Billy elliot (youth) libretto

SPECIALLY ADAPTED FOR BILLY YOUTH THEATRE Book and Lyrics by Lee Hall

© 2009 Billy London Limited. All Rights Reserved.

Book and Lyrics by Lee Hall.

THIS MATERIAL IS THE PROPERTY OF BILLY LONDON LIMITED AND IS INTENDED AND RESTRICTED SOLELY FOR USE BY BILLY LONDON LIMITED AND THOSE INDIVIDUALS WHO HAVE REGISTERED TO BECOME PARTICIPANTS IN THE BILLY YOUTH THEATRE PROJECT WITH BILLY LONDON LIMITED IN ACCORDANCE WITH THE TERMS AND CONDITIONS OF THE BILLY YOUTH THEATRE PROJECT. THE DISTRIBUTION, DISCLOSURE, PUBLIC PERFORMANCE OR RECORDING (OTHER THAN IN THE COURSE OF THE BILLY YOUTH THEATRE PROJECT) BROADCASTING OR TRANSMISSION OF THE MATERIAL IN ANY WAY TO UNAUTHORIZED PERSONS, OR FOR PURPOSES OTHER THAN PARTICIPATION IN THE BILLY YOUTH THEATRE PROJECT, SUCH AS THE UNAUTHORISED SALE, COPYING OR REPRODUCTION OF THIS MATERIAL IN ANY FORM WHETHER IN WHOLE OR IN PART IS STRICTLY PROHIBITED.

BILLY ELLIOT CAST LIST Billy Elliot Mrs Wilkinson Dad Tony Grandma Michael

Miner’s son.

Billy’s dance teacher.

Billy’s dad, Jackie Elliot. Miner and widower.

Billy’s older brother. Miner.

Billy’s grandmother who lives with the family.

Billy’s best friend.

George Big Davey Dead Mum Mr. Braithwaite Debbie Clipboard Woman Posh Dad Posh Boy Stage Manager ‘Scab’ Lesley Tall boy Small boy Pit Supervisor Eric

Boxing teacher and miner.

Miner. Active in strike.

Billy’s mother who he imagines and converses with.

Miner and sometimes piano player.

Mrs Wilkinson’s daughter and student in her ballet class.

Snooty woman running the Royal Ballet School auditions.

Father of young boy auditioning for the Royal Ballet School.

Young boy auditioning for the Royal Ballet School.

Stage Manager at the Royal Ballet School auditions.

Local strike breaker.

Local woman, active in strike.

One of the local kids.

One of the local kids.

Supervisor of the local coal pit during the strike.

Local strike deputy.

Panellists Ballet girls

Miners Policemen Women

Panellists at the Royal Ballet School auditions.

Girls in Mrs Wilkinson’s ballet class (Named in script – Keely Gibson, Susan Parkes, Sharon Percy, Angela Hobson, Tracey Atkinson, Karen Davidson, Julie Hope, Alison Summers. Additional names if required, Tina Harmer, Margaret Gormley).

Group/chorus of miners.

Group/chorus of policemen.

Group/chorus of women.

ACT 1 SCENE 1: THE STARS LOOK DOWN As the play starts the cast of miners are all sat in the village hall waiting for news of the strike alongside other members of the community. They start to sing: THROUGH THE DARK AND THROUGH THE HUNGER THROUGH THE NIGHT, AND THROUGH THE FEAR THROUGH THE FIGHT AND YEARS OF HARDSHIP THROUGH THE STORMS AND THROUGH THE TEARS AND ALTHOUGH YOUR FEET ARE WEARY AND ALTHOUGH YOUR SOUL IS WORN AND ALTHOUGH THEY’LL TRY TO BREAK YOU AND ALTHOUGH YOU’LL FEEL ALONE WE WILL ALWAYS STAND TOGETHER IN THE DARK, RIGHT THROUGH THE STORM WE WILL STAND, SHOULDER TO SHOULDER TO KEEP US WARM. A late comer arrives: WO M A N Any news?

TO N Y Still waiting.

She sits down – they carry on singing: AND THE STARS LOOK DOWN ON THE MEAN AND HUNGRY AND THE STARS LOOK DOWN AND SHOW THE WAY AND THE STARS LOOK DOWN AND WE’LL STAND TOGETHER TO SEE A DAY WHEN THE STARS LOOK DOWN AND KNOW OUR HISTORY WHEN THE STARS LOOK DOWN UPON OUR PAST AND THE STARS LOOK DOWN AND SEE A FUTURE BRIGHT AT LAST WHEN WE’LL STAND AS ONE, BENEATH THE SUN. BIG DAVEY leads the singing of the next verse – keeping their spirits up: B I G D AV EY AND THOUGH OUR HANDS ARE BRUISED AND BLEEDING AND WER LUNGS C H O RU S AND WER LUNGS

1

B I G D AV EY ARE FULL WITH DUST C H O RU S ARE FULL WITH DUST B I G D AV EY AND WER HEARTS C H O RU S AND WER HEARTS B I G D AV EY ARE NEAR TO BREAKING C H O RU S ARE NEAR TO BREAKING B I G D AV EY WE WILL NEVER C H O RU S WE WILL NEVER B I G D AV EY FORGO THE TRUST C H O RU S FORGO THE TRUST WE WILL FIGHT THROUGH PAIN AND HUNGER EVERY ARROW, EVERY KNIFE WE WILL NEVER GIVE THE HOPE UP OF A PROUD AND HONEST LIFE SO WE WILL ALWAYS STAND TOGETHER (I’m warnin’ you) THROUGH THE FROST, THE HAIL, THE SNOW THE STARS ARE OUR REDEMPTION AND SO WE KNOW. Suddenly GEORGE appears. Everyone stops and looks at him.

G E O RG E We’re out.

They are all worried about what this will mean. Then DAVEY sings to them: D AV EY THE STARS LOOK DOWN WHEN WE’RE ABANDONED, LOOK DOWN IN THE HEART OF NIGHT AND THE STARS LOOK DOWN AND GIVE US VISION (Come on sunshine) TO SEE THE LIGHT. 2

Everyone joins in. They stand and walk forward as if on a march or picket line. They have placards. They face the audience.

C H O RU S THE STARS LOOK DOWN UPON OUR STRUGGLE THE STARS LOOK DOWN AND SEE THE PAST THE STARS LOOK DOWN AND SEE A FUTURE BRIGHT AT LAST WHEN WE’LL STAND AS ONE, BENEATH THE SUN C H O RU S ALL OUT TOGETHER ALL OUT AS ONE ALL OUT FOR VICTORY TILL WE’VE WON. ALL OUT TOGETHER ALL OUT AS ONE ALL OUT FOR VICTORY ALL OUT TILL WE’VE WON B I L LY TAKE ME UP AND HOLD ME GENTLY RAISE ME UP AND HOLD ME HIGH THROUGH THE NIGHTS, UNDER DARKNESS WILL COME A DAY WHEN WE WILL FLY AND ALTHOUGH WE’VE BEEN REJECTED AND ALTHOUGH WE’VE BEEN OUTCAST WE WILL FIND A NEW TOMORROW WHEN WE COME TO REST AT LAST AND WE WILL STAND THERE PROUDLY AND WE WILL NEVER WALK ALONE AND WE WILL BE RETURNED BACK TO OUR HOME C H O RU S WHEN WE STAND AS ONE

ALL OUT TOGETHER WHEN WE STAND AS ONE

ALL OUT AS ONE WHEN WE STAND AS ONE

ALL OUT FOR VICTORY WHEN WE STAND AS ONE

TILL WE’VE WON C H O RU S WHEN WE STAND AS ONE

ALL OUT TOGETHER WHEN WE STAND AS ONE

ALL OUT AS ONE 3

WHEN WE STAND AS ONE

ALL OUT FOR VICTORY WHEN WE STAND AS ONE

TILL WE’VE WON WHEN WE STAND AS ONE

ALL OUT TOGETHER WHEN WE STAND AS ONE

ALL OUT AS ONE WHEN WE STAND AS ONE

ALL OUT FOR VICTORY

ALL OUT TILL WE’VE WON

SCENE 2: BREAKFAST MUSIC CUE 1a. STARS LOOK DOWN u/s DAD is cooking breakfast – he has a frying pan in his hand throughout the scene.

GRANDMA is looking for her pasty. TONY has his feet up on the table and his boots are where breakfast should be. BILLY is (off stage) presumably upstairs.

DAD Billy! Billy! Billy, get downstairs now! Your breakfast’s ready!

Tony, what the hell are you doing?

TO N Y Nothing.

DAD We’re supposed be on the picket line in five minutes!

TO N Y Get off me back, Dad. DAD As soon as you get off your fat arse.

(Setting the table) BILLY!! You’re gonna be late, son.

TO N Y Leave the bairn alone, will ya?

DAD Billy, I’m warning ya!

(Notices GRANDMA by the stove) Grandma – what you doin’?

G R A N D MA I’m looking for me pasty.

4

DAD Forget about yer pasty. I’m making you a nice cooked breakfast. (to Tony) Boots off the table.

DAD takes TONY’S boots off the table.

G R A N D MA (to Tony) Have you seen me pasty?

DAD Billy! Get down here now or I’ll tan yer hide for ya.

B I L LY Coming!

G R A N D MA What he lacks is a mother’s touch.

DAD What he lacks is a kick up the arse. Sit down!

(He takes her to the table) Look, I’ve got yer breakfast.

G R A N D MA I don’t want a cooked breakfast.

DAD Billy!

G R A N D MA Not your cooked breakfast.

The food in this house has been inedible since yer mam died.

Enter BIG DAVEY. B I G D AV EY Morning, Jackie. Ah, breakfast.

G R A N D MA Oh no.

D E P U T Y (ERIC) Oi lads, breakfast!

The miners enter and scavenge for breakfast.

5

MINERS (at separate times, as they enter) Good morning, Edna. (etc.)

DAD

(to BIG DAVEY, as he eats something from DAD’S pan)

Oi. I paid for that.

