM THERE WITH YOU
MY FRIEND
I SEE THE QUESTIONS, FILL YOUR EYES
I SHARE THE PAIN AND CONFUSION OF FINDING WHERE THE
ANSWER LIES
NICK and KIMBERLY
SO LETS GO HAND IN HAND, LEARNING ALL THAT WE CAN
AND THE WORLD BEFORE US, WONT IGNORE US
IF WE MAKE OUR STAND
HAND IN HAND
NICK
IM AFRAID TO ADMIT, JUST HOW AFRAID I AM
FOR IM JUST A CHILD, IN THE SHAPE OF A MAN
AND TIME IS THE ONLY GIFT, I CAN FREELY GIVE
TIME WILL SHOW THE WORLDS A BETTER PLACE
BECAUSE WE LIVED
NICK and KIMBERLY
HAND IN HAND, LEARNING ALL THAT WE CAN
AND THE WORLD BEFORE US, WONT IGNORE US
IF WE MAKE OUR STAND
HAND IN HAND
HAND IN HAND
SO LETS GO HAND IN HAND LEARNING ALL THAT WE CAN
AND THE WORLD BEFORE US WONT IGNORE US
IF WE MAKE OUR STAND
HAND IN HAND
HAND IN HAND
NICK and SAX PLAYER
HAND IN HAND
HAND IN HAND
92
93
ACT II
SCENE FIVE
6:30 A.M., Dining
Room Kimberlys
house. Kimberly has
her shoes in her hand as
she sneaks thru the
dining room heading
for her bedroom; stage
DL to RC. Kimberlys
father bursts into the
dining room; stage R.
JOSEPH
Been out all night with that criminal have you? Doing what, I can just
imagine! I told you if you ever saw him again, I would put an end to it! Im
going to enroll you at the Dyson Academy Boarding School in Saratoga
Springs missy, and Im taking you there on Wednesday morning. Until then
youre not to leave this house!
KIMBERLY
(Pleading.)
But daddy, what about my friends, my school is here and my cheerleading? I
dont want to be alone in some boarding school, away from everyone!
JOSEPH
(In a loud voice.)
You should have thought of that before you got involved with that greasy
WOP! No daughter of mine is going to hang out with a hoodlum. Now youll
suffer the consequences.
Joseph leaves the room,
Kimberly runs out of
the dining room; stage
DR, weeping
uncontrollably.
Stage goes dark for
scene change.
94
ACT II
SCENE SIX
SCENE: 7:00 A.M.,
Anna Colombos
apartment. The kitchen
is located; stage RC to
C. Nicks bedroom is
located; stage LC, to L.
There is a large
window; stage UL in
Nicks bedroom
overlooking Highland
Park.
Nick walks in; stage R.
He has Kimberlys
photo in his hand. Anna
is preparing breakfast.
ANNA
(Looks at clock.)
I hope you werent out all night hanging around with the wrong crowd.
Youre on probation and theyre watching you very closely. You violate
parole and theyre gonna throw you in an adult jail. Then what are you going
to do, become a criminal the rest of your life.
NICK
(Hugs his mother.)
Aint nothin like that mom, I met a girl and shes wonderful! Her name is
Kimberly ODonnell.
ANNA
(Very skeptical.)
Well thats better than hanging out with some of the low-life thats on the
streets these days. You gotta be careful. Dont be getting some little wench
knocked up!
95
NICK
(Steps back.)
Mom, youve got it all wrong. Shes smart, got a great personality and is
very attractive. Shes made me into a better person, and Im committing
myself to her. I cant wait until you meet her and then you can see how
special she is.
Nick hands Anna the
photograph of
Kimberly.
NICK (contd)
Im in love. Isnt she beautiful?
ANNA
(Shrugs her shoulders as she looks at the photo.)
Until I meet her, Ill reserve my judgment. Youre just too young to
understand the consequences of rushing into a relationship. Getting married
a young age never seems to work out. Look what happened between me and
your father. I was sixteen and naive. Now I have to pay the price for being
foolish.
