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First Love – A Musical

A Musical Play in Three Acts

Music and Lyrics - Michael D’Egidio

      Librettist - Anthony D’Egidio

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LIST OF INDIVIDUAL CHARACTERS – In order of appearance. All characters in the Bushwick scenes should have a NYC Brooklyn accent, except as noted.

SAX PLAYER – STREET MUSICIAN
(Sole male musician on stage for various songs, age 40 - 50. Capable of playing, Alto, Tenor, Baritone and Soprano Saxophones.)

NICK COLOMBO
(Lyric baritone or tenor, singing and dancing role, age 14 - 17.) Young, brash, independent, passionate, yet gentle Italian-American.

ANNA COLOMBO
(Alto/Mezzo singing and dancing role, age 45 - 48. Slightly overweight, not attractive.) Struggling single mother of Nick Colombo.

JIM VALERIO
(Baritone, singing and dancing role, age 17 – 19.) Gang leader of the RBA, (Real Bad Ass) gang. Tough, jaded, physically imposing. A scheming criminal.

LEROY OR COACH BURTON depending on who is speaking.
(Baritone or Bass, singing and dancing role, age 29 – 32.) Phys-Ed teacher, Large African-American former professional football player. Confident, authoritative but also understanding.

NADINE
(Speaking, singing, dancing, role, age 23 – 26.) Petite African-American female. Could be in multiple rolessuch a as part of Church Choir.

MR. PATTERSON
(Baritone, singing and dancing role, age 50 – 55.) School principal, overweight and balding, somewhat unkempt even when he’s wearing a business suit.

MAXI
(Smallest male RBA gang member age 17 - 20. Only gang member known by name.)

SERGEANT O’REILLY
(Speaking role off set. Has a distinct Irish Brogue.)

POLICE / CORRECTIONAL OFFICERS - Hudson Juvenile Detention Center.
(Multiple Speaking roles ages 35 - 50.)

SUPERINTENDENT - Hudson Juvenile Detention Center.
(Speaking role age 50 - 55.)

LIEUTENANT PEARSON - Hudson Juvenile Detention Center.
(Speaking role age 35 – 40.)

PSYCHIATRIST DR. KEATON - Hudson Juvenile Detention Center.
(Female, Speaking, singing, dancing, role age 40 – 42.) Could be in multiple roles such as Margret O’Donnell, Kimberly’s mother and as part of Church Choir.

CORDERO
(Baritone, singing and dancing role, age 17 - 18.) Hispanic boy, lean and wiry. Street wise, outgoing.

KIMBERLY O’DONNELL
(Soprano, singing and dancing role, age 17.) Self assured, independent, outgoing Irish-American. Head cheerleader.

BRETT DICKERSON
(Baritone, singing and dancing role, age 17 - 18.) Large teen, good looking. Hot tempered, bully.

JOSEPH O’DONNELL
(Speaking role, age 45 – 50.) Kimberly’s father. Slender man with an Irish Brogue. Head strong and opinionated.

MARGARET O’DONNELL
(Speaking, singing, dancing, role, age 40 – 42.) Kimberly’s Mother, Petite, attractive, sensitive.

PETER
(Tenor, singing and dancing role, age 15 - 16.) Kimberly’s brother. Boyish and naive.

MR. MILLER
(Pawn Shop Proprietor Speaking Role. Caustic and sarcastic.)

MALE STUDENTS / FOOTBALL SQUAD / RBA GANG / INMATES/ POLICE/CORRECTION OFFICERS (10 – 12 actors.)
(Multiple roles, singing, dancing, aerobatics, ages 16 - 21. Football Squad is made up of African-Americans, Caucasians and Hispanics. RBA gang members Caucasian only.)

FEMALE STUDENTS / CHEERLEADERS / RBA GANG / CHURCH CHOIR (10 – 12 actors.)
(Multiple roles, singing, dancing, aerobatics, ages 16 -18. Cheerleaders are African-Americans, Caucasians and Hispanics. RBA gang members Caucasian only.)

SYNOPSIS OF SCENES AND SONGS

Act One

 

Scene One: Graham Avenue, Brooklyn, New York

“Our Street” •••••••••••••••••••Jim Valerio and The RBA Gang Members

“Maximum Work Minimum Wage” ••••••••••••••••••••••••••••Nick Colombo

 

Scene Two: Parking lot Bushwick Academy High School

“Under The Hood” •••••••••••••••••Jim Valerio, The RBA Gang Members,

and Sax Player

Scene Three: Bushwick Academy High School Hallway

 

Scene Four: Graham Avenue, Brooklyn, New York

“Troublemaker” •••••••••••••••••••••••••••••••••••••••••Anna Colombo

 

Scene Five: Hudson Juvenile Detention Center

 

Scene Six: Superintendent’s Office

 

Scene Seven: Nick’s room in Isolation Ward

“What Will We Do” ••••••••••••••••••••••••••••••••••••••Nick Colombo

 

Scene Eight: Bushwick Academy High School Cafeteria

 

Scene Nine: Bushwick Academy High School Athletic Field

“Running For Cover” •••••••••••Kimberly O’Donnell, The Cheerleaders,

and Sax Player

“7:02” ••••••••••••••••••••••••Kimberly O’Donnell, The Cheerleaders,

and Sax Player

Scene Ten: Highland Park

“Eye to Eye” ••••••••••••••••••••Nick Colombo and Kimberly O’Donnell

 

Scene Eleven: Bushwick Academy High School Cafeteria

“Beautiful” ••••••••••••••••••••••••••••••••••••••••••••Nick Colombo

 

Scene Twelve: Bushwick Academy High School Athletic Field

“First Love” ••••••••••••••••••••Nick Colombo and Kimberly O’Donnell

SYNOPSIS OF SCENES AND SONGS

Act Two

 

Scene One: Joseph O’Donnell’s Dining Room

 

Scene Two: Bushwick Academy High School Cafeteria

“No One” ••••••••••••••••••••••••••Nick Colombo and The Cheerleaders

 

Scene Three: Bushwick Academy High School Gym

“These City Blocks” •••••Nick Colombo, Brett, Cordero, a Majority of the Cast, and Sax Player

“Ready to Dance” ••••••••Nick Colombo, Brett, Cordero, a Majority of the Cast

Scene Four: Bushwick Academy High School Athletic Field

“Hand in Hand” ••••••••••••••••••••Nick Colombo, Kimberly O’Donnell,

and Sax Player

Scene Five: Joseph O’Donnell’s Dining Room

 

Scene Six: Anna Colombo’s Apartment.

“Got Love” ••••••••••••••••••••••••••••••Nick Colombo and Sax Player

 

Scene Seven: Bushwick Academy High School Hallway

 

Scene Eight: Saint Francis of Assisi Catholic Church

“Soon You Will Be Gone” •••••••••••••••••Nick Colombo, The Choir and Sax Player

Act Three

 

Scene One: Bushwick Academy High School Athletic Field

“No One Waiting” •••••••••••••••••••••Nick Colombo, Cordero, Friends

and Sax Player

Scene Two: Anna Colombo’s Apartment

“Thanks To The Banks” ••• Anna Colombo, Nick Colombo, and Sax Player

“Take Me Or Leave Me” •••••• Nick Colombo, The Choir, and Sax Player

 

Scene Three: Bushwick Academy High School Hallway

 

Scene Four: Anna Colombo’s Apartment

“Second Nature” •••Nick Colombo, Kimberly O’Donnell, The Entire Cast

and Sax Player

 

 

 

 

 

 

 

 

 

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. African-American’s and Puerto Rican immigrants are replacing them.

The curtain is closed and on stage is the SAX PLAYER – STREET MUSICIAN; stage DR. He has a hat on the floor. He fixes the mouth piece on the saxophone then tests the sax by “warming up” on the instrumental of section the song ‘Our Street’. The curtain opens to Scene One, as he continues to play.

4 P.M. Graham Avenue, Bushwick neighborhood of Brooklyn, New York. Stores in scene are Miller’s Pawn Shop, Big Lou’s Pizzeria, Colombo’s Italian Meats and Bakery. There is an alleyway with large trash containers. A payphone and street light are near Miller’s Pawn Shop. Across the street is Highland Park with a bench, trees and walkway.

The RBA GANG MEMBERS are hanging around Miller’s Pawn Shop and Big Lou’s Pizzeria in various positions; stage RC, C and LC. The gang members are both male and female sporting jackets with the RBA gang emblem and colors. They are fooling around with one another.

The leader of the RBA gang JIM VALERIO; stage C, is tall, good looking and confident. He walks around lightly hitting the arms of the male members with his fist and flirting with the female members.

NICK COLOMBO and his mother ANNA walk by; stage DR to C. As they pass the sax player, Anna drops some coins into his hat. A male gang member stands up, taps Jim Valerio on the shoulder (whose back is to Anna and Nick.)

MALE GANG MEMBER

Hey, look at that low life we got on our turf.

JIM

(Turns around, points at Anna and Nick.)

It’s momma and her little boy.

ANNA

(Grabs Nick’s arm and pulls.)

Let’s go.

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”]

JIM and MALE GANG MEMBERS

YEAH, YEAH, YEAH, YEAH, YEAH, YEAH, YEAH, YEAH

WHEN YOU’RE WALKING ON OUR STREET

YOU’D BETTER MARCH TO OUR BEAT

WHEN YOU GO UPTOWN

YOU CAN DO WHAT YOU PLEASE

WE CATCH YOU BEING A CLOWN

WE’LL BREAK YOUR KNEES

WHEN YOU’RE WALKING ON OUR STREET

YOU BETTER WATCH YOUR STEP

JIM and MALE GANG MEMBERS (cont’d)

WE’D HATE TO SEE YOU SLIP

AND TAKE A NASTY FALL

OR LOSE YOUR WAY

AND SLAM INTO A BRICK WALL

WHEN YOU’RE WALKING ON OUR STREET

DAY OR NIGHT

YOUR SAFETY IS ASSURED

AS LONG AS YOU’RE POLITE

TO THE RBA

AND YOU DO WHAT WE SAY

ALL GANG MEMBERS

WE WON’T STEAL YOUR CAR

WE WON’T STEAL YOUR WIFE

WE WON’T TAKE YOUR MONEY

OR TAKE YOUR LIFE

The female gang members have surrounded Nick. One snatches Nick’s wallet from his back pocket turning it upside down. A condom falls out and the girls toss it to one another as they make fun of him.

FEMALE GANG MEMBERS

LITTLE NICKY

FEMALE GANG MEMBER ONE

TAKE YOUR WALLET BACK

FEMALE GANG MEMBER TWO

GUESS YOU AIN’T BEEN PAID

FEMALE GANG MEMBER ONE

THERE’S NOTHIN’ IN IT

FEMALE GANG MEMBERS

BUT AN ANCIENT RUBBER

PROOF YOU’VE NEVER BEEN LAID

ANNA and NICK

(very animated and pushing the gang members)

YEAH, YEAH, YEAH, YEAH, YEAH, YEAH, YEAH, YEAH

JIM and MALE GANG MEMBERS

WHEN YOU’RE WALKING ON OUR STREET

YOU’D BETTER MARCH TO OUR BEAT

WHEN YOU GO UPTOWN

YOU CAN DO WHAT YOU PLEASE

WE CATCH YOU BEING A CLOWN

WE’LL BREAK YOUR KNEES

WHEN YOU’RE WALKING ON OUR STREET

YOU BETTER WATCH YOUR STEP

WE’D HATE TO SEE YOU SLIP

AND TAKE A NASTY FALL

OR LOSE YOUR WAY

AND SLAM INTO A BRICK WALL

WHEN YOU’RE WALKING ON OUR STREET

DAY OR NIGHT

YOUR SAFETY IS ASSURED

AS LONG AS YOU’RE POLITE

TO THE RBA

AND YOU DO WHAT WE SAY

ALL GANG MEMBERS

WE WON’T STEAL YOUR CAR

WE WON’T STEAL YOUR WIFE

WE WON’T TAKE YOUR MONEY

OR TAKE YOUR LIFE

The female gang members surround Anna as they taunt her. One girl bends over shaking her butt at Anna as they sing.

