LipreTto VocaL BooK Music and Lyrics by Benj Pasek & Justin Paul Book by Peter Duchan Based on the Warner Bros. Film and Screenplay by Bob Comfort NOTICE: DO NOT DEFACEI Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOT FOR SALE This book is rented for the period specified in your contract, it remains the property of: TERI MTI MUSIC LIBRARY 31A INDUSTRIAL PARK ROAD ‘Music Trnaran tnrtanaTionat NEW HARTFORD, CT 06057 421 West Sdth Street Now York, NY 10019 (212) 541.4684A Roe CHARACTERS EDDIE BIRDLACE, U.S. Marine, Private First Class, careless & lost, from Buffalo, NY, early 20s ROSE FENNY, diner waitress, dreamer, early 20s BERNSTEIN, U.S. Marine, Private First Class inexperienced, from Cleveland, OH, early 20s BOLAND, U.S. Marine, Prioate First Class, handsome Southern cad, early 20s MARCY, brash and crass, nearly toothless prostitute, 30s | FECTOR, U.S. Marine, Private, not too bright, early 20s | STEVENS, U.S. Marine, Private First Class, cocky, early 20s, GIBBS, US. Marine, Private First Class, Midwestern, early 208 | ‘MAMA, 40s, RUTH TWO BEARS, 205, LOUNGE SINGER, 405 The following roles may be played by the actors playing FECTOR, STEVENS, GIBBS, MARCY, MAMA, RUTH TWO BEARS, and LOUNGE SINGER, doubling as indicated, or by other actors as desired: BUS PASSENGERS PETE, played by LOUNGE SINGER MARINES SERGEANT, played by LOUNGE SINGER PEGGY, played by MARCY LIBRARIAN, played by RUTH TWO BEARS PRAYING DRAG QUEEN, played by LOUNGE SINGER DINER PATRON, played by LOUNGE SINGER STEVENS’ PARTY DATE, played by GIBBS, as female, in cast of eleven FECTOR’S PARTY DATE (SUZETTE), played by MAMA ‘CHIPPY, played by RUTH TWO BEARS WAITER, played by LOUNGE SINGER BIG TONY, played by LOUNGE SINGER HIPPIES, played by the women of the EnsemblePRODUCTION NOTES DOGFIGHT is set in 1967 and, in memory, 1963. In 1967, Eddie Birdlace, recently discharged from the US. Marine Corps, rides a ‘Trailways bus to San Francieco. As he recalls the last day /night he spent stateside before deploying four years earlier the | felting shifts and his memories come to life. Most of the action takes place in various Tocations in the city of San Francisco on November 21, 1963. BIRDLACE AND ROSE. In the second act of the musical, itis important that it takes | | a long time for Birdlace and Rose to grow comfortable and affectionate with each i | other. The tension between them should carry through all the way to their encounter | in Rose's bedroom and beyond. Seeing them fully eax into something resembling a | | typical romance would strip their relationship of its necessary tension, This is | | particularly important inthe fancy restaurant and on the Golden Gate Bridge. We | | encourage you to take your time developing this relationship, allowing for nuance in a i complex interpersonal situation. As Rose says, she doesn’t. accept Birdlace's dinner j invitation because she is in love with him but because it becomes a measure of her self worth, This show is about the ways in which they change each othet, not about 2 | storybook romance. WALKING SEQUENCES, There are multiple scenes in which we follow characters in transit a they walk through the city. In the original production at Second Stage Theatre, a turntable was used to facilitate this movement. If this scenic element is not | Possible or desired for your production, we encourage you to find interesting ways to help us feel the actors are moving during these sequences, ROSE'S GUITAR. If possible, the actor playing Rose should accompany herself on guitar when noted in the script and score. Simple strum chords ate fine; Rose is a beginner Ifthe actor isn’t comfortable playing, Rose's guitar passages are also cued in the guitar book of the orchestration. MARCY'S TEETH. Productions should portray Marcy's bad teeth however possible, 1m the original production, the reveal of Marcy’s unattractive teeth was a visual trick When Marcy claimed to be removing her good teeth, she was actually inserting a set of bad teeth. A little sleight of hand covered this action just fine. ROTOR DOUBLING. I staging the show with a cast of eleven the actor playing GIBBS doubles as STEVENS’ female party date. He isnot playing a drag queen, ke is Playing a woman. To avoid this becoming a confusing joke, itis recommended thet the Sequence be staged so the audience is not aware of this visual trick.WAR SEQUENCE SOUND CUE. A usable sound cue for the war sequence is provided with licensing materials. This is the cue that was used in the original Second Stage Theatre production, created by Fitz Patton and Michael Starobin. In addition to containing the many elements of battle (gunfire, explosions, helicopters, etc) it also includes a timed drum sequence that provides the rhythmic track to match the spoken chants by the Three Bees in #17B - War Sequence (Part 2). Licensees are given full permission to utilize this track, if desired. However ifthe cue is not utilized, productions will need to créate a similar drum sound that will provide the thythmic/musical bed for the Marines’ chants.MUSICAL NUMBERS Acrt 1, Prelude: Take Me Back ... -~vsneR03e, Birdlace, Ensemble (Pete) 1a. Before “Some Kinda Time” sarnnmeuesensnnnenBoland, Bernstein, Birdlace 2. Some Kinda Time sccrorsmonnnsninsnnnnnndill Marines, (Sergeant) 2a. Some Kinda Time (Playoff) 3. We Three Bees mmnnennnnnnnsnsBirdlace, Boland, Bernstein. 4. Hey, Good-L0okIn nsmmenenenenineneninanenin Wome, All Marines (Librarian, Praying Drag Queen, Alice) Hey Good Lookin’ (Playoff) >. Give Way (At The Dine?) nen -mmenannnnnnsenan ROS. Come to a Party... ee -nneBirdlace, Rose Nothing Short of Wonderful : Roos Transition To The Street. Come to a Party (Reprise) .ncnnrnnnnnRO8, Birdlace, Boland, Bernstein Fector, Stevens... Wall £0 8 PaPY Nothing Short of Wonderful (Repirise) scene ROS Before the Patty sunnsnsnnnsinsinnsensnaiennn ssn ROS, Blast Off. ce smsennsneneLOUNGE Singer. That Fae nner Lounge Singer, All Marines except Birdlace, . It's Just a Party e snmuekounge Singer, It's A Dogfight ee Marcy, Rose... Tis Just a Party (Reprise) nunc ce s-Lounge Singer... .. Transition To Rose's Room. Pretty Funny seeosssee : sn oo RO8e,te) MY) rn ot 25 30 33 85 37 48 Act 2 I. Entr’acte: Hey Good Lookin’ 66 12, Hometown Hero’s Ticker Tape Parade... ” 12a. Back to Rose... 13, First Date, Last Night .. Rose, Birdlace.nu.78 1Ba. Fancy Restaurant Music. ai 13b First Date, Last Night (Reprise... Rose, Birdlae ean.87 14, Hometown Hero's Ticker Tape Parade (Reprise) .monBernstein, Bolatda....99 Ma, Golden Gate Bridge . 93 15, Before It’s Over... ROSE nn 9A 15a. After “Before It'sOver” 16. Give Way... 17. Some Kinda Time (Reprise)... 17a. War Sequence (Part 1) 17b, War Sequence (Part 2) sevnenenennenenenenee All MATING 0109 Female Hippies...110 Birdlace oT Ensemble....114 Ensemble, ROS€..n.97 Mt Marine n102 All Marines..u108 17c. Transition: Take Me Back. 18. Come Back 19, Finale: Take Me Back. 20. Bows... 21. Exit MusicAUTHORS NOTE Greetings! We're delighted you've chosen to mount a production of our musical DOGFIGHT. Hopefully you've had an opportunity to procure the cast recording from our Off Broadway production at New York City's Second Stage Theat, While we Encourage all artists to make the show their own, we feel the albuin is a wonderful ‘Way to experience the shape and energy of the s ning the piece. In addition, we general thoughts about the show here. We hope they might be helpful to you. DOGFIGHT isa musical about the power of compassion and empathy in an Lunlikely context Set on November 21, 1963, on the eve ofthe Kennedy rauition, the majority ofthe show takes place inthe final hours of an age of American innocence that will quickly dissipate. A sense of American arrogance helps to fuel the entitled worldview embodied by our Vietnam-bound Marines, fuaware of the dangers that lie ahead