13 JR. by Music Theatre International

13 JR.

table of

contents Welcome to the Theater ��ii About 13 JR. �� vii The Show �� 1 Thirteen �� 1 The Lamest Place In The World �� 16 Hey Kendra (Part 1) �� 22 Hey Kendra (Part 2) �� 24 Invitations (Part 1) �� 29 Invitations (Part 2) �� 31 Get Me What I Need �� 35 Opportunity �� 41 What It Means To Be A Friend �� 48 All Hail The Brain (Part 1) �� 53 All Hail The Brain (Part 2) �� 61 Any Minute �� 65 Bad Bad News �� 77 Tell Her �� 86 It Can’t Be True �� 92 If That’s What It Is �� 104 A Little More Homework �� 109 Brand New You �� 120 Words to Know from 13 JR. �� 124 Glossary �� 126

13 JR. Actor’s Script © 2023 MTI Enterprises Inc. 13 © 2006, 2008 Magic Doc, Inc. and Dan Elish. All rights reserved. 13 JR. © 2023 MTI Enterprises Inc., created by iTheatrics under the supervision of Timothy Allen Mcdonald. Actor’s Script Front Matter © 2023 MTI Enterprises Inc., created by iTheatrics under the supervision of Timothy Allen McDonald. Broadway Junior, Family Matters, and ShowKit are trademarks or registered trademarks of Music Theatre International. All rights reserved. Unauthorized duplication is prohibited by law.

13 JR.

welcome to the

theater CONGRATULATIONS! You’ll be working with your creative team and fellow cast members to put on a musical. Before you begin rehearsals, there are some important things you should know.

This book is your script. Whether putting on a school production or rehearsing a professional show, every actor, director, and stage manager works from a script. Your script contains some additional information like this introduction and a glossary. You can look up any bold words in the glossary at the back of this book. Be sure to take good care of your script, and use a pencil when taking notes in it, since what you’ll be doing onstage can change during rehearsals. One of the first things you’ll need to learn is what to call the various areas of the stage. Since most stages used to be raked, or tilted down toward the house, where the audience sits, we still use the term downstage to refer to the area closest to the audience and upstage to refer to the area farthest from the audience. Stage left and stage right are from the actor’s perspective when facing the audience. The diagram above shows how to use these terms to label nine different parts of the stage.

13 JR.

rehearsals Y

ou will be performing a musical, a type of play that tells a story through songs, dances, and dialogue. Because there are so many parts of a musical, most shows have more than one author. The composer writes the music and usually works with a lyricist, who writes the lyrics, or words, to the songs. The book writer writes the dialogue (spoken words, or lines ) and the stage directions , which tell the actors what to do onstage and what music cues to listen for. Your director will plan rehearsals so that the cast is ready to give its best performance on opening night! Remember to warm up before each rehearsal so that your mind, body, and voice are ready to go. Every rehearsal process is a little bit different, but here is an idea of what you can expect as you begin to work on your show.

music:

Since you’re performing a musical, it is important to learn the music early on in the rehearsal process. Your music director will teach the cast all the songs in the show and tell you what to practice at home.

choreography:

After you’ve got the music down, you’ll begin working on the choreography – or dance – in the show. Your choreographer will create the dances and teach them to the cast. The music and the choreography help tell the story.

blocking & scene work:

Your director will block the show by telling the cast where to stand and how to move around the stage. You’ll use your theater terms (downstage left, upstage right, etc.) a lot during this portion of the rehearsal process. You will also practice speaking your lines and work on memorizing them. Rehearsing your part from memory is called being off-book. Your director will help you understand the important action in each scene so you can make the best choices for your character’s objective, or what your character wants.

Music Theatre International • Broadway Junior® • Actor’s Script

iii

13 JR.

what to expect during

13 JR.

make the script

your own 1

Always write your name legibly, either in the space provided on the cover of your script or on the title page. Scripts have a way of getting lost or changing hands during rehearsals!

Mark your lines and lyrics with a bright-colored highlighter to make your part stand out on the page. This will allow you to look up from your script during rehearsals, since it will be easier to find your place when you look back down. Underline important stage directions, lines, lyrics, and individual

3 words. For example, if your line reads, “It would go against everything

we believe in” and your director wants you to stress the word “everything,” underline it in your script.

Save time and space by using the following standard abbreviations: ON: onstage US: upstage SL: stage left CS: center stage

OFF: offstage DS: downstage SR: stage right X: cross

You may use these abbreviations to modify other instructions (e.g., you could write “R hand up” to remind yourself to raise your right hand). You may also combine them in various ways (e.g., you could write “XDSR” to remind yourself to cross downstage right).

5 6

Draw diagrams to help clarify your blocking. For example, if you are instructed to walk in a circle around a table, you might draw a box to represent the table, then draw a circle around it with an arrow indicating the direction in which you are supposed to walk. Draw stick figures to help you remember your choreography. Remember, the simpler the better. Mark your music with large commas to remind yourself where to

7 take breaths while singing. 8

Although you should feel free to mark up your script, be careful it doesn’t become so cluttered with notes that you have a hard time finding your lines on the page!

13 JR.

ript Actor’s hSc ________ D_e_s __t_in

__a____ __r Sa_m_a Name:______ ___________ e _ _ ic _ r _ _ t _ a _ P _ _ _ __ Character:__

If it’s so awfu

l, just don’t

P A T R IC E have it.

Yeah, right. EVAN Try telling th at to my Mo mitzvah is th m. For Jews, e one day ev your bar erything in yo happy and p ur life is sup erfect. posed to be

See, Catholics P A T R IC E don’t have th we believe in at day. It wo u .

ld go against

everything

Besides, how EVAN hot your par ty is totally be. So I need sets up how this one to b pop e the best! T ballroom at he best DJ in ular you’ll the best hote the best l… … which is T

P A T R IC E tern.

he Best Wes

(#3 – THE L

AMEST PLA

CE IN THE

WORLD begi

ns.)

TH EeLAMEST P The L am st Place In T Lh AeCE I N THE WORLD World 4 XDSR 13 JR.

EVAN: Come on. There's go PATRICE: So t to be somep rry, but your la choices are lik ce in this town. EVAN: Limite e my life here d to what? : limited. PATRICE: W ell, um, okay.

## & # ## C 9

## ##

(PATRICE:)

## & # ##

œ œ œ

Down the ro ad,

œ œ œ

the block,

there's a

Œ Ó

œ œ

Queen.

œ œ ú

There's a

j œ œj œ

so - rize

œ œ

there's a W al - mart.

ac - ces

j œ œ

Dair - y

œ œ œj œ 16œj œj œ

place you can

j œ œ

œ œ

8 DICTION

## ##

your

pets.

œ œ œ œ œ œ ‰ œj

Music Theatre International • Broadway Junior® • Actor’s Script A school,

a tree,

13 JR.

some tips for the

theater Don’t u pstag yourse lf. Che e at ou so the audien t ce can alw a y s s e your fa ce and e your vo hear ice.

ber to Remem irector the d thank low and fel ew d cr cast an rs. membe e having If you ar morizing e trouble mnes, try your li m down the writing eaking or sp oud. them al

Keep going! If you forget a line or something unexpected happens, keep the scene moving forward. Chances are, the audience won’t even notice.

arrive s y a Alw hearsal at re time on ady and regin. to be

It takes an ensemble to make a show; everyone’s part is important.

Bring yo ur script an da pencil to ever rehearsa y l.

show, e h t e r Befo reak say, “B hich w a leg”– ns mea uck” in l d o o g “ ater. the the

ctful e p s e r e B at of others . all times

e Be specific! Mak out clear choices ab your character’s background and motivation in the show.

Always backsta be quiet g in mind, e. And keep if the aud you can see ienc see you e, they can , so sta y out of sight .

HAVE FUN! vi

13 JR.

synopsis EVAN GOLDMAN is a twelve-and-a-halfyear-old New Yorker who is going through some major life changes: his parents are getting a divorce, he’s been forced to move to Indiana, and his Bar Mitzvah is coming up (Thirteen). At least Evan has one friend in his neighborhood, PATRICE, and he explains how important it is that his Bar Mitzvah is the best party ever – but Patrice explains that Appleton, Indiana, does not have much to offer (The Lamest Place In The World). Although she feels bad for Evan, she’s glad he’s come to her town, since now they’re friends. Evan plans to ask popular football star BRETT SAMPSON to come to his party. Brett, MALCOLM, EDDIE, and a few other GUYS are helping Brett prepare to talk to KENDRA (Hey Kendra). When the guys don’t have any ideas, Evan suggests that Brett take Kendra to a scary movie. Brett dubs Evan “the Brain” and stops Kendra and LUCY to invite Kendra to the movies on Friday night. Lucy interferes, saying that Kendra already promised to do something with her, but it’s obvious that Lucy is lying. Evan is convinced that Brett will attend his party and says as much to Patrice, who tells Evan that it won’t be fun because those guys hate her. Evan assures her that they don’t know her like he does. Evan passes out his party invitations on the first day of school (Invitations). Brett accepts, and so do CASSIE and MOLLY – until Lucy notices that Patrice also has an invitation. The kids say they won’t go if Patrice will be there, so Evan takes her invitation and rips it in half. Patrice is devastated. ARCHIE, who uses crutches due to muscular dystrophy, tells Evan he can make things right with Patrice if Evan gets him a date with Kendra. He says that Evan, as the new kid, has access to social groups in the school in a way that no one else does (Get Me What I Want). In the gym, Lucy, Kendra, CHARLOTTE, and the GIRLS are at cheerleading practice. Through Lucy’s point of view, we learn that she’s jealous of Kendra and will do anything to go out with Brett (Opportunity). Archie finds Patrice in the library, writing in her journal. Archie tries to convince her to give Evan another chance, but she is very hurt (What It Means To Be A Friend). The next day, Brett asks Evan to get everyone Friday movie tickets for The Bloodmaster, an R-rated movie. The KIDS watch as Evan figures out the logistics. He goes to Archie for help, and they succeed (All Hail The Brain). Evan invites Patrice to the movie, and though she’s still mad at him, the prospect of going “out” with him is too good to refuse.

Suddenly, Evan realizes he’s set both Archie and Brett up on the same date with Kendra. He tells Archie that all he can do is sit by Kendra, and Archie agrees. On Friday, Archie is late, so Evan sits in his seat to save it. Patrice, sitting in the back row, tells him that Archie is in the arcade “waiting for the perfect moment.” Everyone is distracted by the gory movie as Brett wonders if Kendra likes him, Kendra wonders the same thing about Brett, and Patrice feels ignored by Evan. Finally, Archie enters, wearing a suit and carrying a bouquet of flowers. Archie takes his seat next to Kendra, and both he and Brett prepare to kiss her – just as Lucy pulls Kendra out of the way (Any Minute). Archie’s and Brett’s mouths meet, and RICHIE takes a photo of the moment. Archie tells everyone that Evan set him up on a date with Kendra, Brett tells Evan that no one will come to his party, and Kendra leaves. Lucy takes the opportunity to kiss Brett. Evan laments that none of them will come to his party now, and Patrice is angry that he still cares what the others think – and that he paid no attention to her at all on their date. She storms off, and Evan swears that Archie is going to help him fix everything. The next day at school, Malcolm and Eddie realize that Brett is being completely controlled by Lucy (Bad Bad News). Evan decides that if he can get Brett back together with Kendra, he’ll be the hero and everything will be forgiven. He convinces Malcolm and Eddie to take him to Brett, even though Brett wants to beat him up. Archie sends Patrice after him to help, and she and Evan suggest that Brett tell Kendra how he feels (Tell Her). Brett interrupts a fight Lucy and Kendra are having over him and declares his feelings for Kendra – but Lucy gets revenge when she starts a rumor about Kendra and Evan (It Can’t Be True). Lucy sets Kendra up to be caught with Evan and prove the rumors true. Brett catches them and threatens Evan, but Evan realizes that Brett has been a terrible friend all along and was never going to go to his party. He calls Brett a jerk, and Brett punches him. Evan apologizes for taking so long to realize that Archie and Patrice were his true friends. Even though his Bar Mitzvah isn’t the huge party he’d dreamed of, he has his friends, family, and parents together. He realizes that even though things aren’t always perfect, they can still be okay (If That’s What It Is). The whole cast returns to bow (Brand New You).

Music Theatre International • Broadway Junior® • Actor’s Script

vii

13 JR.

characters (in order of appearance)

Evan Goldman Patrice Brett Sampson Lucy Kendra Archie Malcolm Eddie Charlotte Molly Cassie Simon Richie Ensemble: Teenagers, Boys, Girls, Kids, and Guys (including Guy 1)

viii

13 JR.

(#1 – THIRTEEN begins.)

13 JR.

Thirteen THIRTEEN (EVAN GOLDMAN, a twelve-and-a-half-year-old Jewish boy from New York City, addresses the audience.)

b & b 44

Hard rock

& &

œ œ œ œ œ

œ œ

kid in

Park and the Met.

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‰ j œ

œ œ

œ œ œ œ œ œ œ œ œ œ get?

C.,

sweet:

the

nœ

Who'd

have

Music Theatre International • Broadway Junior® • Actor’s Script

good can it

œ œ

Life

ees in the Bronx. Pret - zels

#EVAN:

Pict - ure me:

an - oth - er cool

Just

Near the

‰

j œ

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street, Just how

guessed

‰

j œ1

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‰

get?

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stressed –

Life

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nœ œ œ

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a dis - as - ter, and I'm crack - ing from the strain, Go - ing

nœ œ œ œ œ

œ œ

And I'm

(EVAN:)

Now

tot - al - ly in - sane.

nœ

law - yers are mean.

the

nœ

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good can it 14

nœ œ œ œ œ

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∑

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just a - bout to turn,

44 nœ œ œ œ œ Just

44 Ó

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ALL:

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Thir

2 # &

(New York City TEENAGERS enter romping through the city on a summer afternoon.)

Œ œ ‰ j 42 œ œ œœœ œ

teen!

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Ev' - ry-thing switch - es...

42 Œ

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44 Œ ‰ j 43 œ œœœ 44 Œ œ œ

Ev' - ry-thing

34 13 JR.

∑

4 Ó

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Thir

& &

# #

(New York City TEENAGERS enter romping through the city on a summer afternoon.)

2 Œ œ ‰ j 4 œ œ œ œœœ

teen!

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stitch - es,

42 Œ

42 œ

Thir

42 Œ

43 Œ

# œœ #œ

through it?

Music Theatre International • Broadway Junior® • Actor’s Script

Thir

un - der - ground.

43 œ # œ

has changed

œœ œ

œ œ

j #œ œ œ œ Life

Ev' - ry-thing

œ œ

teen!

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4 Œ ‰ 3 4 4 j œ œœœ Ó

# œœ #œ

Thir

o - ver - night,

# œœ #œ

3 4 4

4 # œœ 4 #œ

# 4 Œ & 4

‰

# 4 #œ & 4 # œœ

# 4 Œ 4

‰

# 4 #œ & 4 œ #œ

2 4 Œ

teen!

j #œ œ œ œ

43 œ

3 4 Œ

Life

has changed

teen!