FEMALE GANG MEMBERS

ANNA YOU BETTER HOLD HIS HAND

FEMALE GANG MEMBER ONE

‘CAUSE THAT’S AS CLOSE

FEMALE GANG MEMBER TWO

AS YOU’RE GONNA GET

FEMALE GANG MEMBER ONE

TO A REAL LIVE MAN

FEMALE GANG MEMBERS

NO MAN WILL EVER MAKE A PASS

AT A WIDOW, WITH A BIG FAT ASS

 

ANNA and NICK

(animated and pushing the gang members)

YEAH, YEAH, YEAH, YEAH, YEAH, YEAH, YEAH, YEAH

JIM and ALL GANG MEMBERS

WHEN YOU’RE WALKING ON OUR STREET

YOU’D BETTER MARCH TO OUR BEAT

WHEN YOU GO UPTOWN

YOU CAN DO WHAT YOU PLEASE

WE CATCH YOU BEING A CLOWN

WE’LL BREAK YOUR KNEES

WHEN YOU’RE WALKING ON OUR STREET

ANNA and NICK

YEAH

JIM and ALL GANG MEMBERS

YOU BETTER WATCH YOUR STEP

WE’D HATE TO SEE YOU SLIP

ANNA and NICK

YEAH

JIM and ALL GANG MEMBERS

AND TAKE A NASTY FALL

ANNA and NICK

YEAH

JIM and ALL GANG MEMBERS

OR LOSE YOUR WAY

AND SLAM INTO A BRICK WALL

ANNA and NICK

YEAH

JIM and ALL GANG MEMBERS

WHEN YOU’RE WALKING ON OUR STREET

ANNA and NICK

YEAH

JIM and ALL GANG MEMBERS

DAY OR NIGHT

 

ANNA and NICK

YEAH

JIM and ALL GANG MEMBERS

YOUR SAFETY IS ASSURED

AS LONG AS YOU’RE POLITE

TO THE RBA

AND YOU DO WHAT WE SAY

ANNA and NICK

YEAH

JIM and ALL GANG MEMBERS

WHEN YOU’RE WALKING ON, WALKING ON OUR STREET!

As the song completes, lights fade on the gang members as they leave; stage R. Lights remain on with Anna and Nick standing at the front door of Colombo’s Italian Meats and Bakery; stage LC.

ANNA

(Assertive.)

I don’t want you hanging out with those hoodlums. Your Uncle Ralph was good enough to give you this job. You’re only fourteen and no one else is going to hire you. I’ve been working here since I was in high school, and if it’s good enough for me, it’s good enough for you.

NICK

(Looking down at the sidewalk.)

I hate this job Mom. Uncle’s okay, but I’m nothing but a low-life janitor. It’s Friday night and all my friends are out having a good time. I want to quit.

ANNA

(Grabs Nick’s arm, dragging him into the store.)

I’ve been struggling make ends meet and since your brother was drafted into the Army, what he sends me just isn’t enough. I need you working so I can pay the rent. I finally found an apartment I could afford that wasn’t a dump thanks to your uncle. Landing this one with a view of Highland Park is a jewel. I’m sorry, but I’m not moving for anyone.

SCENE: Lights fade to simulate dusk. A single light illuminates the alleyway, where Nick; stage L, is smoking a cigarette.

               NICK’S UNCLE              

(Off Set.)

Nicky get your ass moving. We’re closing in fifteen minutes and I need you to get the garbage out and start cleaning up the butcher area.

NICK

(Extinguishing the cigarette. Half-heartily replies.)

Okay, I’ll get right on it.

Nick walks inside the store from a side door. He returns with a trash can full of meat trimmings and bones. As he puts it into a dumpster he slips and the garbage falls on him. He is on his hands and knees picking up the pieces. Standing up he cleans off his shirt and pants. 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

I’M WEARY AND MY EYES JUST WANT TO CLOSE

I WOULD STAND BUT DON’T YOU KNOW?

 

I’M SO WORN OUT ON SATURDAYS

WON’T GET TOO FAR IN TOWN ON MY PAY

I’D READ A BOOK BUT I’VE NO STRENGTH TO TURN THE PAGE

BEEN DOIN’ MAXIMUM WORK, MINIMUM WAGE,

 

MONDAY MORNING COMES SO FAST

I CAN’T STAY AWAKE THROUGH SCIENCE CLASS

NICK (cont’d)

MOM SAYS I HAVE TO WORK BILLS MUST BE PAID

BUT MY REPORT CARD SHOWS I’M NOT MAKING THE GRADE

 

I’M SO WORN OUT ON SATURDAYS

WON’T GET TOO FAR IN TOWN ON MY PAY

I’D READ A BOOK BUT I’VE NO STRENGTH TO TURN THE PAGE

BEEN DOIN’ MAXIMUM WORK, MINIMUM WAGE,

 

DON’T KNOW WHY I STAY

THEY TREAT ME LIKE A SLOB

YOU’D KNOW I’D WALK AWAY

BUT IT’S A JOB

Sax player; stage DR, has a strong instrumental.

I’M SO WORN OUT

WON’T GET TOO FAR IN TOWN

I’D READ A BOOK, BUT I’VE 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 Miller’s Pawn Shop; stage RC. Nick is leaving the store for the night, walking past the RBA gang; stage LC to RC. His cousin Jim sees Nick and confronts him.

JIM

(Disgusted look on his face.)

Jeez, what happen to you? You look like hell, and smell like crap.

NICK

I spilled some garbage at work.

JIM

Why you busting your ass in such a low paying job?

NICK

(Shuffles his feet looking at the ground.)

My mom needs the money to pay the rent.

JIM

(Smirking.)

You’re going about this all wrong. How much do you make in a week?

NICK

About thirty bucks.

JIM

(Turns to the rest of the gang members slapping his head.)

Wow, thirty bucks, he’s gonna be rich.

MAXI

(Laugh and taunt Nick.)

Hey Mr. Millionaire, you gonna buy me lunch?

NICK

(Gives him the finger.)

Drop dead.

JIM

(Turns back and puts his arm on Nick’s shoulder.)

What if you could make two or three times that much in a week working less? And you don’t have to look like a bum when you’re done.

NICK

(Removes Jim’s arm from his shoulder.)

Yeah sure, where am I gonna make that kind of dough?

JIM

 (Arrogantly.)

All you have to do is join up with us, if you could cut it.

 Nick, walks away; stage R.

NICK

Mom’s not going let me join your gang. She’s got no respect for you.

JIM

(Points at the Miller’s Pawn Shop sign.)

She doesn’t have to know. I’ll have you work here at Miller’s. He fences for us. He needs someone to remove serial numbers from guns and other stolen goods. On my say so, he’ll hire you.

NICK

(Stops and returns to where Jim is standing.)

As long as my mom doesn’t know that you and the gang are involved.

JIM

 (Grabs Nick’s arm.)

You worry too much. Come on, he’s open. I’ll get you hired tonight.

Jim and Nick enter Miller’s Pawn Shop.

NICK

Telling my mom I’m quitting, ain’t gonna to be easy.

Lights fade and the RBA gang members disperse.

SCENE: 8:00 A.M., Saturday morning. Lights up. Anna and Nick are walking to the entrance of Colombo’s Italian Meats and Bakery; stage R to LC.

 NICK

(Stops.)

I’m not spending this Saturday or any day working here Mom.

ANNA

(Irritated.)

And how am I going to make ends meet if you don’t contribute?

NICK

You don’t have to worry, I got another job that pays more and I don’t have to look like a pig when I’m done working.

ANNA

(Looks puzzled.)

Who’s gonna hire you? You’ve no experience.

NICK

Mr. Miller. I’ll work at his pawn shop and make double the money.

Nick walks away; stage R. Anna turns to Nick.

ANNA

What am I supposed to tell your uncle?

NICK

Tell him to take out his own garbage. I don’t care what he does.

Nick continues walking out of the scene. Anna shakes her head, enters the store, slamming the door behind her. Stage goes dark for scene change.

 

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.)

How’s the job at Miller’s?

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, that’s one fine ride. I’d like to take it for a spin. Who owns it?

MAXI

Coach Burton. That’s one smokin machine.

JIM

Yeah, makes sense. He’s 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.

Signals the gang members to surround him.

JIM (cont’d)

We could make a fortune on this car. I got a contact in New Jersey who’ll unload it for us. We’ve got the perfect opportunity on Saturday, while the football team is playing. Everyone will be occupied with the game and we’ll heist it. Piece of cake!

 

NICK

I don’t know about that. Coach Burton’s a good guy and treats us all fairly. We shouldn’t crap on him.

JIM

(Walks up to Nick and pushes him.)

Do you think this is a democracy? Who the hell put you in charge?

Turns to the rest of the gang members.

JIM (cont’d)

Is this the new head of the RBA?

All the gang members laugh and taunt Nick.

FEMALE GANG MEMBER ONE

 (Comes up to Nick grabbing his crotch.)

 From what I can tell, your just not man enough yet.

Everyone laughs again.

JIM

(Holds up his hand to quiet them.)

It’s going down on Saturday and I want no screw-ups.

The gang members continue to admire the car, running their hands over it

GANG MEMBERS

We’re in. It’s a done deal.

MALE GANG MEMBER

(Tries a door. Several members jump in shouting.)

Hey, it’s open! Let’s see that engine! Pop the hood!

The gang members are now under the hood, oohing and aahing at the engine.

MAXI

Christ sakes, two four-barrel carbs! You could burn some rubber in this ride.

JIM

(Has his arms around two female gang members.)

That’s one fine pickup machine. Betcha I’d get some real hot babes in this machine.

Both of the female gang members pull away from Jim, indigent at his remark. He pulls them back. The music starts and Jim; stage DC, sings. The gang members both male and female surround Jim and join in a sexy choreographed routine. Sax player enters; stage L. Spotlight is on him but not fully illuminated. Jim has his hand on a female gang members butt.

[Song 3: “Under the Hood”]

JIM

SOMETHING IS WRONG

I’M 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

I’M MOVING SLOW

I PUSH THE PEDAL TO THE FLOOR

UH-OH

MY POWER IS LOW

MY FUEL EFFICIENCY IS POOR

OUTSIDE I’M POLISHED

ALL SHINY BRIGHT

WHY DO I STALL AT

EVERY GREEN 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

HERE’S MY CONFESSION

JIM and FEMALE GANG MEMBERS

I’M LOSING COMPRESSION

JIM

IF THIS GETS WORSE

I’LL BE IN REVERSE

Sax player, stage L, has a strong instrumental. He is fully illuminated with spotlight while playing, the spot returns to partial illumination when completed. Jim walks up to a female gang member who is bent over looking at the car engine. He places his hands on her butt.

JIM

PLEASE RESCUE ME

BEFORE I REALLY START TO PANIC

YOU’RE WHAT I NEED

A TRULY MASTERFUL MECHANIC

MY FUTURE MOTION

IS IN YOUR HANDS

PLEASE GET MY ENGINE

RUNNING AGAIN

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 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

YOU COULD MAKE MY MOTOR START

FEMALE GANG MEMBERS

YOU COULD 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

Lights fade and set goes dark for scene change.