of them across the Pacific Ocean, This allows them to charge forward with a feeling of invincibility, void of consequence. Ws not until Rose shows Eddie her humanity that any of our Marines’ brazen and reless altitudes i challenged. Her deep wells of empathy and compassion unlack his own humanity and force him to challenge his assumption of “the othes” {aslly i should also be noted that’s not our intention to make any of the women “ably.” The only requirement i that the audience not identify the women choses as conventionally attractive within the context of 1963 America. Ils important not to Present these women too broadly in the pursuit of cheap laughs, The Marines lack of respect for the women shouldn't feel like the show's, We thank you from the bottom of our hearts for helping bring new life to our show. Tris very dear to us, and itis a great honor sharing it with you. We're excited see what you and your team create! Sincerely, Peter Duchan, Benj Pasek, and Justin Paul — viii -Docricur 7 ACT ONE. SCENE ONE. sical (Lights reveal ROSE FENNY singing and playing her guitar. The “Prelude” exists in 4 time outside of time, a dreamy limbo where memories take human form) re derful ng to s that they i (Gently, like an echoing memory) ! DADADADA i DADADADADA i DADADADA | 2 of j ‘ | SOME KINDS OF TIME s ARE REAL QUICK TO LEAVE YOU lows ‘SOME KINDS OF TIME YOU CANT DREAM AWAY > (EDDIE BIRDLACE appears, damaged, broken. He shares this dream-like space — but I hhe and ROSE aren't aware of and don’t acknowledge one another.) “on SOME KINDS OF TIME hey [ARE SET TO DECEIVE YOU 5 BIRDLACE / ROSE tbat, SOME KINDS OF TIME REPEAT AND REPLAY and ROSE ood OH ASMELL, A SOUND CAN TAKE YOU BACK men BIRDLACE / ROSE aad (OH TAKE ME BACK lack ROSE ASMELL, ASOUND A MEMORY YOU FOUND. CAN TAKE YOU BACK (ENSEMBLE appears, helping us to transition from this dreamy limbo to the relity of the Trailways bus.) ENSEMBLE / BIRDLACE / ROSE OH, TAKE ME BACKDocrienr BIRDLACE / ROSE ‘TAKE ME BACK ROSE DADADA. DADADADA ENSEMBLE DADADADA DADADADADA DADADADA DADADADA DADADADA DADADADA (Eventually, we find BIRDLACE on a Trailways bus. ROSE disappears. I's 1967 PASSENGERS sleep in a midnight hush. BIRDLACE looks out the window, lost in his ron thougths. He is clearly a severely damaged person, suffering fiom Post-Traumatic Stress Disorder. Even the simplest interaction seems dificult for him in this state. His seatmate, PETE, watches him, notices, He is older than BIRDLACE, bast his prime. But PETE is good-natured and tries to hard to make conversation, Attempting to cheer up this young mun.) PETE ‘You a Marine? (BIRDLACE is momentarily startled out of his daze.) {see you're wearing the Eagle, Globe, and Anchor. Semper Fi, right? Vietnam? BIRDLACE Yes, sir PETE Iwas an Army man myself—Korea, (No response from BIRDLACE.) This your first trip to Frisco? BIRDLACE (afer @ moment) | been before —just once~ back in ’63, PETE Make the trip about once a year. Still can’t stand this long bus ride. What are you, a Sergeant? BIRDLACE Staff,Docricut -3- PETE Good for you. I was working my way up to Corporal by the time I got out. Hey, that’s quite a tattoo you got. Bumblebees, right? (BIRDLACE looks at the tattoo on his forearm: thee bees.) BIRDLACE Yeah. Three of ‘em. (BOLAND and BERNSTEIN appear either elsewhere or on the bus — not as, passengers in 1967, but as they were, uniformed, in 1963.) PETE i Do they do anything? They don’t fly? | BIRDLACE ee | No, sit. stin PETE him I got one that dances. ooo (pats his belly) This is no place to be showing off my belly, or else I'd let you see her moves ‘So what’ they supposed to mean? BIRDLACE | (vith effort) Don't mean nothing, sit. Just something we did, my buddies and me. There's Boland .. BOLAND SOME KINDA TH SOME KINDA HAZE WHEN WE HIT IT HARD AND LIT THE SKY ABLAZE BIRDLACE ("stein” rhymes with "fne") «and there's Bernstein.. oe BERNSTEIN SOME KINDA TIME SOME KINDA HUM. AS IF SOMEBODY'S CALLIN’Docricur BIRDLACE ‘and me, I'm Birdlace PETE gets it) Oh, I gett. The Three Bees, BERNSTEIN / BOLAND PETE SOME KINDA TIME (under, fading out) SOME KINDA MAZE Bet your bees can’t dance the hula, TOA YOUTH can they? OF BENDED TRUTH AND BETTER Days She's bigger than she used to be though, that’s for sure. BERNSTEIN / BIRDLACE / BOLAND. ‘SOME KINDA TIME CUT ALL OUR STRINGS WE'LL BE KINGS FOR AN EVENING WHAT D'YA SAY TO SOME KINDA TIME? (A new rath and feeling takeover. Muscular, punchy. Bright ‘morning sun. The bus becomes a military bus, now filled with uniformed MARINES on thes. way to San Francisco. November 21, 1963, An explosion of energy. In addition to the overlapping Aialogue below, all MARINES ad lib. Noisy, rowdy, boisterous energy.) eR, BERNSTEIN Ante up, ante up if you got it BIRDLACE Gonna be a big one, BERNSTEIN ‘Twenty-six assholes so far. BOLAND You're gonna tum to stone when you take a look at my girl BERNSTEIN Says who? BOLAND Frisco, here we come!t) ce the hula, ed to be The to San lapping Docricur -5- (BIRDLACE, BOLAND, and BERNSTEIN stick together, forming their own close-knit sub-group in this unit, They are the THREE BEES.) BIRDLACE YOU BETTER CALL THE COPS AND GIVE EM WARNING BOLAND SOUND A SIREN! | BERNSTEIN BANG THE BELL! BOLAND ‘AMEAN MARINE ROLLS IN THIS MORNING BOLAND / BIRDLACE ON HIS WAY TO RAISE SOME HELL! BERNSTEIN NO SWEEPIN’ US OUT BIRDLACE OR KEEPIN’ US QUIET THREE BEES ‘TRY BERNSTEIN ‘THROUGH THE GOLDEN GATE ACROSS THE WATER BIRDLACE SEE US COMIN’? THREE BEES HIT THE DIRT! BIRDLACE LOCK YOUR DOOR AND HIDE YOUR DAUGHTER BOLAND WOULDN'T WANT HER GETTIN’ HURT! THREE BEES GOIN’ ALLINDocrrenr (THREE BEES) THROWIN’ A DOGFIGHT BIG NIGHTY ‘THE PARTY'S ON WE GOT TILL DAWN WE'LL BE HAVIN’ SOME KINDA TIME ‘SOME KINDA TIME LIVIN’ IT LARGE MAKIN’ NOISE BECAUSE THE Boys ARE NOW IN CHARGE ‘SOME KINDA TIME CUT ALL OUR STRINGS WE'LL BE KINGS FOR AN EVENING GONNA BE HAVIN’ SOME KINDA TIME (FECTOR STEVENS, and GIBBS approach BIRDLACE, BOLAND, and BERNSTEIN on the bus. FECTOR is lwo man on the totem pote, does what he canto ‘ngratiate himself to BIRDLACE and BOLAND, who seem t0 hold the power here.) STEVENS Ladies. I want you to meet Private Fector, BERNSTEIN Fecked her? I hardly knew her, (BOLAND swouts BERNSTEIN, who is pleased with his dumb joke. MARINES laugh itup.) FECTOR (cuts through the group's noise) Stevens tells me you guys are sponsoring alittle get-together, The dogfight. Iwant in. BIRDLACE You know the rules? FECTOR ‘The Marine with the ugliest date wins the pol. BOLAND No lookers, no hookers, no retards,can to re) Tough want Docricar aia GIBBS So I can’t bring your mother. (Rowdy laughter) BIRDLACE | ‘You break the rules, you're disqualified. You got that? j FECTOR | Loud and clear. BERNSTEIN | ‘You got the fifty bucks? i FECTOR (offers a wad of cash) Sure do. BOLAND Looks like an outstanding candidate to me. Out-fuckin’-standing! (The MARINES get off the bus and prepare to take the city by storm, change into their civvies.) BIRDLACE WE'RE GONNA RUN THE STREETS AND FIND SOME TROUBLE BERNSTEIN ONE LAST NIGHT WE DON'T FORGET FECTOR / STEVENS DRINK SO DEEP WE'RE SEEIN’ DOUBLE ALL MARINES ONE LAST NIGHT WITH NO REGRET! PECTOR / GIBBS ANYTHING GOES BOLAND / STEVENS SLOPPY AND BOOZIN’ CRUISIN’ (A flurry of loud, noisy, rambunctious horseplay from the MARINES —ad lib — then we focus on BIRDLACE,) BIRDLACE A’BAND OF BROTHERS YOU'VE BEEN GIVEN PRIDE YOU NEVER THOUGHT YOU'D FEEL(BIRDLACE) ‘THE SHITTY LIFE THAT YOU WERE LIVIN BARELY SEEMS LIKE IT WAS REAL ‘CAUSE WHEN IT GETS ROUGH YOUR BUDDIES'LL PULL YOU RIGHT THROUGH YOU GET THAT AND MORE WHEN YOU JOIN THE CORPS YOU'RE IN STORE FOR SOME KINDA TIME (The rest ofthe MARINES join BIRDLACE, excitement building ) ALL MARINES SOME KINDA TIME DON'T THINK IT THROUGH BIRDLACE / BOLAND “CAUSE YOUR GUT WILL TELL YOU WHAT YAGOTTA DO ALL MARINES ‘SOME KINDA TIME CUT ALL OUR