Anna turns towards the
stove continuing to
prepare breakfast,
ignoring Nick.
Lights fade. Sax player
is standing at; stage
DL. A partial spotlight
is illuminating him.
Spotlight is also on
Nick as he walks to;
stage C. The sax player
begins.
Nick sings and dances
to the photo.
96
NICK
(Very animated.)
I WAS GETTING BITTER TO THE CORE
DIDNT FEEL LIKE TRYING, ANYMORE
YOU CAME TO ME, SAID
STOP THIS MISERY, TRY SOMETHING NEW.
AND THEN YOU SWEETLY
COMPLETELY CHANGED MY POINT OF VIEW
NOW, IVE GOT LOVE IN MY HEART
ITS A FEELING I NEVER KNEW
YOURE ALL AROUND ME
AND THE WALL AROUND ME JUST FELL APART
I LOVE YOU
I THOUGHT THE WORLD, HAD NOTHING TO GIVE
I LOST MY FRIENDS, I LOST MY WILL TO LIVE
STEP BY STEP, YOU TOOK ME FURTHER FROM DESPAIR
YOU COULD TAKE THE TIME, I SAW YOU TAKE THE TIME TO
CARE
NOW, IVE GOT LOVE IN MY HEART
ITS A FEELING I NEVER KNEW
YOURE ALL AROUND ME
AND THE WALL AROUND ME JUST FELL APART
I LOVE YOU
MY LONELY YESTERDAYS, ALL I DID WAS CRY
BUT NOW IM SMILING, IM A DIFFERENT GUY
YOU GAVE ME JOY, YOU SET ME STRAIGHT
NOW THAT IM YOUR BOY, LIFE IS LOOKING GREAT
CAUSE, IVE GOT LOVE IN MY HEART
ITS A FEELING I NEVER KNEW
YOURE ALL AROUND ME
AND THE WALL AROUND ME JUST FELL APART
I LOVE YOU
97
NICK (contd)
CAUSE, IVE GOT LOVE IN MY HEART,
ITS A FEELING, WHAT A FEELING
YOURE ALL AROUND ME
AND THE WALL AROUND ME JUST FELL APART
I LOVE YOU
Nick walks up to the
Sax Player; stage DL
and dances to his
playing. He dances
back to where Anna is
standing and dances
with her. Instrumental
continues as lights fade.
Stage goes dark for
scene change.
98
ACT II
SCENE SEVEN
8:00 A.M., Monday
morning, high school
hallway. Nick is in the
hallway walking back
and forth; stage L to C
to L. He stops a couple
of Kimberlys
cheerleader girlfriends.
NICK
Have you seen Kimberly?
CHEERLEADERS
(In unison.)
No, we havent seen her.
Nick continues to
search for her, looking
in classroom and
cafeteria. He spots her
brother Peter walking;
stage RC, toward him
in the hallway. Seeing
Nick, Peter turns
around and walks
away.
NICK
Peter, hey Peter wait up!
(Corners Peter.)
Wheres your sister? I havent seen her since the dance Saturday night.
PETER
(Shuffles his feet looking down, avoiding eye contact.)
Shes in big trouble.
NICK
(Brow wrinkled.)
Trouble? What kind of trouble?
99
PETER
My Dad caught Kim when she came home early Sunday morning. Now she
cant even leave the house and hes going to take her to a boarding school in
Saratoga Springs on Wednesday.
NICK
(Steps back in disbelief.)
Shes going away? For how long?
PETER
For the rest of the school year! We wont even be here for Christmas. My
dads taking us to our grandparents in Florida.
NICK
(Pacing back and forth.)
You mean its going to be eight months before shes home again?
PETER
(Shrugs his shoulders.)
Be longer, if its up to my dad.
NICK
(Stops pacing.)
I really need to see her before she goes.
PETER
(Sarcastically.)
Thats impossible! Dads with her almost all the time. He only goes to work
for a couple of hours each day, around three in the afternoon. Kims been
crying endlessly, but he wont budge.
NICK
(Paces again.)
Isnt there anyway you can get her out of the house?