B I G D AV EY All property is theft, Comrade.

M I N E R 1 (DAVID L.) Good morning, Edna!

G R A N D MA What’s good about it? They’ve purloined me bloody pasty.

THE MINERS grab the pan and eat the breakfast DAD was cooking.

DAD Get lost, the lot of yous - You’re eating us out of house and home.

LESLEY enters.

L E S L EY Oi! The police are bussing the scabs in early. Come on!

Beat. Then MINERS shout “Maggie Maggie Maggie, Out, Out,Out” as they run out with TONY. DAD Billy, yer fifty pee for boxing is on the side there.

Only GRANDMA is left. BILLY comes downstairs.

B I L LY Hello, Grandma.

G R A N D MA Hello, Son. B I L LY

(putting a pasty in front of her)

Grandma, I found this in the laundry basket.

G R A N D MA What the hell is that?

6

B I L LY It’s yer pasty.

G R A N D MA Oh, thank the Lord, I thought they’d eaten it.

B I L LY Nobody’d eat that, Grandma – it’s mank.

G R A N D MA (as she seasons the pasty) You lot have it too bloody easy. I can remember the General Strike.

B I L LY Grandma!

G R A N D MA What?

B I L LY You’ll make yourself ill.

(He takes it away from her) Look, it’s got mould on it.

You’re driving me mental. Anyway, how come you can remember the General Strike, but you can’t remember where you put yer pasty?

G R A N D MA (having tasted the pasty) Ugh! that is absolutely disgusting.

GRANDMA sets off across the stage.

B I L LY Where you going now?

G R A N D MA I’ve got a nice sausage roll on the landing.

GRANDMA leaves.

BILLY clears the table and picks up the milk.

DEAD MUM enters.

MUSIC CUE 1b. THE LETTER u/s AND TRANSITION TO BOXING D E A D M UM Oi, little un. What have I told you about drinking out of the bottle?

7

B I L LY Hello, Mam. D E A D M UM Will you look at the state of this kitchen.You’re gonna be late.

Have you got yer fifty pee?

B I L LY Dad gave us it.

D E A D M UM Have you got yer trainers?

B I L LY No! (He runs to get them) D E A D M UM They’ll be in your bedroom.

B I L LY No, they’re not... found them!

BILLY comes back. MUM has gone.

B I L LY Mam? Mam?

SCENE 3: BOXING Suddenly MICHAEL, TALL BOY and SMALL BOY run on – followed by GEORGE. They are training for boxing.

G E O RG E Come on get them knees up you lazy little buggers. Right drop down there and give us twenty.

M I C H A E L Ow! G E O RG E (to BILLY) What bloody time do you call this? Come on get changed. Now. B I L LY Do I have to?

8

G E O RG E Course you have. You haven’t even done any boxing yet.

B I L LY But it’s nearly finished.

G E O RG E Get changed or I’ll knock yer block off.

He clips Billy along the head.

B I L LY Ow. The small boy struggles with his press ups.

S M A L L B OY Jesus! Jesus! Jesus!

G E O RG E D’ya call them press ups you lazy little git? Right yous lot piss off.

Michael follows but George stops him. (to MICHAEL) Oi, where do you think you’re going?

MICHAEL I’m pissing off.

G E O RG E You’re not going anywhere. You can stop here and fight Joe Bugner, there.

MICHAEL Ow! But I need the toilet, sir.

B I L LY It’s not my fault I’m late; I had to see to me Nana.

G E O RG E What’s the matter? Anyone would think you didn’t like boxing.

B I L LY I don’t G E O RG E Fifty pee. You bonny lad are getting your fifty pee’s worth whether you like it or not.

Right. Hit him.

MICHAEL Do I have to?

9

G E O RG E Of course you have to!

TA L L B OY Please, sir, can I have a word?

G E O RG E Yes, you can have two – bugger and off. Ding ding! Seconds out; round one. Come on; let’s do a bit of boxing. Come on!

BILLY prances round.

Whoa! Whoa! Whoa! What the hell are you doing?

B I L LY I’m just trying to put him off.

G E O RG E Put him off? It’s not a tea dance, man. Hit him in the heed.

B I L LY Are you sure?

G E O RG E Of course, I’m bloody sure.

He hits Billy who falls to the ground.

MICHAEL Sorry, Billy.

G E O RG E ‘Sorry Billy?’ ‘Sorry Billy’? He’s supposed to hit you, you’re supposed to hit him, it’s boxing.

Oh for Christ’s sake. (to MICHAEL) Out now! (to BILLY) You can stop here and practise with the bag by yerself. Oh aye, and make sure Mrs Wilkinson gets these keys before you leave.

GEORGE exits B I L LY Who?

10

SCENE 4: SHINE The BALLET GIRLS run in – excitedly.

GIRLS She’s coming. She’s coming.

Mrs Wilkinson arrives.

Silence as BALLET GIRLS see MRS WILKINSON.

.

M R S W I L KINSON CHAIRS! Music starts.

BALLET GIRLS set chairs down. MRS WILKINSON walks down stage through line of chairs.

Oi, Rocky, bugger off.

Arms!

G I R L S ARMS 2 3 4

MRS WILKINSON Alison Summers get that coat off.

M R S W I L KINSON Full plié G I R L S FULL PLIE 2 3 4

MRS WILKINSON Get rid of the pie Tracey Atkinson.

M R S W I L KINSON Up. G I R L S UP 2 3 4

MRS WILKINSON I’m telling you Tracey, you’ll end up like your mother.

M R S W I L KINSON AND SECOND G I R L S SECOND 2 3 4

BILLY Miss... Keys.

M R S W I L KINSON Who the hell are you?

B I L LY Billy. Billy Elliot.

11

M R S W I L KINSON Pleased to meet you I’m Margot, Margot Fonteyn; it was a rhetorical question, now piss off over there.

KEELY exits TRY TO KEEP YOUR ARMS IN LINE COME ON AT LEAST PRETEND YOU’RE DOING FINE Don’t forget the golden rule, never hide your light under a bushel. No matter how big the bushel, Tracey Atkinson.

YOU CAN WOW ’EM EVERY TIME Even you, Susan Parkes!

ALL YOU HAVE TO DO IS SHINE Jetés! That’s it girls, so our tawdry little lives are transformed by the power of art FORGET ABOUT CONTENT Oi you!

FOCUS ON STYLE STEAL AN INCH ON THEM AND THEY’LL GIVE YOU A MILE... Chair!

Everybody ready for the big number.

And smile, smile, SMI--ILE! Showtime. Right, we’ve only got another seven and a half months to rehearse so for Christ’s sake concentrate!

IT DOESN’T MATTER IF YOU’RE LARGE OR SMALL TRAPEZOID, OR SHORT OR TALL EVEN IF YOU CAN’T DANCE AT ALL ALL YOU REALLY HAVE TO DO IS SHINE. IT DOESN’T MATTER IF YOUR LIFE’S A MESS THE WHOLE PROCESS WILL COALESCE GIRLS, JUST TRY TO EFFERVESCE ALL YOU REALLY HAVE TO DO IS SHINE. GIVE EM THAT OLD RAZZLE DAZZLE TURN ON THE OLD PIZZAZZ

THERE WON’T BE TIME TO SHILLY SHALLY GIVE IT BACKBONE, GIVE IT WELLY BOWL EM OVER, KNOCK ‘EM OUT SHOW EM WHAT LIFE IS ALL ABOUT GIVE EM THAT OLD RAZZLE DAZZLE AND SHINE Oi you join in or bugger off!

BILLY: Miss, the keys!

IT DOESN’T MATTER IF YOU’RE UNEMPLOYED ONLY PARTIALLY HUMANOID AN OCTOPOID WHOSE MIND’S A VOID ALL YOU REALLY HAVE TO DO IS SHINE Come on Debbie it’s your big moment!

IT DOESN’T MATTER IF YOU’RE SPECIAL NEEDS MAIMED OR LAME, OR BORN IN LEEDS 12

DEBBIE: Mam, Mam

THEY LOVE TO SEE A HEART THAT BLEEDS ALL YOU REALLY HAVE TO DO IS SHINE. GIVE EM THAT OLD RAZZLE DAZZLE TURN ON THE OLD PIZZAZZ THERE WON’T BE TIME TO SHILLY SHALLY GIVE IT BACKBONE, GIVE IT WELLY BOWL EM OVER, KNOCK ‘EM OUT SHOW EM WHAT LIFE IS ALL ABOUT GIVE EM THAT OLD RAZZLE DAZZLE AND SHINE! Where the bloody hell do you think you’re going?

B I L LY I’m going home.

M R S W I L KINSON No you’re not, you haven’t done any dancing yet.

B I L LY What do you mean dancing?

M R S W I L KINSON You have to stay and do the show.

B I L LY Oh no. It’s gonna be rubbish.

M R S W I L KINSON I COULDN’T GIVE A MONKEY’S CUSS I COULDN’T GIVE A FIG COME ON SON GET OVER IT IT’S ALL PART OF THE GIG Ballet Girls re-enter GIVE EM THE OLD RINKLE TINKLE out in SHOW EM THE OLD KABAM line!

KNOCK EM SIDEWAYS BLOW THEIR MINDS OUT THERE’S NO TIME FOR HALF TIME FROLICS GRAB THE BUGGERS BY THE BOLLOCKS SHOW EM WHAT CLASS IS ALL ABOUT GIVE EM THE OLD RAZZLE DAZZLE AND SHINE! IT DOESN’T MATTER IF YOU’RE SHORT OR SQUAT CEREBRALLY CHALLENGED, COMPLETELY SHOT YOU MIGHT HAVE IT OR MIGHT NOT ALL YOU REALLY HAVE TO DO IS ALL YOU REALLY HAVE TO DO IS SHINE 13

GIVE EM THAT OLD RAZZLE DAZZLE AND SHINE GIVE EM THAT OLD RAZZLE DAZZLE AND SHINE AND SHINE AND SHINE Girls start to leave M R S W I L KINSON Fifty pees. Come on fifty pees.