STRINGS WE'LL BE KINGS FOR AN EVENING DON'TCHA MISS OUT ON SOME KINDA TIME, (SERGEANT appears.) GIBBS Ter-hut. (MARINES snap into formation, immediately at attention. SERGEANT barks at them.) SERGEANT Shipping out tomorrow morning, 0500. It’s your lst night. Have at ‘em, boys. Dismissed! (He goes. Now the MARINES are on their own, dressed and ready, unstoppable. They reflect on what they il leave behind, what they are ostensibly traveling overseas to protect. Tough and sweet) ALL MARINES GOODBYE To. CHILL FRIESthem.) Docricur (ALL MARINES) TO APPLE PIES AND DINAH SHORE, SO LONG TO WAFFLE CONES: NEW TWILIGHT ZONES AND LESLEY GORE FAREWELL TO CHEVROLETS TO WILLIE MAYS ‘THE CORNER STORE HATS OFF TO YOU RED WHITE AND BLUE SO RAISE YOUR CUP. BIRDLACE / GIBBS / STEVENS AND LIVE IT UP BERNSTEIN AND LIVEIT UP BOLAND / FECTOR AND LIVE IT UP ALL MARINES AND LIVE IT UP. AWILD RIDE ON MY LAST NIGHT STATESIDE (MARINES descend upon the city, chugging beers at the first bar they see.) ‘THE WHOLE DAMN TOWN IS OURS TO BORROW NOTHIN’ STANDIN’ IN OUR WAY ‘THE WHOLE DAMN WORLD MIGHT CHANGE TOMORROW SO WE GO FOR BROKE TODAY MAKIN’ IT COUNT TAKIN’ THAT ONE SHOT WEGOTDocriour BERNSTEIN / FECTOR / GIBBS / STEVENS YAJUST DON'T KNOW. WHERE THE NIGHT MIGHT Go BIRDLACE / BOLAND HERE'S TO JFK ALL MARINES AND THE USA SOME KINDA TIME ‘TAKE WHAT WE OWN WITH A “WHAM, BAM, THANK YOU Ma'AM” YOUR BOYS HAVE GROWN ‘SOME KINDA TIME CUT ALL OUR STRINGS WE ARE KINGS FOR AN EVENING WHADDAYA SAY TO SOME KINDA FECTOR / GIBBS / STEVENS ‘THREE BEES TIME NO ONE'LL MIND A GOTTA GO FIND A LEAVIN’ BEHIND A ALL MARINES GONNA BE HAVIN’ SOME KINDA TIME (BUS DEPOT. MARINES exit, lewing BIRDLACE, BOLAND, and. BERNSTEIN, who Stick together. BIRDLACE is a natural leader and takes control ofthe situation, BERNSTEIN is a natural follower. BOLAND lets BIRDLACE take the ring. for now.) BIRDLACE els their attention) All right, gang: fall in! (BOLAND and BERNSTEIN immediately stand at attention.) Roll call: Birdlace!i Docricur -11- BOLAND Boland! BERNSTEIN Bernstein! (BOLAND and BERNSTEIN line up. BIRDLACE “inspects” them, straightening a collar here, a sleeve there. A parody of military precision. Barked orders, call and response.) BIRDLACE ‘One question, men: are we assholes or Marines? BOLAND / BERNSTEIN Sir, assholes, sir! BIRDLACE Wrong! We're Marines! And tonight we got a special mission! BOLAND / BERNSTEIN Sir, yes, sit! BIRDLACE is ‘Tell me, Bernstein, just what is that mission?! BERNSTEIN To get me laid, sir! (Wrong answer.) BIRDLACE “Scuse me? "IN, who BERNSTEIN I want a handfal of grade-A San Francisco tt, sit, and I want it now! rnow.) (BIRDLACE enlists BOLAND’s help getting BERNSTEIN back on track) BIRDLACE BOLAND BIRDLACE will you kindly remind this bottom-feeding waste of oxygen: what were our orders?! BOLANDDocrrenr BIRDLACE Attaboy. (Zo the side, PEGGY, an attractive, buxom blonde, carries a large suitcase. She looks ‘rent but is very dtsy. BERNSTEIN gaws, eyes bulging ) BERNSTEIN Target located, 10 meters BIRDLACE There will be distractions. (BERNSTEIN approaches PEGGY, laying it on thick, largely clueless about women.) BERNSTEIN (stiff, put on) What seems to be the problem, Miss? PEGGY Pardon? BERNSTEIN (takes her suitcase, with effort) Let me help you with that. PEGGY (flattered, lrtatious) Well, someone ate his spinach today, thank you! Are you boys with the armed forces? BERNSTEIN (Galutes, proud) United States Marines, reporting for duty. PEGGY You make it sound so serious. BERNSTEIN Your protection is something I take very seriously. BIRDLACE (interrupts, takes PEGGY aside, away from BERNSTEIN) It’s a shame we have to cut this meeting so short. (BOLAND holds back BERNSTEIN, keeping him from PEGGY.) BOLAND ‘You see, Miss, we're on a special mission, classified as hellDocricur BIRDLACE So you better go now —it ain’t safe here. BOLAND I'm sorry, that's all we're at liberty to say. PEGGY (Oh my. Well, good luck to you boys. (She gives them a weak, winking salute, then goes. BERNSTEIN is frustrated by this ‘missed opportunity.) BERNSTEIN Dammit, I couldda had her. BIRDLACE ‘There'll be other girls, after the dogfight. BERNSTEIN With a figure like that? BIRDLACE Frisco’s lousy with ‘em. Keep your head in the game. And the game ain't over til the fat lady barks. BOLAND We ain't sending you over there a boy. You'll get yours. BIRDLACE ‘You'll get more. ‘Cause we're no ordinary, regular Marines. What are we?! BOLAND Sir, the Three Fuckin’ Bees, Sir! (BIRDLACE and BOLAND launch into their group's upbeat song of friendship, hoping to get BERNSTEIN realigned with the mission.) nee BIRDLACE / BOLAND (a cappella) WE THREE BEES HAVE A MIGHTY STING ((No respionse from BERNSTEIN. BIRDLACE and BOLAND try again, even more © emphatic.) WE THREE BEES HAVE A MIGHTY STING- +t BERNSTEIN | (acquiesces, unenthusiastic at first) | szzze i vazzz BIRDLACE | ‘AND WE COME PREPARED FOR ANYTHING THREE BEES Bzzzz Bzzzz BERNSTEIN (now he’s getting on board) WE THREE BEES LIVIN’ SEMPER FI THREE BEES Bzzzz Bzzzz THICK LIKE BLOOD AND WE'RE DOOR DIE: Bzzzz Bzzzz (music in) CAN'T YOU HEAR IT Boys? CAN'T YOU HEAR THAT NOISE? COMIN’ COMIN’ COMIN’ COMIN’ BIRDLACE WE THREE BEES ARE FOREVER YOUNG THREE BEES SO WATCH YOUR BACK OR YOU MIGHT GET STUNG BIRDLACE Happy hunting, boys. GIRDLACE, BOLAND, and BERNSTEIN separate, sprend across the city in their search. WOMEN appear. Odd, quirky WOMEN. A flurry of energy. Other MARINES appear, chasing WOMEN, hurting forthe perject date. The MARINES are cocky and each rejection knocks them dowon 4 peg. There's humor to be mined from ‘heir failures and lack of understanding women.)Docricur = 15 ONE ENSEMBLE WOMAN DOO DOOT DOOT DOOT DAH DOO DOOT TWO ENSEMBLE WOMEN DOO DOOT DoOT DOOT DAH DOO DOOT THREE ENSEMBLE WOMEN i DOO Door DOOT DOOT DAH DOO DooT DooT (During the song, MARINES direct their sung and spoken lines out, to unseen WOMEN.) BERNSTEIN HEY, GOOD-LOOKIN' YOU'RE SO OUTTA SIGHT 1 just had to stop and say hello, BOLAND HEY, GOOD-LOOKIN’ WHATCHA DOIN’ TONIGHT? Don't do it for me, do it for your country! GIBBS HEY, GOOD-LOOKIN’ HOW'S ABOUT A DATE? (thinks his Spanish is impressive) ¢Dénde esté la biblioteca? FECTOR / STEVENS HEY, GOOD-LOOKIN' PICK YOU UP AROUND EIGHT STEVENS FECTOR ere you runnin’ off to? ALL MARINES (except BIRDLACE) HEY, HEY, HEY, GOOD-LOOKIN’ WHAT'S A GUY To DO? SAY, SAY, SAY, GOOD-LOOKIN’ SEARCHED THE WHOLE WORLD THROUGH I BEEN LOOKIN’ FOR YOU Fare (Another flurry of energy as MARINES chase unsuspecting WOMEN across the city.)Docricur THREE ENSEMBLE WOMEN DOO Door DooT Door DAH DOO DooT Doo Door Door Door DAH Doo Door (Suddenly, stiliess amidst the chaos as we focus in on BIRDLACE’s search. He sits on Spark bench next to an odd duck LIBRARIAN. He pushes aside the newspaper she’s | {rating demands her attention. She is neroous, aokward, and uncomfortable. She Aoesn't know how to handle this immature young man) BIRDLACE Where is he? LIBRARIAN Who? BIRDLACE Your husband, LIBRARIAN I don’t have a husband, BIRDLACE So where's your fiancé? LIBRARIAN Tm not engaged. BIRDLACE Boyfriend? LIBRARIAN No. BIRDLACE Wait a minate—a prety thing like you—no husband, no fa if you ain'ta lesbian, my name's Eddie Birdlace CIBRARIAN reject him, annoyed. She escapes. Sowing more desperate. Now the city seems in chasing WOMEN.) Incé, no boyfriend. Well, Another flurry of energy, MARINES creasingly overrun with MARINES THREE ENSEMBLE WOMEN Doo Door Door Door DAH Doo Door P00 Door Door DoOT DAH DOO Door DOO STEVENS HEY, GOOD-LOOKIN’ T'M BRAND NEW IN TOWNDogrrenr BERNSTEIN Oragging) So there Iam at lunch with Petry Como... BOLAND HRY, GOOD-LOOKIN’ DON'T GO TURNIN’ ME DOWN FECTOR (growing desperate) And now the cancer’s spreading to my liver.. BERNSTEIN HEY GOOD-LOOKIN’ WE COULD HAVE SOME FUN GIBBS / STEVENS HEY GOOD LOOKIN’ ‘TOOK MY BREATH AWAY FECTOR BOLAND