PETER
(Stares at the ceiling.)
Well maybe theres one way. Ill see if I can convince my dad to send her
over to Saint Francis of Assisi Catholic Church, for a private confession. Im
an altar boy there, and could arrange it for Tuesday afternoon. Just be at the
church around four.
100
NICK
(Grabs Peter and hugs him.)
Youre a genius.
101
102
ACT II
SCENE EIGHT
4:00 P.M., Saint
Francis of Assisi
Catholic Church. There
is a choir area with
organ; stage UR, a
confessional; stage R,
and pews; stage C. The
choir; stage URC, is
getting ready for
practice.
Nick walks in and finds
a corner to hide in;
stage UL. Peter and
Kimberly walk in; stage
DL to C.
NICK
(Whispers to himself.)
Good. Her father didnt come.
Kimberly walks to the
confessional and enters.
NICK (contd)
(Calls out, softly.)
Peter, Im here!
Nick meets with Peter;
stage LC, and puts his
arm on Peters shoulder
as theyre walking.
Peter is uncomfortable,
trying to get out of
Nicks grip.
103
NICK
Im grateful for all youve done. You dont know how much this means to
me.
Peter finally slips out of
Nicks grip putting both
of his hands partially
up as he backs away.
PETER
You can start by not hugging me. Im not Kim! My sister better be real nice
to me from now on. She owes me big time, and if my dad finds out what Ive
done Im toast. Hell crucify me.
As the two teens are
talking, Kimberly
leaves the confessional,
enters a pew; stage C.
Nick sits down in the
pew behind her waiting
for her. Finished she
turns to him. They both
hug and kiss. Nick
takes her hand and
leads her near the
entrance of the church;
stage DLC.
He then takes both of
her hands facing her.
The sax player; stage
UR, has a spotlight on
him. This becomes
theatrical with the choir
singing and dancing;
stage URC. Peter joins
in on the chorus.
104
NICK
I DONT KNOW, WHERE YOU CAME FROM
BUT I SEE YOU ARE THE EARTH
AND I FEEL YOU LIKE THE SUN
SO WARM
NICK, PETER and CHOIR
AND I KNOW, SOON YOU WILL BE GONE
TELL ME, WHERE ARE YOU GOING?
NICK
PEOPLE CAME FROM EVERYWHERE
AND YOU WERE THERE AMONG THEM
STEALING MY HEART
WITH YOUR KINDNESS, AND YOUR LOVING WAY
HOW I HOPED THAT YOU, HAD COME TO STAY
NICK, PETER and CHOIR
AND I KNOW, SOON YOU WILL BE GONE
TELL ME, WHERE ARE YOU GOING?
NICK
AND TELL ME WHY
WHY MUST YOU LEAVE ME
WHY MUST YOU LEAVE ME, LEAVE ME ALL ALONE?
Sax instrumental.
NICK (contd)
GOODBYE, GOODBYE, GOODBYE, GOODBYE
IF YOURE EVER HUNGRY
I HOPE YOULL SOON BE SATISFIED
AND IF YOU FEEL THE COLD
I HOPE YOU WILL BE ASKED INSIDE
AND IF YOUR HEART IS BROKEN
I HOPE ITS NOT FOR LONG
NICK, PETER and CHOIR
AND I KNOW, SOON YOU WILL BE GONE
TELL ME, WHERE ARE YOU GOING?
105
Instrumental portion of
the song continues with
a repeat of the choir
and Peter singing,
Soon You Will Be
Gone. This should be
with a choreographed
dance routine in the
background while Nick
and Kimberly are
embraced in a long
passionate kiss.
PETER, CHOIR and SAX PLAYER
SOON YOU WILL BE GONE (repeated 12 times)
As the song ends, Peter
breaks up Nick and
Kimberlys romantic
interlude pulling on her
arm.
PETER
Lets go. Dads going to become suspicious if we dont get home soon.
The choirs singing and
the music slowly fades.
Kimberly reluctantly
lets go of Nick, her
hand slowly sliding
down his arm as Peter
tugs her away. Peter
and Kimberly disappear
off set; stage LC,
leaving Nick, head
bowed, all alone. Lights
fade.