SCENE: Lights up. 3:00 P.M. Saturday afternoon at the high school parking lot. In the background sounds of a football game. The RBA gang members surround the GTO; stage DC.

JIM

Who’s got the ‘Slim Jim’?

MAXI

(Holds up the Slim Jim door opener.)

I’ve got it boss. I’m gonna pop that baby now.

Maxi moves the Slim Jim down the inside the door and pulls up.

MAXI

It’s open! Get in there and hot wire that baby.

Second gang member slips into the front seat, reaches under the dashboard. The engine roars to life. The entire RBA gang cheers. The gang member who hotwired the car closes the door and grabs the steering wheel with both hands.

JIM

(Opens the car door.)

Nice job! Now get out! I’m taken it for a spin before bringing it to our warehouse. Who’s going with me?

Nick and four of the gang members cram into the back of the GTO pushing and shoving each other. Female gang member takes the front seat next to Jim. He shifts the car and they peel out.

SCENE: 4:00 P.M. Saturday afternoon at the high school parking lot. COACH BURTON is walking with his girlfriend NADINE; stage L to stage DC.

COACH BURTON

Nadine, if you told me three months ago those boys could pull out a football game in the fourth quarter, I would have told you, your nuts. That was the sorriest bunch of kids I have ever coached, but they really came through today.

 

NADINE

Leroy, maybe it’s your coaching ability. You’re pretty motivating. Of course it doesn’t hurt to be six-foot-eight and weigh almost three hundred pounds. You can be intimidating, especially when you’re in their face.

COACH BURTON

(Pushes her slightly with his arm.)

You don’t seem to be intimidated when I’m in your face.

NADINE

(Laughs.)

That’s different.

COACH BURTON

That fullback Malcolm Chiles can really run. It won’t be long before all the college scouts will be at….

The coach stops and looks around.

NADINE

What’s the matter?

COACH BURTON

(Pacing back and forth, shouts.)

My car! My new car is gone! I’m gonna kill the son-of-a-bitch who stole it when I get my hands on him! Those bastards! That car was only three weeks old.

NADINE

(Grabs the coach by the arm.)

Leroy, it’s not worth having a heart attack over. Let’s 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. The stage goes dark for scene change.

 

 

ACT I

SCENE THREE

SET: Hallway at Bushwick Academy High School. There’s an open door to the principal’s 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 principal’s 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 Coach Burton’s GTO was stolen during the football game?

MALE STUDENT TWO

Yeah and the words out, it’s that low-life Jim Valerio and the RBA gang. Who else would want to screw over such a nice guy?

A telephone rings.

SECRETARY

Mr. Patterson’s office, can I help you?

(Pause.)

Yes, I can have you speak to the principal.

MR. PATTERSON

(Answers the buzzing intercom.)

Yes.

SECRETARY

A person is on the line that knows something about Mr. Burton’s car.

The three students lean towards the door their hands cupping their ears.

 

MR. PATTERSON

I’ll take it.

 (Releases intercom button and lifts up the receiver.)

I understand you have information for me.

 (Pause.)

You say Jim Valerio and the RBA gang members were hanging around the coach’s car Saturday afternoon. You know this for sure? Hello? Who is this?

The principal holds the receiver away from his ear and gives it a dirty look then hangs up. He pushes the intercom.

MR. PATTERSON (cont’d)

Phone the police for me!

The three students lean over so far, the bench tips and they fall off making a loud noise.

MR. PATTERSON (cont’d)

What the hell’s that racket in the hallway?

Lights fade. Stage goes dark for scene change.

 

ACT 1

SCENE FOUR

7:00 P.M., Dusk, Graham Avenue. The RBA gang members are hanging out in front of Miller’s Pawn Shop; stage RC, congratulating each other on the heist of the GTO. Jim Valerio; stage R, walks up to the gang.

MAXI

Where you been? We’re getting hungry.

JIM

At the warehouse with Nick. He’s keeping an eye on the GTO for us.

MAXI

You gonna trust him? He hasn’t even been initiated into the gang!

JIM

(Arrogantly.)

Don’t worry about it. My cousin’s 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 (cont’d)

Nick, its Jim! You’re responsible for making sure no one gets inside the warehouse. If one of the rival gangs catches wind that we’ve got the GTO they’re going to try and steal it. I’ll be at Big Lou’s. If there’s trouble call this number BW 4-2050.

Jim hangs up the phone and grabs Maxi by the back of his jacket pushing him against the payphone.

JIM (cont’d)

Maxi, if this phone rings, get a hold of me at Big Lou’s immediately.

MAXI

(Nods his head yes.)

I’m on it boss.

Jim slaps Maxi on the back of the head, turns to the rest of the gang members.

JIM

No screw ups. Now let’s eat.

Jim grabs two of the female gang members putting his arms around them and enters Big Lou’s; stage C. Everyone else piles into Big Lou’s pushing, shoving, and shouting at one another as they go through the door. Lights dim for scene change.

SCENE: 8:00 P.M. Streetlight is on. Maxi is standing by the payphone, smoking and looking very bored. The phone rings. Max answers.

MAXI

Yeah.

NICK

(Off stage and in a panic.)

This is Nick, put Jim on right away!

MAXI

Yeah, keep your pants on.

Maxi leaves receiver hanging, nonchalantly walks into Big Lou’s.

MAXI (cont’d)

Hey Jim, your lame cuz is on the phone!

JIM

(Rushes out and picks up the receiver.)

Nick, what’s going on?

SERGEANT O’REILLY

(Off stage. Thick Irish brogue.)

Why, this wouldn’t be Jim Valerio, by any chance?

JIM

(Moves the receiver away from his ear.)

Who the hell are you?

SERGEANT O’REILLY

An old friend of yours, Sergeant O’Reilly. Heard you were at Big Lou’s celebrating you latest heist. If you look around you’ll see some of New York’s finest ready to take you to a little party I’m throwing. Be seeing you real soon, Son!

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 Lou’s 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 Colombo’s Italian Market; stage LC, to watch. Maxi turns to Anna as she stands on the sidewalk.

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

Don’t 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 mistakes.

Jim is being held; stage C, by two police officers. Anna walks up to him. Lights partially fade with spotlight illuminating Anna. She sings very animated, 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

SHE’D 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

 

ANNA and RBA GANG MEMBERS

TROUBLEMAKER

AGITATOR

RABBLE-ROUSER

INSTIGATOR

ANNA

LOOK WHAT YOU’VE DONE TO MY SON

HE TRUSTED YOU WERE ONLY HAVING FUN

HE WASN’T HOLDING A SMOKING GUN

HE ONLY TOLD YOU WHEN TO RUN

HE WAS A GOOD BOY THROUGH AND THROUGH

WHY DID HE EVER LISTEN TO YOU?

HIS SITUATION CAN ONLY GET WORSE

SINCE HE’S BEEN HIT WITH THE CURSE

Anna, RBA gang members and police move to surround Jim in a half circle as they all join in on the last verses.

ANNA, RBA GANG MEMBERS and POLICE

OF A TROUBLEMAKER

AGITATOR

RABBLE-ROUSER

INSTIGATOR

 

TROUBLEMAKER

AGITATOR

RABBLE-ROUSER

INSTIGATOR

TROUBLEMAKER

TROUBLEMAKER

TROUBLEMAKER

Music ends, Jim’s head is down. Anna walks off; stage R, as spotlight fades. Stage goes dark for scene change.

 

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.)

Yeah, that’s Nick Colombo who’s 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.)

I’d didn’t 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

You’ll do anything to cover your ass. You’re a dead man here.

NICK

(Drops his detention clothes, knocks him to the floor.)

Get up! I’m gonna kick the crap out of you.

INMATE ONE

(Stands up.)

You bastard!

Inmate one lets into 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 and cuffs Nick’s hands behind his back.

NICK

(Winces in pain.)

Hey pig, you’re ripping my arm off.

CORRECTION OFFICER ONE

(Holding Nick.)

What kind of a big man are you now, Mr. Hot Shot.

 (Turns to the other officers.)

Let him cool his heels in the isolation cell over night.

CORRECTION OFFICER TWO

Fine with me! I don’t need this punk causing trouble on my watch.

The officers drag Nick to the ‘Isolation’ cell stage L. The lights fade on the dispensary and cafeteria food line and illumine the isolation cell. The officers open the door to the empty cell. They remove the cuffs and push Nick inside.

CORRECTION OFFICER ONE

Take off those street clothes.

NICK

(Removes his pants, looks at the officers.)

You two getting your jollies off, watching me?

The officers don’t say anything, just grab the street clothes, slide the door shut, lock it, and walk away; stage DL. Nick gives them the finger through the glass pane in the door. Lights go out.

 

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 in line behind Nick.)

Snitch, ratfink, stool pigeon. You’re nothing but a low-life.

Nick takes his tray full of food, spins around and dumps it on the inmate’s 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 (cont’d)

You bastard, I’m 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. Let’s get him to the Superintendent’s office.

They drag Nick away. Lights dim on cafeteria and come up on the Superintendent’s office; Stage RC. The interior of Superintendent’s office is typical with a desk and two chairs. On the wall are pictures of Presidents Abraham Lincoln and John Kennedy. Law books are on two shelves. Sign on the back wall reads, “Not Happy? Too Bad!”

The SUPERINTENDENT is sitting behind his desk and looks up to see the two officers holding Nick.

SUPERINTENDENT

What’s his problem?

CORRECTION OFFICER ONE

He got into a fight at the cafeteria. That’s the second fight in two days. Guy’s a real troublemaker.

NICK

They started it! I didn’t rat out anyone!

SUPERINTENDENT

Shut up!

 (Pushes a button on an intercom.)

Get me Lieutenant Pearson and that new psychiatrist, Doctor Keaton in my office now!

 (Looks directly at Nick.)

We don’t 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 I’m shipping you out.

The LIEUTENANT and DR. KEATON arrive at the office and stand by the side of the desk.

SUPERINTENDENT (cont’d)

We’ve got a real problem on our hands. He’s only been here a couple of days and he’s been in two fights. Some of the inmates think he’s a snitch. Maybe we need to send him to an adult facility.

LIEUTENANT PEARSON

I’m all for that. I don’t need some wise-ass getting all the other inmates worked up. Next thing you know there’ll be a riot.

DR. KEATON

Not so fast. If he’s been labeled a snitch and we send him to an adult facility he’ll be dead in forty-eight hours. I recommend we isolate him permanently.

SUPERINTENDENT

That’s going to be very costly!

DR. KEATON

(Pacing.)

No more costly than having a state investigation if he’s killed, along with the finger pointing and the career limiting aftermath.

SUPERINTENDENT

(Scratches his head, brow wrinkled.)

You got a point, but I don’t like it.

 (Turns to the lieutenant.)

Have your men isolate him from the others. Assign someone to watch him day and night. He’s to have a private tutor for his schoolwork. I don’t want to see him in a classroom, a cafeteria, or the general exercise area. Visitors will only be allowed in a private room away from all others. I want total isolation.

 LIEUTENANT PEARSON

This is going to be a pain in the ass!

SUPERINTENDENT

Yeah, but it’s better than you and I being transferred to Green Haven or worse, Attica.

The lights fade. Stage goes dark for scene change.

 

ACT I

SCENE SEVEN

Several months later at the detention center in Nick’s 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.

Nick’s face is taut, his brow wrinkles as he picks up a letter reading it aloud.

NICK

My Dearest Dominick. It’s been eight months since you have been sent away and I miss you so much. I’m sorry I couldn’t be there to tell you this in person, but I have been under a doctor’s 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 your hero and protector. Only God is there to protect you now. Love, Mom

Nick throws down the letter and hits the wall several times with his fist.