How

# 4 & 4 Œ

‰

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# (ALL:) & 44 œ œ

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and the worst and the

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most and the least And the

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œœ œœ

b b 44

stand - ing on the edge!

(EVAN steps forward to talk to the audience.) EVAN: My name is Evan Goldman. I live at 224 West 92nd Street, in the heart of Manhattan, and my life just fell apart.

4& b b 44 ..

The

craz - y and the scar - y and I'm

teen!

Thir

it?

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teen!

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o - ver - night,

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j #œ œ œ œ

# œœ #œ

.. 13 JR.

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craz - y and the scar - y and I'm

œœ œœ œœ œœ

œœ œœ

b 4

stand - ing on the edge!

(EVAN steps forward to talk to the audience.) EVAN: My name is Evan Goldman. I live at 224 West 92nd Street, in the heart of Manhattan, and my life just fell apart.

b 4 & b 4 ..

(EVAN:) You wanna talk about turning 13? It's a nightmare. First of all, my parents are splitting up.

b &b

(EVAN:) Second of all... (points to pimple on his chin) ... can you see this pimple? What is THIS? What did I do to deserve this? I've got one good thing happening this whole year: My Bar Mitzvah.

b & b ..

(EVAN:) The Jewish Super Bowl. I don't care how much my parents hate each other. They'd better pull it together and make sure everything about this party is absolutely, positively, for once, perfect!

b &b

(EVAN:)

Twelve years old

b b &

EVAN, 2 BOYS:

good

Pres - sure

‰ œj œ œ œ œ œ œ

ev'

ry - thing that used

œ œ œ œ œ

œ œ

gold starts to crum - ble and crack.

mounts.

‰ œj œ œ œ œ œ Once

Music Theatre International • Broadway Junior® • Actor’s Script

it was a joke,

œ œ

now it

EVAN, 2 BOYS, 2 GIRLS:

& &

bb b œ

Life

1 BOY:

goes wrong;

Sud - den - ly they're yell-ing 'cause your

1 GIRL:

hair's

‰ j œ œ œ œ œ œ œ œ œ

long

‰

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ALL SUNG SO FAR:

b b & bœ

Roll

Or your room is - n't

oth - er lost cause

Ev'

ALL:

Now

I'm

gon

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‰

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SOLO:

What

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a - bout to turn,

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list of my ßaws and I'm

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ry con-ver - sa-tion is an -

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a - long

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too

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real - ly counts and there's no turn - ing back.

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44 13 JR.

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42 œ

42 Œ

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teen!

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Some - bo - dy

teen!

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b nœ & b 44 n œœ

When

Music Theatre International • Broadway Junior® • Actor’s Script

œ œ

Thir

43 Œ

b œ & b 44 œœ

4 4

gon - na be?

teen!

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Thir

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‰

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get

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grown - up stuff?

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make it?

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ALL:

Why

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is the world feel - ing sud - den - ly strang - er? 13 JR.

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is the world feel - ing sud - den - ly strang - er?

are my friends act - ing

b & b œœ

101

Why

b & b œœ

b &b œ

feel

like my

life

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œœ

How

like my brain

dan - ger?

dis - ap - peared?

œ œ œ

will

get

œ œ

through a

year

ANOTHER SOLO:

b &b œ

107

œ œ œ

How

b &b œ

can

not

look

Span - ish?

How

œ œ œ

can

gain

dumb

Track?

œ œ

twen - ty pounds

ANOTHER BOY SOLO:

b &b œ

How

œ œ œ

can

I make

voice

Music Theatre International • Broadway Junior® • Actor’s Script ALL:

œ œ œ

œ œ

BOY SOLO:

109

113

SOLO:

105

111

feel

œ œ œ œ œ œ

103

Why

nœ

not

Fri - day?

crack? GROUP 1:

œ œ œ

œ œ

œ œ œ

How

bb ALL: & œ

can

113

115

I make

œ œ œ

wan - na

get

voice

œ œ

ßy, wan - na

b &b œ œ œ œ œ

wan - na drive, Wan - na

wan - na get

out!

œ œ œ œ œ

wan - na get my nose pierced,

ALL:

long, but

all

œ œ œ

read - y!"

œ œ œ

"No, it's not

œ œ œ œ

read - y!"

"No, it's not

œ œ œ œ

Full-on hardcore rock

"No, you're not

b &b œ œ œ

123

"No, it's not

b &b œ œ œ

125

"No, you're not

b b & œ œ œ

œ œ œ

j j œ œ œ œ œ

wan - na grow my hair

b &b œ œ

œ œ

GROUP 2:

GROUP 3:

127

run,

wan - na get

crack?

œ œ œ

free,

œ œ œ

GROUP 1:

121

rich,

GROUP 1:

GROUP 3:

Wan - na get my brac - es off,

119

not

GROUP 2:

b &b œ œ œ œ œ œ œ

117

nœ

"No, it's not

right now!"

right

I keep hear - ing is:

time

yet!"

"Wait un - til you're old - er!"

œ œ œ

time

yet!"

now!" "Wait un - til you're old - er!"

13 JR.

"No, you're not

b b & œ œ œ

127

"No, it's not

b b & œ œ œ

129

"No, you're not

b &b œ œ œ

131

"No, it's not

SMALL GROUP 1:

b &b œ

133

read - y!"

"No, it's not

œ œ œ œ

read - y!"

œ œ œ

"No, it's not

time

yet!"

œ œ œ œ œ

right

b & b b œœ

ALL:

"Just

137

right now!"

"Wait un - til you're old - er!"

SMALL GROUP 2:

SMALL GROUP 3:

SMALL GROUP 4:

œœ œ œœ œ

set - tle down

"Dish - es!"

b œœ

œœ

and

hold

your

œœ

"Cour - ses!"

hors - es!"

(Guitar solo and dance break. The KIDS' energy Þlls the stage. EVAN moves to center.)

bb b

(ALL:)

151

yet!"

now!" "Wait un - til you're old - er!"

"Home - work!" "Laun - dry!"

135

time

œ I

can't

wait!

‰

j œ I

Music Theatre International • Broadway Junior® • Actor’s Script

can't wait! Can't

b 3 &b 4 œ

153

wait!

b 4 &b 4 œ

wait,

b œ b & œœ

157

(ALL:)

N œœ

wait,

can't

j œ œ œ œ

2 4 œ

wait,

can't

PART 1:

- teen!

œœ

b œœ

Some - thing

∑

b & b 44 Œ

‰

b & b 44 œœœ

b & b 44 Œ

‰

b & b 44 œœœ

159

j œ œ œ œ

Some - thing is

teen!

161

- teen!

j œ œ œ œ

Some - thing

Can't

œœ œ œœ

œœ

wait for Thir -

com - in'!

42 Œ

4 4

wait!

can't

‰

Can't

155

4 4

œœ œ

PART 2:

Thir

43 œ œ j ‰ Œ œ

43 Œ

go - in' up!

42 œ

Thir

hum - min'!

42 Œ

œœ œ

Thir

13 JR.

b 4 &b 4 Œ

163

‰ j œ œ œ œ

3 4 œ œ œ

n n 44

3 4 Œ

n œœ nœ

n n 44

Some - bo - dy's

b 4 œœ b & 4 œ

teen!

Latin Rock

4 &4 Œ

165

(CASSIE does a scat solo.)

œ.

œ J

CASSIE:

(PART 2:)

œœ 4 &4 œ

Hey

- teen!

grow - in' up!

œ œ J

Thir

œ œ œ œ œ J

ALL:

œœ œ

Thir

(EDDIE responds with a scat solo.)

j & œ ‰ Œ

œ œ œ bœ

œ.

EDDIE:

167

œœ & œ

Hey

hey

j b œ œ œ œj ‰ yeah

œœ œ

teen!

j œ œ

MALCOLM:

& Œ

169

œ & œœ

Thir

(MALCOLM does a scat solo.)

bœ J

œ.

bœ œ J da

teen!

& Ó

171

œ da

œœ œ

Thir

CHARLOTTE:

(CHARLOTTE does a scat solo.)

j œ œ

bœ J

œ.

Music Theatre International • Broadway Junior® • Actor’s Script

Hey,

yeah!

b œ œ 13 J J ‰

& œ

teen!

& Ó

171

Thir

CHARLOTTE:

(CHARLOTTE does a scat solo.)

j œ œ

Hey,

œ & œœ

bœ J

œ.

yeah!

(ALL:)

& bœ bœ

best

bœ œ ‰ J J ‰ œj œ

teen!

173

The

œ œ œ œ œ œ

œ œ œ œ

and the worst and the

bœ bœ

most

œ œ œ œ œ œ

and the least

And the

œœ œœ

œœ Œ Ó œœ

& b œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ b œœœ œœœ œœœ œœ œœœ bœ œ bœ

175

œ œ œ œ

craz - y and the scar - y And we're just a-bout to turn THIR- TEEN!

(Big finish. Evan’s phone rings. He answers it.) EVAN Hey Mom, what’s up? What? You never said anything about moving! Where? Indiana? Nooooooooooo! (#2 – INDIANA TRANSITION begins. The entire set suddenly rips apart, and EVAN is alone on a windy plain with farmhouses in the distance; he has landed in the open Indiana bleakness.) (EVAN) Appleton, Indiana. No, seriously. My parents split up, my life falls apart, and now I’m in a town where UFOs go to refuel! (PATRICE, a somewhat eccentric and bookish girl, enters and joins EVAN.) PATRICE I can’t believe someone finally moved in next door. I thought that house was haunted.

13 JR.

EVAN (to audience) At least there’s someone around here I can talk to. My next door neighbor, Patrice. (to PATRICE) Mom said she had to get as far away from New York as possible. PATRICE Wow. Sounds like the divorce got ugly. EVAN She tells me we’re leaving New York, but then she says, “It’s your decision,” which we all know means “You’re coming with me!” So she drags me away from my home and all my friends and now I have to have my Bar Mitzvah in Appleton, Indiana! PATRICE If it’s so awful, just don’t have it. EVAN Yeah, right. Try telling that to my mom. For Jews, your Bar Mitzvah is the one day everything in your life is supposed to be happy and perfect. PATRICE See, Catholics don’t have that day. It would go against everything we believe in. EVAN Besides, how hot your party is totally sets up how popular you’ll be. So I need this one to be the best! The best DJ in the best ballroom at the best hotel… PATRICE … which is The Best Western. (#3 – THE LAMEST PLACE IN THE WORLD begins.)

Music Theatre International • Broadway Junior® • Actor’s Script

3 13 JR. THE LAMEST PLACE The Lamest Place In The World IN THE WORLD EVAN: Come on. There's got to be someplace in this town. PATRICE: Sorry, but your choices are like my life here: limited. EVAN: Limited to what? PATRICE: Well, um, okay.

#### C & #

Light Swing

####

(PATRICE:)

œ œ œ

# œ

œ œ œ

Down the road,

# œ

œ œ

there's a

j œ œ

Dair - y

œ œ

the block,

j œ œ

Queen.

œ œ ú

œ œ

there's a Wal - mart.

j œ œ œ œ

j j œ œ œ

j œ œj œ rize

ac - ces

# œ Œ Ó

‰ j œ œ œ œ œ œ œ

A school,

# œ œ œ œ œ œ œ œ œ œ œ

your

j œ

place you can

There's a

a tree,

cou - ple of church - es, And no matter how hard

pets.

œ œ

an - y 13 JR.

####

‰ j œ œ œ œ œ œ œ a tree,

# œ œ œ œ œ œ œ œ œ œ œ # œj œ # œj œ

œ œ

lam - est

just

place

a - bout

j œ œ

œ œ œ nœ œ

this

That's

j œ œ

œ œ œ œ œ

the

j œ

world,

thrill -

œ œ

zom - bie vil - lage gets.

an - y -

j œ œ œ œ

search - es,

# œ ú # œ

j j œ œ œ.

j œ œj œ .

ing

####

A school,

bo - dy

Œ Ó

cou - ple of church - es, And no matter how hard

####

It's

the

‰ j œ œ

But it

œ œ Œ Ó

Ó Œ

œ ú

got a lit - tle bit bet - ter,

œ œ

So don't

# œ œ œ œ œœ

# œ œ nœ œœ

‰ œj n œ n œj œ Jœ œ œ

dis - ap - pear.

Music Theatre International •in Broadway the Junior® world.• Actor’s Script But

œ œ

It's the

lam - est

I'm pret - ty sure

place

It's

& &

œ œ œ œœœ

# œ

œœœ

#### œ œ & # J

& &

####

It's the

lame

œ ú

lam - est

place

j ‰ œj n œ n œ œ œJ œ œ

But I'm pret - ty sure

was

It's

œ œ ú

be - fore

EVAN: Patrice, that can't be everything. There's gotta be more to do around here?

Now 44

œ œ

j œ œ œ œ œ

not as

####

nœ

the world.

dis - ap - pear.

####

that

PATRICE:

you're

# œ

œ œ œ

# œ

œ œ œ

For - ty miles

Six - ty miles

# œ œ œ œ œj œ

œ ú

Ó Œ

œ œ

here.

œ œ

to the

œ œ

to the

near - est

air - port,

riv - er,

‰

j œ œ œ

When we plan

j œ œ œ œ œ œ œ œ œ

our es - cape, that's where

# ú

we're gon - na have

œ œ œ

It's a shame, it's

a sham,

to be.

œ œ

it's

13 JR.

####

# œ

ter

#### œ & # J œ

ble

j œ œ

dragged a - way

####

# œj

ma - jor

####

maz - ing

####

# œj œ # œ

lam - est

pit

œ œ

from New

You

got

œœœ

j œ œ

York

Ci - ty,

It's

j œ œ

j j œ œ œ

j œ

œ.

j j œ œ œ

j œ

suck

luck

place

for

you,

me!

œ œ œ œ nœ in

the

bit bet - ter,

Music Theatre International • Broadway Junior® • Actor’s Script

It's

the

‰ jœ œ

world,

# œ œ œ œ œ œ œ œ Œ Ó just got a lit - tle

but it's

But it

Ó Œ

œ œ

I'm hap -

####

# œ œ œ œ œœ

nœ

####

# œ

#### ú . & #

the

don't

####

real

# ú

œ œ

hard - ly

####

fake and

20 # # #

# œj œ

Let 'em

lam - est

place

j œ

ly know

set - tled

j œ œ œ œ

ú.

show

this

laugh, they won't

œ.

you

œ Œ œ œ

you,

ev - ’ry

œ œ

& # # œ œ œ œ

It's the

œ œœœ œ

j œ œ œ œ

Chip - pe - wa

And though

œ œ

freak,

# œ œ œ

œ ú

œ œ

world,

wait

Dry and Funky

# œj

say:

œ œ œ

I can

j j œ œ œ œ

fool and clown,

œ œ

Ev-’ry

œ œ

Since the

j œ œ

œ œ œ

stu - pid

town,

keep me

down

With

13 JR.

œ œ

œ œ œ œ

Let 'em

####

laugh, they won't

# œ œ œ œ you by

Œ œ œ

#### Ó & #

####

101

keep me

just got a lit-tle bit

bet-ter!

œ œœ

œ œ œœ

true!