You owe me fifty pee.

B I L LY What for?

W I L K I N S ON Your lesson.

B I L LY What you on about? That wasn’t a lesson.

W I L K I N S ON Of course it was a lesson. Fifty pee.

B I L LY I haven’t got fifty pee. I spent it on boxing.

W I L K I N S ON Well, you can bring it next week.

B I L LY What do you mean “next week’?

W I L K I N S ON Well, you’re coming again aren’t you.

B I L LY You’ve got to be joking. To this crap?

W I L K I N S ON Please yer Bessie. Debbie bring me stuff. Debbie!

MRS WILKINSON and DEBBIE leave. BILLY looks round to see GRANDMA looking in a shoe box she is carrying.

14

SCENE 5: GRANDMA SCENE B I L LY Grandma!

What are you doing?

G R A N D MA I know it’s in here somewhere. You’ve hidden it.

B I L LY Grandma. That’s my private stuff!

G R A N D MA What’s that?

B I L LY Nothing. It’s private. Mam left it for me.

G R A N D MA Where’s she gone?

B I L LY She’s dead Grandma. You were at the funeral.

G R A N D MA Was I? B I L LY Course you were. She was buried next to Grandad.

G R A N D MA Not him, ‘un all. Christ, Billy, they’re dropping like flies.

B I L LY Come off it, do you really not remember about Grandad?

G R A N D MA Of course I do.

How could I forget your Grandad, Billy. We were married thirty three year.

B I L LY So what was he like, like?

G R A N D MA He was a complete bastard.

GRANDMA’S Song I HATED THE SOD – FOR THIRTY THREE YEAR WE SHOULD NEVER HAVE MARRIED OF THAT I’M QUITE CLEAR 15

HE SPENT THE HOUSEKEEPING MONEY ON WHISKY AND BEER AND NEVER LIFTED A FINGER TIMES WERE HARD, BUT THE SWINE ROLLED BACK PISSED SO WE’D FIGHT AND HE’D SWING AND HE RARELY MISSED SO I’D CLOBBER THE SOD WHEN HE COULDN’T RESIST ASLEEP, YOU CAN’T LIFT A FINGER. BUT WE’D GO DANCING... AND HE’D HOLD ME TIGHT HE WAS AIR, HE WAS WATER, HE WAS BREATH, HE WAS LIGHT AND HE WOULD HOLD ME THERE, WITH ALL HIS MIGHT. IT WAS BLISS FOR AN HOUR OR SO BUT THEN THEY CALLED TIME TO GO AND IN THE MORNING WE WERE SOBER. (Optional verse) O HE’D DRINK AND HE’D TALK JUST LIKE A FOOL LIE LIKE A BAIRN AND SNORE LIKE A MULE RARELY WAS SOBER, PRETTY MUCH WAS THE RULE AND HE NEVER LIFTED A FINGER I SUPPOSE TIMES WERE HARD, THINGS WERE DIFFERENT THEN WOMEN WERE WOMEN AND MEN THEY WERE MEN SEVENTEEN, THAT WAS IT, YOUR LIFE ENDED WHEN YOU HAD A RING AROUND YOUR FINGER. BUT WE’D GO DANCING, HE WAS ME OWN BRANDO AND FOR A MOMENT THERE MY HEART WAS A-GLOW WE HAD DUST IN OUR HAIR AND NOWHERE TO GO BUT WE WERE FREE FOR AN HOUR OR THREE FROM THE PEOPLE WE HAD TO BE BUT IN THE MORNING WE WERE SOBER BUT IF I WENT THROUGH MY TIME AGAIN, OH I’D DO IT WITHOUT THE HELP OF MEN OR AT LEAST YOUR GRANDAD BUT THEN AGAIN, YOU KNOW BEST NOT TO LINGER WHAT IS THE USE OF DREAMING NOW? I HAD MY CHANCE, WELL ANYHOW, IF I’D ONLY KNOWN THEN WHAT I KNOW NOW I’D’VE GIVEN THEM ALL THE FINGER AND GONE DANCING, AND NOT GIVE A SHIT AND SPIN AROUND AND REEL AND LOVE EVERY BIT AND I’D DANCE ALONE AND ENJOY IT AND I’D BE ME FOR AN ENTIRE LIFE. INSTEAD OF SOMEBODY’S WIFE AND I NEVER WOULD BE SOBER. AND I NEVER WOULD BE SOBER.

16

SCENE 6: SOLIDARITY A line of POLICEMEN come on stage. BILLY looks at them.

B I L LY What are yous doing?

P O L I C E MAN Keeping the peace.

B I L LY What for, like? There’s nowt going on.

P O L I C E MAN Well, we’re doing a good job aren’t we? Now sod off.

BALLET GIRLS run past on their way to class DEBBIE So are you going to go back then?

B I L LY What, to ballet?

DEBBIE Plenty of lads do ballet.

B I L LY Aye, puffs.

DEBBIE Not necessarily.

B I L LY Who like?

DEBBIE What about Wayne Sleep. He’s not a puff.

B I L LY Anyway, I don’t know why you bother going. You’re crap at it.

DEBBIE No I’m not. Anyway, I don’t have much choice do I? M R S W I L KINSON Oi Debbie, get a move on.

B I L LY How do you put up with her?

17

DEBBIE Hey, how would you like it if I slagged off your mam.

B I L LY My mam’s dead.

DEBBIE Oh. See you then.

DEBBIE runs into class.

M R S W I L KINSON Everybody, positions, please.

Girls to the front and 5 6 7 8 turn!

And rocking the baby stretch...

Pie Tracey Atkinson. Debbie, you’re late girl.

And washing the windows 5 6 7 8 Hello.

B I L LY Hello.

M R S W I L KINSON Shoes.

B I L LY But I haven’t got any.

M R S W I L KINSON Well, you have now. Put them on.

As two groups.

B I L LY I can’t wear them. I’ll look like a right sissy.

W I L K I N S ON You should have thought about that before you came in.

Again, 6, 7, 8.

Arms Susan Parkes.

Crossing!

Well, are you joining in or what?

Debbie count girl, count for Christ’s sake. Oi, Billy Elliot! Airing the sheets, c’mon, and hang them on the other line.

B I L LY What am I supposed to do?

W I L K I N S ON Travelling back (that’s lovely).

18

B I L LY What do I do?

W I L K I N S ON Follow the others.

Marching forward to Socialism and Arms Sharon Percy.

Floor barre.

B I L LY What barre?

WILKINSON blows whistle W I L K I N S ON PLIE TENDU SECOND PLIE TENDU CLOSE DEVELOPE DEVANT LEFT LEG POLICE OI GEORDIE WANNA SEE SOMETHING YOU’VE NEVER SEEN BEFORE AND THAT’S JUST OFF THE OVERTIME WANNA SEE SOME MORE? MINERS GO BACK HOME TO LONDON TOWN WE’RE NOT SCARED OF YOUR NOISE YOU MIGHT THINK YOU’RE BIG AND HARD BUT YOU’RE MAGGIE THATCHER’S TOYS M I N E R S AND POLICE SOLIDARITY SOLIDARITY SOLIDARITY FOREVER ALL FOR ONE AND ONE FOR ALL SOLIDARITY FOREVER SOLIDARITY SOLIDARITY SOLIDARITY FOREVER ALL FOR ONE AND ONE FOR ALL SOLIDARITY FOREVER WILKINSON blows whistle

19

MRS WILKINSON AND RIGHT LEG LEFT LEG TWO LINES

W I L K I N S ON Girls to the centre. Right, the lesson you’ve all been gagging for, pirouettes. I want you all to find a spot on that wall and focus on a spot. Do not take your eyes off that spot, then you turn your bodies round and your head follows but your head is the last thing to leave and the first thing to come back, understand?

GIRLS Yes Miss W I L K I N S ON Why the hell do I bother?

OK, into the middle, and thank you Mr Braithwaite and here we go and 1 2 3 Billy 5 6 7 8 9 W I L K I N S ON Absolutely bloody hopeless, all of yous. And you’re the worst of the bleeding lot Billy Elliot.

OK forget it, everybody into the corner please.

And chaînés, and 5 6 7 8 go go go, beautiful arms Susan Parkes, lovely, much better Angela Hobson, gold star Keely Gibson, lovely lovely, try not to kill yourself Tracey Atkinson.

Oi, Rudolph Nureyev, over here.

(BILLY chaînés) OK, class dismissed.

POLICE KEEP IT UP TILL CHRISTMAS LADS, IT MEANS A LOT TO US WE SEND OUR KIDS TO PRIVATE SCHOOL ON A PRIVATE BUS WE’VE GOT A LOT TO THANK YOU FOR GEORDIE YOU’RE A CORKER A NICE EXTENSION ON THE HOUSE AND A FORTNIGHT IN MAJORCA M I N E R S AND POLICE SOLIDARITY, SOLIDARITY SOLIDARITY FOREVER MINERS DON’T WORRY LADS WE’RE ON YOUR SIDE SOLIDARITY FOREVER. SOLIDARITY, SOLIDARITY SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING CLASS, SOLIDARITY FOREVER. W I L K I N S ON You’re late.

20

G E O RG E Look Jackie, I wanted to have a word. I mean, if this is all a bit difficult for you, we could sort something out, you know.

GIRLS 12345678

DAD What you on about?

12345678

G E O RG E I mean if things are a bit tight, you know. With the fifty pees.

DAD Fifty pees?

12345678

G E O RG E I mean your Billy. He hasn’t been at boxing for at least four weeks now.

D A D What do you mean he hasn’t been goin’ to boxing? If he hasn’t been goin’ to boxing where the bloody hell has he been going?

GIRLS 12345678

GIRLS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER. WE’RE PROUD TO BE WORKING CLASS SOLIDARITY FOREVER. MINERS Scab, scab!

WILKINSON blows whistle W I L K I N S ON Quiet in my lesson.

DAD Oi Billy. Where the bloody hell you been going Saturday mornings?

B I L LY Boxing, where’d you think?

TO N Y Dad. DAD Boxing?