NICK (cont’d)

John, why John?

The lights fade and spotlight illuminates Nick as he sings.

[Song 5: “What Will We Do?”]

NICK

JOHN, EVER SINCE DADDY DIED
YOU WERE ALWAYS BY OUR SIDE
MAKING SURE THAT MOM AND I
COULD HOLD OUR HEADS UP HIGH

 

NICK (cont’d)

THEN YOU WERE SENT OFF TO WAR
YOU WROTE TO TELL US, “ONLY ONE MONTH MORE”

AND YOU’D RETURN TO A HERO’S 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 I’M NOT FREE FOR WHAT I’VE DONE

I’LL MAKE IT UP I’LL 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. The spotlight and music slowly fade, as the set goes dark.

 

 

ACT I

SCENE EIGHT

1967 – Noon. Bushwick Academy High School cafeteria; stage ULC and UL. There is a sign over the cafeteria entrance saying, “Welcome Graduating Class of 1967”. It’s 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, isn’t that Nick Colombo?

MALE STUDENT TWO

Yeah, that’s him. He’s got some nerve to show up at Academy High after what he did. Bet three years in reform school didn’t 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 O’DONNELL looks directly at Nick and winks. Kimberly turns to her friends.

KIMBERLY

I think he’s kinda cute.

CHEERLEADER ONE

(Gives Kimberly a slight push.)

What’s the matter with you, Kimberly? He’s been in jail, and besides your boyfriend would kick his ass if he knew you were flirting with Colombo.

KIMBERLY

(Gives her a defiant look.)

What Brett don’t know, won’t hurt him.

Stage UL. Nick sits down at a lunch table with a Hispanic boy, CORDERO and two AFRICAN-AMERICANS.

NICK

It’s 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 (cont’d)

(Watch’s her go by.)

Hey Cordero, who’s that babe? She’s pretty hot.

CORDERO

That’s Kimberly O’Donnell. She’s the head cheerleader and I heard her old man is loaded.

AFRICAN-AMERICAN

Yeah and her boyfriend is Brett Dickerson. He’s captain of the football team, and that’s one whitey with a bad attitude. I’d steer clear of him.

NICK

(Turns around to take a look at Kimberly.)

I think I’ll check out the cheerleading practice this afternoon.

Kimberly notices Nick is looking at her and gives him a small wave with her hand.

CORDERO

(Shakes his head.)

Man either you’re crazy or suicidal. That Brett’s a mean dude!

NICK

(Looks at Cordero.)

I’m supposed to be scared, after what I’ve been through for the past three years? I don’t think so.

Lights fade. Stage goes dark for scene change.

 

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 O’Donnell.

KIMBERLY

You’re pretty brazen aren’t you?

NICK

(Stands up.)

Had to be, in order to survive. I’m Nick Colombo.

KIMBERLY

(Smugly.)

I know all about you, and that you’ve been a real troublemaker.

NICK

That’s all in the past. I need to stay in school, get my diploma and go to college.

KIMBERLY

(Sarcastically.)

Why? So you won’t get drafted and sent to Vietnam?

 

NICK

 (Laughing and sarcastic.)

I don’t have to worry about that. Once you’re arrested they won’t take you. It’s like the Monopoly game get out of jail card, except it says get out of being killed. Funny, you can go to jail for stealing, and that’s supposed to be worse than going to Vietnam to kill someone. I think the whole world’s screwed up. My brother was stationed at the Bien Hoa Air Base when the Vietcong attacked and he was killed. They say by a mortar round.

KIMBERLY

(Her voice softens.)

I’m 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 we’re 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. It’s just me and my mom and at times it gets pretty rough.

KIMBERLY

(Turns to look at the football team practicing.)

Oh God, Brett’s heading here with a couple of other guys. You better take off.

NICK

(Defiantly.)

I’m not afraid of him.

KIMBERLY

(Her face shows concern.)

You don’t know him. He’s got a mean temper.

Brett and two other football players walk up to Kimberly and Nick.

BRETT

(Looking at Kimberly.)

What the hell are you doing?

Before Kimberly can answer, he pushes her roughly aside, turns and looks directly at Nick.

BRETT (cont’d)

Hey punk, maybe you hadn’t heard, that woman belongs to me!

NICK

(Sarcastic.)

So now you own her? How much did you pay? You’re a real big man pushing women around.

KIMBERLY

(Steps between Brett and Nick.)

Brett, leave him alone! We were only talking.

BRETT

Now you’re into this deadbeat con, huh? It’s time someone taught this guy a lesson and that’s me.

Two additional football players join Brett and his buddies.

FOOTBALL PLAYER

We’ll grab and hold him and you can kick the crap out of him!

KIMBERLY

(Shouts.)

Nick, get the hell out of here!

NICK

Too many to take on at once!

Nick takes off running; stage DL to UR, going past Coach Burton.

BRETT

(Brett turns to his four buddies.)

Get him!

BRETT

(Turns back to Kimberly, shaking his fist at her.)

What a loser you are, hanging out with a criminal.

 

A spotlight illuminates the sax player; stage DR, as he plays. Another spotlight illuminates Kimberly and the cheerleaders. Nick and the football players are frozen in time while the song plays shifting positions during each verse, and chorus. A strobe light is used to simulate the running. Kimberly sings directly to Brett.

[Song 6: “Running For Cover”]

KIMBERLY

I’M FINE AND THE SUN IS SHINING

AND I’M 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 IT’S NOT TRUE

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

RUNNING FOR COVER

IN THE ARMS OF A NEW LOVER

Spotlight illuminates sax player. The cheerleaders do a short dance routine, 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

GOODBYE, DARLING DON’T TRY

HANDING ME ANOTHER LINE I CANNOT LISTEN ONE MORE TIME

TO YOU, OOH, OOH, OOH, OOH

DON’T BOTHER WASTING YOUR BREATH

YOU HAVE TALKED THIS LOVE AFFAIR TO DEATH

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

RUNNING FOR COVER

IN THE ARMS OF A NEW LOVER

Repeat: Spotlight illuminates sax player. The cheerleaders do a short dance routine, 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 YOU’LL SAY

THAT YOU’RE SORRY FOR THE WAY THAT YOU BEHAVED WILL I PLEASE TAKE YOU BACK

I’M NOT MEAN BUT

WHEN YOU’RE 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

I’M 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. 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!

(He looks in the direction of Brett.)

 

COACH BURTON (cont’d)

Brett, get those guys over here now or you’ll be sitting out the next game.

The five teens return to the practice squad panting.

COACH BURTON (cont’d)

(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 he’s dead meat.

COACH BURTON

(Pushes Brett.)

You get into any fights and you’re off the team, understood?

BRETT

(Walks away muttering.)

I’ll get my revenge.

SCENE: Spotlight dims on Coach Burton and illuminates the cheerleaders who are practicing. 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.)

I’ll talk to anyone I want to, and Nick’s right, you don’t own me.

Brett grabs Kimberly’s arm spinning her around. She winches in pain.

BRETT

As long as you’re my girl you’re not talking to him or any other guy unless I say so!

 

Kimberly breaks loose from Brett’s grip. She pulls on a thin necklace she’s wearing that’s holding a ring and the chain snaps. She flings the ring at Brett.

KIMBERLY

(Walking away.)

Take your ring and shove it! I’m no longer your girlfriend and I don’t take orders from you or anyone! I’m also sending back all those expensive gifts you gave me. We’re done!

BRETT

(Picks up his ring and shaking his fist, shouts.)

I’ll get him and you too. Just wait.

Lights fade; stage goes dark.

SCENE TWO DAYS LATER: Lights up. High School athletic field. Mr. Burton is standing near the running track; stage LC, with a clipboard when Nick enters; stage DL, and walks up to him.

NICK

Coach, you wanted to see me about what happened on Monday?

COACH BURTON

(Looking serious.)

Yeah, I’ve got something to discuss with you.

NICK

Look, I’m real sorry about what happen with your GTO, but it wasn’t my idea. Really, I tried to talk them out of it.

COACH BURTON

I don’t believe that for a moment, but I didn’t ask you here to discuss something that happened over three years ago. I saw you running across the field on Monday. How long have you been competing at track meets?

NICK

(Shakes his head no, raises his arms half way, palms up.)

Never!

 

COACH BURTON

(More relaxed.)

You could have fooled me the way you made my football players look like they were in reverse.

NICK

(Nervously shifting his feet.)

During the time I was in reform school, I couldn’t 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 Nick’s shoulder.)

I think you could be a great asset to our track team. Change and I’ll 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 waiting for Nick. Nick returns in running shoes, shorts and a tee shirt. 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 (cont’d)

I want you to try out for the 1,500-meter competition. Let’s see what you do? That’s three times completely around the track and then three-quarters of the last lap. I’ll place myself at the finish.

Nick walks up to the starting line; stage L. Coach Burton walks to the three-quarter mark; stage R, where he raises the stopwatch.

 COACH BURTON (cont’d)

Go!

 

Nick runs and the spotlight fades on him and continues to illuminate Coach Burton. The volume of “RUNNING FOR COVER” increases. Nick disappears off; stage UL, and returns in a minute; stage R, to simulate a track run. During this time Coach Burton is walking back and forth looking at the stopwatch. The run is complete and the music stops. Nick is bent over, hands on his knees out of breath. Spotlight illuminates both Nick and Coach Burton. Coach Burton is standing next to him looking at his stopwatch.

COACH BURTON (cont’d)

Congratulations, you just missed the school record for the 1,500-meter run by half-a-second.

NICK

(Still bent over.)

What?

COACH BURTON

You heard me. You’ve got a place on the track and field team. 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, and approaches Nick.

KIMBERLY

Why have you been avoiding me? I haven’t seen you in the past few days.

NICK

(Shrugs his shoulders.)

I didn’t want to get between you and your Neanderthal boyfriend.

 

KIMBERLY

(Curtly.)

Brett’s 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, you’d 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.

[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 IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

YES IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

KIMBERLY

THOUGHT YOU WOULD CALL AT EIGHT O’CLOCK

NINE THIRTY-FIVE, I MUST BE IN SHOCK

TEN TWENTY-SEVEN, DON’T 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 IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

YES IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

KIMBERLY

CHANCELLOR, CARSON, CRANE ALL TALK,

EVERY STATION SIGNS OFF, THINK I’LL 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 TOO CALL

NOW IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

YES IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

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 DON’T WANT TO LISTEN TO A WORD I SAY

FIVE FIFTY-FIVE FEELING SCARED AND ALL ALONE

FIVE FIFTY-SEVEN, AND I’M RUNNING BACK HOME

KIMBERLY and CHEERLEADERS

SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

NOW IT’S SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

SEVEN-O-TWO, WHO KNOWS WHO’S, THERE WITH YOU

The song ends and all the cheerleaders walk out of the scene; stage DR, talking. Kimberly and Nick are alone.

NICK

(Takes Kimberly’s hand.)

I need to get cleaned up. Would you like to go with me to Big Lou’s for pizza?

KIMBERLY

I’d really like that. Please hurry.

 (Sits down on a bench to wait and sings.)

NOW, IT’S SEVEN-O-TWO, AND I KNOW EXACTLY, WHO’S THERE WITH YOU,

 

Lights fade. Stage goes dark for scene change.

 

 

ACT I

SCENE TEN

Highland Park across from Miller’s Pawn Shop. Nick and Kimberly are sitting on a bench; stage DR, holding hands watching the sunset.

NICK

(Turns to Kimberly.)

Why did you befriend me when you knew I’d been in trouble with the law and in reform school?

KIMBERLY

My mother always said, ‘never believe rumors. Most the time they’re outright lies or at best half-truths.’ She also told me to be cautious when dealing with people, especially men.