eon HEY GOOD-LOOKIN’ YOU COULD BE THE ONE YOU COULD MAKE MY DAY BERNSTEIN / GIBBS / STEVENS a BOLAND / FECTOR HEY HEY, GOOD-LOOKIN’ HEY, GOOD-LOOKIN’ WHAT'S A GUY TO DO? WHAT'S A GUY TO Do? SAY, ALL MARINES (except BIRDLACE) SAY, GOOD-LOOKIN’ SEARCHED THE WHOLE WORLD THROUGH TBEEN LOOKIN’ FOR— i. Church pews. A large “woman” kneels, ites obscuring her face, veiled and dressed conseroatively for church. Next to her, PIRDLACE kneels, just completing his own “prayer.”) : BIRDLACE ig it on thick, over-the-top sweetness) prayed for you and here you are. You're everything| Docrrenr PRAYING DRAG QUEEN (basso) BIRDLACE Fuck, ALL MARINES (except BIRDLACE) HEY Goop.LooKin’ GOT ME ON MY KNEES HEY GOOD-LOOKIN' GOT ME BEGGIN’ YA PLEASE ssn overlap, The MARINES aren’t speaking individually to visible pe ratitl dates but rather behaving asa group here, a thatricl representation of the 5 pecific acts, THREE ENSEMBLE WOMEN can be soon onstage or heard as offstage voices.) BOLAND BERNSTEIN STEVENS FECTOR GIBBS_—s WomEN HY coop. oo voor: LOOKIN! HEY oop. Poor poor LOOKIN" HEY Goop. Dar Doo LOOKIN" HEY Gop. Door Loox HEY coop. HEYGOOD. poo poor LooKrn" HEY coop. LooKIN' poor poor LooKiN" HEY coop. DAH Doo LooKin" HEYGoop- Door Lookin HEY coop. Doo Door: LooKin’ HEY coop. Door poor LOOKIN" HEY coop. DAH Doo LOOKIN" EY Goop- Door Lookin’ HRY coop. HEYGOOD. poo poor LooKin HEY coop. LOOKIN’ poor poor LOOKIN HEY Goop- DAH DOO. LOOKIN" HRY Goop. Door Looky Doo poor THINK YOURDAD — YOUANDME —_AsCOND Door poor SAW You ATTENDED = MEANDYOU —_coUSIN Dati DOo ATCHURCH My BAR. Door LASTSUNDAY —MiTzvaHDocrrenr -19- (BOLAND) BERNSTEIN (STEVENS) (FECTOR) (GIBBS) (WOMEN) YDBETHE = YMPRETTY —-YOUANDME == THEKENNEDYS BABY oo Doot LUCKIEST SURE BABY THATSAFACT —WON'TYOU _DooT DoT uy DAH DOO poor YOU FOXY HOLD ON! BABY WHERE BABYWHERE © YOUAND —_poODooT LITTLE THING — HOLD ON! YARUNNIN’ —-YARUNNIN’ ME. poor poor TO?DONT BE TOPDON'TBE = MEAND~—“(DAHDOO sHy sHY you poor WELL MAYBE WATTJUST BABY WHERE © BABYWHERE © YOUAND DOO DOOT ‘eatrical TCOULDGET — AMINUTE YARUNNIN' — YARUNNIN’ = MEBABY —DOOT DOOT nonstage GET YOUR HONEY 10? BABY ‘To? BABY DAH DOO NUMBER WON'TYOU —ALLI'M ASKIN’ ALLTM ASKIN’ poor yous yours WOMEN § oo Door : BERNSTEIN WOMEN Door poor BT ME TAKE YOU OUT TONIGHT DAH Doo Door BERNSTEIN / BOLAND / FECTOR / GIBBS ‘ME TAKE YOU OUT TONIGHT 00 Door Door Door DAH Doo Door __ BERNSTEIN / BOLAND / _EECTOR / GIBBS / STEVENS oo poor oor poor DAK Doo g ALL MARINES (except BIRDLACE) s0or : HEY, HEY, HEY, GOOD-LOOKIN' a THREE MARINES TWO MARINES ‘Cor poor x AH DOO WHAT'S A GUY TO Dor con : ALL MARINES (except BIRDLACE) or Door SAY, SAY, SAY, GOOD-LOOKIN’ DOO =<... SEARCHED THE WHOLE WORLD THROUGH or SEARCHED THE WHOLE WORLD THROUGH AND I BEEN LOOKIN’ FORDocrient FOUR MARINES TWO MARINES (including BIRDLACE) You YOU AND ME BABY 1 BEEN LOOKIN’ FOR You BABY WHERE YA RUNNIN’ To? IBEEN LOOKIN’ I BEEN LOOKIN’ FOR YOU FOR You ALL MARINES LOOKIN’ FoR You (MARINES, so far unsuccessful, experience one final rejection.) Shit! THREE ENSEMBL) WOMEN Doo poor oor poor DAH Doo poor DOO Door oot Door DAH DOO poor{ Docricut 21 - THREE ENSEMBL ACT ONE. SCENE TWO. WOMEN Doo Door (A typical diner. BIRDLACE's search continues; time is running out. BIRDLACE ‘flirts with MAMA while she works. A PATRON sits at the counter. In the corner, Doorpoor * | Ran eo nee ROSE plays her guitar quietly, her back tous, unnoticed at first working on a new | composition. She is shy, tentative, and a wallflower but she's not weak.) 200 Door | MAMA 2007 Door Jf What cant get you? “AHDOODOoT | BIRDLACE Haven't had a good cup of coffee since before basic training. Beta prety thing ike you could fix that. MAMA (unarsused) Coming right up... (She moves aoay to fetch his order. BIRDLACE looks around the diner, desperate for ‘ny potential dates.) z ROSE (quietly, lacking confidence, figuring out chords as she plays, struggling) A FLOWER BOWS TO AUTUMN CHILL. OCTOBER RIVER, FROZEN STILL (BIRDLACE notices ROSE. Swivels in his seat to watch her.) GIVE WAY GIVE WAY BIRDLACE ROSEDocricur BIRDLACE Whats that song you're playing? Ijust love that kind of music, ROSE You do? BIRDLACE Wall listen to, Actually, that song reminds me alotof. (improvising, making it upon the spot) ~~of fim Swain’s music. You know what I mean? ROSE Swain? BIRDLACE Oh wow, Jim Swain? ROSE +Idon't know him, BIRDLACE ‘Well he's just— you've heard of Dylan, right? Bob Dylan? (ROSE laughs: of course she knows Dylan) Jim Swain’s music is a major influence on Dylan. ROSE thought Woody Guthrie was Dylan's influence. BIRDLACE Well yeah. There's Woody —and then there's Jim Swain. In fact, thi Gathrie wrote some songs together. If 'm not mistaken, ROSE "always thought Woody wrote pretty much on his own, BIRDLACEj Docricur - 23 = BIRDLACE (interrupting, pretending to finish her sentence, as if that’s what he meant all along) | “This Land Is Your Land.” Exactly. Yeah, that was an original by Swain and Guthrie. ROSE Ive got the sheet music upstairs. I don’t remember seeing his name. BIRDLACE He was a ghostwriter. Sometimes. In fact, most of the time. ROSE It’s funny, I feel like I still should’ve— MAMA (interrupts) A\little help, Rose. Gotta get this place set up for tomorrow. ROSE Sorry, Mama, (MAMA hands ROSE a large bag of sugar, then tends to her own work elsewhere. ROSE turns to BIRDLACE,) .-I gotta get back to work, MAMA Better drink up, soldier, we're closing soon. + (ROSE begins moving from table to table, refilling sugar jars. BIRDLACE follows, overeager.) ain and BIRDLACE ‘You got a last name, Rose? T wanna look for you in the record store. ROSE "(uot pitiful, just a litte self deprecation) (on won't find me. No one’s paying to hear me sing, fo eet ‘(Sie moves past him to refill another table’s sugar jar.) Woody BIRDLACE Dw the ROSE BIRDLACEDoorrour + (She's surprised by his language.) | (BIRDLACE) BY apologies. Vm just a dumb jarhead—1'm not used to ladies being around, (ROSE moves to another table. BIRDLACE reaches Lemme help you with that, Hey, forthe bug of sugar.) ROSE Is okay. (ROSE holds onto the bag, What's a jarhead? Fils another glass jar. An auksard, momentary silence.) BIRDLACE es. I'ma Marine, see? (BIRDLACE hands her his military LD. card. She Oh, that’s just what we call ourselv. looks it over.) Its okay if we say it, but ifa squid says H-you know, a sailor— then it's fist city But it’s all right if a woman says it ROSE (reading his 1.D. card) Edward Baines Birdlace. (She lets out a slight gigele, catches herself. Innocent, not unkind.) BIRDLACE Okay, okay, it’s not that funny. ROSE I'm sorry, it's a nice name, BIRDLACE Thanks, ROSE Gosh, you look so angry. BIRDLACE Not angry. Just ready. ROSE Ready for what? BIRDLACE Ready for...hell fr anything, I guess,Docricar ROSE Date of Birth, November 26, 1942.. Tuesday’s your birthday. BIRDLACE Yup. The big two-one. Couple more years and my age'll match my LQ. ROSE Well, happy birthday, Birdlace, Eddie. (Fie smiles. She does too. A moment, then BIRDLACE goes for it, attempts to seal the deal.) BIRDLACE Ibetter shove off soon. Gotta get to a party. ROSE A birthday party? BIRDLACE ROSE A party —oh well |, actually, I'm still on the clock. I got a lot of sidework. BIRDLACE Don't bullshit me, Rose, I'm a Marine. Marines are jerks. Everybody knows that. If E 2you don’t wanna go just say so. ROSE don’t think you're — it’s ust ~I mean, I just met you. BIRDLACE (thinking on his feet, struggling to overcome her resistance, shifting tactics throughout) WELL, YOU KNOW MY BIRTHDAY NOW SHOWED YOU MY MIDDLE NAME SEE I'M AN OPEN BOOK, HAVE A LOOK THIS AIN'T NO PICKUP GAME THEARD YOUR PRETTY VOICE ‘THEN WE SAW EYE TO EYEDocrionr (BIRDLACE) ON ALL THAT MUSIC STUFF NOT ON FLUFF WE DIDN'T HAVE TO TRY NOW ISN'T THAT RARE? THAT KINDA CONNECTION SO WHY NoT ‘COME TO A PARTY WITH ME? WHY NoT COME To