21

TO N Y Dad! Howay man B I L LY Tony’s waiting.

DAD I’ll see you later.

W I L K I N S ON Right calm down girls try to concentrate. Do some subra sous, 5 6 7 8, shoulders down, pointed feet, pretty arms Sharon, that’s both arms Keely Gibson. Feet in fifth, tendu second, thank you Debbie, plié fifth, retiré, and 5,6,7,8.

GIRLS 12345678 DEBBIE You’re crap at this.

B I L LY No I’m not.

W I L K I N S ON Lovely legs, Tina. Arms, Debbie.

ARMS! Ton levé!

Susan Parkes you look like a spastic starfish.

B I L LY You’re crap at that.

DEBBIE Oh piss off, will you.

W I L K I N S ON Oi! Attitude promenade. Prepare and...

What’s the time? No, on the wall. Pick up the biscuit.

And that’s much better Sharon, very good. Arms up Billy. Debbie get your bum in for Christ’s sake. Other way round Susan Parkes. Lovely little fairies on top of your music boxes.

MRS WILKINSON manipulates BILLY’S arabesque.

W I L K I N S ON Elbow… Wrist… Tummy B I L LY Chin.

DEBBIE Please Mam, can we have a go?

22

W I L K I N S ON Baskets of pansies ladies. Yes thank you, Mr. Braithwaite, 5678 POLICE YOU LITTLE WORMS YOU LITTLE MOLES YOU LITTLE GEORDIE SHITS WE’RE HERE TO KICK YOUR GEORDIE ARSE YOU LITTLE GEORDIE GITS MINERS WE’RE TERRIFIED, WE’RE PETRIFIED, THOSE WORDS ARE SO OBSCENE WE’LL BOOT YOUR BLOOMIN’ COCKNEY SKULLS, RIGHT BACK TO BETHNAL GREEN MINERS & GIRLS AND ONE [TWO THREE] AND TWO [TWO THREE] AND THREE [TWO THREE] AND FOUR [TWO THREE] AND FIVE [TWO THREE] AND SIX [TWO THREE] AND SMILE, SMILE, SMILE, SMILE. MINERS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING-CLASS SOLIDARITY FOREVER. SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING-CLASS SOLIDARITY FOREVER. GIRLS 12345678 Etc MINERS COME ON LADS GET AT THEM REALLY GET STUCK IN IT’S NOT A BLEEDING TEA DANCE. DO THE BUGGERS IN. MINERS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING-CLASS SOLIDARITY FOREVER. SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING-CLASS SOLIDARITY FOREVER.

23

W I L K I N S ON SHINE, JUST SHINE SHINE, JUST SHINE ALL YOU HAVE TO DO IS SHINE Etc W I L K I N S ON Prepare fourth pirouette, finish!

MINERS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING-CLASS SOLIDARITY FOREVER...

ALL (CONT ’D) EVER EVER EVER EVER EVER EVER EVER EVER FOREVER FOREVER FOREVER FOREVER

SCENE 7: DAD DISCOVERS BILLY DAD What the bloody hell’s going on here? I thought you were at boxing.

B I L LY It’s healthy, man, Dad. It’s just like sport.

DAD You’ve got to be joking son. Ballet.

B I L LY It’s not just puffs that do ballet, you know. Look at that Wayne Sleep.

DAD Wayne Sleep? He’s as bent as a nine bob note, son.

W I L K I N S ON Mr Elliot, I’ve never heard anything so bigoted and ridiculous in my life.

DAD Don’t you call me bigoted, you ignorant cow.

That’s it. Out now. You’re banned. Full stop. No more bloody boxing, no more bloody ballet.

From now on, you’re staying home to look after your Nana.

B I L LY This is ridiculous. You’re supposed to be encouraging me to do things.

24

DEBBIE I don’t see why he shouldn’t do ballet.

T R AC EY Fred Warmsley used to do it.

KAREN But he was crap.

DAD I don’t give a sod about Fred Warmsley, or any of yous. You’re banned. Full stop.

B I L LY I hate you. You’re a bastard. Oh Shit!

BILLY exits.

W I L K I N S ON Well, that was a very mature and intelligent way to handle the situation.

DAD Don’t you ever go near our Billy again.

MR BRAITHWAITE exits as DAD exits after him. MR. BRAITHWAITE reappears.

W I L K I N S ON OK girls. Class dismissed.

MUSIC CUE 4a. TO TOILETS u/s

SCENE 8: TOILETS SCENE B I L LY What did you have to do that for? Now I’m banned. I don’t want to come to your stupid ballet anyway. I’m not even any good at it.

W I L K I N S ON Listen, I know this might sound a bit weird, but I’ve been thinking about the Royal Ballet School.

B I L LY Aren’t you a bit old, miss?

W I L K I N S ON Not for me you stupid idiot. For you. Look, they have regional auditions soon in Newcastle.

B I L LY But what about me Dad? 25

W I L K I N S ON Look, it’d take a lot of work but I thought... well, if you had some proper lessons with me on yer own, you might have a chance of getting in.

B I L LY But I’m banned, Miss.

W I L K I N S ON Look, just come after school. Nobody else need know.

B I L LY You don’t fancy uz, do you, miss?

W I L K I N S ON No, funnily enough I don’t. Look, I’ll be here on Monday night. Just bring some things with you and we’ll make up a special dance for the audition. See you Monday.

MRS WILKINSON exits.

MUSIC CUE 4b. ELECTRICITY u/s

SCENE 9: EXPRESSING YOURSELF B I L LY Michael! Michael!

Bloody hell!

Mi c h a e l What?

B I L LY You’re wearing a dress.

MICHAEL I know. Do you want a go?

B I L LY What you doing?

MICHAEL I’m just trying it on you.

Oh dear! That’s hideous.

B I L LY Won’t we get in trouble?

26

MICHAEL ’Course not – me Dad does it all the time. Hold it.

B I L LY Michael. You know that week after I had to stay behind at boxing. When I gave the wife the key. I did some ballet.

MICHAEL You did ballet?!

B I L LY Just a few steps and that.

MICHAEL It’s bloody weird, if you ask me.

B I L LY The wife says I’m good at it. She’s asked us to do an audition for the Royal Ballet School.

MICHAEL Do you get to wear a tutu?

B I L LY I’m serious, do you think I should go back and do the audition?

MICHAEL I wouldn’t if I were you. People’ll think yer mental.

B I L LY But you dress up in women’s clothing.

MICHAEL That’s different.

B I L LY Is it?

MICHAEL ’Course, there’s nowt wrong with dressing up in women’s clothing.

IS IT SINFUL IF YOU’RE BLUE? TO CHEER UP THE PLACE? WHAT IS WRONG WITH DRESSING UP IN SATIN AND LACE? GET SOME EARRINGS, SOME MASCARA, HEELS AND A FAN. PRETTY SOON YOU WILL START TO FEEL A DIFFERENT MAN. WHAT THE HELL’S WRONG WITH EXPRESSING YOURSELF? BEING WHO YOU WANT TO BE? WILL ANYBODY DIE IF YOU PUT ON A DRESS? WHO THE HELL CARES IF YOUR BLUSHER’S A MESS? 27

B I L LY START A NEW FASHION, BUCK ALL THE TRENDS. MICHAEL EMPHASISE IN-TEG-RIT-EEEEE. TO G E T H E R COS WHAT THE HELL’S WRONG WITH EXPRESSING YOURSELF FOR WANTING TO BE ME? Um cha!

B I L LY WHAT THE HELL IS WRONG WITH WEARING A DRESS? BEING WHO YOU WANNA BE? MICHAEL WHO THE HELL IS IT YOU TRY TO IMPRESS TO G E T H E R ALL YOU HAVE TO DO IS LEARN TO CARE LESS MICHAEL START A NEW FASHION BUCK ALL THE TRENDS BILLY, SING SOMETHING TO ME TO G E T H E R WHAT THE HELL IS WRONG WITH EXPRESSING YOURSELF? FOR TRYING TO BE FREE. IF YOU WANNA BE A DANCER, DANCE IF YOU WANNA BE A MINER, MINE IF YOU WANT TO DRESS LIKE SOMEBODY ELSE FINE. FINE, FINE. TO G E T H E R IT’S NOT A BIG STATEMENT, IT’S NOT A WEIRD ACT JUST A GOOD IDEA AT THE TIME WE’LL NOT COMPLAIN ABOUT YOUR BORING LIFE IF YOU’LL JUST LEAVE ME TO MINE. IF YOU WANNA BE A DANCER, DANCE IF YOU WANNA BE A MINER, MINE (Dance break) EVERYONE IS DIFFERENT IT’S THE NATURAL STATE IT’S A FACT, IT’S PLAIN TO SEE, THE WORLD’S GREY ENOUGH WITHOUT MAKING IT WORSE WHAT WE NEED IS INDIVIDUALITY.

28

SCENE 10: BILLY’S FIRST PRIVATE LESSON. MICHAEL goes off one way, MRS WILKINSON comes on and surprises BILLY. W I L K I N S ON Well, Have you brought your special things for the dance?

B I L LY I’ve brought a few bits of stuff and that, but I didn’t really know what you meant.

W I L K I N S ON Well, let’s see then.

BILLY takes stuff out of his bag.

Rubik’s cube. TV theme tunes?

B I L LY Yeah.

W I L K I N S ON Baked beans.... What’s that?

B I L LY It’s a packet of soup Miss.

W I L K I N S ON What the bloody hell’s that for?

B I L LY I dunno.

W I L K I N S ON Billy I asked you to bring things that mean something to you. How are we going to make a dance about baked beans and a cup-a-soup?

B I L LY I don’t know.

W I L K I N S ON Look it’s not just about the steps. It’s all about you.

B I L LY Why does it have to be about me?

W I L K I N S ON Jesus Christ. Cos I say so.

What’s this?

29

B I L LY It’s a letter.

W I L K I N S ON I can see it’s a letter.

B I L LY You can open it if you want.

W I L K I N S ON Thank god for that. The suspense was killing me.