Stage goes dark for
scene change.
Curtain
106
ACT III
SCENE ONE
4:00 P.M., The high
school athletic field,
several months later.
Its snowing and Nick,
holding a letter, is the
only one on the field;
stage DL.
NICK
(Reading the letter aloud.)
Dear Nick, Im sorry I havent written sooner. I know my letters are not as
frequent as they use to be, but the classes here require so much homework I
dont have any time for myself. Im somewhat upset hearing from my
friends that youve been dating other girls. You must remember I will always
love you and miss you. Kimberly.
Nick throws the letter
to the ground, and then
stoops to pick it up. His
head is down. As hes
walking; stage DLC, a
couple of his friends
including Cordero join
him.
CORDERO
Hey man, why you so down?
NICK
(Stops walking and shows Cordero the letter.)
Kimberly used to write two and three page letters. Now all I get is a
paragraph. I heard from her friends that shes been out on dates and she
thinks Im seeing someone else. Ive got to figure someway to see her.
Maybe I could spend a weekend in Saratoga, if I had enough money.
CORDERO
(Looks at the letter a few seconds.)
Thats all she wrote? Well, maybe its your own fault. You did take Melanie
to the movies twice.
107
NICK
Were just friends and theres nothing romantic in our relationship. I didnt
even hold her hand.
CORDERO
Man, youre so stupid! Shes got the hots for you and shes telling everyone
at the school that youre her boyfriend. How stupid could you be? All girls
want a piece of you now that Kimberlys not here. Gees what a sucker you
are!
NICK
(Looking down, kicks the ground.)
Damn, I guess I didnt see that coming. I need to borrow a couple of hundred
dollars for bus fare and hotel. I want to see Kimberly and set this straight.
Im not going to lose her!
CORDERO
(Laughs.)
What makes you think I have that kind of cash? I cant rub two nickels
together.
NICK
(Looks at his other two friends.)
What about you guys!
FRIEND ONE
Dont look at me, Im totally broke.
FRIEND TWO
I just spent my last twenty on some weed.
NICK
Im screwed.
Nick sings, with
Cordero and friends
joining in the on the
chorus.
108
NICK
A SONG COMES ON THE RADIO
ONE THAT THEY PLAYED SO MUCH
NOT LONG AGO
A SENTIMENTAL LITTLE TALE
ABOUT A LOVE AFFAIR THAT FAILED
AND AS THE MUSIC FADES AND DIES
I FEEL THE TEARS FILL MY EYES
FOR IT HASNT BEEN TOO LONG
SINCE OUR LOVE WAS BURNING STRONG
SHE WAS SO HONEST AND SO WARM
SHE TOOK MY STARVING HEART BY STORM
BUT I WAS COLD AND UNAWARE
AFRAID TO SHOW HOW MUCH I CARED
NICK, CORDERO and FRIENDS
THERE WILL BE NO ONE WAITING
TO SHARE A TENDER MOMENT
LATE IN, THE SILENCE OF THE NIGHT
I LONG TO HOLD HER TIGHT
BUT IVE DONE TOO MUCH WRONG
TO EVER MAKE IT RIGHT
NICK
THE GIFT OF LOVE, I LET IT SLIDE
IT WAS A CLASSIC CASE OF MANLY PRIDE
THINKING THAT SHE WOULD ALWAYS BE
DEVOTED TO HER LIFE WITH ME
I LEFT HER HEART OUT IN THE COLD
AND NOW WHEN I NEED HER TO HOLD
NICK, CORDERO and FRIENDS
THERE WILL BE NO ONE WAITING
TO SHARE A TENDER MOMENT
LATE IN, THE SILENCE OF THE NIGHT
I LONG TO HOLD HER TIGHT
BUT IVE DONE TOO MUCH WRONG
TO EVER MAKE IT RIGHT
109
NICK
NOW I SEE, LOVE MUST BE SHOWN EVERY DAY
TAKEN TOO CASUALLY, LOVE FADES AWAY
AND THERE WILL BE NO ONE, WAITING
LATE IN THE SILENCE, OF THE NIGHT
I LONG TO HOLD HER TIGHT
BUT IVE DONE TOO MUCH WRONG
NICK, CORDERO and FRIENDS
THERE WILL BE NO ONE WAITING,
TO SHARE A TENDER MOMENT
LATE IN, THE SILENCE OF THE NIGHT
I LONG TO HOLD HER TIGHT
BUT IVE DONE TOO MUCH WRONG
TO EVER MAKE IT RIGHT
Cordero and his friends
leave the athletic field;
stage DR. Nick is
alone. There is a single
spotlight fading on him
as he finishes.