œ œ œ œ nœ

jœ # nœ

œ œ J

lam - est

# œ

place

the

ú.

nœ

world

œ œ J

Has

j j œ œ œ

But

may - be

it' - ll

œ œ œ

œ œ ú

be - cause

brought

3x (vocals 1st time only)

œ .. w

Yes, the

ßaws

With

œ œ œj ú J

œ œ œ œ œ

A - maz - ing but

lots of

down

# œ ú

#### Ó & #

103

œ œ œ

my side!

#### ú & #

j œ

Þne

∑

U ∑

to you!

Music Theatre International • Broadway Junior® • Actor’s Script

EVAN

Wow, Patrice.

PATRICE Come on. I’ll show you the hillside where everyone waits for the Resurrection. (PATRICE smiles and walks off; EVAN turns to us. The scene transitions to a park near the school.) EVAN It’s all working out. I’ve got a new friend who is as great as my old ones, if I can just get all the coolest kids to come to my party… (Enter BRETT, MALCOLM, and EDDIE and some other guys, in the midst of a conversation. BRETT is the junior high school football star and not quite as smart as a postage stamp. EDDIE and MALCOLM are his goons.) BRETT

Okay, guys, listen up.

EVAN … Like Brett Sampson! He’s the star quarterback, he’s got eight million friends. If he comes, everyone comes. I just need a way in with him… BRETT Kendra is going to be here any minute. We have to get this right. What have you got for me?

EDDIE Check it out, yo, we on it. 1, 2,13 3, JR. here we go...

Hey Kendra (Part 1)(PART 1) HEY KENDRA (#4 – HEY KENDRA (PART 1) begins.)

(They sing/speak to an imaginary Kendra.)

Smooth "Barry White" groove

& 44

42 Œ

œ œ œ 4 &4 22 Ken - dra…

‰ Jœ

Hey

BRETT: I've been thinking.

BRETT: Hey Kendra. 5

MALCOLM, EDDIE:

(MALCOLM, EDDIE:)

≈ œ œ

œ œ œ

I been think-in'

MALCOLM, EDDIE, A FEW GUYS:

‰ œJ I

13 JR.

4Œ

4 œ œ œ &4

Ken - dra…

œ œ œ

≈ œ œ

get wit'-choo.

& œ

œ œ œ œ

bid - ness,

yo'

And make you feel

real

(MALCOLM, EDDIE, A FEW GUYS:)

≈ œ

‰ œ J

BRETT: So true.

got - ta, got - ta, got - ta, got - ta

all

Hey

MALCOLM, EDDIE, A FEW GUYS:

I been think-in'

œ œ ú

get

(MALCOLM, EDDIE:)

œ œ œ œ œ œ œ œ

œ œ &

BRETT: I've been thinking.

BRETT: Hey Kendra. 5

‰

≈œ œ œ I wan - na

BRETT: ...bidness...

girl.

j œ œ.

Þne.

BRETT Wait. What? Okay, stop! Yeah, not gonna work. Guys, Kendra’s a “good girl.” I say that, I’ll never get the tongue! ALL GUYS (with wonderment) The tongue! EDDIE Where are you gonna do it, Brett? BRETT You two didn’t set something up? I’m very disappointed, Eddie. Malcolm. (They hang their heads in shame.)

Music Theatre International • Broadway Junior® • Actor’s Script

EVAN (to BRETT) Hey. Brett. How about taking her to a scary movie? She’ll get terrified, inch her way closer, open her mouth to scream, and your tongue will just get sucked in with the jet stream! (BRETT, MALCOLM, and EDDIE all turn to look at EVAN.) BRETT A scary movie! Who is this guy? EVAN I’m Evan Goldman. From New York. BRETT New York? Whoa! I’m gonna call you… Brain! MALCOLM, EDDIE

Brain!

EVAN

Brain.

(EDDIE sees LUCY and KENDRA approaching.) EDDIE Incoming! Kendra, three o’clock…

13 JR.

Hey Kendra (Part 2) HEY KENDRA (PART 2) (#5 – HEY KENDRA (PART 2) begins.)

(KENDRA enters. She's the most popular girl in school and also the most oblivious.) BRETT: Hey Kendra. (LUCY, her best friend, comes running in and steps in front of KENDRA. LUCY, as a rule, is not to be trusted.) (BRETT:) (deßated) Oh, hi Lucy. LUCY: Lucky us, running into you when I'm looking so hot. BRETT: Kendra, you look amazing. KENDRA: I almost didn't wear this, but then I thought, (as if having a life changing epiphany) no. Wear it! BRETT: Kendra, there's something I wanna ask you… LUCY: Oh, no...

& 44 ..

24 & 42 Œ 5

EDDIE, MALCOLM, GUYS: 6

‰ œJ 44 œ Hey

Ken - dra!

.. 42

BRETT: (suddenly he's Barry White) Hey Kendra.

≈ œ œ

I’ve been

13 JR.

4 & 4 ..

‰ œ 44 œ J

2 &4 Œ

EDDIE, MALCOLM, GUYS: 6

think

œ wan

≈ œ œ

I’ve been

BRETT: I've been thinking.

‰

BRETT, EDDIE, MALCOLM, GUYS:

œ J

ing…

spend

lit

œ time

with

you.

take

you

‰

tle

spe

œ -

cial

(BRETT, EDDIE, MALCOLM, GUYS:)

≈

mov - ie,

girl.

wan - na

BRETT: Friday night.

KENDRA: It's perfect!

œ œ œ œ œ œ

Down

LUCY: (interrupting)

œ œ œ œ

the mall.

ú.

Music Theatre International • Broadway Junior® • Actor’s Script

œ œ. J

KENDRA: Aw...

(BRETT, EDDIE, MALCOLM, GUYS:)

& Ó

BRETT: (suddenly he's Barry White) Hey Kendra.

Ken - dra!

& Œ

Hey

.. 42

no!

œ œ œ25 3

You can't

& Œ

œ œ. J

‰

Down

LUCY: (interrupting)

& Ó

œ œ œ œ

(LUCY:)

& œ

the

ú.

œ œ œ

You can't

mov - ies

EDDIE, MALCOLM, GUYS:

‰ N œJ œ œ œ

No, no, she can't

& œ œ.

& Œ

œœ

go!

day

œ œ œ œ

al - read

œœ‰ Œ

do it!

‰

(LUCY:)

I said she can't

Fri

night!

& Œ

no!

œ bœ

the mall.

go 16

œ œ œ œ œ œ

œ y

œœ

uh,

œœ J

‰ œ

com - mit - ted

‘Cause

way.

œœ J

no 3

you

‰

that

Out of time (LUCY:)

26 & œ 20

thing!

KENDRA: (mystiÞed)

œ J

What

œ thing?

j œ

That

thing

you

LUCY:

13 JR.

al - read

com - mit - ted

that

Out of time (LUCY:)

KENDRA: (mystiÞed)

thing!

What

œ J

& œ

said

& œJ

you would do

That

thing

you

œ J

Fri

j œ Jœ

We'll talk

œ œ ú

BRETT:

beg-ging…

Rit.

bœ œ œ œ & 3

Fri

Hey

Freely

j œ

KENDRA:

day!

a - bout

‰ Jœ

j œ œJ

(The GIRLS smile BRETT, EDDIE, at the BOYS.) MALCOLM, KENDRA: GUYS: 24

FINE!

LUCY:

thing!

& 44 œ

thing?

œ J

œ œ

j œ

LUCY:

There

j œ œJ

this

U ú

lat - er!

Tempo I

œ œ ú

‰ Jœ

Ken - dra…

I’m

(BRETT executes a fancy move on the word "please.")

œ œ œ œ

come to the mo - vies

Please

j œ

KENDRA: Sure I'll come! LUCY: We so have to talk! (LUCY grabs KENDRA, and they exit.)

day…

Music Theatre International • Broadway Junior® • Actor’s Script

BRETT, EDDIE, MALCOLM, GUYS:

Oo,

ba - by,

bœ

œ œ œ U " œ

(GUYS:)

& w

ú Ó

goooood.

& Œ

3 3 œ œ œ œ œ œ œ œ œ œ ≈ œ

EDDIE:

ú Ó

You gon - na get all up in her bid-ness, yo!

BRETT Nice work, Brain. I’ll see you when school starts! (BRETT, MALCOLM, and EDDIE exit.) EVAN (to audience) “I’ll see you when school starts!” I’m so in with Brett, which means everyone’s gonna come to my party… (PATRICE enters.) … which is going to be amazing, thanks to all your help. Let’s get to school so I can pass out these invites. PATRICE Evan, wait. Before you pass these out… If those guys know I’m coming, there won’t be a party. I’ve been trying to tell you for the last month, they hate me. EVAN Patrice, come on. What makes you think they hate you? PATRICE They write, “We hate you” on my locker. Look, I don’t read what they read, watch what they watch, shop where they shop, or think like they think and neither do you. Trust me, you should stay away from those guys. EVAN They don’t know you like I know you. But you’re with me now. Come on. I have a good feeling about our first day at…

13 JR.

(EVAN) (to the audience, meaningfully) Dan Quayle Junior High.

13 JR.

6 Invitations (Part 1) INVITATIONS (PART 1) (#6 – INVITATIONS (PART 1) begins.)

b C b &

Funky

BRETT: Hey, it's the Brain!

U Ó

(The school drops in. STUDENTS arrive. EVAN and PATRICE arrive last. BRETT sees EVAN.)

EVAN: (to audience)

I've

got

Straight 8th's

nœ

one

day

œ œ J

in Oc

(EVAN passes out the invitations, Þrst to BRETT, MALCOLM, and EDDIE, then gradually to everyone else.)

b & b œJ œ .

ber

When

b &b ú b & b œJ œ b

And

j bœ

I've

all

par

got

œ œ œ œ J

œ J

j jœ bœ œ

j œ

œ œ J

œ J

one

day

Music Theatre International • Broadway Junior® • Actor’s Script

œ J

Þt.

j œ œ

to -

will

Þ - nal - ly

j j œ œ œ

piec - es

When I'm

the

j œ œ.

œ œ œJ œ

œ J

ac - cept -

in Oc

hit.

to -

b & b œJ œ .

ber,

and

(

œœ

)

know it's

œ œ J

gon - na

œ " J

be…

EDDIE Like, okay, so, what is a Barf Matzah anyway? LUCY It’s this Jewish thing where they make you talk backwards and wear funny hats. ALL (EXCEPT EVAN AND PATRICE)

Oh.

EVAN No, no, no! It’s a party. With a hot DJ, and wild dancing. (The KIDS all look to BRETT.) BRETT

That might be cool. Count me in. I’ll be there.

CASSIE MOLLY

(LUCY sees PATRICE holding an invitation.) Hold on. Is the freak coming? Patrice?

LUCY EVAN

MOLLY Yeah. ’Cause if she comes, we’re so snubbing. Count me out.

CASSIE

EVAN Come on. What’s wrong with Patrice? She’ll be there. And we won’t.

BRETT LUCY

13 JR.

MALCOLM And if they don’t go, we don’t go. EDDIE

Get it?

PATRICE I told you. Come on, Evan… BRETT

Make up your mind, Brain.

(#7 – INVITATIONS (PART 2) begins.)

13 JR.

Invitations (Part 2) 2)7 INVITATIONS (PART (BRETT:) It's either us... or her. (BRETT takes the invitation from PATRICE and gives it back to EVAN.) Up to you. (Everyone freezes. EVAN turns to the audience.)

bb C 4x.. Ó & 3

I've

b & b œJ œ .

b &b ú b & b œJ œ . b &b ú

got

one

day

And if

j œ œ

œ J

Then

ter,

.. œ

œ J

j œ œ

ber

EVAN: (vocals last x)

it's

one

I've

got

one

day

œ J

œ œ

huge

dis - as -

Oc - to

down,

œ J œ œJ œ

Music Theatre International • Broadway Junior® • Actor’s Script

town.

œ œ J

in Oc - to -

get

par - ents,

œ J

don't

j bœ œ.

œ œ J

this

ú. ber…

ter,

b &b ú

I've

b &b Ó

got

one

day

œ œ œ J

œ I

can

par - ents,

town.

make it

œ œ œ œ J J

Oc - to

b Ó j œ . (œœ) (œœ) (œœ) œ b & œ J b &b ú

par

b &b Œ

it's

real - ly

bú

The per - fect

b &b w

par

Poco allarg.

Rock groove (à la Opening)

b & b 44

1/2 OF KIDS:

œ I

ber…

the per - fect

(EVAN makes a decision. He hands the invitation to PATRICE. BRETT and the others turn disgustedly to walk away, but in a panic, EVAN reaches, takes back Patrice's invitation, and rips it in half.)

ú.

ty.

‰ Jœ œ

ber…

œ. œ œ œ J

œ J

got - ta

this

ú.

œ œ J

to Oc - to

But

can't

wait

ú -

ty! BRETT: (to everybody) See what I told you? He is the Brain! (Group cheer.)

U ∑

(PATRICE walks away, humiliated and reeling from the betrayal.)

œ œ

come

œ œ œ

to your par - ty! 13 JR.

OTHER 1/2 OF KIDS:

œ I

bb ALL: & œ

can't

wait

can't

œ œ

œ œ œ

œ œ

œ œ œ

wait

come

your

∑

ALL KIDS:

œ I

can't wait!

b & b 43 œ

wait!

b & b 44 œ

wait,

Funk Feel

can't

b œœ

wait,

can't

wait!

œœ

N œœ

can't

par - ty!

∑

Can't

wait! Can't

Can't

œœ

œœ œ

œœ

wait, can't wait for Thir -

(The KIDS pat EVAN on the back, cheer, and dance offstage, leaving EVAN looking for PATRICE. ARCHIE talks to EVAN.)

b & b œœœ Œ Ó

j œ œ

‰

par - ty!

your

(ARCHIE has entered. His energy and look are unlike anything else onstage, and he walks on crutches as the result of muscular dystrophy.) ARCHIE: What party?

b & b 44

ARCHIE: Oh, hi! You're the new kid, right?

U ∑

- teen!

Music Theatre International • Broadway Junior® • Actor’s Script

Oh yeah, hi. I’m Evan.

EVAN

ARCHIE I’m Archie. I pass by your house every morning when you’re waiting for the bus. EVAN So, it’s been really great meeting you, Archie… Are you looking for Patrice? You know Patrice?

ARCHIE EVAN

ARCHIE Sure, she’s like my best friend. Also my only friend. Do you know where she is?

EVAN

ARCHIE Why? You wanna do something else to publicly humiliate her and ruin her life? EVAN Oh. You know about that, huh? ARCHIE Yeah, it’s already on YouTube. But I think I can help. EVAN Really? That would be amazing. I’d totally owe you. ARCHIE And then, you can do something for me? A deal, of sorts. EVAN (tentative) Wait a second. What kind of a deal? ARCHIE A small deal. A no-big-deal deal. I need a date! EVAN Uh. Okay. And is there anyone specific you want a date with? Kendra. Kendra?

ARCHIE EVAN

13 JR.

ARCHIE

She wants me.