B I L LY It’s from me Mam. W I L K I N S ON Your Mam? B I L LY She wrote it for us for when I was eighteen but I opened it a few years early. You can read it if you want.

W I L K I N S ON Dear Billy I must seem a distant memory …

B I L LY Which is...

W I L K I N S ON Which is probably a good thing...

And it will have been a long...

B I L LY ...long time.

AND I WILL HAVE MISSED YOU GROWING, AND I’LL HAVE MISSED YOU CRYING...

AND I’LL HAVE MISSED YOU LAUGH. MISSED YOUR STOMPING AND YOUR SHOUTING, I’LL HAVE MISSED TELLING YOU OFF, BUT PLEASE BILLY, KNOW THAT I WAS ALWAYS THERE. I WAS WITH YOU THROUGH EVERYTHING. AND PLEASE, BILLY...

WILKINSON KNOW THAT I WILL ALWAYS BE. PROUD TO HAVE KNOWN YOU. PROUD THAT YOU WERE MINE PROUD IN EVERYTHING 30

AND YOU MUST PROMISE ME THIS, BILLY DEAD MUM AND WILKINSON IN EVERYTHING YOU DO DEAD MUM ALWAYS BE YOURSELF, BILLY AND YOU ALWAYS WILL BE TRUE AND I’LL HAVE MISSED YOU GROWING, I’LL HAVE MISSED YOU CRYING...

AND I’LL HAVE MISSED YOU LAUGH. DEAD MUM AND WILKINSON MISSED YOUR STOMPING AND YOUR SHOUTING, I’LL HAVE MISSED TELLING YOU OFF, BUT PLEASE, BILLY, KNOW THAT I WAS ALWAYS THERE. I WAS WITH YOU THROUGH EVERYTHING. AND PLEASE, BILLY, KNOW THAT I WILL ALWAYS BE. PROUD TO HAVE KNOWN YOU. DEAD MUM LOVE YOU FOREVER. B I L LY LOVE YOU FOREVER. WILKINSON Mam. She must have been a very special woman.

B I L LY No. She was just me Mam. W I L K I N S ON Right, let’s get started...

Suddenly Debbie appears – perhaps with all the ballet girls.

B I L LY I thought you said this was gonna be private.

WILKINSON You’re gonna need some help if you’re gonna be ready for the audition.

B I L LY But they’re rubbish.

31

WILKINSON Maybe at ballet. But we all have to unleash our natural rhythm.

B I L LY What do you mean?

W I L K I N S ON WE WEREN’T BORN TO STAND STILL AIN’T A QUESTION OF WILL GOTTA MOVE – IT’S A FACT YOU WERE BORN TO REACT YOU WEREN’T MADE TO BEHAVE LIKE YOU WILL IN THE GRAVE WHEN THE MU- SIC IS PLAYED OH THE SOUL - WILL BE SWAYED AND YOUR FEET - THEY WILL MOVE AS IF ON - LY TO PROVE THAT IT WAS - N’T BY CHANCE WE WERE DES - TINED TO DANCE. WE WERE BORN TO BOOGIE, WE WERE BORN TO BOOGIE IT AIN’T A PUZZLE, COS WE’RE BLOOD AND MUSCLE FROM THE DAY OF CREATION WE WERE THE DANCE SENSATION. COME ON SHAKE YER BOOTIE COS WE WERE BORN TO BOOGIE ANYONE CAN GET IT COS WE’RE BORN KINETIC COME ON AND “MASH POTAT-A” THE WAY GOD MADE YA. YOUR FEET AND YOUR HANDS OH YOUR TOES AND YOUR GLANDS YOUR EYES AND YOUR CHIN YOUR FACE AND YOUR SKIN OH YOUR BRAWN AND YOUR BRAINS YOUR BALLS AND YOUR CHAINS WE WERE BORN TO BOOGIE, WE WERE BORN TO BOOGIE IT AIN’T A PUZZLE, COS WE’RE BLOOD AND MUSCLE FROM THE DAY OF CREATION WE WERE THE DANCE SENSATION.

32

B R A I T H WA I T E COME ON AND SHAKE YER BOOTIE COS WE WERE BORN TO BOOGIE ANYONE CAN GET IT COS WE’RE BORN KINETIC COME ON AND “MASH POTAT-A” THE WAY GOD MADE YA. WE WERE BORN TO BOOGIE WE’RE ALL BORN TO ALL WE WERE BORN TO BOOGIE WE WERE BORN TO BOOGIE WE WERE BORN TO BOOGIE WE’RE ALL BORN TO BOOGIE! During the number BILLY has learned to dance. At the end of the number the ballet girls run out, leaving BILLY on his own with MRS WILKINSON. W I L K I N S ON Here’s the tape. I’ll be outside here eight tomorrow morning. Alright? Listen, you can do this Billy.

You’ve worked so hard, and I know you can do it. You just have to forget about everything else.

Are you alright, Billy?

B I L LY I’m just a bit scared, Miss.

Mrs Wilkinson hugs Billy W I L K I N S ON You’ll be fine. See you in the morning.

Mrs Wilkinson exits.

SCENE 11: MRS WILKINSON’S VISIT DAD comes on stage.

DAD Where the bloody hell do you think you’re going?

B I L LY Nowhere DAD You’re not going anywhere today. It’s all kicking off out there.

33

TONY and GEORGE come on.

G E O RG E Look, Tony got hit in the face with a truncheon.

B I L LY But Dad I have to go and see Michael.

DAD Don’t be ridiculous – there are a thousand policemen out there. They’ve surrounded the village.

B I L LY But Dad….

Suddenly there is a knock on the door. They all look. Mrs Wilkinson comes in.

MRS WILKINSON Hello.

They look in amazement.

DAD Hello.

B I L LY Oh no.

M R S W I L KINSON I couldn’t get to the hall, Billy, so I had to come here.

B I L LY Please, Miss, go away.

TO N Y What’s going on here?

Bi l l y Please, Miss. No. M R S W I L KINSON No, Billy. We’re going to have to sort this one out once and for all.

Look Billy has an audition this morning for the Royal Ballet School.

TO N Y What?

G E O RG E The Royal Ballet School?

34

DAD You’ve got to be joking...

M R S W I L K I N S ON Billy has been coming to class and I have been giving him private lessons for the last two months.

DAD What..!

TO N Y Who gave you permission to teach him ballet?

M R S W I L K I N S ON Look, Mr. Elliot we’re missing the audition as we speak.

TO N Y Hang on a minute. Have you any idea what we’re going through in this village? Ballet!? Are you trying to make him a scab for the rest of his life? Get out of our house or I’ll belt you one you stupid middle class cow.

M R S W I L K I N S ON You don’t know anything about me you sanctimonious little twit. I’ve been teaching him every night for three months now and none of you have even noticed.

Suddenly LESLEY rushes in.

L E S L EY Come on everybody out the back. The police are running through the houses.

Everybody leaves, except BILLY and MRS WILKINSON. MRS WILKINSON I’m sorry, son. You haven’t got a hope in hell.

She leaves. BILLY is on his own. He starts his Angry Dance. As he dances the police come on at the back of the stage, beating a rhythm on their shields. BILLY might attack them as part of the dance.

Alternatively, the whole cast can form a semi-circle at the back of the stage and beat out time as BILLY dances himself into a state of collapse. BILLY falls to the floor.

END OF ACT ONE

35

ACT TWO SCENE 1: CHRISTMAS GEORGE comes on stage dressed as Santa, maybe with some elves.

G E O RG E Ho, ho, ho! And a very big welcome back to the second half. The second half of…

The Easington Miners’ Annual Christmas Party! We might have been on strike for nearly a year, we might have been beaten up, half starved but are we downhearted?

The audience react.

I can’t hear you. Are we down hearted?

The audience react.

That’s better. No we’re not downhearted cos we’re going to have the best Xmas Party we’ve ever had. Can you hear it - in the distance?

He listens.

G E O RG E and/or ELF Can you sense it far away?

G E O RG E and/or ELF Is it old Rudolph the Reindeer?

Is it Santa on his sleigh?

IT’S HEADING UP TO EASINGTON IT’S COMING DOWN THE TYNE IT’S BLOODY MAGGIE THATCHER AND MICHAEL HESELTINE At this point the whole cast is revealed – perhaps with Maggie Thatcher masks, perhaps policemen hats, or just dressed for the picket line. Everyone sings the song – but you might choose to split it up, individuals or groups (e.g. The Ballet Girls) might sing certain lines, but everyone should join in the chorus. You might also illustrate the song but acting it out in a home-made pantomime fashion, as if the people of Easington had invented it themselves.

EV E RYO NE SO MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY COS IT’S ONE DAY CLOSER TO YOUR DEATH.

36

THEY’VE COME TO RAID YOUR STOCKINGS AND TO STEAL YOUR CHRISTMAS PUD BUT DON’T BE TOO DOWNHEARTED IT’S ALL FOR YOUR OWN GOOD THE ECONOMIC INFRASTRUCTURE MUST BE SWEPT AWAY TO MAKE WAY FOR BUSINESS PARKS AND LOWER RATES OF PAY, SO...

MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY COS IT’S ONE DAY CLOSER TO YOUR DEATH

BALLET GIRLS Oi! Oi!

(Optional verse – in the London show we have puppets here) AND THEY’VE BROUGHT THEIR FASCIST BOOTBOYS AND THEY’VE BROUGHT THE BOYS IN BLUE AND THE WHOLE TRADE UNION CONGRESS WILL BE AT THE PARTY TOO AND THEY’LL ALL HOLD HANDS TOGETHER ALL STANDING IN A LINE COS THEY’RE PRIVATIZING SANTA THIS MERRY CHRISTMAS TIME SO MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY COS IT’S ONE DAY CLOSER TO YOUR DEATH.

MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE TODAY COS IT’S ONE DAY CLOSER TO YOUR DEATH. (Another option is to try and get the audience to join in, in the long-honoured panto tradition – this might be harder than you think!)