NICK
THERE WILL BE NO ONE, WAITING
NO ONE, WAITING
THERE WILL BE, NO ONE WAITING
I LONG TO, OH I LONG TO HOLD HER TIGHT
LATE IN THE NIGHT
BUT THERE WILL BE NO ONE WAITING
THERE WILL BE, NO ONE WAITING
DONE TOO MUCH, TOO MUCH, TOO MUCH WRONG
Instrumental continues.
Spotlight fades on
Nick.
Stage goes dark for
scene change.
110
ACT III
SCENE TWO
6:00 P.M., Anna
Colombos apartment.
Nick walks in; stage R.
Anna is sitting, reading;
stage RC.
ANNA
Im glad youre here. What do you want for dinner?
NICK
Nothin, Im not hungry!
ANNA
Youre always hungry. Whats bothering you?
NICK
This!
He hands Anna,
Kimberleys letter and
sits at the table, holding
his head in his hands.
Anna, looks at the
letter, gets up and
walks behind Nick.
Anna is massaging
Nicks shoulders.
ANNA
Nick, these things happen. Shes still showing affection for you. Dont get so
depressed.
NICK
(Pleading.)
I need to go see her, Mom. Can you lend me a few hundred dollars?
111
ANNA
(Still massaging.)
Nick, if I had it, Id give it to you in a second. I can hardly make ends meet. I
took out a loan a couple of years ago, got behind and took out another one to
pay off my credit cards. Im tapped out.
The sax player is at;
stage DL. Anna sings
and Nick stands up and
joins in on the chorus.
Both show animated
frustration while
singing and dancing.
[Song 18: Thanks To The Banks]
ANNA
NOW I WANT TO SAY THANKS TO THE MAJOR BANKS
FOR THE SUMMER VACATION, AND FOR FILLING THE TANKS
OF THE CAR THAT WILL BE MINE ONE DAY
IF THE REPO MAN WILL STAY AWAY
FROM THE HOUSE I LOVE, WHERE I MAKE MY HOME
WITH THE THIRTY YEAR FLOATING INTEREST LOAN
ANNA and NICK
IF I LOSE MY BALANCE, I COULD LOSE MY MIND
AS I WALK DOWN A TENUOUS CREDIT LINE
I HAD TO TAKE OUT A LOAN, TO PAY BACK A LOAN
I TOOK OUT, TO PAY BACK A LOAN
ANNA
THANKS TO THE BANKS
NICK
THANKS TO THE BANKS
ANNA
THANKS TO THE BANKS
NICK
THANKS TO THE BANKS
112
ANNA
113
ANNA
THANKS TO THE BANKS
NICK
THANKS TO THE BANKS
ANNA
THANKS TO THE BANKS
NICK
THANKS TO THE BANKS
Sax solo begins.
ANNA and NICK
THANKS TO THE BANKS
THANKS TO THE BANKS
THANKS, THANKS, THANKS, THANKS TO THE BANKS
THANKS TO, THANKS TO, THANKS TO THE BANKS
THANKS, THANKS, THANKS, THANKS TO THE BANKS
BANKS, BANKS
THANKS TO THE BANKS
THANKS TO THE BANKS
THROWING THEIR MONEY AROUND
ALL OVER TOWN
WHEN THEY WANT IT BACK
GIVE YOU A HEART ATTACK
THANKS, THANKS TO THE BANKS
ANNA and NICK (Adlib)
THEYLL TAKE YOUR HOUSE
THEYLL TAKE YOUR CAR
THEYLL TAKE YOUR WIFE
THE BANKS ARE JUST A LITTLE BIT LIKE THE RBA
THANKS TO THE BANKS
THANKS TO THE BANKS
THANKS TO THE BANKS
The sax player crosses;
stage DL to DR.