EVAN Come on. There’s no way I can get Kendra to go out with you. Archie, I’ve really gotta go find Patrice. (EVAN heads off.) ARCHIE I understand. Even though it’s a sick boy’s dying wish, I don’t want you to feel any pressure… (EVAN stops cold. With enormous reluctance, he turns back to face ARCHIE.) EVAN

Dying?

ARCHIE

Oh, did that slip out?

EVAN

Really? You’re dying?

ARCHIE I have a degenerative neuromuscular disorder. EVAN Look, I feel terrible, really, but I can’t get you a date with Kendra. (#8 – GET ME WHAT I NEED begins.)

13 JR.

GetME Me WHAT What I Need GET I NEED ARCHIE: There's exactly one person in this school who can help me, and that person is you!

Bouncy pop feel

& 44 6

(ARCHIE:)

& Ó & œ

( )

œœ

( )

There's the

j œ œ.

And

œœ œœ

( )

cool kids–

( )

There's the

œ 35

there's

the

skate

punks

And

the

Music Theatre International • Broadway Junior® • Actor’s Script

preps

There's the

& œ

preps

& œ

And

there's

the

skate

punks

And

the

& œj œ . Œ œœ œœ

‰ œj j œ œ

And then there's

œ œ

œ J

j œj œ . œ

‰

me.

j œ

'Cause

But

then there's

you're

the

kid

the

school,

You're

not

œ J

& œ œ œ œ œJ œ

Þned by one spe - ci - Þc

& 36

‰

you!

new

There's the

the

& ú & œ

( )

There's the nerds And there's the e - mos and

( )

me.

œ œ œœ

( )

Goths–

& œ

j œ

And then there's

los-ers–

There's the

j œ œj œ

‰

jocks–

cool kids–

‰ œj œ œ

breed,

free

ßit

from

group

And so you're

œ group,

from

13 JR.

Þned by one spe - ci - Þc

free

ßit

from

group

& œ

scene

œ con

& œ

œ & J œ

it,

the

fect

œ œ

j j œ œ œ what

group,

from

you're

the

Which

œ -

œ J

um,

the

means

si - tioned

Get

(BOYS cross.)

need!

∑

œœ

( )

Here's

the

œ œœ œ œ œ œ œ œ œ œ œ

Music Theatre International • Broadway Junior® • Actor’s Script 29

you're

BRETT: (as he crosses, pointing to ARCHIE) Yo Brain! That guy? Not cool. EVAN: (yelling to BRETT) Okay, got it, thanks! ARCHIE:

& œj œ .

tween,

'Cause

œ -

œ per

scene,

And so you're

breed,

( )

(

)

∑

& œj œ .

& œ.

j œ œj œ

j œ

& œj œ .

œ œ œ

& œ.

j œ œj œ

So who cares

œ J

how?

j œj œ . œ

& ú

Œ œ

won't both - er

you

a - gain, And that's a

& œ

œ J

‰ œj œ œ

Might be

best,

prom - ise,

late.

Here's

the

œ œ œ J

œ œ œœ

( )

ev - er had a chance, the time

‰

Just

do your

teed!

help

out

and

can

both

38 & j

œ J

‰

j œ

ver

( )

So let's

guar - an

œ œ ( œœ) œ

too

( )

face it:

œœ

( )

Ev - 'ry min - ute, ev - 'ry sec - ond that

now.

œœ

( )

œ œ œ œ œ œ œ

œœ (œœ) œ

( )

prob - lem:

wait

well,

So you can

can

13 JR.

help

& œj

ver

and

can

both

œ J

‰

j œ

can

œ œ

well,

turn

a - round

and

make

your

life

œ J

‰

j œ

& œj liv

ing

you,

you've

got

j œ œ

œ & J œ.

cen - tive

choice,

( )

(

You've

(

)

œœ

)

know it

sounds

Lew - is

(

œœ

)

in - sane;

œœ

can

ex - plain!

got

(

Yes,

œ œ

j œ œ

œ œ & J

œœ J

It's

to suc - ceed!

hell!

out

(

)

Music Theatre International • Broadway Junior® • Actor’s Script

œœ œ . J )

œ3 œ

Jer - ry

œœ3

You've got

(

)

help

me,

Help

me,

Get

w 4 &4

an,

Help

me,

(

œœ

an,

Help

me,

what

)

3 4

w 4 &4

an,

œ -

an!

(inhale!)

∑

34 ú .

Need!

4 4 44

EVAN: I'll try. ARCHIE: I knew you would.

U ∑

∑

(#9 – GET ME WHAT I NEED (PLAYOFF) begins. They exit. The school bell rings. Transition to the school gymnasium. LUCY, KENDRA, and the GIRLS enter in their cheerleader outfits. KENDRA is running rehearsal. LUCY is determinedly unenthusiastic.) KENDRA Okay, this is it. I just made it up last night, so it’s a little rough, but it’s sooooo good! (LUCY stands with her arms folded.) LUCY (dripping with disdain) Whatever.

13 JR.

CHARLOTTE Lucy’s just jealous that Brett asked Kendra out instead of her. LUCY Charlotte! That’s a total lie! Let’s all learn the stupid cheer. KENDRA

All right, let’s do it! (She demonstrates, slowly:) O-P-P…

GIRLS

O-P-P…

(#10 – OPPORTUNITY begins.)

13 JR.

Opportunity OPPORTUNITY (All the GIRLS begin learning the routine except for LUCY, who stands apart. 5 We tunnel into LUCY’s brain.) LUCY:

## 4 & 4 6

œ œ œ

# & # œ

j j œ œ œ

his

Brett

œ œ

to my

girl - friend.

j œ œj

the boy

that

best

But

friend.

œ œ œ

wan - na be

I'm

∑

with.

œ œ œ œ œ

tired of

Music Theatre International • Broadway Junior® • Actor’s Script

best

∑

Brett wants Ken - dra to

# & # œ

be - ing sec - ond

Œ œ

œ41

she's

I'm

best

œ œ

to my

œ œ œ œ œ œ

nœ

bet

#œ

## œ

GIRLS:

she's

I'm

œ œ

I'm

with

Brett

and

#œ

bœ

get

œ J œ

can

prove

‰ œ J

j œ œ œ nœ

por - tu

œ œ œ

Op - por - tu - ni - ty.

‰ œ J

œ J œ

ni - ty,

œ œ

choice

œ -

hey!

an - y - way,

Oh,

ter

Œ œ

œ œ œ

smart and I'm pret-ty and I'm...

& 42

smart and she's pret - ty and she's nice.

# & # œ

œ œ œ

be - ing sec - ond

friend.

best

tired of

∑

œ œ œ œ

j œ œ œ nœ

por - tu

ni - ty!

13 JR.

## œ O

#œ

œ œ

GIRLS:

#œ

œ -

œ œ

œ œ œ

Op - por - tu - ni - ty.

‰ œ J

œ J œ

LUCY:

## œ I'd

por - tu

œ œ œ

Op - por - tu - ni - ty!

œ #œ

œ œ ú

Whoa

oh - oh!

nœ

œ œ

œ œ œ

oh!

Whoa

show

Brett

what his

girl

œ œ œ oh - oh!

ought - ta

ni - ty!

GIRLS:

œ œ

oh! LUCY:

j œ œ œ nœ

œ #œ

Whoa -

œ #œ

Whoa -

œ œ

# & # œ nœ œ œ œ œ œ œ œ nœ œ œ œ

on - ly had an it - ty bit - ty

op - por - tu - ni - ty!

(LUCY:) You know, Kendra, I'm just worried that maybe you're not ready. You need to work your way up to a "Brett." KENDRA: You ARE jealous!

## . . &

Music Theatre International • Broadway Junior® • Actor’s Script

LUCY: Look. Brett asked you to the movies for one reason only. He wants to do "The Tongue"! KENDRA: The tongue? LUCY: The Tongue! And trust me, you won't like it. KENDRA: Come on, let's go!

(The GIRLS—including LUCY—do the cheer in slow motion while we hear LUCY's thoughts.) 49

Pic - ture

œ œ œ

Brett's new

could

king and

be - ing

queen of this

œ œ œ

in my rec

œ œ œ œ œ

∑

room

œ œ

Pic - ture

out

girl - friend.

œ œ

school.

œ œ

Brett

hang - in'

Ó ‰ œj œ

œ œ

I mean, we're

œ œ œ

ba - sic - 'lly the same check us out!

LUCY:

Can't you tell?

I 13 JR.

œ œ œ œ œ œ œ œ œ œ

ba - sic - 'lly the same check us out!

## ##

don't

get

nœ

bet

## œ

GIRLS:

#œ

the

## œ

I could

I'm

#œ

œ -

just

would

LUCY:

‰ œ J

LUCY:

get

ter

girl

#œ

bœ

girl

œ J œ

j œ œ œ nœ

por - tu

œ œ

Op - por - tu - ni - ty!

‰ œ J

œ J œ

LUCY:

ni - ty!

œ œ. J

GIRLS:

Hey - oh!

j œ œ œ nœ

por - tu

œ œ

œ œ œ

Op - por - tu - ni - ty!

œ #œ

Music Theatre International • Broadway Junior® • Actor’s Script 75

œ œ œ

fake it real - ly well.

him

GIRLS:

foot - ball, but I

some - one

œ œ œ œ œ œ œ œ œ œ

show

Can't you tell?

ni - ty!

GIRLS:

œ œ œ

œ #œ

Whoa -

œ #œ

## œ

Op - por - tu - ni - ty!

œ #œ

oh!

LUCY:

46 &

œ #œ

œ œ

œ œ œ

Whoa -

œ œ ú

oh - oh!

œ œ Œ

nev - er ev - en gets a lit - tle

real - ly wants

#œ

œ nœ œ œ œ œ œ œ œ nœ œ œ œ

O - P - P

oh - oh!

# #GIRLS: & ¿ ¿ ¿

œ #œ

op - por - tu - ni - ty!

¿ ¿ ¿

O - R - T

¿ ¿ ¿ O - P - P

## ¿ U

#LUCY: # œ

¿ -

(The cascade begins, which consists of KENDRA being twirled from one girl to the next. It's complicated and depends on LUCY catching KENDRA at the end.)

Whoa

How will he know that he

Whoa -

œ œ œ

Whoa

nœ œ œ

Half-time feel

ty!

¿ ¿ ¿ -

O - R - T

(But just as it's LUCY's turn to catch, she steps forward to sing to us. In the process, KENDRA crashes noisily to the ßoor, just out of our sight.)

ni - ty! 13 JR.

nœ

#œ

œ œ

#LUCY: # œ

ni - ty!

nœ œ œ

What kind of best

friend

œ œ

would

#œ

œ œ

œ nœ œ œ œ œ œ œ œ nœ œ œ œ

did-n't take ad-van-tage of an Op - por - tu - ni - ty?

(#11 – OPPORTUNITY (PLAYOFF) begins. Blackout. School bell rings. PATRICE is sitting in the library writing furiously in her diary. ARCHIE enters. PATRICE sees him and immediately jumps up and starts to leave.) Hey Patrice… wait.

ARCHIE

PATRICE I don’t want to talk now, Archie. It’s about Evan. Especially about Evan.

ARCHIE PATRICE

ARCHIE What he did, he really didn’t mean it. PATRICE Why are you sticking up for him? ARCHIE He’s a nice guy. He’s new. He made a mistake. And I think we’re going to be friends. Good luck with that.

PATRICE

ARCHIE Come on. Give him another chance. Another chance? No, sorry.

PATRICE

(#12 – WHAT IT MEANS TO BE A FRIEND begins.) Music Theatre International • Broadway Junior® • Actor’s Script

What It Means Be a Friend WHAT IT toMEANS BE A FRIEND What TO It Means to Be a Friend (PATRICE:) I've given "another chance" to every other jerk in this town. I thought there was something special about him. "Friend." Please.

### 4 & 4 &

###

œ œ œ

###

œ œ œ œ

a cheap

œ œ œ œ

tryin' to make a

œœ œ

œ œ œ

###

‰.

r œ

deal.

per - son who most

œ œ œ

all

Cares

‰ j œ œ œ œœ ‰ j œ œ œ œ œ œ œ

And no - thing is hard - er than

œ œ œ œ œ œ œ œ

learn - ing a friend

œ œ

creep,

œ œ

a - bout what you feel,

‰

lit - tle pho - ny

jerk

friend 8

Œ ‰. r œ A

friend's not

###

(PATRICE:)

is - n't

real.

‰. r œ A

13 JR.

###

œ œ

œ œ œ œ œ œ œ

friend sends notes back and forth all

###

œ œ œ œ

care

that

you

can't

œ œ œ œ œ

###

friend would

ne - ver

œ œ

wait

is al - ways break

### œ

œ œ œj œ

‰.

r œ

tell.

‰

ing

ú ‰ . œr œ œ œ

And if your heart

ing

j œ ú

j œ

The

œ œ œ œj ‰ Œ

Music Theatre International • Broadway Junior® • Actor’s Script 21

œ œ œ œ œ

œ œ

œ œ œ œ œ œ

j j œ œ œ œ œ

on your teach - er but a

min - ute you both hear the bell...

### œ

r œ

spell.

œ œ

friend's out - side

and does - n't

‰.

œ œ

friend knows you've got a crush

day

œ œ œ

'Cause the world

œ œ

is al - ways break

###

œ œ

j œ ú

fair,

just

not

& &

### œ

50 &

the Þrst

ing you

j œ

one

there,

And that's

œ a

some - thing to

œ œ œ œ œ what it

œ œ

lean

œ œ

means

friend.

ARCHIE: You've got him all wrong, Patrice. You'll see. (He exits.)

###

œ œ

on–

œ œ

œ œ œj

Your friend's

Giv

### j œ . & œ

‰ œj œ œ œ #œ œ œ œ nœ

'Cause the world

When you're at

œ œ

œ œ œ

your worst,

###

ing

j œ œ œ œ

‰ . œr œ œ

PATRICE:

And if your heart

### œ

œ œ œj œ

j œ

is al - ways

break

œ œ œj œ

j œ

œ œœœ -

ing,

œ œ œ

And you want

œ œ

13 JR.

### œ

###

is al - ways

break

œ œ œj œ

j œ

to run

œ œ

### j œ . & œ ner

###

### ú

hide,

œ œ

And you

So you

#œ œ

j œ

your

'round the

side.

nœ

cor -

œ œ œ œ #œ œ œ œ want to

œ œ

show

him you care,

œ #œ œ œ

give him

all

œ nœ

your last

month

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ of va - ca - tion and all

œ œ And then,

œ œ œj

one moves in

œ œ

Œ œ œ

œ œ

When your hope

Your friend

œ œ

And you want

and

If some

gone,

ing,

###

œ œ. J

œ œ

of the time you can spare,

œ œ œ œ œ œ œ œ on the

œ œ

Music Theatre International • Broadway Junior® • Actor’s Script

es,

He acts

Þrst

day of class-

œ œ œ œ œ 51

like you're not

e - ven

there,

And then,

###

### ú .

œ œ

œ œ. J es,

Then he

### 4 œ & 4

œ œ

He acts

œ œ œ

on the

does - n't

like you're not

42 Œ

### 4 œ œ œ & 4 œ œ œ

###

U ú Œ œ œ A

friend.