THIS PARTY? AFIVE-PIECE BAND TLL TAKE YOUR HAND, ROSE, AND TWIRL YOU AROUND BUY YOU A DRINK DON'T STOP To THINK, SAY YES COME TO A PARTY WITH ME JUST Say YES ROSE Tdunno, Eddie, BIRDLACE can't steal second base with your foot on first, Rose. You can bet on me. My old man’s always saying, you Sometimes you gotta gamble, (le overcompensates, invents «history for her benefit) BORN IN BUFFALO. TO HUMBLE CHRISTIAN FOLKS MY OLD MAN RAISED ME RIGHT. REAL POLITE NO TELLIN’ DIRTY JoKrS AWALLY CLEAVER TYPE ATE EV'RY BRUSSELS SPROUT MY MAMA'S PRIDE “N Joy GOLDEN Boyxy impress, first. Docricur 27 (BIRDLACE) YOUR AV'RAGE EAGLE SCOUT er NOW LOOK IN THESE EYES ‘THEY AIN'T GONNA HURT YOU sO WHY NOT ‘COME TO A PARTY WITH ME? MON IT'S JUST A PARTY AGREAT EXCUSE ‘TO CUT IT LOOSE, ROSE, AND DO WHATCHA FEEL JUST FOR ANIGHT NO HOLDIN’ TIGHT LErGO LET'SGO COME TO A PARTY WITH ME jomha be a real nice time, c'mon, whaddaya say? ROSE (flustered, torn, interrupting herself) 1FIGO WELL, YA KNOW ‘MA WOULD BE HERE ON HER OWN SHE WOULD DIE I COULD LIE ICOULDN'T LIE TO MY — IFIGO SHE WOULD KNOW LOOK, I'M NOT READY WE'RE CLOSING, AND EDDIE, I'VESTILL GOTTA WORK C'MON, DON'T BE A JERK GIVE IT BACK, EDDIE, STOP! LOOK, STILL GOTTA MOPDocricur (ROSE) PLUS I DON'T REALLY DRINK SEE, T REALLY DON'T THINK I CAN (BIRDLACE begins to “help” ROSE with chores, carelessly wiping surfaces, chairs — ‘accomplishing litte in terms o of actual cleaning but more in terms of charming ROSE. Heis running out of time; i's now or never.) BIRDLACE ROSE COME To THIS come PARTY WITH ME LOOK, YOU CAN'T Miss I CAN'T JUST GET UP THIS PARTY AND GO YOU'LL MEET MY FRIENDS AND WHEN IT ENDS, ROSE MAMA NEEDs ME TLL RACE YOU RIGHT HOME AROUND OR WHY CAP THE NIGHT? WE'LL GO GRAB A BITE YD LIKE To BUT I~ TABLE FOR TWO. JUST ME AND You Eddie, gimme that! (BIRDLACE manexevers, draws her close to him, Slirting as hard as he can.) CANDLES AND WINE HANDS INTERTWINE I got work to do! MAMA (interrupts) Rose! GOSE and BIRDLACE separate, just as electricity was ‘building between them, MAMA speaks to BIRDLACE,) 1s closing time now. Better run along. (MAMA switches the sign to “CLOSED,” looks to ROSE. He heads to the door, ivi furs off most ofthe lights. BIRDLACE ing it one ast try.) BIRDLACE YOU'LL MISS OUT ON ONE HELLUVA TIME SHOULD BE ONE ROUSIN’ PARTY WELL, I'M GLAD WE MET TGOTTA GET, ROSE,Docricur (BIRDLACE) BUT GOSH YOU SEEM SWELL STILL, IT'S A SHAME tana 68, chairs — I THOUGHT, IF YOU CAME, ing ROSE. WHO KNows? MAYBE WE COULDA ingers a moment...holding out hope she will stop him from lemving...then gives up, salutes) " Have a good night now. (BIRDLACE moves townrds the diner’s exit. ROSE watches him go, considers, torn. Time moves so slowly. Just as he's about to make it out the door to the street, she shouts to kim, stops him.) ROSE BIRDLACE ROSE BIRDLACE ROSE BIRDLACE cE ROSE BE Tuns off, excited. BIRDLACE celebrates his success, shifting instantly from Hing to callous.)Docrrour BIRDLACE NOT TOO BAD FOR A PICK IN A PINCH ‘SHE CAN WORK FOR THIS PARTY ALITTLE DOSE OF CUT IT CLOSE THAT WAS DOWN 10 THE WIRE BUT SHE'LL BE ALRIGHT I'MSET FOR TONIGHT (a big sigh, relief washes over him) OFF TO A PARTY WITH You (Music and focus shift to ROSE'S BEDROOM. Album sleves cover the walls: Joan Baez, Pete Seeger, Malvina Reynolds, Bob Dylan, Woody Guthrie, Odetta. She is Gttremely excited ~the energy she contained in BIRDLACE’s resence is unleashed, ‘She tears through her closet, considering and. rejecting dress after dress.) [eling s0 many things: dsbeliog surprise, ew, anticipation) ‘Oh my gosh! Oh my gosh! Oh my gosh! OH MY GOSH, OH MY GosHt HOLY COW, WHAT TO WEAR? AND YOUR HAIR, WHAT A MESS, PICK A DRESS, OH MY GOSH ARE YOU MOURNING A DEATH? TAKE A BREATH WHAT A LOOK IMISTOOK YOU FOR BUTTERNUT SQUASH OH MY Gost KEEP IT SOFT, KEEP IT BRIGHT, ‘BE AGIRL, SOMETHIN’ PINK DON'TCHA THINK? JUST A TOUCH NOT TOO MUCH, HE LIKES You JUST BE YOU, HE WON'T CARE WHATCHU WEAR! TDON’T KNow. SHOULD GO WITH THE PINK OR THE BLUE? WHAT TO DODocricur (ROSE) (gets lost in the fantasy) FOR SOMEONE WHO IS NOTHING SHORT OF WONDERFUL? NOTHING SHORT OF WONDERFUL (enaps back to reality: she has to get ready fast) JUST AGIRL, JUST AGUY BUT IT’S HIM AND I'S YOU AND IT’S TRUE, WHAT YOU'VE HEARD, LIKE A BIRD, HOW YOU LIFT AND YOUR CHEST FEELS A PULL alls: Joan She is LIKE YOU'RE FULL OF A JOY leashed. “CAUSE A BOY INTERRUPTED YOUR SHIFT (gives into the fantasy once more) LIKE SOMETHING NOTHING SHORT OF WONDERFUL NOTHING SHORT OF WONDERFUL, \(MAMA enters. She is loving and concerned.) = MAMA ROSE MAMA ROSE MAMA » you can’t accept a date the night of. Then you weren't the first one he asked. ROSE Him-the one he got—and he doesn't seem to mind, : MAMA ROSE HE COULD BE NOTHING SHORT OF WONDERFUL, IT COULD BE NOTHING SHORT OF WONDERFULDocricnr MAMA Honey, slow down, What's gotten into you? ROSE (nervous, overwhelmed by possibilities) WHAT IE, WHEN WE'RE DANCING IM CLUMSY OUR FEET COLLIDE? Greamy, swept away by the fantasy) WHAT If, WHEN WE'RE DANCING HE DIPS ME OUR LIPS MEET AND WE GLIDE ‘ACROSS THE ROOM AND IT FEELS NOTHING SHORT OF WONDERFUL? NOTHING SHORT OF WONDERFUL MAMA Rose, be careful, you're letting yourself— ROSE Twill, Mama, Tell him I'll be right down, MAMA Rose—really — ROSE Go! (MAMA leaves. ROSE is alone, anxious and excited) HURRY UP, HE WON'T WaIT, HE CAN'T WAIT HALF THE NIGHT EITHER WHITE, OR MAROON, YOU'RE A LOON, YOU'RE A MESS AND YOU THINK YOU MIGHT BUST BUT YOU'VE JUST GOTTA CHOOSE PICK THE SHOES AND DECIDE ON THE DRESS AND YOU'LL BE NOTHING SHORT OF WONDERFUL NOTHING SHORT OF WONDERFULDocricur - 33 - (ROSE) OH MY GOSH, OH MY GOSH ON A DATE, ON A DATE BUT YOU CAN'T MAKE HIM WATT NO YOU CAN'T MAKE HIM LATE, AND YOUR ROOM IS IN HEAPS AND YOU CAN'T SEE THE FLOOR BUT YOU FINALLY GET WHAT AGIRDLE IS FOR OH My Gos OH My Gos : OH My GOSH, OH My GosH (Having finally found the perfect dress, ROSE looks in the mirror, surprised to see a Tpeautiful woman.)Docricur ACT ONE. SCENE THREE. (Street comer. BOLAND and MARCY. She is tough and brassy, street smart and Senerally in control of a situation. He Pups ona cigarette already atthe end ofhis rope.) BOLAND So whaddaya say? You comin’ or what? Gimme a drag of that, MARcy if gotta put up with you all night, fifty bucks don’t sound business down at the Kiwanis Club, art they at least buy BOLAND ' this: you win me that prize, like enough. I do better me carnations, Allright, how’ Til give you seventy-five, MARCY Jai’ got time for small peckers with Small pockets. Gotta get a full night's work in before Perry Mason. Okay, okay: eighty by or there ain't gonna find me? There ain’t more than a handful of Bitls out there can do what Ido, You are trying ray patience, With all you stand to take in? I deserve half, BOLAND Half! You gotta be kidding meDocricur MARCY wit rious face on. art and | wd of his BOLAND “You think you're worth half the pot? MARCY know Iam. And I know you're gonna give it to me. — BOLAND urea fine one to be barkin’ orders. You're talking to a United States Marine. MARCY > (ig laugh) z ‘think you got balls as big as the A-bomb, don’t ya? God’s gift to women, my S You wanna have a good time with me, you're gonna give me half the dough— BOLAND at the fifty MARCY lo better BOLAND MARCY work in BOLAND takes out her teeth, rendering her nearly toothless. BOLAND is shocked at first, Pshut : Taughs, whoops.) : MARCY ful of ne nore. MARCYDocricnr (ROSE appears at home, putting the ‘Finishing touches on her usfit, Elsewhere, we see MARINES preparing forthe dogfight, BIRDLACE appears, waiting outside the DINER.) ROSE OFF TO A PARTY WITH HIM LOOK YOU'RE OFF 70. PARTY MARCY rol, unenthused, all in a night's work) AFIVE-PIECE BAND ROSE HE'LL-TAKE YOUR HAND BOTH AND HE'LL TWIRL YOU AROUND MARCY BUY YOU A DRINK ROSE DON'T STOP To THINK MARCY / ROSE JUST Gor OFF TO A PARTY WITH HIM (MARCY and BOLAND exit. Elsewhere, ROSE exits.) BERNSTEIN / GIBBS / BIRDLACE FECTOR / STEVENS OFF TO COME To APARTY APARTY WITH ME, WITH ME PERFECT DATE SHE Jusr FOR THIS PARTY CAN'T WAIT TOR THIS PARTY THE ROOM WILLsToP AND JAWS WILL DROP ONCE THEY LAY EYES HERE'S LOOKIN’ ON HER ATYOUCE sxhere, we see ‘side the DINER) (BERNSTEIN / GIBBS / FECTOR / STEVENS) NO WAY TO LOSE ‘THEY GOTTA CHOOSE ‘My GIRL (BIRDLACE) OFF TO APARTY WITH ME - _ (ROSE appears, now fully dressed and ready. She has gussied herself but her eamestness in doing so has only obscured what could be attractive about her.) ROSE / MARINES (except BIRD / BOLAND) OFF TO A PARTY BIRDLACE ROSE BIRDLACE ROSE BIRDLACE Lk BIRDLACE leads a brisk pace. Awkward silence. BIRDLACE’s focus has from wooing ROSE to geting to this party as quickly as posible. ROSE tres to iversation, balancing the excitement of a first date with her tentative nature.)Beat.) Wanna hear‘em? Nah, C'mon, Rose, keep up. Almost five months now. But I’m Where are you gonna be? Well, first, I'm off to Okinawa. But call Vietnam, (concerned) Vietnam? But they're fighting there. No, Nothing to worry about. We're going: Somebody's gotta teach ‘em how to tal So... how long’ve you been with the Marines? Five months. Must be hard to be so far away from home, Gonna bea hel of alot farther before they’re done with me, So? Kick a little ass, take a few names, The way you talk it sounds like a buncha gu BIRDLACE ' You got something against Marines, Rose? Tjust mean—well, you don’t seem worried. BIRDLACE EEE tittitremeemwmcnicsemmmmmareseensmmmmmmeeeecc. | Docrieur BIRDLACE ROSE BIRDLACE just getting started, ROSE BIRDLACE ROSE BIRDLACE ‘Tm alming for this little country near India they ROSE BIRDLACE be back in a couple of months, ROSE ys getting rowdy at a bar ROSE Over there as advisors more thai anything. ke care of the CommiesDocricur day I didn’t dia they ROSE ‘Well, it sounds dangerous to me. BIRDLACE ROSE (warm, compassionate) iddie, aren't you scared at all? BIRDLACE at's a first class waste of time. Besides, I gota little extra protection. See: (BIRDLACE pulls a Medal of Honor from his pocket. He shows her, proud.) ROSE itis this a real medal? BIRDLACE urns the medal) lovely. But still be scared. Imean, I don’t know much about fighting. One 4 maybe I wanna join the Peace Corps, help out in some village or somewhere. S. BIRDLACE schicken shit, Just a buncha Melvins looking for a reason not to shave. Tf you tha change the world, Rose, you join the Marines and start shooting. Shooting s things pretty quick. ROSE you shoot at people and, what, you got people shooting back. I don’t know how Peing anything BIRDLACE Amnow is President Kennedy's sending us across the big waters to make some » and he didn’t issue us no guitars. There's talking and there’s doing and pretty big difference. ROSE ‘5 the doing always gotta be done the same way? BIRDLACEDocricnr ROSE BIRDLACE ¢ it's rubbing off there, ROSE You wearing any lipstick? Looks lik Should I put some on? BIRDLACE Yeah, (ROSE starts carefully applying the Lipstick. BIRDLA Let me try. ICE hovers.) Eddie—Eddie— BIRDLACE Hold still, ROSE ’s all over! You're supposed to put it on the lips (She stops him, still good-natured and unsuspecting) You put lipstick on about as good as I do, (She opens her compact, displensed by what she ses, She starts fo OH MY Gosh OH My Gosi fx what he’s done.) TCAN MAKE THIS ALRIGHT “CAUSE TONIGHT IS MY Firsr. (tops herself from making an embarrassing admission) WELL, TONIGHT SHOULD BE GREATDocricut (ROSE) (che starts to let her guard down) I HAVE NOT REALLY GOTTEN TO DO THIS A LOT f -You know... G0 OUT WITHAGUY.. ONA DATE (ROSE takes « moment, stops fixing her face, opens up to BIRDLACE, honest and WHO’D HAVE THOUGHT THIS MORNING ‘THAT ID BE... ‘THAT YOU'D APPEAR YMJUST SO EXCITED ‘THAT I WAS INVITED spreadir LACE AND THAT. OF, EDDIE, ‘M0 GLAD 0 BE HERE ‘ealing with (As music plays, BIRDLACE turns avoay from her. Unsure exactly what he's feeling — ill, embarrassment ~ but acutely feeling it.) hhow do I look? BIRDLACE , maybe we shouldn't— BOLAND BIRDLACE 1's done.) BOLAND ROSE BOLAND MARCYet Docricur BOLAND (suggestive: he's got the winning girl) I think I may have finally found the one. ROSE Nice to meet you, BOLAND The party's inside, Come on, doll (BOLAND and MARCY head inside, ROSE moves to follow but BIRDLACE stops her) ROSE ‘They seem friendly. BIRDLACE ose, ths party's really no big deal. We don't have to go in there ROSE No, I'd like to— BIRDLACE if you wanna grab a bite, (Beat. ROSE reads the social cues.) We could go somewhere else, ROSE Ob. Tf embarrass you or something, if you don’t wanna be seen with me, just say so. you can BIRDLACE No, that’s not it, ROSE (genuine, even sweet) Then what is it, Eddie? Tell me. (BIRDLACE can't bring himself to admit the truth) ‘You invited me to a party. I wanna go, JUST FOR A NIGHT NO HOLDIN’ TIGHT LETGODocricut (ROSE) ‘Come on, jathead, BIRDLACE | per FL Do or Die IRDLACE offers his arm and leads her into the club as we transition into theDocricur ACT ONE. SCENE Four. (THE NITE LITE, alow rent club. Scatered tables, sleazy, showy, self indulgent LOUNGE SINGER appears in spolight. He knows exactly what's going om at this PATE he's in omit. The small dance floor is occupied by MARINES and their DATES, ‘who we see now for the first time.) LOUNGE SINGER BABY TRASH THAT MASHED POTATO OH THE TWIST WILL NOT BE MisseD THAT WAS ‘62 GIVE ME SOMETHING NEw ADANCE THAT DON’T EXIST ‘YOUR ROCKET RIDE HAS JUST BEGUN COUNT DOWN'S 4321! BLAST OFF (The THREE BEES share a table with their dates: BIRDLACE and ROSE, BOLAND and MARCY, BERNSTEIN with his date, RUTH TWO BEARS, a Native American etnan fresh of the reseroaton, preferably roundish, eadpan and largely without interpretable expression. They've all been Arinking. We pick up in the middle ofa conversation, high energy,) BERNSTEIN No, no, no—see, in bootcamp you line up according to height. In ITR— BOLAND ~ that’s Infantry Training after bootcamp — BERNSTEIN —there it’s alphabetical order, BOLAND So we were always lining up together. Got to be pretty tight. BERNSTEIN ‘They started calling us the Three Bees—and we stuck together ever since. Getting Ourselves inked up later tonight to celebrate. BOLAND ‘Three fuckin’ Bees, for forever, Beat)Docrionr MARCY So you got to be friends from standing in line? ¥, self-indulgent Soing on at this ‘and their DATES, (She laughs heartily.) (Oh boy, I'm gonna need another drink. (She snaps at BOLAND, who makes no move to help.) LOUNGE SINGER oH START MOVIN’ LIKE YOU'RE GROOVIN’ ON THE MOON YEAH YEAH YEAH (A bit later. A bit drunker. BIRDLACE, particularly, ||, tooid thinking about what he's doing to ROSE by bir rinks too much, an effort to inging her to this party.) BERNSTEIN MARCY E BOLAND over. ve American Y without ‘ddle of a ROSE Ui guys really like to swear, don't you, a BIRDLACE BOLAND just words. After a while you don’t even hear it, Don’t ROSE Setting MARCY have to fuck to get a drink in this place?Docricur BOLAND Hey now. MARCY (unapologetic) Fean'talford to be shy at an open bar. How ‘bout you girs? (to RUTH TWO BEARS) You want another, honey —what’s your name? RUTH TWO BEARS (stone-faced, as always) T'm Ruth Two Bears, BERNSTEIN (proud of his catch) Tmet this fine lady over atthe Transbay Terminal. All the way from Albuquerque. ROSE Well Ijust wanna say how happy Iam to have met you. All of you. I'm having a real nice time. If Eddie hadn’t've walked into the diner, I'd be heme now, listening to my records, BERNSTEIN Oooh, whaddaya got? Four Seasons, Bobby Vee? ly says something, that has the power to bring people together. You ever heard of the song “We Shall Overcome?” (BOLAND and BERNSTEIN can’t hold in their laughter) What? What's so funny? BIRDLACE (doesn’t want ROSE to hear) Ws nothing, ROSE