114
A spotlight follows
him. He plays until the
song finishes.
Nick walks to his
bedroom; stage LC, as
lights fade on the
kitchen. Nicks
bedroom becomes
illuminated.
NICK
Im going to my room and write to her mom. Ive gotta lay it on the line. I
cant stand being in limbo like this.
ANNA
(Leaves the set; stage R, while talking to Nick.)
Its your decision, but dont do anything rash.
In the bedroom Nick
sits at a desk, picks up
the pen starts writing.
He stops, drops the pen
and holds his head in
his hands. He suddenly
jumps up and speaks
out loud.
NICK
Ill call Mr. Miller and get my old job back.
He walks to the
kitchen; stage RC, and
dials the phone. Set is
dark except for a
spotlight on Nick.
A second spot is on a
counter with a register
and phone; stage DR.
115
116
Im listening.
CORDERO
(He leans the chair back on two legs.)
NICK
117
CORDERO
Yeah, who dont?
NICK
I used to work there when I was with the RBA gang. He fenced stolen goods
for them. One night I watched him put in the alarm code and I memorized it.
I bet its never been changed. We could get in, take a bunch of guns and sell
them to the street gangs.
CORDERO
(Puts his chair back down.)
Are you freaking nuts? Even if you get inside and took the guns, everyone
who buys one is gonna rat on you. Youll be back in jail so fast it will make
your head spin. No thanks. Half my familys doing time. My mothers sick
and it would kill her if I were sent away. Youre on your own if you want to
be stupid.
NICK
(Taps his fingers on the table. Looks frustrated.)
So Ill do it alone.
CORDERO
Over some freaking broad! Youre crazy and Im out of here!
Cordero gets up and
walks to the door; stage
R. and leaves. Nick is
alone in the kitchen.
Nick goes to his
bedroom and picks up
the photograph of
Kimberly and stares at
it for a moment.
NICK
Corderos right, Im putting my future in jeopardy, but I dont care. Shes
the most important person in my life and Im not going to lose her.
118
NICK
AS THE SUN FALLS AWAY, IN THE SMOKY AIR
STIRRING A MEMORY, OF A BRIGHTER TIME THERE
YOU WALK THROUGH MY DOOR, GENTLY YOU TAKE MY HAND
BUT YOUR TOUCH WILL BE DISTANT,
BEFORE THE SUN SHINES AGAIN
NICK and CHOIR
TAKE ME OR LEAVE ME, STAY OR MOVE ON
NICK
PLAY IT STRAIGHT OR DECEIVE ME, WHATEVER YOU WANT
NICK and CHOIR
TAKE ME OR LEAVE ME, LIE OR BE TRUE
NICK
SOOTHE ME OR HURT ME, I WILL ALWAYS LOVE YOU
THE PLANTS BY MY WINDOW ARE DUSTY AND DRY
SILENTLY WAITING, NEVER ASK WHY
YOU HAVENT BEEN ROUND HERE IN TOO MANY DAYS
BUT YOU NEED NOT EXPLAIN DEAR
THE CHANGE IN YOUR WAYS
NICK and CHOIR
TAKE ME OR LEAVE ME, STAY OR MOVE ON
NICK
PLAY IT STRAIGHT OR DECEIVE ME, WHATEVER YOU WANT
119
120
ACT III
SCENE THREE
8:00 A.M., Monday
morning, high school
hallway. Two students
are sitting outside of
the principals office;
Stage RC. Cordero is
desperately looking
around. He stops a male
student.
CORDERO
Have you seen Peter ODonnell?
The student shakes his
head no. Cordero goes
over to the two students
sitting outside of the
principals office.