At the end of the song, everybody erupts in cheers. GEORGE takes the mic.

G E O RG E Who’s next? Jackie, Jackie Elliot.

A MINER No, he’s drunk.

But Dad insists.

37

DAD It’s OK. I want to sing this for our Sarah. It’s an old folk song.

This changes the mood – Dad is clearly melancholy.

O ONCE I WAS A YOUNG MAN I LOOKED OVER VALES AND HILLS...

AND I SAW MYSELF A FUTURE OF RICHES AND OF THRILLS BUT ON ME FIFTEENTH BIRTHDAY I PAID MY UNION DUES AND THEY SENT ME DEEP INTO THE GROUND O THE WINTER WIND CAN BLOW ME COLDER O THE SUMMER’S HEAT CAN PARCH ME DRY BUT I’D NOT LEAVE HERE FOR A FORTUNE I SHALL NEVER LEAVE HERE ‘TIL I DIE The party mood has been broken and everyone apart from BILLY leaves as DAD sings the next verse.

O ONCE I LOVED A WOMAN SHE MEANT ALL THE WORLD TO ME AND I SAW OURSELVES A FUTURE AS FAR AS I COULD SEE BUT I WAS ONLY THIRTY-SEVEN WHEN THEY TOOK HER DOWN FROM ME AND THEY BURIED HER (DEEP INTO THE GROUND) DAD stops, but BILLY carries on.

B I L LY O THE WINTER WIND CAN BLOW ME COLDER O THE SUMMER’S HEAT CAN PARCH ME DRY BUT I’LL LOVE THESE DARK, DARK HILLS FOREVER AND I WON’T LEAVE THEM UNTIL I DIE Merry Christmas, Dad. DAD Merry Christmas, Son. Get yer stuff. Let’s go home.

SCENE 2: BILLY AND MICHAEL IN THE HALL DAD leaves. BILLY is on his own. Suddenly MICHAEL appears.

MICHAEL A bloody great Christmas this has been.

38

B I L LY I know - it’s been a right load of shite. All I got was an atlas from the university support group.

MICHAEL Count yerself lucky. I got a stupid football strip. But it’s alright cos I swapped it for a brand new Cindy the Nurse.

He gives BILLY the doll.

Did you ever go back and see that wife?

B I L LY What wife?

MICHAEL Debbie’s mam. The ballet wife.

B I L LY No. I packed it in.

MICHAEL Really? Well, maybe it’s for the best. At least you won’t be running away to that ballet school, will ya.

B I L LY What’s good about that, like?

MICHAEL Wey, I’d miss ya.

B I L LY Look, we’d better go. It’s freezing in here.

MICHAEL Wait!

MUSIC CUE 10a. OUT OF CHRISTMAS u/s B I L LY What?

MICHAEL Come here.

MICHAEL takes BILLY’S hands under his jumper.

B I L LY What are you doing?

39

MICHAEL I’m just warming your hands.

B I L LY Yer not a puff or anything?

MICHAEL What gave you that impression?

B I L LY Aren’t me hands cold?

MICHAEL I quite like it.

MICHAEL tries to kiss BILLY. B I L LY Just ’cause I like ballet doesn’t mean I’m a puff, you know.

MICHAEL You won’t tell anyone, will ya?

BILLY starts to back away from MICHAEL. B I L LY Here. Put this on.

BILLY tosses MICHAEL a tutu.

MICHAEL Can I? Cush!

(Takes off trackys – he has red shorts underneath) It’s freezing in here!

(Putting on tutu) Aw, I’m not sure this red will go with me tutu.

B I L LY Shut up, man.

MICHAEL It’s a bit small. Come on - Show us some ballet then.

B I L LY No. I told ya. I’ve packed it in.

MICHAEL Howay - just a little bit.

40

(Turns this into a little dance) JUST A LITTLE BIT. HUH. JUST A LITTLE BIT. HUH. JUST A LITTLE BIT. (Attempts a split, but it ends painfully) OW! No wonder they call it the Nutcracker!

MICHAEL Go on, show uz some dancing.

B I L LY We’d best be going; me dad’ll be after us.

MICHAEL Well, a right barrel of laughs you are.

B I L LY If you like, you can keep the tutu.

MICHAEL Can I? Cush!

B I L LY Yer not gonna go home in it, are ya?

MICHAEL ‘Course I am. No one will notice.

MICHAEL exits upstage.

BILLY takes tape player, turns on the music, and sets it on the windowsill.

The music from Swan Lakes plays and BILLY does some ballet. Either this can be a full dance or could just be some exercises – but either way BILLY should get engrossed in what he’s doing and not see DAD arrive. DAD watches BILLY as the music plays and when it reaches a high point. He turns the tape recorder off. BILLY turns and looks at him, fearful of his reaction. They stare at one another, BILLY terrified.

DAD Go home, Billy. Go home!

BILLY runs off. DAD is alone. He mimes walking up a path and ringing a doorbell. The sound of a bell rings. Eventually MRS WILKINSON comes to the door.

41

SCENE 3: DAD’S DEBATE M R S . W I LKINSON Oh. Hello.

DAD So how much is this gonna cost then?

M R S . W I LKINSON And a very Merry Christmas to you, too.

DAD I’ve just been doing a lot of thinking.

M R S . W I LKINSON That must have come as a shock to the system.

DAD I knew I shouldn’t have come.

M R S . W I LKINSON Not at all. It’s Christmas time. Good will to all men and all that. Would you like to come in?

DAD No. I just need to know – is he good enough?

M R S . W I LKINSON For what?

DAD For the school. For the audition.

M R S . W I LKINSON Well, we’ll never know, will we? Maybe he’d’ve gotten in. Maybe he’d’ve joined the Ballet Rambert, or maybe he’d end up on the scrapheap, like everybody else. How the hell should I know?

DAD So there’s nowt we can do then.

M R S . W I LKINSON Actually, if we move fast, I could probably still get him an audition in London.

DAD So how much is it gonna cost, this ballet school lark?

M R S . W I LKINSON Oh, maybe five grand a year.

DAD Five grand! I was talking about the audition.

42

M R S . W I LKINSON Oh, that’s nothing It’s twenty quid or something.

DAD Five grand! We haven’t even got enough money for the bus fare to London.

M R S . W I LKINSON Look, if it’s just a question of the bus fare, then...

DEBBIE Mam! M R S . W I LKINSON Piss off, Debbie, I’m busy.

DAD I don’t want your money. I didn’t come here for charity. I just needed to know. I’ll look after my own business. He’s my son, isn’t he?

(DAD turns to go) M R S . W I LKINSON Oh, this is ridiculous. Why don’t you come inside. We’ll talk this over.

DAD No, thanks for what you’ve done for Billy. But he’s my responsibility.

DAD walks off. MRS WILKINSON goes back inside. DAD tries to warm himself up.

The tune for “he could be a star” underscores the next section – but the song is not sung.

SCENE 4: DAD RETURNS TO WORK PIT SUPERVISOR appears.

As he takes roll call, SCABS slowly emerge from the darkness.

PI T S U PERVISOR OK then. Let’s be having ya.

(Consulting his clipboard) Gormley.

SCAB Here.

PI T S U PERVISOR Atkinson.

43

SCAB Here.

PI T S U PERVISOR Summers. Summers! (notices DAD) I haven’t seen you here before.

S C A B ( D ONNIE) Jackie. (to PIT SUPERVISOR) Jackie Elliot. (approaches DAD) I didn’t expect to see you here.

DAD Aye, well things change, don’t they?

SCAB Yeah, well, who’s the big man now?

DAD Piss off, will ya?

DAD is humiliated.

PI T S U PERVISOR Right then, all aboard the skylark!

DAD and SCABS gather together – now the rest of the cast come on and scream at them from either side – shouting Scab! Scab! Maybe throwing things. It’s as if the Scabs are in a mini bus and there are two lines of pickets on either side.

The scabs get out of the mini bus and start to walk to the pit. Maybe a POLICEMAN or two leads the way or protects them. Abuse is hurled as the men walk. Finally DAD walks out from his position.

The crowd recognize him, calls of Jackie! Jackie! Suddenly, TONY sees DAD. TO N Y Dad!!! Dad, what ya doin’? Dad! DAD stops. Tony runs towards him but is stopped by a policeman. TONY breaks through, the policeman lets him go as he has to stop everyone else. TONY runs to DAD and grabs him, stopping him continuing to work.

TO N Y What you doing Dad. You can’t do this.

44

DAD pushes against him.

DAD It’s for the bairn.

TONY grabs him. DAD is upset. He falls to the ground, weeping. TONY tries to comfort him. Finally, the other miners break past the police and crowd round him.

DAD But what are we going to do about the kid?

A WOMAN goes into her pocket and takes some coins. SHE hands them to DAD. WO M A N TAKE THIS AND THIS. Everyone looks stunned.

Then, finally, MINER 2 joins in.

MINER 2 AND THIS AND THIS. MINER 3 TAKE THIS AND THIS. MINER 4 AND THIS AND THIS. MINER 5 TAKE THIS AND THIS MINER 6 AND THIS AND THIS MINER 1 AND THIS AND THIS. B I G D AV EY DON’T WORRY, LAD, WE’LL NEVER LET YOU FALL. Everybody leaves and comes back with chairs. They arrange a meeting as if in the village hall. Members of the community give money to BILLY. E N S E M B LE WE WILL GO AND WE WILL SHINE WE WILL GO AND SEIZE THE TIME WE WILL ALL HAVE PRIDE IN HOW WE LIVE, 45

WE WILL ALL HAVE PRIDE IN HOW WE LIVE, WE WILL ALL HAVE PRIDE IN HOW WE LIVE, YES, WE WILL ALL HAVE PRIDE IN HOW WE LIVE. B I G D AV EY (singing over the Ensemble) WE WILL ALWAYS STAND TOGETHER IN THE DARK, RIGHT THROUGH THE STORM. WE WILL STAND SHOULDER TO SHOULER TO KEEP US WARM. SMALL BOY puts small coins in BILLY’s hat.