Why are you laughing? Have you even heard the song? BOLAND We heard it. BERNSTEIN Yeah, we goof on it all the time,Docricar ROSE You goof on it? BIRDLACE BERNSTEIN / BOLAND the tune of "We Shall Overcome") WE ALL WANT TO CO-O-OME. WE ALL WANT TO BIRDLACE ROSE § actually a pretty important song, you know. You shouldn't be making fun of — BIRDLACE ROSE MARCY honey, you're gonna wanna be good and loose when he drags you out on oa ROSE it tempered by nervousness)Docricur BOLAND (tries to silence MARCY) Angel face— ROSE Rules? MARCY Oh sure, they gotta— BOLAND (stopping MARCY) Hell you're on a date, ain't you? If he asks you out and he don’t take you dancing, ‘e's a right sonofabitch— that’s all Marcy's saying. MARCY No, what I'm saying— BOLAND (harsh, shuts her up) No one cares, Marcy, trust me, LOUNGE SINGER START MOVIN’ LIKE YOU'RE GROOVIN’ ON THE MOON BLAST OFF! (The song ends. Applause.) ‘Thank you, thank ‘you. (A slower, more romantic intro begins to play. LOUNGE SINGER smugly draws tention toil. The MARINES know what that means: the slow denon the judging Portion ofthe cent. Al MARINES are expected to present ther dates for inspection.) Here's one forall you lovers in the crowd. Got some bewitching beauties in the house tonight. I wanna see ‘em all out here dancing. Cheek to cheek and heart. heart to BOLAND "say wedance, Looks like about that time. Right, Eddie? BIRDLACE Rose and I'l be therein a minute. She's gotta finish her drink Gentlemen,Docricar ROSE ‘That's okay. It'll be here when I get— BIRDLACE “And I got another one coming, BERNSTEIN BERNSTEIN ibout it, Miss Two Bears? You wanna show me how the shiksas shake it? TH TWO BEARS gets up, stoically heads to the dance floor. She has yet to crack a le.) JOLAND and BERNSTEIN share a laugh as they take their places on the dance floor Eth their dates. BIRDLACE and ROSE sit in fraught, loaded silence.) ugly draws LOUNGE SINGER 's the judging : You ‘er inspection.) BORN ON A CLOUD ANGELSO FAIR ANGELSO FINE ties in the ind heart to BIRDLACE ROSEDoctienr BIRDLACE Tm happier than a two-peckered ow (shouts, fo unseen waiter) ‘Where's my fuckin’ drink? (ROSE recoils, confused.) LOUNGE SINGER You CLEAR IN A CROWD ‘ANSWER MY PRAYER SAY YOU'LL BE MINE (RECTOR approaches, arm in arm with his extremely shy date SUZETTE, They are Leth trashed, FECTOR so muck so that he is surprisingly suet with her, awkwardly affectionate.) FECTOR Hey, Birdlace. You gotta meet Suzette. BIRDLACE (arunk, cold) Yeah, yeah ROSE Hi, I'm Rose. FECTOR ‘We're gonna cut a rug, right babe? SUZETTE Anything you like. FECTOR Long as it makes you happy. SUZETTE Tm happy doing whatever you want FECTOR Iwant you to have a good time. SUZETTE Tl have a good time dancing, FECTOR After you,Docriénr SUZETTE FECTOR 5 (They head to the dance floor together. Another silence as BIRDLACE drinks, numbing himself.) ROSE BIRDLACE ose, you're a nice girl. This is a fucked up place. SIRDLACE gives up, leads her tothe dance floor. They join the other couples in a ato dance. ROSE tries to enjoy their dance. BIRDLACE is stiff and uncomfortable.) LOUNGE SINGER ISEB YOU STANDING THERE ICAN ONLY STARE AND SIGH WHEN I SEE THAT FACE ‘THAT UNMISTAKABLE FACE ‘TRAFFIC HALTS LOVERS WALTZ, ‘THAT FACE THAT ALMOST BREAKABLE FACE CHURCH BELLS CHIME ‘THERE'S NO TIME OR SPACE WHEN I SEE THAT FACEa Docrrenr ROSE How come you say that Do or Die, Semper Fi—that stuff? BIRDLACE Wea kinda motto, We say it whenever we got something hard to do, I guess, (ROSE processes this, quicly reaching an unfortunate conclusion.) ROSE Tm hard to dance with? BIRDLACE What? Naw...you're great Feeling guilty, he suddenly pulls her close, pulls her intoa real dance, more confident tnd sweeping as they go around the lor and the song comes back in full force.) LOUNGE SINGER IF YOU LOOKED AT ME LIKE I LOOK AT You BABY, YOU WOULD KNOW SO PLAIN To SEE THAT MY LOVE IS TRUE MAKING ME SING WHOA-OH-OH-OH-OH (MARINES parade their dates for LOUNGE SINGER, whois the judge of this dogfight. He holds up a numbered scorecard 1 through 10—to render is judgment of howing off his girl. It's You GODDESS ABOVE WHISPER THE WORDS POETS WILL WRITE BERNSTEIN: IT'S ABOUT TO GET UGLY LOUNGE SINGER You FILL ME WITH Lové MAKING THE BIRDS SING THROUGH THE NIGHT (LOUNGE SINGER holds up a scorecard with a large 8 on it. This is RUTH TWO BEARS’ score. BERNSTEIN is pleased withthe result)Docricnr - 53 - (LOUNGE SINGER) WHOA BERNSTEIN / BOLAND 2 do, I guess, LOUNGE SINGER BUT WHEN YOU'RE STANDING THERE TCAN ONLY STARE AND SIGH On SPECTOR displays SUZETTE for LOUNGE SINGER to judge. Unaware eyes are on her, she 2) takes a chance and plants a big, sloppy kiss on FECTOR. He is surprised. And, pleased.) %, more confident Sul force.) STEVENS BERNSTEIN / BOLAND WHAT A BUNCHA LOOKERS: WHAT A BUNCHA, BOLAND LOOKERS GOT A DOGRIGHT IN THE RING BERNSTEIN WOOF Woor 2 of this BABY ‘is judgment of 1 Its ‘TEIN goes STEVENS BIG FOOT ALERT (BERNSTEIN) BEAST IN ASKIRT BERNSTEIN / BOLAND OH My cop BELLS cee OH My Gop LOOK AT ‘EM LOOK AT ‘EM INES notice FECTOR and SUZETTE drunkenly tonguing ina comer, wetDocricur (LOUNGE SINGER) WHEN I SEE THAT FACE STEVENS ‘THAT SONOFABITCH HEROPED A NASTY ONE HERE WE GO BERNSTEIN YOU SONOFABITCH GIRDLACE, hiding his growing shame, shows off ROSE. LOUNGE SINGER sives her a6. Relieved, BIRDLACE dances her out ofthe spotlight.) (STEVENS) (BERNSTEIN) JESUS CHRIST HE'S BARELY GOT HIMA six LOUNGE SINGER ‘THAT FACE BERNSTEIN THUNDER THIGHS STEVENS WHAT A CHICK (BOLAND takes his turn, shows off MARCY.) BOLAND WE'VE GOT ‘EM BEAT (LOUNGE SINGER determine: ’s MARCY has earned a6, BOLAND and displeased with the result.) MARCY are LOUNGE SINGER WITH A SWEET EMBRACE WHEN I SEE THAT, (MARCY mates sure LOUNGE SINGER gets a ‘audibly. Disgusted and impy 8001 look at her foul teeth, even reacts essed, he changes his verdict. He holds up the scorecand marked 10.) FACEDocrienr BOLAND (MARCY's score has won BOLAND the prize. The song ends. Applause. MARINES ‘crowd BOLAND, the champ. Couples abandon the dance floor. Only BIRDLACE and ROSE remain.) HERE WE GO. BERNSTEIN YOU SoNorABirc} ESINGER BIRDLACE ROSE HE'S BARELY COT HIM A six LOUNGE SINGER BABY HAVE ANOTHER DRINK BOLAND BERNSTEIN BOLAND {that's above your pay grade, gentlemen—and a long fuckin’ story. Canny STEVENS man. How much you give that girl to drink? even reacte BIRDLACE scorecard BERNSTEIN She's. Puking up her guts! ‘That's gotta be worth something. C’mon— iention?Docricnr STEVENS olds out a small wad of cash, BIRDLACE won't touch it) ‘Twenty-five bucks. She earned it, Here (STEVENS sets the money down on the bar.) BERNSTEIN before that blimp comes back from the kennel, GIRDLACE suddenly grabs BERNSTEIN by the collr, ) Go on, take your money, BIRDLACE ones in your life? 1 gotta swallow a steaming pile of your 'm sick of it. Grow up. (BIRDLACE tosses BERNSTEIN aside, exits, shaken, hurt, Shoots STEVENS a look, Plays and LOUNGE SINGER sings as Why don’t you shut up for shit each and every day. 1 leaving the money. BERNSTEIN is pockets BIRDLACE’s prize money, The band ‘We transition to the Ladies Room) LOUNGE SINGER DANCIN’ FEET SUGAR SWEET Ir’ JUST APARTY WHOA-OH-OH-OH-OHDocrieur ACT ONE. SCENE Five. (We find BOLAND and MARCY in the LADIES ROOM, picking up inthe middle of an intense argument, hard in. Scene begins the moment the transition music buttons.) BOLAND Gome on, Marcy, cut me some slack will ya? You ain’t been no picnic. MARCY Kk? No, you'll find slack in the dictionary between shit and syphilis. You owe me nel, BOLAND ning pile of your g Pile of yous at about the cab fare? I paid for that. ®STEIN is : aed wmey, The bend ain't the chaplain you're talking to, Boland. You come to me for help, Ihelp-for S Hilf the money. That was the deal. So don’t be giving me no shit about seme cab, ‘ BOLAND ot giving you shit, you lousy slut. Take