CORDERO
Have you seen Peter ODonnell?
MR. PATTERSON
(Sitting behind his desk.)
You two clowns, in here now!
MALE STUDENT ONE
(On his way into the principals office turns to Cordero.)
Hes in the chem lab.
Cordero walks to the
classroom door; stage
C, and pokes his head
inside.
CORDERO
Peter ODonnell, you gotta phone call and the principals office sent me to
get you.
121
PETER
(Comes into the hallway.)
Do you know who called?
CORDERO
(Grabs Peter and pulls him aside.)
No one! I need to tell you something.
PETER
What the hell is this about?
CORDERO
Its about you sister and her love crazed boyfriend, Nick. Did you know hes
planning to rob Millers pawn shop to get some guns to sell? Hes so
desperate to see Kimberly hell do anything to get the money.
PETER
(Turns to walk away.)
So, what do you want me to do about it?
CORDERO
(Grabs Peters arm and pulls him back.)
Maybe you or your sister could talk him out of it. Hes going to end up in
jail for sure.
PETER
Hes not gonna listen to me. Ill call Kim. Shes the only one who can get
through that thick Dago head of his.
Peter and Cordero go to
a pay phone located
near the principals
office; stage R.
Set lights are down
except for a spotlight
on them. A second pay
phone is at; stage DL.
Peter dials a number.
The phone at; stage DL,
rings. A female student
answers.
122
FEMALE STUDENT
Dyson Dorm.
PETER
Id like to speak to Kim ODonnell.
FEMALE STUDENT
Ill get her for you.
PETER
(To Cordero.)
And suppose she doesnt want to get involved.
CORDERO
Ive seen how your sister looks at Nick. Shes hooked and shell do anything
for him.
PETER
(Looks at receiver.)
What the hells taking her so long? Ive been holding forever.
Kimberly enters; stage
DL, and picks up the
receiver.
KIMBERLY
This is Kimberly ODonnell.
PETER
(Perks up.)
Kim, its Peter! Whats up with you and Nick?
KIMBERLY
Nothing, were cool. I did hear a rumor about him and Melanie, but didnt
pay much attention to it. Why are you calling me about Nick?
PETER
Nick doesnt think things are so cool. Apparently some of the girls told him
you were dating.
123
KIMBERLY
Those bitches! Thats not true! We had this dance and they invited a bunch
of guys over from a military academy. I danced with a couple of them, but
nothing more than that. All they could talk about was going to Vietnam and
kicking ass. I left early and went back to the dorm.
PETER
Well thats not the story circulating around here. Youre so-called friends are
telling Nick that youve got other guys in your life. They all want a piece of
him. Now hes planning to rob Millers pawn shop to get enough money to
go see you.
KIMBERLY
(Distraught.)
Youve got to stop him! Tell him Im coming to see him!
PETER
How you gonna pull that off?
KIMBERLY
One of the girls has family that comes every weekend to visit her. They live
in Manhattan. Ill ask for a ride from them to the city. Tell Nick Ill be at his
place Sunday night.
PETER
Youll be absent from classes on Monday. You know theyre gonna call
Dad, and youre going to be in big trouble.
KIMBERLY
(Defiant.)
I dont care what Dad thinks! When I come into the house after seeing Nick,
Dad will have one of two choices. Keep me at home or drive me back to
Saratoga. He cant punish me anymore than he already has.
PETER
Okay, its your funeral. Ill let Nick know youll be here on Sunday.
KIMBERLY
(Softly.)
Please tell Nick I love him dearly.
124
PETER
Tell him yourself. I hate that mushy garbage.
Lights come up on
hallway. Peter hangs up
the phone and goes
looking for Nick. He
sees some students;
stage C.
PETER
Anyone seen Nick Colombo?
STUDENT
I last saw him in the cafeteria.
Lights dim on hallway
and come up on the
cafeteria; stage L.
Nick is sitting at a
lunch table in an empty
cafeteria. His head is
down. Peter walks up to
Nick, stage C.
PETER
You look like crap.
NICK
(Looks at Peter.)