SCENE 5: SCAB SCENE BILLY counts the money as the scene starts.

B I L LY That makes nineteen pound, seventeen and a half pence, and twelve pesos.

TO N Y It’s not even enough for the bus fare.

G E O RG E Don’t forget about the money from the fifty pees.

B I G D AV EY You can’t do that, man. I thought that was for the new punch bag.

G E O RG E We’ll be supporting the arts. Just because we’re a boxing club doesn’t mean we’re a bunch of Palestines.

SCAB enters.

TO N Y What the hell do you want?

SCAB I don’t want any trouble.

TO N Y Yeah, well, get out then. We don’t have scabs in here.

SCAB crosses around to BILLY and hands him a stack of bills.

SCAB Here, Son. 46

TO N Y What’s that?

SCAB It’s for the bairn.

TO N Y Yeah? I don’t bloody well think so. We’re not taking anything off you. Scab!

B I L LY Hang on a minute!

TO N Y Billy, we don’t have dirty money in here.

B I L LY But it would pay for everything.

SCAB For Christ’s sake, give the bairn a chance.

TO N Y We’re not taking it… Scab!

TONY throws the money at the SCAB. SCAB leaves.

B I L LY

(Picking up the money)

There must be hundreds here. Can we use it, Dad? Everybody looks at DAD. TONY looks at him. DAD is thinking. Finally he stands up.

He’s made his decision – they will go. Everyone leaves. TONY slopes off dejected. BILLY and DAD step forward – they are now in London waiting for the audition.

SCENE 6: LONDON B I L LY So this is it, then.

DAD They said “wait here”.

A WOMAN with a clipboard enters.

Shortly behind her are POSH BOY and POSH DAD.

47

C L I P B OA R D WO M AN Name? Name?

DAD Elliot. Billy Elliot.

C L I P B OA R D WO M AN And your son’s name, Mr Elliot?

DAD I beg your pardon?

C L I P B OA R D WO M AN You are here for the auditions?

DAD No. He’s Billy Elliot.

C L I P B OA R D WO M AN Occupation?

DAD Well, he’s still at school, like.

C L I P B OA R D WO M AN No. Your occupation.

DAD Oh, I’m a pitman, a miner.

C L I P B OA R D WO M AN You mean you actually work underground?

DAD Not at the moment, we’re on strike.

C L I P B OA R D WO M AN Right this way please. Just the children. We’re doing the auditions on stage today.

She leads BILLY to the side of the stage. Away from DAD and POSH DAD. C L I P B OA R D WO M AN (to BILLY) Stand here.

She goes off with POSH BOY. The audition panel come on or are already there.

They look at BILLY. L A D Y PA NELLIST And you would happen to be?

48

B I L LY Billy.

L A D Y PA NELLIST Sorry?

B I L LY Billy Elliot. From County Durham.

L A D Y PA NELLIST Stand on the spot please William.

L A D Y PA NELLIST William Elliot.

H E A D O F PANEL William, what is that you’re holding?

B I L LY It’s me money.

PA N E L L I ST Your money?

B I L LY For the audition. Some of it’s in fifty pees, but the rest is from the scab.

H E A D O F PANEL Would you like to put it down now?

B I L LY Sorry.

PA N E L L I ST Now the piece that you’ve prepared.

You do have some music for us?

B I L LY Er no... I’ve got a cassette I made with Mrs Wilkinson.

BILLY takes out the tape, it is all unspooled. He panics, but tries to make light of it.

B I L LY Sorry. It’s alright. It’s always doing this. I can get it back. Have you got a pencil?

Fixes tape and hands it to STAGE MANAGER who exits to put the tape on. Beat. Wrong music plays. STAGE MANAGER re-enters.

B I L LY It’s the next bit, you’ll have to wind it on.

49

STAGE MANAGER exits. Rewinds tape. Music plays but is distorted. BILLY stands, not knowing what to do.

H E A D O F PANEL Maybe we should go straight to your exercises.

Either BILLY and the panel freeze, or the curtain comes down and the next little scene is in front of it. But basically we cut back to DAD waiting with the POSH DAD. P O S H D AD Frightfully nerve-wracking, isn’t it.

DAD I beg your pardon P O S H D AD I think I get more nervous about these things than Thomas.

DAD Well it’s wor first time like yer knar.

P O S H D AD I’m sorry?

DAD It’s wor first time like yer knar.

P O S H D AD Oh I see. Have you come far?

DAD Easington, County Durham P O S H D AD Oh Durham. Absolutely beautiful cathedral isn’t it?

DAD I dunno. I’ve never been.

Suddenly the CLIPBOARD WOMAN appears.

C L I P B OA R D WO M AN This way gentlemen, the auditions are nearly over.

She leads the DADS off. We go to the audition. BILLY frozen – the comes back to life.

H E A D O F PANEL Thank you. That’s all, William.

50

BILLY is quite upset and runs across the stage, as the panel leave. It’s as if he’s run into a changing room. The POSH BOY is there. BILLY is very upset.

P O S H B OY Are you alright?

B I L LY It was a complete waste of bloody time. They didn’t even see me dance.

P O S H B OY For goodness sake, they get all they need to know from the exercises.

B I L LY But I’ve been practising for months.

P O S H B OY (approaches BILLY) Look, it was only a stupid audition.

B I L LY

(pushes him)

Get off!

P O S H B OY Hey! (approaches BILLY again) Look, it’s alright.

B I L LY Piss off, you bent bastard.

BILLY punches POSH BOY. P O S H B OY Ow! CLIPBOARD WOMAN comes in with as POSH BOY runs off.

C L I P B OA RD WOMAN What on earth is going on here?

B I L LY Shit.

Everybody leaves apart from BILLY. DAD enters they sit down centre stage on two chairs and stare out to the audience the voices of the panel come from off stage, perhaps in the auditorium. BILLY and DAD look out whilst being interrogated.

51

PA N E L I S T ( V.O.) Please take a seat, Mr. Elliot.

H E A D O F PANEL ( V.O.) I’m afraid, Mr. Elliot, that mutual respect and self-discipline are absolute pre-requisites of any pupil at this school. Such displays of violence cannot be tolerated under any circumstances. Do you understand?

DAD Billy’s very sorry. He’s been under a lot of pressure lately.

PA N E L I S T 1 ( V.O.) Just a few questions to finish with. Could you tell us why you first became interested in the ballet?

B I L LY I dunno. I just was.

H E A D O F PANEL Well, was there any specific aspect of the ballet that caught your imagination?

B I L LY The dancing.

DAD He dances all the time like. Every night after school.

PA N E L I S T 2 ( V.O.) Yes, we have a very enthusiastic letter from a Mrs. Wilkinson. She has also explained your personal circumstances.

PA N E L I S T 3 ( V.O.) Are you a balletomane, Mr. Elliot?

DAD I beg your pardon?

PA N E L I S T 3 Are you a fan of the ballet?

DAD Well, I wouldn’t exactly say I was an expert or anything.

H E A D O F PANEL You do realize that pupils are expected to attain the highest standards not only in ballet but also in their ordinary academic work. A child can only succeed with 100% support of his family. You are completely behind Billy, are you not?

DAD Yes... yes.

52

PA N E L I S T 1 Would you like to ask us any questions?

DAD No. H E A D O F PANEL Are you sure there’s nothing else you’d like to say?

Well, in that case, we will let you know in due course.

BILLY and DAD go to leave.

PA N E L I S T 4 ( V.O.) Just one more thing. Can I just ask you, Billy, what does it feel like when you’re dancing?

BILLY stands still, thinking about the question.

B I L LY I CAN’T REALLY EXPLAIN IT, I HAVEN’T GOT THE WORDS IT’S A FEELING THAT YOU CAN’T CONTROL I SUPPOSE IT’S LIKE FORGETTING, LOSING WHO YOU ARE AND AT THE SAME TIME SOMETHING MAKES YOU WHOLE IT’S LIKE THAT THERE’S A MUSIC PLAYING IN YOUR EAR AND I’M LISTENING, AND I’M LISTENING AND THEN I DISAPPEAR AND THEN I FEEL A CHANGE LIKE A FIRE DEEP INSIDE SOMETHING BURSTING ME WIDE OPEN, IMPOSSIBLE TO HIDE AND SUDDENLY I’M FLYING, FLYING LIKE A BIRD LIKE ELECTRICITY, ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE, I’M FREE BILLY makes as if to leave.

He then turns back around and sings again.

IT’S A BIT LIKE BEING ANGRY IT’S A BIT LIKE BEING SCARED CONFUSED AND ALL MIXED UP AND MAD AS HELL IT’S LIKE WHEN YOU’VE BEEN CRYING AND YOU’RE EMPTY AND YOU’RE FULL I DON’T KNOW WHAT IT IS; IT’S HARD TO TELL IT’S LIKE THAT THERE’S SOME MUSIC PLAYING IN YOUR EAR BUT THE MUSIC IS IMPOSSIBLE, IMPOSSIBLE TO HEAR BUT THEN I FEEL IT MOVE ME LIKE A BURNING DEEP INSIDE 53

SOMETHING BURSTING ME WIDE OPEN IMPOSSIBLE TO HIDE AND SUDDENLY I’M FLYING, FLYING LIKE A BIRD LIKE ELECTRICITY, ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE, I’M FREE BILLY breaks into his “Electricity” dance.

Toward the end of the dance, BILLY sings again: ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE, I’M FREE FREE...I’M FREE. DAD approaches BILLY, who grabs his coat and bag and runs off.

PA N E L I S T 4 Have a safe journey home.

(DAD starts to leave) And Mr. Elliot, good luck with the strike.

SCENE 7: SOUP KITCHEN MUSIC CUE 13a. ELECTRICITY u/s DAD is left on stage.

The hall comes on and is quickly populated by the striking MINERS eating soup.

LESLEY is dishing out the last of the soup to the remaining MINERS. GEORGE comes over to DAD and gives him a plate.

DAD hands the plate to SMALL BOY. BILLY and MICHAEL enter, pushing through the line.