NICK

(Laughs.)

You didn’t seem too cautious with me.

KIMBERLY

(Gently stroking Nick’s 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.

Nick and Kimberly stand up facing each other as they begin the song. Rest of set lights fade. Spotlight is on both of them.

[Song 8: “Eye to Eye”]

NICK

YOU AND I TALKING TO EACH OTHER, WITHOUT A WORD

THE SMILE ON YOUR FACE, WAS THE SWEETEST SOUND I EVER HEARD

NICK (cont’d)

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 LOVE’S AN UPHILL CLIMB

BOTH OF US WILLING, TO PAY THE COST

NOW THAT OUR PATHS HAVE FINALLY CROSSED

NICK and KIMBERLY

NO ONE’S ON A PEDESTAL, NO ONE’S ON THE GROUND

THINGS ARE LOOKING UP NOW THAT NO ONE’S 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 WE’RE GOING TO MAKE IT RIGHT

PROMISING NEVER, TO NEGLECT

ONE ANOTHER’S DUE RESPECT

NICK and KIMBERLY

NO ONE’S ON A PEDESTAL, NO ONE’S ON THE GROUND

THINGS ARE LOOKING UP NOW THAT NO ONE’S LOOKING DOWN

OUR LOVE IS NOT BLIND, OUR LOVE SEES EYE TO EYE

EYE TO EYE

NO ONE’S ON A PEDESTAL, NO ONE’S ON THE GROUND

THINGS ARE LOOKING UP NOW THAT NO ONE’S 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

NICK and KIMBERLY

NO ONE’S ON A PEDESTAL, NO ONE’S ON THE GROUND

THINGS ARE LOOKING UP NOW THAT NO ONE’S LOOKING DOWN

OUR LOVE IS NOT BLIND, OUR LOVE SEES EYE TO EYE

EYE TO EYE

EYE TO EYE

 

NICK

EYE TO EYE

NICK and KIMBERLY

YOU AND I, EYE TO EYE

NICK

OOH, OOH, OOH

NICK and KIMBERLY

YOU AND I

NICK

YEAH, YEAH, YEAH

NICK and KIMBERLY

EYE TO EYE

NICK

OOH, OOH, OOH, OOH

NICK and KIMBERLY

YOU AND I, TO EYE, TO EYE

YOU AND I, TO EYE, TO EYE

As the song ends, they embrace and kiss. Lights fade. Stage goes dark for scene change.

 

ACT I

SCENE ELEVEN

12:00 Noon, Bushwick Academy High School cafeteria a few weeks later.

Many students especially the girl’s are congratulating Nick, and are openly flirting with him. Nick’s friend Cordero is with him. Cordero puts his hand on Nick’s shoulder.

CORDERO

Man, since you tied the state record last week everyone’s your friend, especially the Chica’s. What a difference a month makes. But I don’t think Kimberly is taking it too well.

NICK

(Shakes his head.)

She’s got nothing to worry about.

Kimberly walks up and sits across from Nick at the lunch table.

KIMBERLY

I think Brett’s coming over here.

BRETT

(Stands behind Nick, with his football buddies.)

Now you’re the big man in school just because you won a race. That’s because all you’ve ever done is run. When are you going to stand up and fight like a man?

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 you’ve got money and your parents have influence, you think everyone has to bow to you. Your majesty!

Brett grabs Kimberly’s arm pulling her aside. Nick jumps up and pushes Brett, who loses his balance falling backwards.

 

NICK

I’ve had it with you!

Brett’s friends grab him before he hits the floor, and stand him up.

BRETT

You’re dead meat!

 KIMBERLY

(Grabs Nick’s hand pulling him back.)

It’s 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 you’ll all be doing detention for two weeks!

Nick and Kimberly escape from the cafeteria to the empty school hallway; stage DC. The lights fade and only the hallway is lit. A spotlight is on them. Nick takes Kimberly’s hand.

[Song 9: “Beautiful”]

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

THERE’S MORE YOU THAN JUST THE VIEW

THAT EVERYONE CAN SEE

I’VE NEVER SEEN ANYONE

DEEP DOWN INSIDE

MORE BEAUTIFUL

MORE BEAUTIFUL THAN YOU

 

NICK (cont’d)

 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

I’VE NEVER SEEN ANYONE

DEEP DOWN INSIDE

MORE BEAUTIFUL

MORE BEAUTIFUL THAN YOU

 

TEMPTATION EVERYWHERE

PAINTING HER LIPS, CURLING HER HAIR

FUNNY HOW I JUST DON’T CARE

ALL I EVER WANT IS HERE

 

I HOPE THERE COMES A DAY

WHEN I’M ABLE TO REPAY

YOUR GENEROSITY

ALL THE LOVE YOU’VE GIVEN ME

ALTHOUGH YOU HAVE THE KIND OF FACE THAT

MAKES HISTORY

THERE’S MORE YOU THAN JUST THE VIEW

THAT EVERYONE CAN SEE

I’VE NEVER SEEN ANYONE

DEEP DOWN INSIDE

MORE BEAUTIFUL

I’VE 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 Nick’s hand.)

Of course I will.

Arm in arm, they walk; offstage DR.

Lights fade. Stage goes dark for scene change.
ACT I

SCENE TWELVE

Lights come up. High School athletic field. Kimberly walks up to Nick; stage DRC and gives him a hug 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 don’t put yourself in harm’s way. I don’t want you injured, ever.

KIMBERLY

You’re so considerate and different than the other boys at school.

NICK

You’ll never have to worry about anyone bothering you. I’ll always be there for you. I’ve 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 didn’t 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. I’m pledging my body and soul to you. I love you.

Nick and Kimberly passionately kiss. As they leave the school grounds stage; DRC to DC holding hands. They stop and turn to one another. Lights fade and spotlight illuminates both Nick and Kimberly.

 

[Song 10: “First Love”]

NICK and KIMBERLY

OOH, OOH, OOH, OOH, OOH, OOH, OOH, OOH, OOH

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

NICK

WE WERE SO YOUNG WHEN WE FELL IN LOVE, WE CHERISH EVERY DAY,

TIME MOVES ALONG AND OUR LOVE GROWS STRONG, STRONGER IN EVERY WAY

 

NICK and KIMBERLY

WE DON’T LEAVE A THING TO CHANCE

WE’RE WORKING HARD AT THIS ROMANCE

MY FIRST LOVE, MY FIRST LOVE,

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 WE’RE NOT GIVING IN

I’LL 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

AND WHATEVER LIFE BRINGS ME; YOU WILL STILL BE A PART

OF THE DEEPEST INSIDE ME, IT’S THE GIFT THAT YOU GAVE

AND I’LL NEVER FORSAKE YOU, ‘TIL I’M DOWN IN MY GRAVE

YOU WERE MY FIRST LOVE, ALWAYS

 

MY FIRST LOVE

YOU ARE THE ONE I BELIEVE WILL MAKE MY DREAMS COME TRUE

MY FIRST LOVE

HERE IN MY HEART THERE WILL ALWAYS BE A PLACE FOR YOU

MY FIRST LOVE

Nick and Kimberly walk off hand in hand; stage DL, the music, spotlight and lights fade out. Lights fade.

 CURTAIN
ACT II

SCENE ONE

Dining room of the O’Donnell home. The family is getting ready to have dinner. JOSEPH O’DONNELL, Kimberly’s father, is sitting; stage LC, directly across the table from Kimberly; stage RC. To his right; stage UC, is Kimberly’s mother MARGARET O’DONNELL, and Kimberly’s 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 (cont’d)

Kimberly, I’ve been hearing some disturbing news about you.

KIMBERLY

What would that be, Daddy?

JOSEPH

(Leans forward staring intently.)

Sergeant O’Reilly tells me you’ve been hanging around with that convict Nick Colombo.

KIMBERLY

(Tries not to look at her father, pretending to eat.)

I know him from school.

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 isn’t a convict, he’s a student at my school. Second, that so-called nice boy Brett pushed and shoved me several times. I don’t ever want to see him again.

JOSEPH

(Sneering.)

I kind of know your temper young lady, and I’m sure you did something to provoke him.

KIMBERLY

(Stands up, indignant.)

You’d 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 you’re libel to do anything.

(His voice increases.)

Sit down. I’m not done talking to you!

KIMBERLY

(Meekly returns to a sitting position.)

Yes, sir.

JOSEPH

I don’t want any daughter of mine involved with a criminal, especially that greasy WOP, Nick Colombo! If you don’t 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. She then turns to her mother who looks down at the table, shaking her head no. Kimberly’s face is filled with distress and she flees from the table; stage R. Kimberly’s mother gets up from her chair and gives a harsh look at Joseph.

 MARGARET

(As she leaves the dining room; stage R.)

Joseph O’Donnell, sometimes you can be the cruelest of men. Look what you’ve done to our daughter! As usual, I now have to fix the damage you’ve caused!

Joseph just shrugs his shoulders. Reaching for his wallet, he takes out some money. He tosses the money to Peter. Peter only stares at it.

JOSEPH

Peter, there’s ten dollars. I want to know everything your sister is up to. You’d better take the money and do as I say, or you’ll be in as much trouble as your sister.

PETER

(Reluctantly picks up the money.)

Yes sir.

Lights fade. Stage goes dark for scene change.
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 Lou’s after school?

KIMBERLY

(Turns her back to Nick, and walks away; stage DL.)

Can’t, I’ve got a babysitting job right after school.

Kimberly hurries off; stage DL, holding back tears.

NICK

(Perplexed.)

What the hell’s 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 (cont’d)

(Looks at the girl’s with an expression of frustration.)

What is she pissed about? Did I do something?

CHEERLEADER ONE

Dummy, haven’t you heard? Her father found out youse guys was dating. He had a fit and she can’t see you anymore. He’s got her brother spying on her. I’m surprised he isn’t sitting in the stall next to her when she’s in the bathroom.

The other cheerleaders laugh and giggle.

CHEERLEADER ONE (cont’d)

(Flipping her hand, mockingly.)

Only trouble is Peter’s so feminine, no one would notice he was in the girl’s room.

More laughter from the cheerleaders.

NICK

So, that’s why she’s been acting so cold?

CHEERLEADER TWO

She’s being very careful because of her brother is watching her every move. She’d like to see you but its way too risky. Her father’s a lunatic!

NICK

(Desperation in his voice.)

Can you help her get to the Halloween dance, Saturday night?

CHEERLEADER TWO

(Laughing.)

Yeah sure, but she’ll have her brother tagging along as chaperone. That’ll be a lot of fun! The nerd is so lame he’ll probably show up in a costume.

More laughter from cheerleaders.

NICK

(Smiles.)

I’ll cross that path after she’s there. Let her know I’ll be waiting.

Nick leaves the cafeteria and sees Kimberly in the hallway; stage DC. He walks up behind her. Lights fade and spotlight rises on the both of them.

NICK (cont’d)

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, THAT’S TRUE IN WORD AND DEED

LOVE, THAT’S 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 YOU’RE IMPRESSED BY THE PEOPLE HE KNOWS

HE CAN AFFORD TO PLAY WITH FIRE

BUT, THERE’S ONE THING HE’LL NEVER BUY YA’

NICK and CHEERLEADERS

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, THAT’S TRUE IN WORD AND DEED

LOVE, THAT’S LIFETIME GUARANTEED

NICK

YOU THINK YOU’VE GONE SO FAR

DREAMING OF CHAMPAGNE AND CAVIAR

YOU’RE IN FOR A SURPRISE

THE STARS THAT BURN IN YOUR EYES

THEIR GLOW WILL FADE SO FAST

AND YOU’LL BE LOOKING FOR A LOVE THAT WILL LAST

NICK and CHEERLEADERS

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, THAT’S TRUE IN WORD AND DEED

LOVE, THAT’S LIFETIME GUARANTEED

 

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, THAT’S TRUE IN WORD AND DEED

LOVE, THAT’S LIFETIME GUARANTEED

Spotlight comes up on the sax player as the cheerleaders finish the song. Nick is reaching out trying to touch Kimberly on the shoulder as she pulls away. The cheerleaders as they’re singing mimic his actions in a choreographed routine.