œ œ

what

e - ven

means

‰

œ J

He'll

U ú.

Molto rit.

there,

‰ Jœ 44

42 Œ

œ œ œ

know!

know

day of class-

œ œ œ œ œ

does - n't know...

nev - er

Þrst

to be

U ∑

(#13 – WHAT IT MEANS TO BE A FRIEND (PLAYOFF) begins. Lights fade on PATRICE. #14 – SCHOOL BELL begins. School bell rings. A classroom, in the middle of a math test. KIDS enter. BRETT, MALCOLM, and EDDIE approach EVAN.) Yo, Brain.

EDDIE

BRETT Brain, your idea of taking Kendra to the movies was great. Now, get your mom to buy the tickets for The Bloodmaster. The Bloodmaster?

EVAN

13 JR.

BRETT

Friday night.

EVAN Wait. You want my mom to buy tickets for everyone? BRETT, MALCOLM, EDDIE

Yes!

EVAN There’s no way my mother’s gonna buy tickets to an R-rated movie. BRETT I’ll make this easy. You want us all to come to your little Jewish party? EVAN

Of course.

BRETT, MALCOLM, EDDIE Friday night. 7:30. (#15 – ALL HAIL THE BRAIN (PART 1) begins.)

What It Means to Be a Friend

ALL HAIL THE BRAIN What It Means to Be a Friend (PART 1)

& 44 3

(BRETT and the GOONS walk away, leaving EVAN stymied. The KIDS are all whispering, passing the gossip as they take the test.)

Country-style train beat

PART 1: (whispered)

&‹

‹ ‹ ‹ ‹ Œ

∑

Brain's gon - na

‹

‹ ‹ ‹ ‹ Œ

Brain's gon - na

it,

‹

‹ ‹ ‹ ‹ Œ

‹

‹ ‹

night,

the Brain's

‹

Music Theatre International • Broadway Junior® • Actor’s Script

Fri - day

it.

PART 2: (whispered)

Brain's gon - na

&‹

it,

‹ ‹ ‹ ‹ Œ gon - na do it.

& 5

Brain's gon - na

&‹

‹

&‹

‹ ‹ ‹ ‹ Œ

&‹

‹

&‹

‹ ‹ ‹ ‹ Œ

‹

gon - na do

Fri - day

Brain's gon - na

Fri - day

‹

‹ ‹

night,

the Brain's

night,

we go

it.

&‹

‹ ‹ ‹ ‹ J

&‹

‹ ‹ ‹

‹

and

Brain's gon - na get us

the mall

&‹ &‹

Fri

54 ‹ . &

‹ J

‹

night,

the Brain's

‹

to the mall

and

‹

‹ ‹

night,

‹ ‹ ‹ ‹ Œ

to the mo - vie.

‹

‹ ‹ ‹ ‹ J

‹ J

Brain's gon - na get us

‹.

see

"The

Blood

the mov - ie

Gon - na

‹

‹.

day

night,

"The

Blood

‹

‹.

‹ ‹ ‹

‹

‹ ‹

‹ ‹ ‹

‹

‹.

‹

‹ ‹ ‹ ‹ Œ

‹

Gon - na

gon - na do it.

Fri - day

‹ ‹

it,

‹ ‹ ‹ ‹ Œ

‹

it.

‹

&‹ ‹ ‹

‹

mas

‹ -

ter!"

see

"The

‹

‹. -

‹

mas

‹

‹ ‹

ter!"

‹

13 JR.

&‹

& ‹.

Blood

&‹

‹

‹.

day

night,

"The

Blood

ter!"

Fri

‹

& ‹.

Blood

‹.

mas

‹

day

night,

‹.

‹

mas

‹ ‹ ‹ ‹ Œ

&‹

‹

Brain's gon - na do

Fri - day

Misterioso

&Œ œ œ œ

I have a

night,

"The

‹

night!

Fri

day

night,

‹

have

Œ C

it!

‹ ‹ ‹ ‹ Œ Œ

œ œ œ

∑

it!

EVAN: (a sudden inspiration)

w plan.

bœ œ œ œ

plan.

‹

‹ ‹ ‹ ‹ Œ

Pos - si - bly,

Music Theatre International • Broadway Junior® • Actor’s Script

think

day

‹

I have a

& bœ

ter!"

Brain's gon - na do

day

‹

night!

mas

Brain's gon - na do

"The

‹

it!

‹

see

Fri

‹

ter!"

‹.

‹

&‹

Gon - na

‹

Fri

the mov - ie

‹

Fri

plan.

It - 'll

œ œ œ

& bœ

have

I have a

think

Pos - si - bly,

plan.

take

lot

work,

luck, but when

they'll

w &w

"All

& œœ úú

Hail

take

lot

comes

through,

the

ú ú

does

mor - tal

can!

ú ú

& œœ ú 56 ú

œ œ

Nú. œ Nú. œ

E - van

œ œ

úú)

(

ú ú

ALL:

say:

Hoedown

& Ó

all

It - 'll

)

Gold

œ œ

Brain!

w w

w w ú ú

ú ú

œ bb œœ œ

what

He's

man!"

It - 'll

úú

(

plan.

w w

the

ú ú

mere

man!

ú ú

∑

C 13 JR.

mor - tal

can!

& œ ú œ ú

œ œ

Nú. œ Nú. œ

E - van

Gold

w &C w

"All

ú &ú

did

what

Saw us

ú &ú

EVAN:

&Œ &œ

And

Breakdown 74

through,

bœ

Wait

'till

œ œœ œ

w w

ú ú

œ œ œ œ

bœ bœ

& œœ ú ú

man!

∑

man!"

ú ú

the

w w

Hail the Brain!

He's

ú ú

one

else

w w

could do,

ú ú

œ œœ œ

ú ú

Saved

ú ú

the day!"

Ó w w

bœ

bú

all

have

bœ

bœ œ œ

Mom

goes

œ œ œ œ œ œ

sleep,

œ œ œ bœ œ

Then

œ œ

sneak the li - cense from the wal - let in her purse, Make a Music Theatre International • Broadway Junior® • Actor’s Script

bœ œ œ œ œ

sneak the li - cense from the wal - let in her purse, Make a

bœ œ œ œ œ

col - or

Xer - ox,

bœ

œ œ œ

put

the li

&œ

bœ

purse, Then

lam - i

nate it,

œ Then

bœ

œ œ œ œ œ œ

cense

back

œ.

bœ J

Þnd

the

the wal - let

her

bœ œ œ

œ œ

dress

she

wore

the

bœ œ œ œ œ œ œ œ

bœ œ œ œ œ œ œ bœ

pic - ture on the li - cense that I

cop - ied and I lam - i - nat - ed,

&œ

bœ œ œ œ œ

œ œ œ Œ

Wear the dress,

œ œœœ Œ

#œ

œ œ œ œ Œ

Get a wig,

Show the li - cense,

(As EVAN says, "What could go wrong?" he realizes just what a stupid plan this is. In despair, he listens to the KIDS passing more gossip along.)

œ œ œœ œŒ

Buy the tick - ets...

What could

Poco Rit.

KIDS: (whispered)

‹ ‹ ‹ ‹ Œ &C ‹ P Brett's gon - na do it!

Uú

go wrong?

‹

∑

‹ ‹ ‹ ‹ Œ

Brett's gon - na do

it! 13 JR.

&‹

‹

Fri - day

&‹

night,

‹

day

night

"The

‹

gon - na

the

&‹

‹

Fri - day

&‹

‹

night

EVAN:

&‹

106

Date?

U Ó

‹.

‹

Blood - mas

‹

Tongue

ter,"

‹

with Ken - dra!

‹ ‹ ‹ ‹ ‹

‹

mov - ie

and

the

Brain's gon - na get us BRETT: With Kendra!

it!

‹ ‹

‹ ‹ ‹ ‹ J

103

‹.

‹

(KIDS getting louder, eventually yelling)

101

gon - na do

‹

‹ ‹ ‹ ‹ Œ

Brett's

‹

Brett's

‹

Fri

‰ J‹

the mall

BRETT: (to EVAN, surreptitiously) Hey Brain, did you set up my date for Friday?

‹ J

‹ Œ Ó

U Ó

U ∑

in!

(EVAN:) (eureka!)

‹

Date!

Music Theatre International • Broadway Junior® • Actor’s Script

108

‹

Date!

(Desks are pushed, and ARCHIE is revealed. We are outside Evan's house. EVAN runs up to ARCHIE.) (EVAN:) Archie, I have major news. ARCHIE: They're making a musical out of Spider Man? (Note: The authors look forward to this joke changing every year.) EVAN: No. Well, yes. But no.

109

112

& .. Œ œ œ œ .. w

111

9x (EVAN:) (vocals last x only)

I have a

&Œ

115

& w

bœ œ œ œ

Ken - dra

can

out

help though, so

stay

œ I

calm. You need

124

(EVAN:)

night!

all

come

true...

plan.

ARCHIE: Yes!!!

118

121

I have a

bœ

you and

œ œ œ

plan.

œ œ œ

need your

œ œ œ œ

go talk to

mom, And

Fri - day

œ œ œ it - 'll

ARCHIE: I have to talk to your mom.

∑

U ∑

(ARCHIE turns and smiles toward the audience. EVAN takes ARCHIE and walks him to his front door.) EVAN You can do this! I know you can. (#16 – ALL HAIL THE BRAIN (PART 2) begins.)

13 JR.

ALL HAIL All Hail The THE BrainBRAIN (Part 2) (PART 2) (EVAN rings the doorbell and hides, his mother answers, and ARCHIE goes to work. While ARCHIE “talks” to Evan’s mother, EVAN paces nervously. ARCHIE comes back and whispers in EVAN’s ear.)

4 4x.. &4

∑

(They look offstage as BRETT re-enters, followed by the KIDS.) 4

Back to Hoedown

KIDS:

& ww

úú

All

U Ó

œ œ

All

Hail

the

Hail

∑

œœ œœœ

úú ú

the

Brain!

thought

he'd

take

the

bait!

Music Theatre International • Broadway Junior® • Actor’s Script

.. C

(BRETT:)

BRETT: (to EVAN) Well? EVAN: It's done!

BRETT:

(BRETT:)

.. ..

Brain!

ú -

ver

∑ ú

bœ

& œ ú

This is

great!

E - van

(BRETT:)

KIDS:

& œ œ

ú ú

œ œ

Gold

œ œ

Hail

the Brain!

& úúú

Hail

ú & ú

did

ú ú

the

(ALL:)

& œœ ú ú

Tell me,

& ww

Swing 62Gospel (PART 1:)

& w

Brain!

what

3 2 œ œœœ www œ

C ww w

bœ bœ

who

w w

ú ú

man!

ú He

ú ú

else

œ œ œ œ

could do!

ú ú

œ œ œ œ

w w

could

ww w

one

Nú.

All

ú ú

All

man!

w ww w

Gold

C w

bœ œœœ b œœ

∑

3 2

Ev - an

œ ú

bú bú

PART 1:

All

∑

com - plain?

bú bú

Hail

œ œ

the Brain!

bú bú

13 JR.

& ww

bú bú

œ œ

All

Hail

the Brain!

∑

bú bú

Gospel Swing (PART 1:)

& w w

úú bú

& Ó

PART 2:

bú & bú

œ œ

Hail

úú bú

All

the

Hail

œ œ

All

œœ n œœ œ œ

the

Brain!

úúú

w w

Brain!

∑

œ œ

∑ úú bú

úú bú

All

Hail

bú bú

œ œ

œœœ n œœ œ

the

Brain!

& Ó

bú bú

All

Hail

the

Brain!

& úúú

bú

Brain!

(ALL:)

& wwú # ú

& n wwww

All

Hail

n wwú

w b wú

ww ww

Music Theatre International • Broadway Junior® • Actor’s Script

œœ œœ

the

ww bú

(The KIDS run off. EVAN sees PATRICE walking home through the playground.) Patrice. Wait. I’m not talking to you.

EVAN PATRICE

EVAN Look, we’re all going to the movies Friday night. Why don’t you come? PATRICE Just because Archie asked me to forgive you doesn’t mean I will. Honestly, why would I go anywhere with you ever? EVAN Because I messed up big time, and I want to make it up by asking you out. PATRICE (taken off guard) Asking me out? EVAN

Out. As in – “out” out? That would work.

PATRICE EVAN

PATRICE I’ll think about it. Don’t get your hopes up. I doubt it. Probably not. (She walks off. EVAN watches her go and then turns to the audience, slyly.) EVAN Oh yeah, she’s coming. And sure, to the inexperienced eye, it may look like I just set Brett and Archie up to be on dates with the same girl, on the same night, in the same place. (He knows.) Oh no!! (EVAN runs to Archie’s bedroom to do damage control.) So, Archie, listen, I need to talk to you about Friday night… ARCHIE Finally. Me on a date with Kendra. See, Evan. Miracles can happen.

13 JR.

EVAN Okay, but this is Brett’s date with Kendra, and it’s important for me that it works out. So, you’re just going sit next to her, right? That’s all. ARCHIE Would I do anything to jeopardize you, after what you’ve done for me, Evan Goldman? EVAN

So we’re good?

ARCHIE

We’re so good.

EVAN

Good.

ARCHIE

Good.

EVAN

Good.

(#17 – TO MOVIE THEATER 13 JR.begins. EVAN leaves. ARCHIE turns to the audience, smiling. #18 – ANY MINUTE begins.)

Any Minute ANY MINUTE

(The movie theater. EVAN is next to KENDRA, who is next to BRETT. EDDIE and MALCOLM are behind them with LUCY. PATRICE sits in the back row. Gross sounds are heard.) ALL: AAAHHHH! EVAN: (to the audience) Friday night. The Bloodmaster. I did it. Everyone got in, Brett and Kendra are together, even Patrice made it. (a beat) And this movie... is disgusting. (A buzzsaw. A loud crunching noise. A splat. The KIDS react.)

## 4 . & 4 . 4x

Death Metal

PATRICE: Evan, I thought you were going to sit with me. EVAN: I will. I'm just saving this seat for Archie, in case he shows up. PATRICE: Oh, he's here! I saw him in the arcade. He said he's "waiting for the perfect moment." EVAN: What? PATRICE: What's going on? EVAN: Uh – look, I'll be right there, okay? PATRICE: (disappointed and suspicious) Okay.

# # .7x . &

∑

Music Theatre International • Broadway Junior® • Actor’s Script

.. 65 bbbb

## 4 . & 4 .

# # .7x . &

.. b b b b

∑

(The underscore for the horror movie turns into a gentle ballad. We focus now on BRETT, who is sitting petriÞed. KIDS react to the movie.)

b & b bb

bbbb

BRETT:

Some - one

œ œ œ

got

his

eye

b & b bb œ ‰ œ œ œ œ œ œ and I'm

Tender Pop Ballad

b & b b b œJ œ (BRETT:)

sit-ting here,

œœ œ

ing some - thing.

bbbb Ó

lids

(BRETT:)

and she's

torn

off,

œ ‰ œ œ œ œ œ œ and I

should be do -

œ œ œ œ œ œ œ œ œ

That guy got an axe

ENSEMBLE:

b & b bb œ ‰ œ œ

∑

AH!