your goddamn money. : MARCY jatheads. Gawd! RCY kneels down to gather her prize money. Toilet flushes, ROSE enters meekly Asta. She's heard all oft, but understands only alittle, She instinctively moves Ip MARCY.) ROSE MARCY #8 f0 me, he says, how'd you like to make a bundle and you don’t have to do So Isay sure. Leven offer not to wear my teeth. And why not? Free / free beer, and they gotta be polite. Those are the rules, : ROSE MARCY ROSE 40 level with ROSE,)Docrreur MARCY The rules of the dogfight. See, they each putin some money, like fifty, seventy, seventy-five bucks. ROSE beginning to get it) ‘There's prize money? MARCY That's right, honey. The ugliest girl wins a wad of dough for the Tm the ugliest, so Iwin, Only, see, ain't really that ugly. guy who brung her, (Pops in her teeth) You gotta see me when I'm really dressed up, ROSE (overwhelmed, unsure how to react) Oh gosh, this is. (looks to MARCY) Marcy, you must feel terrible. MARCY (thick-skinned, hardened) Wenotso bad. At east got some cash. All you got was sick, SO SOME LITTLE PRICK WITH A KNOB FOR A DICK 1S GONNA GET You Down? Please, BOYS ARE THE SAME AND THEY ALL GOT A GAME SO FULLA SHIT THEIR EYES TURN BROWN.Docricar (MaRcy) DON'T EXPECT NOTHIN’ ‘THAT'S HOW THEY'RE MADE ‘CAUSE TWO SWEATY BALLS MEANS A LUSH IN A RUSH TO GET LAID SEE IF I'M GETTIN’ SCREWED I'M AT LEAST GETTIN’ PAID fifty, seventy, * the food and the ishow great they hole life? AT THE DOGFIGHT DOGFIGHT DOGFIGHT IN THE RING GOTTA LEARN IT FACE IT HEARIT DING DING DING y who brung her, ‘THEY ONLY PAY WHEN A LOAD IS BLOWN. ‘SO YOU SIT AND STAY ‘TIL YOU GET YOUR BONE AT THE DOGFIGHT ROSE MARCY SO HE FED YOU A LINE TALKIN’ CANDLES AND WINE BET HE SPREAD IT THICK BUT WHERE IS HE NOW? GETTIN’ CASH FROM THE COW WHILE THE COW'S IN THE CAN ALL PUKIN’ SICK! ‘YOU TAKE YOUR MONEY ‘TAKE WHAT YOU MADE IF YOU DON'T PLAY THE GAME HELL BE GONE (OU'RE A PAWN THAT HE PLAYED. USE WE'RE ALL GETTIN’ FUCKED ‘SO WE BETTER GET PAIDiss | - 60 - Docrienr (MARCY) AT THE DOGFIGHT DOGFIGHT DOGFIGHT TAKE THE CROWN GOTTA CLAIM IT win ir OWN IT AND DON’T BACK DOWN. BETTER HOLD YOUR NOSE WHEN YOU SWALLOW DIRT IF YOU DON’T Ger sorr THEN YOU WON'T GET HURT AT THE DOGRIGHT (MARCY moves to exit the bathroom. ROSE stops her, doesn’t ‘accept her worldview.) ROSE HOW CAN YOU LET A PACK OF JERKS TELL YOU THIS IS HOW THE WORLD WORKS? (MARCY laughs at what she believes is ROSE’s naiveté) MARCY HONEY, THEY'RE GONNA GET THEIR FIX TIME TO LEARN A FEW NEW TRICKS WHERE'S YOUR BARK? LET'S SEE YOUR BITE YOU LEARN TO BITE MARCY ROSE AT THE DOGFIGHT HOW CAN You LET SOME PACK OF JERKS DOGFIGHT TELL YOU THIS IS HOW THE WORLD works? DOGFIGHT WHO ARE THEY? IN THE RING WHO ARE THEY? THEY'RE THE Docs NO THEY'RE THE SLIMES WHO HURT NICE GIRLS FOR REAL NICE TIMESDocricur (ROSE) AND YOU DON’T NEED SOME WORTHLESS DIMES FROM A DOGFIGHT MARCY / ROSE DOGFIGHT DOGFIGHT IN THE RING MARCY IT’S A DOGFIGHT ROSE DOGFIGHT MARCY / ROSE 2t her wor worldview.) DOGFIGHT MARCY HEAR IT DADING DING DING {OSE and MARCY face of, challenging each other with their contrasting points of uw, MARCY advocates accepting the boys’ behavior and adapting to it; ROSE refuses Ee stand for it, The bathroom dissolves and the club setting reappears around them.) MARCY / ROSE NO YOU CAN'T GIVE IN AND YOU CAN'T PLAY DUMB WHEN YOU GET THICK SKIN ‘THEN YOU'RE QUICK TO NUMB E YOU LET THEM WIN “ ee, AND A DOG'S WHAT YOU BECOME, . AT THEDOGFIGHT ‘AT THE DOGFIGHT AT THE DOGFIGHT ‘finds BIRDLACE at the bar and, on the button of the song, SLAPS him!) BIRDLACE a ROSE ‘s don't you dare hey me. You are a cruel, heartless, ignorant jerk. the right to treat people like this? You have no feelings.Docrionr (ROSE) You're just a worthless excuse for a human being, BOLAND Hey that's my buddy you're talking to— ROSE Shut up you creep! (to BIRDLACE) Everything out of your mouth tonight has been just rotten, ditty lies. Lhope you die, Fadie Birdlace. Ihope there's a war and you get killed, all of you, that’s what I hope, (ROSE starts fo go. BIRDLACE reaches for her, tries to. stop her.) Let go of me! (ROSE rushes off) BERNSTEIN God, what a bitch. Where’d you find her? RUTH TWO BEARS Jerk! (She tosses her drink in BERNSTEIN’s fae, tons of) LOUNGE SINGER LEAVE YOUR WORRYIN’ BEHIND UNWIND ITS JUST A PARTY YEAHDocrieur ACT ONE. SCENE six. (ROSE arrives home, ‘“Soapes to her bedroom. Elsewhere in the house, MAMA calls to er, checking in.) MAMA lies. Thope you die, 4, that’s what I hope, ROSE MAMA sk already? What kind of a Party ends so early? ROSE MAMA ROSE MAMA ROSE EPMA smiles warmly, disappears. ROSE is finally alone, Rejected dresses are ed about the room ‘She considers the scene.) (CLOSE THE WINDOW, DRAW THE CURTAIN HIDE THE BRIGHT LIGHT OF THE MOON HANG THE DRESSES, UGLY DRESSES NO ONE LIKES MAROON WIPE OFF ALL THAT STUPID LIPSTICK RETURN THE EARRINGS TO THEIR CASE __ MAKEUP WON'T MAKE ANY DIFFERENCE _ TS STILL THE SAME OLD FACEDocricur (ROSE) ISN'T IT FUNNY? ISN'T IT FUNNY? ISN'T IT FUNNY YOU BELIEVED THAT IT WAS REAL? PRETTY FUNNY ALL DISASTERS HAVE AN UPSIDE YOU CAN FIND ONE IF YOU TRY YOU WENT DANCING, YOU WERE DANCING YOU WERE DANCING WITH A GUY ISN'T IT FUNNY? ISN'T IT FUNNY? (But it's not fanny. She grows angry with herself) AREN'T YOU FUNNY? PATHETICLLY NAIVE AND DESP'RATE TO BELIEVE YOU CAN ALWAYS FIND SOME GOOD WELL YOU MISUNDERSTOOD OR YOU'VE BEEN DREAMING ‘CAUSE PEOPLE ARE JUST CRUEL SHUT THE LIGHT OFF, TURN THE BED DOWN NO MORE CRYING, DON’T YOU DARE YOU'LL WAKE UP SOME TIME TOMORROW: AND FORGET TO EVEN CARE ISN'T IT FUNNY? ISN'T IT FUNNY? FOR A MOMENT, HE CONVINCED ME I COULD BE PRETTY FUNNY (ROSE has pushed all the dresses off the bed, onto the floor. She lies down, settling into bed (As the coda ofthe song plays out, we find BIRDLACE and PETE on the busin 1967, 5 atthe start of the show. BIRDLACE continues to stare out the window, lst in his own thoughts and memories, PETE stirs.)bus in 1967, 2 lost in his Docrient PETE You still up? Better try for some shut-eye, Kid. Won't be getting to Frisco ‘til morning. (PETE turns away, resumes sleep. Lights fade on BIRDLACE as the bus barrels fowards San Francisco in the dead of night.) END OF ACT ONE,Docricur ACT TWO. SCENE ONE. After the “Entracte,” we ind BIRDLACE and BERNSTEIN in an ARCADE, with accompanying ambient sounds. Later the same night. BERNSTEIN uses the wath ete Peepshow. BIRDLACE plays shooting game, clearly agitated, boiling woth an anger he can’t define and doesn’t know how to addres. He slams the mache in frustration.) BERNSTEIN {im telling you, they got this thing rigged. First it stops just when she's about to take off her brassiere—now it shuts off when she's this close to losing her pantiee BIRDLACE (iolent, involved in the shooting game) Yeah, take it! Right between the eyes! BERNSTEIN deposits another coin) Come on, baby, it’s your friend Bernstein, Don't break my heatt now, (BOLAND enters, holding two beers. He goes to BIRDLACE.) BIRDLACE Chest BOLAND Got you a beer. BIRDLACE Sonofabitch! BOLAND (offering the beer) Here. Marine, BERNSTEIN (to the peepshow machine) C'mon, e’mon, ¢’mon, ‘mon. BIRDLACE (to the game) ‘Aw fuck you, you goddasnn sonofabitch! Vll blow your fuckin’ head off! (BOLAND notices BIRDLACE's odd, intense behavior.)Docricur - 67 = BOLAND ‘whats your problem? Pissed you got your ass kicked by a gitl tonight? BIRDLACE (turns on BOLAND, suddenly charging) @ he fuck you tryin’ to say, you miserable piece of shit? BOLAND Hey, am ARCADE, with IN uses the \Y agitated, boiling 2 slams the machine BIRDLACE she’s about to take er panties! BOLAND j Tm just drinkin’ a beer. He's just lookin’ at titties, BERNSTEIN BOLAND You need to stand down, ;DLACE backs off) ly got under your skin, huh, BIRDLACE lincing himself, rationalizing) hrowing dogfights since they been defending the BOLAND BIRDLACE BOLAND BERNSTEIN