CHEERLEADERS

NO ONE

NO ONE

NO ONE (Fade out)

NO ONE (Fade out)

NO ONE (Fade out)

 

As the song finishes Nick touches Kimberly on the shoulder. Kimberly runs off crying; stage DR. The cheerleaders leave; stage DL. Nick is standing alone, head down.

Lights fade. Stage goes dark for scene change.

 

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 I’m really excited. But I heard the RBA gang is looking for trouble.

CHEERLEADER TWO

With Coach Burton chaperoning, I doubt anyone’s going to cause any problems, and live to tell about it!

CHEERLEADER ONE

Word is they’re going to check everyone at the door for knives and guns. Even the girls!

CHEERLEADER TWO

I’d 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 high school gym. A DJ is setting up. Students are entering the gym.

Coach Barton and Mr. Patterson are checking the male students as they enter the gym.

Mr. Patterson turns to Coach Burton as the first male student is being frisked.

 

MR. PATTERSON

I’m uncomfortable doing this, but with the rumors going around school, I fear that we’re in for big trouble.

COACH BURTON

It’s the female members of the RBA gang I’m most concerned with. The girls could bring in a weapon. With the women teachers afraid to do a body check on them, knives or guns could be easily hidden.

MR. PATTERSON

I hope having one of the female teachers checking handbags is sufficient. I’m concerned any frisking of the girls would bring on a lawsuit.

COACH BURTON

I’ll keep a high vigilance on the boys. First sign of trouble I’ll step in and kick some butt!

MR. PATTERSON

I’m counting on you. We’re severely undermanned if trouble breaks out.

Nick is standing with the African-American students and his friend Cordero. He sees Kimberly entering the gym with her brother. He’s in a Zorro costume. Peter takes one look around and sees no one else dressed up. He rips off his mask, hat and cape, stomping off to a corner to sulk.

NICK

(To Cordero.)

Can you get your sister to dance with Kim’s brother? Make sure she keeps him busy.

CORDERO

You’re asking a lot from my sister to be actually seen in public with him.

NICK

Just this once, please! I’ll make it up to her.

 

The gym is separated into two groups. Coach Burton and Mr. Patterson are chaperoning the event watching both factions carefully. The Irish and Italians are in one group; stage DR and DRC, the Hispanic and African-Americans in the second group; stage DL and DLC. They don’t mingle. The only whites with the Hispanic/African-Americans are Nick and Kimberly. It’s obvious the two groups don’t like each other, and hostile gestures are being made.  The band breaks into a song, with a Latin and corresponding Rock and Roll beat. The two groups compete in dance routines, each side trying to outperform the other while singing. A very strong saxophone accompaniment will be played throughout the song.

[Song 12: “These City Blocks”]

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 DOESN’T LOOK PRETTY

WHEN BORDERS ARE DEFINED BY RACE AND ETHNICITY

 

 

ALL FEMALES

THESE CITY BLOCKS

THESE CITY BLOCKS

MALE GANG MEMBERS

MELTING POT OVERHEATED SOMETHING’S 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 WE’RE 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 MAN’S 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

ALL

THESE CITY BLOCKS

THESE CITY BLOCKS

AFRICAN-AMERICAN and HISPANIC MALES

A CEMENT BLOCK CITY THAT DOESN’T LOOK PRETTY

WHEN BORDERS ARE DEFINED BY RACE AND ETHNICITY

 

ALL FEMALES

THESE CITY BLOCKS

THESE CITY BLOCKS

MALE GANG MEMBERS

MELTING POT OVERHEATED SOMETHING’S 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

 

AFRICAN-AMERICAN MALE

THIS IS OUR HOME NOW, WE’RE NOT GOING ANYWHERE

SO EITHER LEAVE, OR LEARN HOW TO SHARE

MAXI

I’VE SHARED ENOUGH, I’M NOT GIVING UP WHAT’S LEFT

IF YOU DARE, I SWEAR I’LL FIGHT YOU TO THE DEATH

 

HISPANIC MALE

THE WORLD IS SHRINKING, SO YOU BETTER CHANGE YOUR THINKING                                         WE MAY NOT ALWAYS BE, A SMALL MINORITY

 

FEMALE GANG MEMBER

GO ON AND WIGGLE YOUR BUTT, AND JUST KEEP YOUR MOUTH SHUT

YOU MAY LOOK SEXY WHEN YOU WALK, AND SOUND FUNNY WHEN YOU TALK

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 DOESN’T LOOK PRETTY

WHEN BORDERS ARE DEFINED BY RACE AND ETHNICITY

 

 

ALL FEMALES

THESE CITY BLOCKS

THESE CITY BLOCKS

MALE GANG MEMBERS

MELTING POT OVERHEATED SOMETHING’S 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

IT’S A JACKSON POLLOCK GLOBE, WITH THE COLORS ALL A SCATTERED

YELLOW, BLACK, WHITE, BROWN, WHAT DOES IT MATTER?

COACH BURTON and MR. PATTERSON

CAN’T WIN THIS WAR, EVEN IF YOU WIN THIS FIGHT

JUST REMEMBER YOU’VE BEEN WARNED, GET THE HELL OUT OF MY SIGHT

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 DOESN’T LOOK PRETTY

WHEN BORDERS ARE DEFINED BY RACE AND ETHNICITY

 

ALL FEMALES

THESE CITY BLOCKS

THESE CITY BLOCKS

MALE GANG MEMBERS

MELTING POT OVERHEATED SOMETHING’S GONNA GIVE

SO STAY WHERE YOU BELONG AND THE LONGER YOU WILL LIVE

ALL

THESE CITY BLOCKS

THESE CITY BLOCKS

THESE CITY BLOCKS

THESE CITY BLOCKS

Spotlight on sax player is now fully illuminated as he walks to; Stage C, as he completes the song. The entire cast mixes in singing THESE CITY BLOCKS, while a strongly 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, you’re 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 (cont’d)

Malcolm, you want to continue to be on the football team?

MALCOLM

(Arrogant.)

Coach you know I’m your best player.

Coach Burton pushes Malcolm back to the group of African-Americans and Hispanics. He is glaring at the two factions.

 

COACH BURTON

(Rapping and animated.)

I DON’T CARE IF YOU’RE GOD’S GIFT TO SPORTS

THINKING YOU’RE REAL HOT, IN THOSE SHORT GYM SHORTS

IT’S GONNA BE MY RULES, OR YOU’RE OFF THE TEAM

CAUSE I’M THE ONE RUNNING, THIS STRICT REGIME

DO Y’ALL UNDERSTAND, YOU GOTTA PLAY NICE

CAUSE IF YOU DON’T, I’M 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

I’m done with you two. Detention next week.

MAXI

Hey, that ain’t fair. No one’s going after them!

MR. PATTERSON

(Rapping and animated.)

DON’T WANT DETENTION, THEN HERE’S THE DEAL

FROM THE OTHER SIDE, FIND SOMEONE WITH APPEAL

YOU GOTTA PARTICIPATE, IN THIS NEXT DANCE

AND IF YOU DON’T, I’M TAKEN A STRONG STANCE

ANYONE WHO’S STAGNATE, IS GONNA PAY THE PRICE

SO I’M 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.

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 Cordero’s sister.

During the dance Nick and Kimberly switch partners and dance with each other until the song ends.

[Song 13: “Ready To Dance”]

AFRICAN-AMERICAN MALE

Just like this nation

Always at war

We don’t really know

What we’re fighting for

Full of frustration

Some time we vent

And then we’re sorry

For how far it went

So, for tonight

Rather than fight

ALL

We’re moving in time

Forward and back

Forming a lifeline

Synched with the track

Don’t be a victim

Of circumstance

Shake up your world

Get Ready to dance  

MALE GANG MEMBER

And while we’re 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

We’re moving in time

Forward and back

Forming a lifeline

Synched with the track

Don’t be a victim

Of circumstance

Shake up you world

GET READY TO DANCE

 

We’re moving in time

Forward and back

Forming a lifeline

Synched with the track

Don’t be a victim

Of circumstance

Shake up you world

GET READY TO DANCE

After the dance the two groups continue to mingle. Nick takes Kimberly by the hand pulling her aside.

NICK

(Softly.)

Kim, we need to separate and get out of here. I’m going to the athletic field, follow me in five minutes.

KIMBERLY

(Squeezes Nick’s hand.)

No matter where you go, I’ll be there!

Nick exits; stage DL.

Lights fade. Stage goes dark for scene change.
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 Kimberly’s hands.)

I’m certainly glad you could make it to the dance. I was going crazy, not seeing you.

KIMBERLY

My father’s making my life miserable. He’s old-fashioned and has very little patience. Now he controls everything I do.

NICK

Well, he’s your dad and as long as you live under his roof, you have to obey. That doesn’t mean you can’t get around him, like you did tonight.

KIMBERLY

I’m 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. The spotlight slowly fades until there is total darkness. The instrumental of the song BEAUTIFUL is playing.

SCENE: 6:00 A.M. Lights up slowly representing dawn. Kimberly and Nick are putting on their clothes. They embrace for a long time head on each other’s shoulder. They separate and Kimberly is brushing grass from her hair.

KIMBERLY

I’ve never made love before and this memory will last me for the rest of my life. I want to be in your arms forever.

NICK

(Takes Kimberly’s hands into his.)

Last night is a dream that came true. I am committing my heart and soul to you. I want to be your partner for life.

KIMBERLY

Together, we can walk hand in hand united in our belief that true love is all we need to face this hostile world.

 

They walk across the athletic field holding hands; stage UR to C, when she stops Nick. Kimberly is holding both of Nick’s hands. Sax player; stage L, is lit with a partial spotlight.

[Song 14: “Hand In Hand”]

KIMBERLY

THOUGH WE CAN’T SEE, WHAT’S AROUND THE BEND

BUT WHATEVER THAT MAY BE, I HOPE I’M 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 LET’S GO HAND IN HAND, LEARNING ALL THAT WE CAN

AND THE WORLD BEFORE US, WON’T IGNORE US

IF WE MAKE OUR STAND

HAND IN HAND

NICK

I’M AFRAID TO ADMIT, JUST HOW AFRAID I AM

FOR I’M JUST A CHILD, IN THE SHAPE OF A MAN

AND TIME IS THE ONLY GIFT, I CAN FREELY GIVE

TIME WILL SHOW THE WORLD’S A BETTER PLACE

BECAUSE WE LIVED

NICK and KIMBERLY

HAND IN HAND, LEARNING ALL THAT WE CAN

AND THE WORLD BEFORE US, WON’T IGNORE US

IF WE MAKE OUR STAND

HAND IN HAND

HAND IN HAND

SO LET’S GO HAND IN HAND LEARNING ALL THAT WE CAN

AND THE WORLD BEFORE US WON’T IGNORE US

IF WE MAKE OUR STAND

HAND IN HAND

HAND IN HAND

NICK and SAX PLAYER

HAND IN HAND

HAND IN HAND

NICK and KIMBERLY

HAND IN HAND

Sax player intermingles with vocals until the song ends

NICK and KIMBERLY

HAND IN HAND

HAND IN HAND

HAND IN HAND

HAND IN HAND

HAND IN HAND

Vocals fade out.