œ œ‰œ œœ œœ œ sit-ting there.

in his throat,

and I

œ œ œ don't know why

13 JR.

&bb Ó

∑

AH!

bb &bb œ ‰œ œ

œ œ‰œ œœ œœ œ

bb & b b œJ œ

œ œ œ ú. œ œ J

bb & b b ú.

œ œ œ J œ

(BRETT:)

and she's

sit-ting there.

bbb œ b & (BRETT:)

bbbb

(BRETT:)

b &bb

œ œœœœ‰J

clos - er.

y min - ute,

I'll

œ œ

œ œ œ want

to be...

ú. Ó

where

bbb

An - y min

bbb

ENSEMBLE:

AH!

(KENDRA, entirely in a different world, is equally petriÞed.)

œ œ ú.

ute.

Some - one

got

(KENDRA:)

b &bb œ ‰

œœœ

KENDRA:

I'll

(BRETT goes to kiss KENDRA but is abruptly interrupted by the KIDS shrieking.)

∑

b &bb œ

don't know why

j œ œ œ œ œ œj ‰ œ . n œJ œ . J

be get - ing

and I

I'm wait - ing but oh,

œ œ œ

his skull

œ ‰

Music Theatre International • Broadway Junior® • Actor’s Script 22

œ œ œ œ œ

chopped

œ œ œ œ œ

œ half,

Some - one

(KENDRA:)

b &bb œ ‰

got

his skull

b j &bb œ œ œ (KENDRA:)

sit-ting there,

b &bb œ

‰

œ œ œ œ œ

and may - be he

half,

œ does-

May-be it was some-thing I said.

WHOA!

œ œ œ œ œ œ

Or may - be my breath.

b &bb (KENDRA:)

those

j œ œ

pork - rinds? 'Cause

b j & b b œ œ œ œ œ ‰ œ ú.

y min-ute, He

œ œ œ œ Why did I eat

b j &bb œ œ

ENSEMBLE:

chopped

j ‰ œ œœ œ œ œ œ œœ œ œ œ

n't want me.

bbb Ó

œ ‰

œ œ œ œ œ œ

and he's

œ œ œ

oh,

EW!

ú.

œ œ

An-

œ œ œj œ œ œœ œ œ

could turn

and kiss me,

And

13 JR.

b & b b œ . n Jœ œ . Jœ œ œ œ œ œ œ

we'll

b &bb

###

where

œ œ œ An

thing for

ú.

min - ute,

me.

### œ . He

He'll

œœ

Did

œ œ œj œ

he could

###

œ œ

j ‰ œ ú. œ œ œ œ

### j j & œ œ œ œ œ j‰ ú . œ œ ###

And oh

An - y min-

ute.

ú.

PATRICE: (to herself, looking forlornly at the back of EVAN's head)

œ œ œ ú.

we ought to be...

(From the movie, the sound of a ßamethrower and a scream. Everyone winces.)

Œœ œ

he just

œ œ

do some -

j œ œ œ œj œ œ in - vite

me So

j œ œ œ œ œj ‰ nore

me?

(BRETT rises, trying to work up the nerve. KENDRA rises as well. They are obscuring the view of the KIDS behind them, who begin throwing popcorn and yelling.)

#œ œ. J won't

œ J e

Music Theatre International • Broadway Junior® • Actor’s Script

œ œ œ

ven

know

œ œ

I'm gone...

# # # Ó ALL GUYS: Œ œ œ

A - ny min

###

### œ

(PATRICE:)

& &

###

### Œ

it...

###

j œ

œ my

ute...

An - y mo -

œœœ œ œ Œ œ

An-y min - ute...

œ œ œ

œ -

want

it...

‰

j œ

‰

j œ

eyes!

want

œ œ œ

œ œ œj

eyes!

ment...

œ œ œ

### œ J &

ment...

œ œ œ

ALL GIRLS:

An - y

œ œœŒ -

ú.

### Œ

œ œ œ

œ œ

An - y

min -

13 JR.

###

œ œ Œ

ute...

### Œ

min

An - y

œ œ Œ

mo -

ute...

(As this is all going on, ARCHIE comes down the aisle wearing a slightly mismatched suit, holding a bouquet of ßowers. As BRETT and KENDRA sing, “Any time!” ARCHIE accidentally (or not) crushes BRETT’s foot with his crutch on the way to his seat.)

ment...

œ œ œ

An - y time

œ œ œ

An - y mo - ment... An - y time

BRETT: Hey! EVAN: Archie? What are you doing? ARCHIE: (maneuvers to his seat by KENDRA) Thanks for your help Ev, but I'll take it from here. (PATRICE raps sharply on EVAN's shoulder.) PATRICE: Evan? What were you thinking? EVAN: He promised he was just gonna sit next to her! PATRICE: And you believed him?

###

ARCHIE: Hi, Kendra. Sorry I'm late. I was in the bathroom having an anxiety attack. KENDRA: What?

(KENDRA turns her attention immediately back to the screen, waiting for BRETT to make his move.)

### 2 . & 4 .

œ œ œ

An - y

###

œ œ œ

∑

Music Theatre International • Broadway Junior® • Actor’s Script

∑

BRETT: (Þnally determined)

### 4 & 4 œ

### œ ‰ Œ & œ J

œ œ

time

œ œ œ

Time to move in.

### œ & J œ.

ARCHIE: (to himself) This is it, Archie.

sit

### œ & J œ

out,

### œ & J œ

out,

œ œ

œ ‰ œJ J

Ken - dra!

ú.

wo - men!

And so,

ú.

Now!

get start-

‰ Jœ

Watch

œ œ

Now!

j œ œ œœ‰ œ œ

butt.

œ œ œ

Time

BRETT, ARCHIE:

œ ‰ Œ œ J

ed.

Watch

j ‰ ## œœ œœ

ALL:

Now!

j œ ‰ œ

Now!

(ALL move in slow motion – ARCHIE squeezes his face, closes his eyes, and goes in to kiss KENDRA. BRETT, at the same time, turns his head, sticks out his tongue, and goes in for the kiss. EVAN sees, and as he mouths ‘Noooooo!’ reaches to pull KENDRA back. LUCY reaches in at the exact same time and also drags KENDRA out of the way of BRETT’s tongue. ARCHIE's and BRETT’s mouths meet. RICHIE snaps a photo. Flash.)

j ### œ & œ

‰

U. Ó

13 JR.

(Back to real time. #19 – BLOODMASTER FIGHT begins.) Wait! You’re not Kendra! You’re not either!

BRETT ARCHIE

BRETT Did you just try to kiss Kendra? ARCHIE

Uh…

(to EVAN) What’s the right answer here? This is fantastic.

LUCY ARCHIE

(to BRETT) You don’t understand. Kendra and I are on a date. What? We are? No you’re not! Evan set it up. What?! Ahhhh!!!

ALL KENDRA BRETT ARCHIE ALL EVAN

(BRETT jumps up, ready to administer some beatdowns.) BRETT Okay, you’re both dead. Who dies first?

Him.

ARCHIE (pushing EVAN forward)

Brett! Stop it!

KENDRA

Music Theatre International • Broadway Junior® • Actor’s Script

BRETT (crossing to EVAN) You are goin’ down! Anyone in this town so much as thinks of coming to your lame party, they’re going to have to deal with me. KENDRA Lucy, you’re right. I’m not ready for this. Let’s get out of here! (KENDRA stomps offstage, alone. LUCY watches her go and then turns to BRETT.) I’m right behind you! (to BRETT, innocently) So you two aren’t going out?

LUCY

BRETT

No!

LUCY So, your tongue is still available? BRETT Yes?

(tentatively) LUCY

Great!

(LUCY grabs BRETT, pulls him to a standing position, and kisses him. An astonished silence from the KIDS. BRETT and LUCY stop kissing, and LUCY exits.) Not good. Not good. Yeah, not good.

MALCOM EDDIE MALCOM, EDDIE

(Everyone else slowly follows as we transition to the lobby of the movie theater. PATRICE is on her cell phone as ARCHIE waits. EVAN enters.) PATRICE We’ll be waiting right outside. Thanks, Mom. (closes her cell phone) It’s okay, Archie. My mom’s picking us up.

13 JR.

EVAN What a nightmare! Now they’ll never be my friends. PATRICE Them? That’s who you care about? Them? EVAN

What’s your problem?

PATRICE You invited me out, and you didn’t even talk to me. What was I supposed to do?

EVAN

PATRICE Anything but what you did! I should have known! (PATRICE storms off. ARCHIE stands there.) ARCHIE Well, that could have gone better. EVAN This is all your fault. I told you everything not to do, and you did it! Every single thing in my life is a disaster. ARCHIE You’ve been in Appleton for a month. Trust me, it’ll get worse. (ARCHIE starts to leave.) EVAN No. No! I’m gonna fix this with Patrice and fix this with Brett, and you’re gonna help me. (#20 – BAD BAD NEWS (TRANSITION) begins. They exit. Transition to school hallway between periods. MALCOLM and EDDIE have been waiting for BRETT to arrive.) This is bad. This is real bad.

EDDIE MALCOLM

EDDIE This is the bad that bad thinks is bad. (BRETT enters the locker room sheepishly.) Yo, Brett! MALCOLM Why weren’t you at practice today? Music Theatre International • Broadway Junior® • Actor’s Script

BRETT

Well…

EDDIE I texted you this morning, but you didn’t hit me back. BRETT

Well, see… Yeah! What’s up with you?

BRETT

Okay, the thing is… What?

MALCOLM

MALCOLM, EDDIE LUCY

Brett!

(from offstage) (MALCOLM and EDDIE turn to see where the voice is coming from, then turn back, knowing all too well.)

Ohhhhh…

MALCOLM, EDDIE

Guys… I’ll be right back…

BRETT

MALCOLM Brett, don’t do it! Save yourself! Brett!

LUCY (School bell. LUCY enters, now the undisputed queen of the school. She goes right for BRETT. He looks for an escape, but she engulfs him, showing off as KIDS pass by.)

(LUCY) Guess what we’re going to do this weekend? BRETT I thought I’d just hang with my boys… LUCY No. Here’s what we’re going to do this weekend: Go to the mall, buy new shoes, get a mani-pedi… BRETT Yeah. I think I’ll hang with my boys.

13 JR.

LUCY Oh. Okay. If you’d rather be with them, I guess that means you don’t want the tongue anymore. (And she turns and goes offstage.) BRETT (nervously chasing after her) Who said that? (And he is gone. MALCOLM and EDDIE watch them go in shock and horror.) MALCOLM Brett’s gone to the dark side. EDDIE

She’s a succubus.

MALCOLM Why is she doing this to us? EDDIE If I live to be twenty, I’ll never understand women!

(#21 – BAD BAD NEWS begins.)

Bad Bad News

BAD BADNews NEWS Bad Bad 2

# 12 & 8

∑

(EDDIE:)

What

‰ ‰ œ œ œ.

# œ œ œ œ œ. ‰ œ & œ œ J

gives up

his soul

a man

‰ œ œ

When he

œ ‰‰ œ œ œ‰‰ œ œ

When his brains

are in chains and his

MALCOLM: Tell the tale.

# œ œ œ œ œ œ . (EDDIE:) œ. œ bœ œ . Œ # œ & œ. ‰ œ œ J

heart has lost

con - trol?

How

Music Theatre International • Broadway Junior® • Actor’s Script

# œ

does a man

Who can

j œ œ œ œ œ. ‰ œ œ œ. ‰ œ œ œ. ‰ œ œ

heart has lost

con - trol?

How

does a man

Who can

# j & œ œ œ œ œ œ. ‰ œ œ œ. ‰ œ œ œ. ‰ œ œ

see be - hind his head

Œ.

& œ.

Turn as blind

Ó.

‰ ‰ œ œ œ.

MALCOLM:

eyes?

What

# œ &

œ J

turns

his

as a bat

‰ œ œ

a man

œ.

with no

When he

‰

friends?

We've

been

EDDIE: I feel you.

# œ ‰‰ œ œ œ œ #œ œ. ‰ ‰ œ & œ œ œ‰‰ œ œ œ J

(MALCOLM:)

tossed.

Now we're lost.

Just a plat - ter of

# œ. œ bœ œ œ . ‰ ‰ œj b œJ œ &

do we make

& œ.

Our

‰ ‰ œj œ . can re

he - ro wide a - wake

Œ.

a - lize?

Œ.

78 # œ

news!

‰

Bad

news!

œ J

œ œ œ

That girl is

# œ. œ. nœ œ œ. œ. œ œ bœ œ œ œ. & bad

So that

MALCOLM, EDDIE:

bad

How

œ œœœ ‰‰ œœ

j . œ ú

burnt ends.

œ œ œ

No - thing but

bœ

13 JR.

bad

# œ

# bœ

bad

news!

‰

tears,

stress!

Bad

No - thing

œ œ

news!

No - thing but

œ J

but trou - ble,

# œ. œ. nœ œ œ. . œ œ œ bœ œ œ œ. &

bad

news! Bad

nœ

Yes,

she

+GUYS:

(MALCOLM:)

bad

No - thing but

Œ.

œ.

bœ

Œ.

news!

œ œ œ

Our bud - dy

# œ. œ. nœ œ œ. . œ œ œ bœ œ œ œ œ œ œ ‰ œ œ œ & +GUYS:

(EDDIE:)

bad

news! Bad

(MALCOLM, EDDIE, GUYS:)

bad

# œ

j œ œ

Brett

news!

gon - na

Bad

re - gret that

news.

Our bud - dy

œ bœ

œ œ

e - ver said

j bœ . Œ ‰ ‰ ú œ . & œ œ œ ‰ œ œ œ œ œ ‰ œ

yes!

# œ. Bad

The girl may be hot, But all that he's got

Œ.

œ. bad

œ bœ œ ú.

(LUCY and BRETT emerge in another part of the school.)

Ó.

∑

news!

Music Theatre International • Broadway Junior® • Actor’s Script

LUCY: (enthusiastically) So I'm all "Mom! I've been going out with him for four days! Of COURSE we're going to get married!" (CASSIE and RICHIE pass by.) CASSIE: Hi Brett. BRETT: (casually) Oh, hey Cassie. LUCY: Wait! Were you ßirting with her? BRETT: I was just saying hi. LUCY: Oh, so you're saying she's hot? BRETT: No! I mean, she's Þne. LUCY: (close to tears) You never say anything about how amazing I look anymore. You hate me! (She runs off.)

# 3x. & .

BRETT: Oh, man, not again. (yelling after her) Lucy! I'm sorry! (BRETT runs off after her.)

# 6 3x. & 8 . #

RICHIE:

& œ

‰

What

# œ

friend's

80# œ . &

.. 12 8

‰

SIMON:

you

‰

No,

he's

‰

bœ

œ.

œ nœ

Man, he's

‰ œ bœ œ

What

‰

whipped

œ.

cake.

GUY 1:

when your

stake?

ALL GUYS:

‰

œ.

œ #œ

life's

∑

œ.

œ œ œ #œ œ. Œ. J

cream on

œ J

ßipped.

# œ

(EDDIE, MALCOLM, and all of the GUYS now emerge having heard the previous.)