M I N E R ( JEFF) Hey, have you heard anything yet?

B I L LY No. Why’s it so cold in here?

MICHAEL They haven’t got the money for the heating.

How was your audition?

B I L LY Shite.

MICHAEL Did you really hit one of the dancers?

54

B I L LY I didn’t actually hit him; I just pushed him over.

G E O RG E Come on, we best be getting down there.

B I G D AV EY What’s the word, Billy?

B I L LY Nothing.

G E O RG E Maggie, Maggie, Maggie!

MINERS (unenthusiastically) Out, out, out.

L E S L EY ( STEPHANIE) Ya alright, Billy? How’d you do at your audition?

B I L LY Fine.

L E S L EY Fingers crossed, eh?

B I L LY Yeah. Thanks, Lesley.

MICHAEL Howay, let’s get out of here.

MINERS start to leave for the picket line and the soup kitchen is packed away.

G E O RG E Oi! Have you heard anything yet?

B I L LY No, not yet.

G E O RG E Don’t worry, you’ll get in no bother.

GEORGE claps BILLY on the ear.

B I L LY Ow! 55

BILLY and MICHAEL exit.

B I G D AV EY D’ya reckon?

G E O RG E ’Course not, he’s got no chance.

SCENE 8: POST SCENE GRANDMA running on with a letter as GEORGE and BIG DAVEY leaves.

G R A N D MA Post! Post! Post!

DAD and TONY run in, stopping when they see the letter.

DAD Christ.

TO N Y This is it!

DAD Well, let’s open it then.

TO N Y What do you mean? We can’t open it; it’s for the bairn.

DAD It doesn’t matter.

TO N Y Of course it matters. How would you like it if someone opened your post?

DAD When was the last time I got a letter?

G R A N D MA We could steam it open.

DAD Give it here.

TO N Y Look, it isn’t fair. It’s for the bairn.

56

G R A N D MA We could take a knife and slice it along the bottom.

TO N Y Look, nobody’s gonna slice anybody along the bottom. Grandma, I’m warning you. Give it here.

Gimme...

GRANDMA passes the letter off to DAD. DAD hides the letter between his legs. TONY takes the letter and walks to the table.

TO N Y For Christ’s sake.

Right, we’re gonna leave it… We’re gonna leave it…

We’re gonna leave it here for Billy ‘til he gets home.

Suddenly GRANDMA runs at them with the knife in the air.

G R A N D MA Give it here!

D A D A N D TONY Woah!!

They stop her and take the knife M I C H A E L (offstage) See ya, Billy.

B I L LY (offstage) Yeah, see ya, Michael.

BILLY comes in turns around to see the three staring at him, then sees the letter.

B I L LY Shit.

DAD Well, open it, Son. BILLY walks to the table and stops before he gets there to bend over and read it.

B I L LY William Elliot es-queer.

DAD Esquire! Open it, Son. BILLY picks up the letter. He plays with the letter instead of opening it.

57

TO N Y Open it, for Christ’s sake!

BILLY opens it very slowly. He reads it. They watch him anxiously.

B I L LY I didn’t get in.

BILLY crumples the letter and throws it out.

DAD Aw, Billy.

TO N Y Nevermind, kidda.

TONY gets the letter and reads it, then walks over to BILLY You little bastard! He got in, man! He got in!

DAD What?!

They all rejoice and dance around the room.

GEORGE and BIG DAVEY enter.

DAD He got into school, man. Did you hear us? He got into school!

G E O RG E Have ya not heard the news, Jackie?

DAD Heard what?

G E O RG E We’re going back. Strike’s over, Jackie. I’ve just had a call from the regional office. They’ve caved in.

B I G D AV EY We’ve lost the strike, Jackie. We’ve lost everything.

TO N Y That’s it then – a whole year.

B I L LY It’ll be alright, Dad.

58

TO N Y Alright? Billy, when you come back, everybody, everybody you know will be out of work. Here, and in the next village, and the village - by the time you’re my age, there won’t be a pit left in the whole country. We’re finished. We’re dinosaurs. Quarter of a million men. We can’t all be dancers.

TONY storms off.

DAD Come on – Let’s get down the hall.

They all go off leaving BILLY alone. Suddenly the ballet girls run in.

SCENE 9: THE LAST CLASS BILLY is left alone.

BALLET GIRLS come in.

J U L I E H OPE Billy, did you really get in?

B I L LY Uh huh.

K E E L EY GIBSON Will you sign this for us?

B I L LY If you want.

BILLY is inundated.

MRS. WILKINSON comes in, sees BILLY. M R S . W I LKINSON OK toilet break.

DEBBIE But we haven’t started yet.

M R S W I L KINSON Debbie! (the girls leave, BILLY stands sheepishly) Can I help you?

B I L LY I just came to tell ya – I got in. Me dad thought you should know.

59

M R S . W I LKINSON It’s alright. They sent me a letter when they made the decision. You should have come before.

B I L LY I’m sorry, Miss. I just wanted to say: I’ll miss you, Miss!

M R S . W I LKINSON No you won’t, Billy. You’ll get down there and you’ll realize just what a crap little dance school this was. What a complete second-rate training I gave you. And you’ll spend five years unlearning everything I taught you. It’s alright; that’s the way it is.

B I L LY No, you don’t understand - I’ll come and see you every time I come back, Miss.

M R S . W I LKINSON Here’s a piece of advice, Billy. Piss off out of here. Start everything afresh, and don’t look back – There is sod all left for you here. You are very very special. Now get lost before I start to cry.

B I L LY Good luck, Miss.

M R S . W I LKINSON Yeah good luck, Billy.

MRS. WILKINSON exits. BILLY watches her go off.

DAD enters with chair, suitcase, and new coat for BILLY.

SCENE 10: ONCE WE WERE KINGS As BILLY and DAD pack – the rest of the community gather on either side to go back to work. They sing: M I N E R S ’ CHORUS ONCE WE BUILT VISIONS ON GROUND WE HEWED WE DREAMT OF JUSTICE AND OF MEN RENEWED ALL PEOPLE EQUAL, IN ALL THINGS WE ONCE WERE HEROES, ONCE WERE KINGS BUT ALL GREAT THINGS MUST COME TO PASS WE KNOW THE FIRST WILL SOON BE LAST AND IN THE GROUND WE MAY BE LAIN BUT A SEED IS SOWN TO RISE AGAIN SO WE WALK PROUDLY AND WE WALK STRONG ALL TOGETHER WE WILL GO AS ONE 60

THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER WHEN WE GO TONY walks over with a miner’s lamp for BILLY. TO N Y Knock ’em dead, kidda.

B I L LY Thanks, Tony.

TO N Y See ya, sunshine.

M I N E R S ’ CHORUS ( A N D WOMEN) WE SAW A LAND WHERE WEALTH WAS SHARED EACH PAIN RELIEVED, EACH HUNGER FED EACH MAN REVERED, EACH TYRANT KILLED EACH SOUL REDEEMED, EACH LIFE FULFILLED DAD puts a new coat on BILLY. FROM EACH MAN’S MEANS TO EACH HIS NEED WE SAW A TIME MAN WOULD BE FREED WE FOUGHT FOR ALL THE THINGS WE SAW THE BATTLE’S LOST, BUT NOT THE WAR MINERS all walk forward.

M I N E R S ’ CHORUS (cont’d) SO WE WALK PROUDLY AND WE WALK STRONG ALL TOGETHER WE WILL GO AS ONE THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER WHEN WE GO WE WILL GO DOWN, BUT OUR HEADS ARE PROUD WE WILL GO DOWN WITH OUR VOICES LOUD WE WILL GO DOWN BUT COME AGAIN, AND WE ALL GO TOGETHER WHEN WE GO MINERS start to move toward the back.

AH... AH...AH...

AND WE ALL GO TOGETHER WHEN WE GO. WE WALK PROUDLY, AND WE WALK STRONG ALL TOGETHER WE WILL GO AS ONE 61

THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER WHEN WE GO. If possible the MINERS would have miners hats with lamps. The stage would go dark.

The only light coming from the helmets at the end of the song they would turn them off.

The stage would go to pitch black. They’d leave and a spot light, or regular lights would come up on BILLY and DEAD MUM. WE WALK PROUDLY AND WE WALK STRONG ALL TOGETHER WE WILL GO AS ONE THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER WHEN WE GO. WE WALK PROUDLY AND WE WALK STRONG ALL TOGETHER WE WILL GO AS ONE THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER WHEN WE GO.

SCENE 11: DEAD MAM FAREWELL D E A D M UM You’d forget yer head if it was loose.

She tosses him his hat, which he puts on.

B I L LY Bye, Mam. D E A D M UM Bye, Billy.

B I L LY See you soon.

D E A D M UM No. I don’t think so - do you?

B I L LY No. Not really. I wrote you a letter.

D E A D M UM A letter?

B I L LY Me reply. It’s a bit scrumpled.

Dear Mam, AND PLEASE, MAMMY....

KNOW THAT I WILL ALWAYS BE PROUD TO HAVE KNOWN YOU 62

PROUD THAT YOU WERE MINE PROUD IN EVERYTHING AND I PROMISE YOU THIS, MAMMY D E A D M UM IN EVERYTHING YOU DO ALWAYS BE YOURSELF B I L LY MAMMY AND I ALWAYS WILL BE TRUE D E A D M UM LOVE YOU FOREVER B I L LY LOVE YOU FOREVER D E A D M UM LOVE YOU FOREVER Billy.

B I L LY Mam. DEAD MUM leaves.

B I L LY Bye, Mam. BILLY starts to leave through the auditorium.

MICHAEL rides in on his bike.

MICHAEL Oi! Dancing boy.

BILLY returns to the stage and kisses MICHAEL. BILLY starts to exit.

B I L LY See ya, Michael.

MICHAEL See ya, Billy.

63

BILLY exits up the aisle.

As the curtain descends, MICHAEL watches him go. Then, at the last moment, he rides off.

CURTAIN. FINALE. FINAL BOWS.

64