NICK and KIMBERLY

HAND IN HAND

Kimberly and Nick are in a long embrace kissing. Lights slowly fade as the sax player finishes the song. Lights fade. Stage goes dark for scene change.
ACT II

SCENE FIVE

6:30 A.M., Dining Room Kimberly’s house. Kimberly has her shoes in her hand as she sneaks thru the dining room heading for her bedroom; stage DL to RC. Kimberly’s 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! I’m going to enroll you at the Dyson Academy Boarding School in Saratoga Springs missy, and I’m taking you there on Wednesday morning. I’d do it sooner, but I need to sign you out of Bushwick Academy and get all the transfer papers in place. Until then you’re not to leave this house!

KIMBERLY

(Pleading.)

But daddy, what about my friends, my school is here and my cheerleading? I don’t 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 you’ll suffer the consequences.

Joseph leaves the room, Kimberly runs out of the dining room; stage DR, weeping uncontrollably. Lights fade. Stage goes dark for scene change.

 

ACT II

SCENE SIX

 

SCENE: 7:00 A.M., Anna Colombo’s apartment. The kitchen is located; stage RC to C. Nick’s bedroom is located; stage LC, to L. There is a large window; stage UL in Nick’s bedroom overlooking Highland Park.

Nick walks in; stage R. He has Kimberly’s photo in his hand. Anna is preparing breakfast.

ANNA

(Looks at clock.)

I hope you weren’t out all night hanging around with the wrong crowd. You’re on probation and they’re watching you very closely. You violate parole and they’re gonna throw you in an adult jail!

NICK

(Hugs his mother.)

Ain’t nothin like that mom, I met a girl and she’s wonderful!

ANNA

(Very skeptical.)

We’ll that’s better than hanging out with some of the low-life that’s on the streets these days. You gotta be careful. Don’t be getting some little wench knocked up!

NICK

(Steps back.)

Mom, you’ve got it all wrong. Her name is Kimberly O’Donnell. She’s smart, got a great personality and is very attractive. She’s made me into a better person, and I’m committing myself to her.

Nick shows Anna the photo of Kimberly.

NICK (cont’d)

I’m in love. Isn’t she beautiful?

 

ANNA

(Shrugs her shoulders as she looks at the photo.)

Until I meet her, I’ll reserve my judgment. You’re just too young to understand the consequences of rushing into a relationship.

Anna turns towards the stove continuing to prepare breakfast, ignoring Nick. Lights go down. Sax player is standing at; stage DL. A partial spotlight is illuminating him. Spotlight is on Nick as he walks to; stage C. As sax player begins, Nick sings and dances to the photo.

[Song 15: “Got Love”]

NICK

(Very animated.)

I WAS GETTING BITTER TO THE CORE

DIDN’T 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, I’VE GOT LOVE IN MY HEART

IT’S A FEELING I NEVER KNEW

YOU’RE 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, I’VE GOT LOVE IN MY HEART

IT’S A FEELING I NEVER KNEW

YOU’RE ALL AROUND ME

AND THE WALL AROUND ME JUST FELL APART

I LOVE YOU

 

MY LONELY YESTERDAYS, ALL I DID WAS CRY

BUT NOW I’M SMILING, I’M A DIFFERENT GUY

NICK (cont’d)

YOU GAVE ME JOY, YOU SET ME STRAIGHT

NOW THAT I’M YOUR BOY, LIFE IS LOOKING GREAT

 

 ‘CAUSE, I’VE GOT LOVE IN MY HEART

IT’S A FEELING I NEVER KNEW

YOU’RE ALL AROUND ME

AND THE WALL AROUND ME JUST FELL APART

I LOVE YOU

 

‘CAUSE, I’VE GOT LOVE IN MY HEART,

IT’S A FEELING, WHAT A FEELING

YOU’RE 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.

 

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 Kimberly’s girlfriends.

NICK

Have you seen Kimberly?

GIRLS

(In unison.)

No, we haven’t 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.)

Where’s your sister? I haven’t seen her since the dance Saturday night.

PETER

(Shuffles his feet looking down, avoiding eye contact.)

She’s in big trouble.

NICK

(Brow wrinkled.)

Trouble? What kind of trouble?

PETER

My Dad caught Kim early Sunday morning when she came home. Now she can’t even leave the house and he’s going to take her to a boarding school in Saratoga Springs on Wednesday.

NICK

(Steps back in disbelief.)

She’s going away? For how long?

PETER

For the rest of the school year! We won’t even be here for Christmas. My dad’s taking us to our grandparents in Florida.

NICK

(Pacing back and forth.)

You mean it’s going to be eight months before she’s home again?

PETER

(Shrugs his shoulders.)

Be longer, if it’s up to my dad.

NICK

(Stops pacing.)

I really need to see her before she goes.

PETER

(Sarcastically.)

That’s impossible! Dad’s with her almost all the time. He only goes to work for a couple of hours each day, around three in the afternoon. Kim’s been crying endlessly, but he won’t budge.

NICK

(Paces again.)

Isn’t there anyway you can get her out of the house?

PETER

(Stares at the ceiling.)

Well maybe there’s one way. I’ll see if I can convince my dad to send her over to Saint Francis of Assisi Catholic Church, for a private confession. I’m an altar boy there, and could arrange it for Tuesday afternoon. Just be at the church around four.

NICK

(Grabs Peter and hugs him.)

You’re a genius.

Peter has a very surprised look on his face as he pulls back, his hands raised.

NICK (cont’d)

I’ll see you first thing tomorrow morning at school. Please tell Kimberly, I can’t wait to see her.

 

Nick and Peter leave the stage; stage DR. Lights fade. Stage goes dark.

Lights come back up:

SCENE: 8:00 A.M., Tuesday morning, several students are in the school hallway. Nick and Peter are talking; stage DC.

NICK

(Shaking Peter’s hand.)

It’s so cool you put this in place. I can’t thank you enough. I’ll be at the church this afternoon.

PETER

You know she has confession first.

NICK

(Shrugs.)

What do I care? I just can’t wait to see her.

Nick walks off; stage L, as he sings the chorus to ‘Got Love’ without music.

NICK (cont’d)

‘CAUSE, I’VE GOT LOVE IN MY HEART,

IT’S A FEELING I NEVER KNEW,

YOU’RE ALL AROUND ME,

AND THE WALL AROUND ME JUST FELL APART,

Lights fade. Stage goes dark for scene change.
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 didn’t come.

Kimberly walks to the confessional and enters.

NICK

(Calls out, softly.)

Peter, I’m here!

Nick meets with Peter; stage LC, and puts his arm on Peter’s shoulder as they’re walking. Peter is uncomfortable, trying to get out of Nick’s grip.

NICK (cont’d)

I’m grateful for all you’ve done. You don’t know how much this means to me.

 

Peter finally slips out of Nick’s grip putting both of his hands partially up as he backs away.

PETER

You can start by not hugging me. I’m not Kim! My sister better be real nice to me from now on. She owes me big time.

As the two teens are talking, Kimberly leaves the confessional, enters a pew; stage C, and does her penance. 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 gets theatrical with the choir singing and dancing; stage URC. Peter joins in on the chorus.

[Song 16: “Soon You Will Be Gone”]

NICK

I DON’T 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

BUT 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?

NICK (cont’d)

GOODBYE, GOODBYE, GOODBYE, GOODBYE

IF YOU’RE EVER HUNGRY

I HOPE YOU’LL SOON BE SATISFIED

AND IF YOU FEEL THE COLD

I HOPE YOU WILL BE ASKED INSIDE

AND IF YOUR HEART IS BROKEN

I HOPE IT’S NOT FOR LONG

NICK, PETER and CHOIR

AND I KNOW, SOON YOU WILL BE GONE

TELL ME, WHERE ARE YOU GOING?

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

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE

SOON YOU WILL BE GONE,

SOON YOU WILL BE GONE,

 

As the song ends, Peter breaks up Nick and Kimberly’s romantic interlude pulling on her arm.

PETER

Let’s go. Dad’s going to become suspicious if we don’t get home soon.

 

The choir’s 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

 

ACT III

SCENE ONE

4:00 P.M., The high school athletic field, several months later. It’s snowing and Nick, holding a letter, is the only one on the field; stage DL.

NICK

(Reading the letter aloud.)

Dear Nick, I’m sorry I haven’t written sooner. I know my letters are not as frequent as they use to be, but the classes here require so much homework I don’t have any time for myself. I’m somewhat upset hearing from my friends that you’ve 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 he’s walking; stage DLC, a couple of his friends including Cordero join him.

CORDERO

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 she’s been out on dates and she thinks I’m seeing someone else. I’ve got to figure someway to see her. Maybe I’ll spend a weekend in Saratoga.

CORDERO

(Looks at the letter a few seconds.)

That’s all she wrote? Well, maybe it’s your own fault. You did take Melanie to the movies twice.

NICK

We’re just friends and there’s nothing romantic in our relationship. I didn’t even hold her hand.

CORDERO

Man, you’re so stupid! She’s got the hots for you and she’s telling everyone you’re her boyfriend. What a sucker you are!

NICK

(Looking down, kicks the ground.)

Damn, I guess I didn’t see that coming. I need to borrow a couple of hundred dollars to go see Kimberly and set this straight. I’m not going to lose her!

CORDERO

(Laughs.)

What makes you think I have that kind of cash? I can’t rub two nickels together.

NICK

(Looks at his other two friends.)

What about you guys!

FRIEND ONE

Don’t look at me, I’m totally broke.

FRIEND TWO

I just spent my last twenty on some weed.

NICK

I’m screwed.

Nick sings, with Cordero and friends joining in the on the chorus.

[Song 17: “There’ll Be No One Waiting”]

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 HASN’T 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 I’VE 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 I’VE DONE TOO MUCH WRONG

TO EVER MAKE IT RIGHT

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 I’VE 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 I’VE DONE TOO MUCH WRONG

TO EVER MAKE IT RIGHT

Cordero and his friends leave the athletic field; stage DR. Nick is alone, head down. 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. Lights fade. Stage goes dark for scene change.

 

 

ACT III

SCENE TWO

6:00 P.M., Anna Colombo’s apartment. Nick walks in; stage R. Anna is sitting, reading; stage RC.

ANNA

I’m glad you’re here. What do you want for dinner?

NICK

Nothin, I’m not hungry!

ANNA

You’re always hungry. What’s bothering you?

NICK

This!

He gives Anna, Kimberley’s 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 Nick’s shoulders.

ANNA

Nick, these things happen. She’s still showing affection for you. Don’t get so depressed.

NICK

(Pleading.)

I need to go see her, Mom. Can you lend me a few hundred dollars?

ANNA

(Still massaging.)

Nick, if I had it, I’d 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. I’m 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

ANNA

CITICORP GAVE ME SO MUCH MORE

THEN I EVER SHOULD HAVE BARGAINED FOR

I WAS SAVED FROM PUBLICLY LOSING FACE

WITH A LITTLE HELP FROM MY FRIENDS AT CHASE

NOW I RIDE THE WHITE WATERS OF MY CASH FLOW

FROM FIRST NATIONAL BANK OF CHICAGO

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

ANNA and NICK

THANKS TO THE BANKS

ANNA

NOW I’M TIPPING MY HAT TO THE FINANCIERS

WHO HAVE LET ME SLIP INTO ARREARS

YOU KNOW A FOOL AND HIS MONEY ARE SOON PARTED

SO I WON’T LEAVE A PENNY WHEN I’M DEPARTED

IF THEY EVER WANT TO SEE WHAT’S THEIRS

THEY’LL HAVE TO KEEP ME ALIVE TWO HUNDRED YEARS

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

Sax solo begins.