∑

.. 68

œ.

can we say?

‰

the

‰ œ œ

He won't

13 JR.

cream on

# œ.

one

j j œ œ œ

tongue

‰

œ.

won't

play.

j j œ œ œ œ

de - stroy a

He won't

How

ú.

whole team?

could

Œ. œ œ œ That girl is

# œ. œ. nœ œ œ. œ. œ œ bœ œ œ œ. Œ. œ œ œ bad

news!

GUYS (PART 2):

# œ. œ.

ú.

bad bad

news!

bad

# œ

(ALL GUYS:)

‰

pal.

She

# 6 bœ & 8 œ œ œ.

stray!

Bad

news!

She took our

Ó.

Œ. œ œ œ

She took our

took

œ bœ

our lead - er

and

led him

a -

12 8 Œ.

œ >œ

‰ œ

Hey!

œ œ œ œ bbbb J

Hey! She's tot - al - ly

. œ. bœ œ œ. œ. œ œ bœ œ œ œ. Œ. œ œ œ

GUYS (PART 1):

bbb œ b &

can we say?

GUYS (PART 1):

What

bœ

talk.

& œ

cake.

‰

bad

bb b b œ . œ .

GUYS (PART 2):

news! Bad

ú.

news!

Œ.

Music Theatre International • Broadway Junior® • Actor’s Script

bad bad

news!

Lis - ten up,

Œ. Œ. œ œ œ 81 Lis - ten up,

& 8 bœ œ œ œ.

8 Œ

stray!

œ œ J

‰ Hey!

Hey! She's tot - al - ly

. œ. bœ œ œ. œ. œ œ bœ œ œ œ. Œ. œ œ œ

GUYS (PART 1):

bbb œ b &

bad

news! Bad

bb b b œ . œ .

ú.

GUYS (PART 2):

bad bad (ALL GUYS:)

bbb œ b &

Brett:

news!

Lis - ten up,

Œ.

Œ. Œ. œ œ œ

news!

Lis - ten up,

j œ bœ œ

œ œ

ru - ined yet!

We'll show you

the

j œ œ œ

You're not

bbb ú . b &

œ.

‰

way!

j œ

un - der

the

bus

b & b bb b œ

though she

has

ex - cell - ent

bbb œ . b &

œ.

Bad!

b b b n ww .. b w. &

Throw

b & b bb b œ

úú .. ú.

œ œ œ J

And come back to

œ œ. Bad!

œ.

her

us!

E - ven

‰

œ J

shoes!

bœ.

œœ ..

Bad!

She's

b œœ .. N œœœ ...

Bad!

U U b œ Œ ‰ b œœ ‰ b úúú ...

Bad! 13 JR.

Ó.

Bad!

b b b n ww .. b w. &

News!

Bad!

úú .. ú.

Bad!

U bbU œœ Œ ‰ œ ‰ b úúú ... Bad

Bad!

Ó.

news!

(We see that EVAN and ARCHIE have heard what was just sung, as MALCOLM and EDDIE re-appear on the corner of the stage.) EVAN Did you hear that? Those guys are suffering. And Brett’s suffering. If I can get Brett to dump Lucy and get back together with Kendra, I’m the hero. ARCHIE Evan, is this wise? Let me rephrase that: Evan, this isn’t wise. EVAN This is my chance to win them back. I have to do this! Hey! Malcolm! Eddie! Guys! (MALCOLM and EDDIE approach. To MALCOLM and EDDIE:) Take me to Brett! EDDIE Do you have a death wish? After what happened at The Bloodmaster, Brett wants to destroy you. (Unseen by everyone, ARCHIE takes out his phone and starts texting furiously.) EVAN Listen, I can help Brett get rid of Lucy and get Kendra back! How? How? Just take me to him!

MALCOLM EDDIE EVAN

EDDIE All right, what have we got to lose? (to EVAN) If you’re right, we get Brett back. MALCOLM Yeah. And if you’re wrong, we get to see you get beat up! Music Theatre International • Broadway Junior® • Actor’s Script

All right, let’s do this! (to ARCHIE) Wish me luck!

EVAN

(EVAN leads the GOONS offstage. PATRICE enters, having gotten Archie’s text.) PATRICE Archie! I got your text. What’s... (looking at her phone, and spelling) ... “CQDBTIOE”? ARCHIE “Come quick. Danger beckons. Time is our enemy.” Duh! What is it, Archie?

PATRICE

ARCHIE You have to help Evan. Now. Why?

PATRICE

ARCHIE I think Brett might kill him. Actually, no, I’m pretty sure of it. PATRICE What do you want me to do? Go! Run! Be my legs!

ARCHIE

PATRICE And what are you going to be doing? ARCHIE Hiding, weeping, cowering, the usual. Forget it. Evan’s on his own.

PATRICE

ARCHIE So that’s it? He’s gonna get slaughtered and you really don’t care at all? Don’t care. Great.

PATRICE ARCHIE

13 JR.

Not interested.

PATRICE ARCHIE

Okay.

PATRICE You know I’m going, don’t you? ARCHIE

Yup. I hate you. I know.

PATRICE ARCHIE

(Scene shifts to the Boys’ Locker Room. BRETT is there. MALCOLM, EDDIE, and EVAN enter.) Yo Brett! What’s he doing here?

MALCOM BRETT

EDDIE Brett, the Brain has something he wants to say, and we think you really need to listen. (BRETT looks at them with fury in his eyes and steps towards them. EDDIE turns to EVAN and says:) You’re on your own, dude. (MALCOLM and EDDIE run off.) BRETT You’re the one who messed me up with Kendra in the first place! Why should I listen to you? In fact, why should you even live? EVAN Okay, but there’s a way to fix everything so that everyone can be happy again. You have to dump Lucy and get Kendra back. BRETT Yeah, right, Kendra won’t even talk to me! EVAN I didn’t say this wouldn’t be challenging. BRETT Fine. Tell me what to do. You’ve got ten seconds, starting nine seconds ago! Music Theatre International • Broadway Junior® • Actor’s Script

(PATRICE enters, watching.) EVAN Okay, it’s simple, really. You just go to Kendra and you… um. BRETT

Five, four, two…

EVAN Okay, you just go to Kendra, and you… PATRICE (finishing Evan’s sentence because it’s clear that he can’t) … Talk to her. (BRETT turns to face PATRICE. EVAN is taken aback but goes with it.) EVAN Yeah. Just go to Kendra and talk to her. I needed you to tell me that?

BRETT

PATRICE Boys are so stupid, no wonder you’re not girls! (#22 – TELL HER begins.)13 JR.

Tell Her TELL HER

(PATRICE:) Tell her how you really feel! BRETT: Like what? EVAN: (a realization) Like…

Slowly, with growing assurance

# 4 & 4 3

(EVAN:) (to PATRICE)

# œ & J

Tell

# œ & J

Tell

œ J

œ œ œ œ œ

her you've thought

œ her

you have- n't

œ œ œ

a - bout

what

slept

œ œ Œ Ó hap - pened.

œ Œ Ó night.

13 JR.

Tell

her you've thought

œ J

Tell

her

# œ & J

# œ

you have- n't

œ J

her

œ œ J

œ J

Tell

œ œ J

her

though

you've

made

to make

œ œ Œ Ó per - fect.

œ œ œ œ œ

wait - ed

way

(

too

Tell

her

you're

sor

# œ

Tell

her

you

mean

BRETT: Aw man.

aren't

you've

œ Œ Ó

it right.

œ œœ œ

# œ

night.

you know you

You want

œ J

Tell her

(EVAN:)

slept

œ Œ Ó

œ œ œ œ œ œœ œ

huge mis-take,

hap - pened.

BRETT: At least I don't have to say I'm not perfect.

œ œ œ

(EVAN:)

what

œ œ œ œ œ

Tell

œ J

a - bout

)

long.

it.

BRETT: This is good stuff, I should write this down. Music Theatre International • Broadway Junior® • Actor’s Script (He grabs a pen from PATRICE's hand and starts writing.)

# œ œ œ œ œ œ œ &

∑

87 bb

œ Tell

her

you

mean

# œ œ œ œ œ œ œ &

Tell her you just

b & b œj œ

PATRICE:

b j b & œ œ

nice

b &b œ œ œ œ

Say you for - give

Ask

Tell

b bœ b &

she'll

‰ j œ

Was

œ œ.

end.

œ œ œ œ Œ

Say you were jea - lous.

your

j œ

that

her

friend.

œ œ

w œ œ œ.

peo - ple

get

things

(BRETT has run out of paper and is now trying to cram the words into the tiniest possible space on the page.)

j œ

‰

wrong,

her.

œ œ Œ œ œ

EVAN, PATRICE: (in 8ves) (oblivious to BRETT)

b b œj b &

œ œ

you prayed it would-n't

were wrong.

j œ œ

b &b œ

∑

that stu - dy - ing to - ge-ther

Tell her

BRETT: This is good stuff, I should write this down. (He grabs a pen from PATRICE's hand and starts writing.)

œ œ œ œ œ œ

it.

'Cause

peo - ple

œ œ œ

are

a - fraid 13 JR.

‰

wrong,

'Cause

b &b œ

‰

b œ b &

b œ œ œj œ

Or in

Þne

PATRICE:

her

life.

b &b œ

that

EVAN:

Tell

her

b & b œJ

your

world

œ œ œ œ.

ú.

œ œ

ten.

you

ev - er

‰

want -

j œ

Was

lis

all

a - fraid

But things will work out

œ œ œ

(PATRICE:)

b & b œj œ

j œ. Nœ œ

If she will on - ly

Tell

Þt

j œ œ œ œ œ œ ú

b &b œ ‰

b & b œj

won't

œ J

your

are

œ œ œ œ

bœ

They

j œ

peo - ple

œ œ œ that

all

j œ œ œ œ œ

may - be

smile

ed:

smile

b & b œ œ ‰ Jœ œ œ œ œ Music Theatre International • Broadway Junior® • Actor’s Script

œ œ

you

ev - er

w glance.

bú

want -

Poco rall.

glance.

A tempo

b Nœ b &

EVAN:

Tell her you're sor

b 4 &b 4 œ

PATRICE:

Tell

her you mean

EVAN, PATRICE: (in unison) 44

b & b 44 œ œ œ œ œ Ask for

a - no

Colla voce

b & b œj œ

Tell her

chance.

2 4

∑

4 4

2 4

∑

4 4

it.

Rit.

œ œ

chance.

j œ

j j œ œ œ

ú.

ther

you just want

ry.

a - no

Più mosso

b &b

ther

Rit.

U ∑

(BRETT watches them, trying to figure out if they’re finally finished.) EVAN (to PATRICE) I’m sorry. I mean it. I still hate you.

PATRICE

(Suddenly, MOLLY comes running on followed by a group of KIDS.)

13 JR.

MOLLY Hey Brett, Lucy and Kendra are in the girls’ bathroom clawing each other’s eyes out over you. It’s nasty ugly. EVAN This is your chance, Brett. Go make it happen. BRETT All right, Brain, if this works, we’ll all be at your party! (#23 – TRANSITION TO GIRLS’ BATHROOM begins. BRETT runs out. The Girls’ Bathroom. KENDRA and LUCY are having a heated conversation.) KENDRA I thought you were my friend! LUCY I don’t need friends, I’ve got Brett! KENDRA Yeah, because you stole him! I won. You lost.

LUCY

(BRETT runs in.) Okay, stop! Good. Brett, you’re here.

BRETT LUCY

KENDRA Both of you just go away forever! BRETT No, Kendra. Lucy, you go away! What!? Kendra’s the one I want. What? What?? It’s over, Lucy! Just go away.

LUCY BRETT KENDRA LUCY BRETT

Music Theatre International • Broadway Junior® • Actor’s Script

(LUCY turns, her tiny little heart broken, and walks out of the bathroom. BRETT turns to KENDRA, and suddenly he freezes. Then he tries to read from his totally illegible notes.) (BRETT) I don’t know what I wrote, but I know I like you. (A beat. Then, nervously:) Did that work? (She turns to him, smiles, extends her arms, and runs to him.) KENDRA

You bet it did!

(#24 – DID THAT WORK? YOU BET IT DID! begins. They embrace. LUCY watches them run off together.) LUCY

Not today, Satan!

(#25 – IT CAN’T BE TRUE begins.)

Thirteen JR.

Can'tBE Be TRUE True IT It CAN’T

(LUCY takes out her cell phone and begins her revenge. MOLLY enters and answers her cell phone.) MOLLY: Oh hey, Lucy. What's up? LUCY: Check this out. I just got the juiciest text from Charlotte, who told me the nastiest thing about Kendra.

Groove # # # Jamaican C

MOLLY: Kendra! No! What? LUCY: All right, I'll tell you. But you can't believe Charlotte, I mean we all know one thing for sure …

# # # 3x. . &

# # # (LUCY:) & œ œ œ

Ev - 'ry -thing Char - lotte

92 # # # &

œ œ œ

œ œ œ #œ

says is

a lie.

œ œ œ œ

∑ w

œ œ nœ œ

13 JR.

œ œ œ

œ œ œ #œ

Ev - 'ry -thing Char - lotte

### Œ &

œ œ œ

It's

###

lie,

it's

œ œ œ

lie.

‰ j œ œ œ œ

lie,

œ ú.

Ó Œ ‰ œj œ œ œ œ 'Cause

Funky

œ œ œ œ œ

Ken - dra and Ev - an

œ œ

You bet - ter not be - lieve

ú Ó

œ œ nœ œ

Ev - 'ry - thing Char - lotte

her.

∑

œ œ œ #œ

### ###

it's

lie,

nœ œ œ . ú

###

a lie.

œ œ œ œ

says is

œ œ œœ Œ

at the mall,

œ œ

she says she saw

œ œ œœ

Stand - ing face to face...

œ œ œ

j œ œ . œ œ

Laugh - ing and talk - ing and hold - ing hands

### œ œ œ œ œ &

slurp - ing all the way

First base!

And

‰ œj But

Back to Jamaica

### n œ œ œ &

œ œ œ #œ

Music Theatre International • Broadway Junior® • Actor’s Script

ev - 'ry - thing Char - lotte

says is

lie,

œ œ œ œ œ

slurp - ing all the way

First base!

‰ œj But

Back to Jamaica

### n œ œ œ &

ev - 'ry - thing Char - lotte

### ‰ &

j œ œ œ œ

You

bet - ter

not

œ œ œ #œ

says is

lie,

œ œ

ú.

her!

be - lieve

MOLLY: No way! Kendra and Evan? LUCY: Yep. MOLLY: What about Brett? LUCY: I know, it's crazy! But really, really, really, don't say anything!

###

(They both hang up, and they both immediately dial or text other numbers. CHARLOTTE and CASSIE pick up their phones.)

MOLLY: Of course not! I won't say a word.

# # # 3x .. &

###

∑

CHARLOTTE, CASSIE: MOLLY:

‹ ‹ Œ ‹ ‹ Œ

Y'el - lo?

Ev - 'ry - thing

(Hang up)

# # # MOLLY: & œ œ

.. ‹

‹

(New call) CHARLOTTE, CASSIE:

LUCY:

‹ ‹ Œ ‹ Œ

Cas - sie?