Who cares? Your sister screwed me over and now I cant get enough money
to go see her.
PETER
You know your problem Nick? Youre dumb and gullible! You believed all
that B.S. those girls were feeding you about Kim dating other guys. Well it
aint true!
NICK
(With sarcasm.)
Yeah, Id like to hear that from her!
125
PETER
Maybe youll get your chance Sunday night.
NICK
(His brow wrinkled.)
Whatd you mean?
PETER
Kims coming to see you. Shes cutting classes to stop you from doing
anything foolish. Oh yeah, she told me to tell you she loves you.
NICK
(Jumps up.)
She did?
PETER
(Backing up, hands raised.)
Dont be getting all emotional on me again. Shell see you Sunday night at
your place. Keep it quiet. If my Dad gets wind of it, hell stop her.
Peter turns and leaves;
stage L. Nick leaves;
stage R.
NICK
(Shouts, pumping his arm putting his fist into the air.)
Yes!
Stage goes dark for
scene change.
126
ACT III
SCENE FOUR
6:00 P.M. Sunday
Night at Anna
Colombos apartment.
Nick is carrying
Kimberly into the
apartment. Putting her
down they embrace
after Nick twirls her.
KIMBERLY
(Looks around.)
Is your mother here?
NICK
No. When she heard you were coming to see me, she made arrangements to
stay at her sisters house for the night. My moms pretty awesome.
Background music, the
instrumental version of
Beautiful. Nick picks
Kimberly up and brings
her to his bedroom;
stage LC, setting her on
the bed. They embrace
and kiss for a long
time. Lights fade; stage
goes dark and music
continues for a few
minutes.
11:00 P.M. Lights
come up to a low level.
Nick and Kimberly
sitting on the bed
KIMBERLY
(Is hugging Nick.)
Promise me youll do nothing stupid.
127
128
NICK
THE HARDEST PART OF LIFE
IS FINDING SOMEONE
THAT YOU WANT TO SPEND YOUR DAYS WITH
BLEND YOUR WAYS WITH, WARM YOUR NIGHTS
AS LOVE UNITES YOU
I FAILED AT ALL ATTEMPTS OF MATING
DATING WAS A GAME I COULD NOT PLAY
I STAYED AWAY FROM ROMANCE
NO CHANCE TAKEN ON
HEARTACHE WAS NOT FOR ME
ID RATHER BE ALONE
IT WAS MY NATURE TO BE SADLY ON MY OWN
NICK and KIMBERLY
YOU ARE SECOND NATURE TO ME
KIMBERLY
YOU ARE
NICK and KIMBERLY
SECOND NATURE TO ME
KIMBERLY
YOU ARE
NICK
YOU KNOW YOU ARE
KIMBERLY
SECOND NATURE
Spotlight comes up on
sax player and then
fades, when finished.
NICK
AND NOW WE SHARE A LOVE
THATS SELDOM SEEN
BEYOND THE REALM OF MOVIE SCREENS
AND ENDLESS RACKS OF PAPERBACKS
ALL FILLED WITH DREAMS
129
KIMBERLY
BUT WE KNOW ITS REAL WE FEEL IT
DEEP INSIDE US
ITS THE BRIGHTEST STAR THAT SHINES
FOR YOU AND I
NO HAZE WILL EVER DULL OUR SKY
NICK and KIMBERLY
YOU ARE SECOND NATURE TO ME
KIMBERLY
YOU ARE
NICK and KIMBERLY
SECOND NATURE TO ME
KIMBERLY
YOU ARE
NICK
YOU KNOW YOU ARE
KIMBERLY
SECOND NATURE
Spotlight comes up on
sax player and then
fades, when finished.
KIMBERLY
LOVE HAD GIVEN ME A SCARE
WHY WAS LOVE ALWAYS UNFAIR?
WHEN YOU CAME ALONG
YOU SHOWED ME YOU REALLY CARED
NOW, I WILL ALWAYS WANT YOU HERE
Spotlight comes up on
sax player and stays on
him until the end of the
song. During the sax
sole, Nick and
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131
132