ANNA and NICK

THANKS TO THE BANKS

THANKS TO THE BANKS

THANKS, THANKS, THANKS, THANKS TO THE BANKS

ANNA and NICK (cont’d)

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)

THEY’LL TAKE YOUR HOUSE

THEY’LL TAKE YOUR CAR

THEY’LL 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 slowly crosses; stage DL to DR, with a spotlight following him, playing until the song finishes.

Nick walks to his bedroom; stage LC, as lights fade on the kitchen. Nick’s bedroom becomes illuminated.

NICK

I’m going to my room and write to her mom. I’ve gotta lay it on the line. I can’t stand being in limbo like this.

ANNA

(Leaves the set; stage R, while talking to Nick.)

It’s your decision, but don’t 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

I’ll 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. Phone rings. Maxi, the RBA gang member answers.

MAXI

Miller’s.

NICK

This is Nick Colombo. I need to speak to Mr. Miller.

MAXI

Hey it’s Mr. Goody-Two Shoes, remember me! It’s Maxi. Get anyone thrown in jail lately?

NICK

Maxi shut up, and get me Miller!

MAXI

(Calling out.)

Miller, it’s for you. It’s that loser Nick Colombo.

MR. MILLER

(Walks in; stage DR and snatches the receiver from Maxi.)

What do you want?

NICK

I need a job. Got anything?

MR. MILLER

You’re on probation and you want to work here? You’d do nothing but bring the cops down on me, and we’ll both end up in jail. Are you really that stupid?

NICK

I’m not stupid. I just need some cash. You want to loan me a couple of hundred?

MR. MILLER

(Laughs.)

Get lost! Don’t call or come near my place. Your nothing but trouble!

Spotlight goes out on Mr. Miller, as he leaves; stage DR. Nick slams down the phone, walks back to this room; stage LC, and flops on the bed. Lights fade then the stage goes black.

SCENE: The following day. Lights come back up. Nick is sitting at the table in the kitchen; stage RC. There’s a knock on the door.

NICK

Door’s open.

Cordero enters the kitchen; stage R.

CORDERO

What’s up? You wanted to see me? Where’s your mom?

NICK

She’s working. I’ve got a deal for you.

CORDERO

(Sits down.)

 Whatcha you got for me, a hot babe for the weekend?

NICK

Get serious. You said the other day you didn’t have two nickels to your name. How’d you’d like to make some easy money?

CORDERO

(He leans the chair back on two legs.)

I’m listening.

NICK

You know Miller’s pawn shop?

CORDERO

Yeah, who don’t?

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 it’s 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. You’ll be back in jail so fast it will make your head spin. No thanks. Half my family’s doing time. My mother’s sick and it would kill her if I were sent away. You’re on your own if you want to be stupid.

NICK

(Taps his fingers on the table. Looks frustrated.)

So I’ll do it alone.

CORDERO

Over some freaking broad! You’re crazy and I’m 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.

NICK

Cordero’s right, I’m putting my future in jeopardy over a woman.

Sax player is at; Stage UR. Nick sings to the photograph. In the kitchen the same choir from the church is standing; stage R, under faded lights.

[Song 19: “Take Me Or Leave Me”]

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 HAVEN’T 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

NICK and CHOIR

TAKE ME OR LEAVE ME, LIE OR BE TRUE

NICK

SOOTHE ME OR HURT ME, I WILL ALWAYS LOVE YOU

NICK and CHOIR

UNDERSTAND, I MAKE NO DEMANDS

WHEN YOU NEED MY LOVE

I’LL BE HERE, BY YOUR SIDE

WITH MY ARMS OPEN WIDE

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

 

Nick sits down and hits the desk several times with his fists. Lights fade. Stage goes dark for scene change.

 

ACT III

SCENE THREE

8:00 A.M., Monday morning, high school hallway. Two students are sitting outside of the principal’s office; Stage RC. Cordero is desperately looking around. He stops a male student.

CORDERO

Have you seen Peter O’Donnell?

The student shakes his head no. Cordero goes over to the two students sitting outside of the principal’s office.

CORDERO

Have you seen Peter O’Donnell?

MR. PATTERSON

(Sitting behind his desk.)

You two clowns, in here now!

MALE STUDENT ONE

(On his way into the principal’s office turns to Cordero.)

 He’s in the chem lab.

Cordero walks to the classroom door; stage C, and pokes his head inside.

CORDERO

Peter O’Donnell, you gotta phone call and the principal’s office sent me to get you.

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

It’s about you sister and her love crazed boyfriend, Nick Colombo. Did you know he’s planning to rob Miller’s pawn shop to get some guns to sell? He’s so desperate to see Kimberly he’ll do anything to get the money.

PETER

(Turns to walk away.)

So, what do you want me to do about it?

CORDERO

(Grabs Peter’s arm and pulls him back.)

Maybe you or your sister could talk him out of it. He’s going to end up in jail for sure.

PETER

He’s not gonna listen to me. I’ll call Kim. She’s the only one who can get through that thick Dago head of his.

Peter and Cordero go to a pay phone near the principal’s 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.

FEMALE STUDENT

Dyson Dorm.

PETER

I’d like to speak to Kim O’Donnell.

FEMALE STUDENT

I’ll get her for you.

PETER

(To Cordero.)

And suppose she doesn’t want to get involved.

CORDERO

I’ve seen how your sister looks at Nick. She’s hooked and she’ll do anything for him.

PETER

(Looks at receiver.)

What the hell’s taking her so long? I’ve been holding forever.

Kimberly enters; stage DL, and picks up the receiver.

KIMBERLY

This is Kimberly O’Donnell.

PETER

(Perks up.)

Kim, its Peter! What’s up with you and Nick?

KIMBERLY

Nothing, we’re cool. I did hear a rumor about him and Melanie, but didn’t pay much attention to it. Why are you calling me about Nick?

PETER

Nick doesn’t think things are so cool. Apparently some of the girls told him you were dating.

KIMBERLY

Those bitches! That’s 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 that’s not the story circulating around here. You’re so-called friends are telling Nick that you’ve got other guys in your life. They all want a piece of him. Now he’s planning to rob Miller’s pawn shop to get enough money to go see you.

KIMBERLY

(Distraught.)

You’ve got to stop him! Tell him I’m coming to see him!

PETER

How you gonna pull that off?

KIMBERLY

One of the girl’s has family that comes every weekend to visit her. They live in Manhattan. I’ll ask for a ride from them to the city. Tell Nick I’ll be at his place Sunday night.

 

PETER

You’ll be absent from classes on Monday. You know they’re going to call Dad.

KIMBERLY

(Defiant.)

I don’t 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 can’t punish me anymore than he already has.

PETER

Okay, it’s your funeral. I’ll let Nick know you’ll be here on Sunday.

KIMBERLY

(Softly.)

Please tell Nick I love him dearly.

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.

PETER

You look like crap.

NICK

(Looks at Peter.)

Who cares? Your sister screwed me over and now I can’t get enough money to go see her.

PETER

You know your problem Nick? You’re dumb and gullible! You believed all that B.S. those girls were feeding you about Kim dating other guys. Well it ain’t true!

NICK

(With sarcasm.)

Yeah, I’d like to hear that from her!

PETER

Maybe you’ll get your chance Sunday night.

NICK

(His brow wrinkled.)

What’d you mean?

PETER

Kim’s coming to see you. She’s 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.)

Don’t be getting all emotional on me again. She’ll see you Sunday night at your place. Keep it quiet. If my Dad gets wind of it, he’ll stop her.

Peter leaves; stage L. Nick makes a fist raising it into the air, as he also leaves; stage L.

NICK

(Shouts.)

Yes!

Lights fade. Stage goes dark for scene change.

 

ACT III

SCENE FOUR

6:00 P.M. Sunday Night at Anna Colombo’s 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 sister’s house for the night. My mom’s 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 are barely clothed.

KIMBERLY

(Is hugging Nick.)

Promise me you’ll do nothing stupid. I’ve only got four more months of school left and I’m coming back here for good. I’ll be eighteen and

Dad will have no say in what I can do and whom I can be with. We have the rest of our lives to be together.

NICK

(Kissing Kimberly gently on the back of the neck.)

I promise and I won’t listen to any of the rumors going around. I’m yours forever.

Nick gets off the bed and takes Kimberly by the hand. He leads her to the large window in his room; stage L. A full moon is shining, lighting up the park behind the apartment. A spotlight illuminates Nick and Kimberly. Rest of the stage is dark except for the sax player; stage DR, who is partially lit with a spotlight. Nick and Kimberly look at each other and sing a duet and are eventually joined by the entire cast.

[Song 20: “Second Nature”]

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

I’D 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 during this short interlude, and then fades to half-light when he’s finished.

KIMBERLY (cont’d)

AND NOW WE SHARE A LOVE

THAT’S SELDOM SEEN

BEYOND THE REALM OF MOVIE SCREENS

AND ENDLESS RACKS OF PAPERBACKS ALL FILLED WITH DREAMS

BUT WE KNOW IT’S REAL WE FEEL IT

DEEP INSIDE US

IT’S 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 during this short interlude, and then fades to half-light when he’s finished.

KIMBERLY

LOVE HAD GIVEN ME A SCARE

WHY WAS LOVE ALWAYS UNFAIR?

WHEN YOU CAME ALONG

KIMBERLY (cont’d)

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 Kimberly holding hands, walk to; stage DC, as they sing the next few lines.

NICK and KIMBERLY

YOU ARE SECOND NATURE TO ME

YOU ARE SECOND NATURE TO ME

KIMBERLY

YOU ARE

NICK

YOU KNOW YOU ARE

KIMBERLY

SECOND NATURE

The entire cast has joined Nick and Kimberly at; stage RC to C. The men and women are positioned facing each other. They will alternately sing the lyric to each other. The stage is fully illuminated.

KIMBERLY, ENTIRE FEMALE CAST

YOU ARE

NICK, ENTIRE MALE CAST

YOU KNOW YOU ARE

KIMBERLY, ENTIRE FEMALE CAST

SECOND NATURE

YOU ARE

NICK, ENTIRE MALE CAST

YOU KNOW YOU ARE

KIMBERLY, ENTIRE FEMALE CAST

SECOND NATURE

YOU ARE

NICK, ENTIRE MALE CAST

YOU KNOW YOU ARE

KIMBERLY, ENTIRE FEMALE CAST

SECOND NATURE

NICK, ENTIRE MALE CAST

YOU ARE

YOU KNOW YOU ARE

KIMBERLY, ENTIRE FEMALE CAST

SECOND NATURE

        Sax Solo

NICK, ENTIRE MALE CAST

YOU ARE SECOND NATURE TO ME

KIMBERLY, ENTIRE FEMALE CAST

YOU ARE SECOND NATURE TO ME

YOU ARE

NICK, ENTIRE MALE CAST

YOU KNOW YOU ARE

KIMBERLY, ENTIRE FEMALE CAST

SECOND NATURE

YOU ARE

NICK, ENTIRE MALE CAST

YOU KNOW YOU ARE

KIMBERLY, ENTIRE FEMALE CAST

SECOND NATURE

YOU ARE

NICK, ENTIRE MALE CAST

YOU KNOW YOU ARE

KIMBERLY, ENTIRE FEMALE CAST

SECOND NATURE

YOU ARE

ENTIRE CAST

YOU KNOW YOU ARE

ENTIRE CAST (cont’d)

SECOND NATURE

YOU ARE

YOU KNOW YOU ARE

SECOND NATURE

As the song completes, the lights fade on the entire cast, except for a spotlight on Nick and Kimberly as they embrace and kiss.

 

The Curtain Closes

The En