Char - lotte! Yo.

Char - lotte

says

œ #œ a

lie.

13 JR.

# # #(MOLLY:) & w

& &

### ###

###

Ev - 'ry - thing Mol - ly

œ œ œ œ

nœ œ œ ú.

œ œ nœ œ

nœ œ œ ú.

it's

says is

œ œ nœ œ

lie,

lie.

It's

œ œ œ

œ a

#œ

œ œ œ

says

∑

lie,

∑

Ev - 'ry - thing Char - lotte

lie,

∑

lie.

it's

lie...

Ev - 'ry - thing Mol - ly

‰ j œ œ œ œ

œ œ

œ ú.

œ œ œ #œ

œ œ œ œ œ

œ œ

œ ú.

says is

œ œ œ œ

It's

# # # LUCY: & œ œ œ 57

œ œ œ

###

You bet - ter not be - lieve

a lie...

You bet - ter not be - lieve

(MOLLY, LUCY:)

ú.

‰ œj œ œ

Music Theatre International • Broadway Junior® • Actor’s Script

'Cause

just heard that

her!

œ œ œ œ 95

She said she saw

says is

### ###

'Cause

###

Funky

Ken - dra and

‰ œj œ œ

œ œ œ

at the park (MOLLY:)

A FEW GIRLS:

œ Œ Ó

œ œ œ

œ œ

‰ # œ Jœ

Mol - ly saw Ken - dra

Let - ting Ev - an get to

'ry - thing Char - lotte

### œ œ œ œ œœ œœ œœ œœ &

y Mack - a

MOLLY:

But ev -

œ œ Œ J

œ #œ J

Sec - ond base!

œ œ œ #œ

œ ú.

says is

ALL GIRLS:

their bikes

œ œ œ œ œ œ

œ œ œ

You bet - ter not be - lieve

She said she saw

(The GIRLS all enter the stage holding phones.)

### ‰ j œ & œ œ œ œ œ

her!

œ œ œ œ

∑

œ œ œ œ Œ

### œ œ œ &

lit - tle race.

(A FEW GIRLS:)

∑

###

just heard that

j j œ œ œ œ œ œ

Hav - ing a

œ ú.

You bet - ter not be - lieve

(MOLLY, LUCY:)

###

a lie...

ú.

œ œ

œ œ œ œ œ

œ œ œ #œ

a lie!

her!

œœ œœ œœ œœ œ #œ œ œ

ro - ly! Oh,

ú # úú

can't

Œ œœœ

Hol -

œœ œœœ œ

be true!

13 JR.

œ œ œ

her!

You bet - ter not be - lieve

### œ œ œ œ œœ œœ œœ œœ &

y Mack - a

### Œ &

###

œœ œ

No, you can't

œ # œœ

úú ú

œœ œ

you!

tel - ling

### œ œ œ Œ œœ # œœ œœ & ag - ine what

###

ro - ly! Oh,

œœ œœœ œ

ú # úú

can't

Œ œœ œœ œœ œ œ œ

be true!

œœ œœ œœ œœ œ #œ œ œ

re - peat a

sing - le word I'm

>œ

œ œœ Œ œ œ œ

Œ œœ œœ œœ œ œ œ

œœ œ

Œ œ œ œ

And oh!

Brett

that

Can you im -

would do

kind

he heard

(LUCY hangs up the phone as KENDRA appears. Kendra's bedroom.) LUCY: Kendra, let's not Þght. You won Brett fair and square. I was wrong, okay?And I miss my best friend. KENDRA: Aw, Lucy, I miss you too. LUCY, KENDRA: (embracing) HUG! (vocals 1x only)

### . . ú. &

œœ œœ œœ œ œ # œ œ œœ

œ Œ œœ # œœ œ

Hol -

- mor?

KENDRA: You're really not mad? LUCY: Nope! Not mad at you. Not mad at Brett. Not mad at Evan. KENDRA: Why would you be mad at Evan?

100

###

Music Theatre International • Broadway Junior® • Actor’s Script Brett to dump me and go LUCY: Well, it was Evan that convinced

104

back to you. You actually owe Evan a big thank-you! KENDRA: Really? What should I do? LUCY: Let me think— (and then immediately) I know!

100

104

112

120

###

LUCY: Well, it was Evan that convinced Brett to dump me and go back to you. You actually owe Evan a big thank-you! KENDRA: Really? What should I do? LUCY: Let me think— (and then immediately) I know!

###

(LUCY:) I'll arrange a get-together with you and Evan, so you can thank him! KENDRA: You would do that? LUCY: Tell you what: You be at the Dairy Queen at Þve o'clock. Leave the rest to me. (LUCY now turns and is in front of Evan's house talking to EVAN.)

### ###

EVAN: ... And why does Kendra want to meet me? LUCY: She said she wanted to thank you.

EVAN: It's just kind of weird that you're the one asking me and not her. LUCY: Five o'clock. The Dairy Queen.

# # # 3x. . &

124

### œ œ œ œ œœ œœ œœ œœ &

127

ALL STUDENTS:

Hol - y Mack - a

### Œ & œ

130

œ œœœ

There's an aw

133

98 136

### ##

œ # œœ úúú get

œœ œ

to!

œœ œœ œœ œœ œ #œ œ œ

ro - ly! Oh,

œœ œœ œœ œœ œ œ œ œ

ful lot of

œœœ Œ œ œœ œ

And oh,

(Tableaux across the stage of KIDS talking.)

∑

œœ œœœ œ

ú # úú

can't

œœ œœ œ #œ

be true!

trou - ble

œœ œ

they could

œœ œœ œœ œ œ œ

can you im -

13 JR.

& &

133

There's an aw

###

œ ú # œœ úú get

œœ œ

to!

### œ œ œ Œ œœ œ œ & #œ œ ag - ine what

### Œ &

139

ful lot of

œœ œ

that

kind

they could

can you im -

Œ œ œ œ

would do

œœ

œœ œœ œœ œ œ œ

And oh,

Brett

œœ

trou - ble

œœ Œ œ œ œœ œ œ Œ œœ # œœ œ

136

œ # œœ

œ œ œ œ

he heard

(PATRICE and ARCHIE Þnd themselves in the middle of the song, hearing the rumor in the lunchroom.) ARCHIE: Did you hear that? PATRICE: We've got to warn him! ARCHIE: He said he was going to the Dairy Queen. PATRICE: Come on!

# # # 3x. (vocals 1x only) . ú. &

141

- mor?

143

###

∑

158

(KENDRA meets up with EVAN at the Dairy Queen.) So. Hi. So. Hi.

KENDRA EVAN

KENDRA So. Thank you for getting Brett to come back to me.

Music Theatre International • Broadway Junior® • Actor’s Script

EVAN

You’re welcome. Ooooooookay.

KENDRA EVAN

Okay.

KENDRA (She tentatively goes towards him.) Thank-you hug! EVAN

Oh, wow, hug, sure.

(They hug, very chastely. BRETT crashes in with all the KIDS and sees EVAN and KENDRA.) Unreal!

BRETT KENDRA

Brett! Step away from her, man.

BRETT

(BRETT steps closer and closer to EVAN with each line until he is in his face.) Brett, it’s not what you think. Is that my girlfriend?

EVAN

BRETT EVAN

Yes. Were you hugging her?

BRETT EVAN

Yes. It’s what I think.

BRETT

(BRETT is now directly in EVAN’s face, but EVAN stands tall.) EVAN Brett, this is crazy! Why would I try something with Kendra after I was the one who got you two back together?

100

13 JR.

BRETT You’re not gonna talk your way outta this; we all saw what you did. Go on back to your loser friends – they’re the only ones coming to your little lame birthday party anyway. EVAN (a realization) Wait. You were never gonna come, were you? (ARCHIE and PATRICE rush in and stop at the edge of the crowd.) BRETT Duh! Like I’m gonna be stuck with that bunch of freaks. (Everyone laughs.) EVAN You’d be lucky to be stuck with those freaks! Those two? Yeah, lucky me.

BRETT

(Again, laughter from the crowd.) You’re such a jerk.

EVAN

(Everyone takes a step back and lets out an ‘ooh.’) Did you just call me a jerk?

BRETT

EVAN I can’t believe it took me so long to figure it out. You know what? I don’t want you to come to my party! I don’t want you to be my friend! I don’t want you to ever talk to me again! (A pause. He and BRETT look at each other. And then, with devastating finality:) You suck, Brett. (BRETT punches EVAN in the face. EVAN crumples to the ground, and PATRICE runs to his side.) Evan!

PATRICE BRETT

Who sucks now? (to KENDRA) Have fun with your new friends.

Music Theatre International • Broadway Junior® • Actor’s Script

101

Brett, no! Come on, Lucy… I’m right behind you, Brett.

KENDRA BRETT LUCY

(BRETT heads off, with most of the KIDS following.) KENDRA (yelling to BRETT) I didn’t do anything! LUCY (turning around, the last person to exit) You gotta watch out in this town. People start the nastiest rumors. (LUCY exits smugly, leaving KENDRA alone with ARCHIE, EVAN, and PATRICE.) Kendra… What?

ARCHIE KENDRA

ARCHIE For what it’s worth, I think you can do better than Brett. You’re sweet, Arnie. Archie.

KENDRA ARCHIE

KENDRA Archie. And thank you. (Then she looks at the company she’s keeping. Then she panics and runs offstage.) Brett! No! Wait! ARCHIE (watching her go) Wow. She really is a moron. (PATRICE helps EVAN to a sitting position. His nose is bleeding.) PATRICE I know you’re in intense pain right now, but somebody needed to say that to Brett a long time ago.

102

13 JR.

Glad I could help.

EVAN

ARCHIE You just totally sealed your fate here. I know. Like forever. I know. You’re stuck with us now.

EVAN PATRICE EVAN PATRICE

EVAN You told me six weeks ago what jerks these guys were, and I just didn’t listen! I should have trusted you. PATRICE You know what? It just passed. What did? Me hating you. Thanks. You okay, Ev?

EVAN PATRICE EVAN ARCHIE

EVAN Since the day I got here, I’ve been driving myself and everybody else crazy so I could have… something I didn’t even want. Forget it, I’m gonna just call my Bar Mitzvah off. PATRICE

Why?

EVAN What’s the point? It won’t be what I planned. It’ll be just losersr-us. No offense. What’s the point of that? What’s the point of anything? Okay…

ARCHIE

(#26 – IF THAT’S WHAT IT IS begins.) Music Theatre International • Broadway Junior® • Actor’s Script

103

Thirteen JR.

26 If That's What It Is IF THAT’S WHAT IT IS &

Swing 8th Notes

####

#### ú & &

####

#### ####

œ œ Ó

see

that works

j œ œ

what it

j œ œ

is.

œ œ

choose

I have my own view

œ œ J

these

with all

œ J

œ.

jerks

j œ and

Œ œ œ œ œ œ œ

un - en - light - ened fools.

#### Œ &

is,

Œ œ œ œ œ œ œ

œ œ

what it

the way

it.

œ œ œ

#### œ Œ Ó &

œ œ œ œ œ

œ œ

104

not

œ œ œ œ œ

Though that's

#### ú & &

Then that's

(ARCHIE:)

If that's

I make

Œ œœœ œ œœ

my own rules.

œ Œ Ó

I do what I can.

œ œ œ œ œ œ

13 JR.

I do what I can.

#### Œ &

#### œ œ & J

just

####

hit the wall

part

Œ œœœ œ œ

)

(

œ œ œ J œ

j œ

foot

œ ú

front

j œ

front

(opt. 8a)

œœœ ú

keep

####

plan.

gone,

#### œ œ œ œ & J œ &

(

To - day will be

One

####

the

To - mor - row will come,

Well, may - be it's all

œ œ œ œ œ œ

walk

œœ œœ œœ œœ œ œ )

(

) (

And so

)

I put

œ ‰ œ œ œ œ œ œ J of the o

ther, One

œ œ œ œ œ œ œ œ of the o

œ œ

ing

on.

ther, and just

bbb b nœ bœ œ œ œ bœ

Music Theatre International • Broadway Junior® • Actor’s Script PATRICE: 36

œ œ

œ œ œ œ

œ œ œ œ œ J

#### Œ &

œ œ œ œ œ

105

œ ú

& &

œœœ ú

keep

walk

####

œ œ

ing

on.

bbbb

PATRICE:

nœ bœ œ œ œ bœ

If that's what it is,

bb &b b

(PATRICE:)

bb b ARCHIE: œ & b Œ œ œ œ œ œ

œ œ œ œ œ œ

What al - so is true

If that's what it is,

b & b bb ú

b & b bb Œ

œ œ œ œ œ

j bbb b œ œ œ & œ. ways

bb b b œ . œ œ & J

( )

b & b bb Œ

œ œ œ

( )

ways

œ œ

dis - as

bbbb œ & 106

real - ize that now

œ œ œ it

œ œ

Is - n't

j œ œ

how it's

may not al -

œ œ

ter.

œ œ

œ œ œ

œ œ

dis - as

œ œ œ œ œ œ

may not al -

œ œ

œ œ œ œ œ

(PATRICE:)

What al - so is true

œ œ œ œ œ œ

ter.

is,

But how

j œ œ

got to

be.

13 JR.

œ œ œ œ œ œ I

b & b bb œ

real - ize that now

œ œ œ

Is - n't

bb & b b Œ œ œ œj œ

j œ

bb &b b œ

bbbb

j œ œ œ œ

or hurt

lied

j œ œ

be.

j j œ œ œ œ

An - oth - er day goes,

œ œ œ œ œ œ

œ œ

get

œ œ

teased

punched in

the

I say, "I won't cry."

b & b bb Œ œ œ œ œ œ I

But how

Œ œ œ œ œ œ œ

nose.

bbbb

And

j œ

is,

got to

Œ Ó

how it's

An - oth - er day comes,

j œ œ

œ œ

œ œ œ

œ One

cry

un - til

œ œ œj œ foot

dawn,

j œ

front

œ œ œ œ œ œ And then

I put

j œ

PATRICE, ARCHIE:

œ œ œ œ œj œ of the o

ther,

One

PATRICE:

b & b b b œ œ œ œj œ œj œ œ œ œ œ œ œ œ 107 Music Theatre International • Broadway Junior® • Actor’s Script 65

foot

front

of the o

ther, And just

& b

œ One

foot

bb & b b œ œ œ œj œ foot

front

œœ

œ œ úú

bb &b b œ ú

( )

keep

b & b bb

b & b b b www

b & b bb

bbbb

of the o

œ (œ)

œ œ

( )

(

take

'Cause look what you

ther, And just

www

got!

(PATRICE helps EVAN put on his suit and kippah.)

Œ œ œœ œ œ

PATRICE:

œ œ œ œj œ

j œ

œ œ œj œ

j œ

Go on and put PATRICE, EVAN, ARCHIE:

œ œ œ œ œ œ of the o

ther.

‰ œj œ One

foot

‰ j œ œ ú

PATRICE:

œœ œ œ œœ

one foot

œœ

( )

œ œ

Rit.

front

( )

ing on.

(PATRICE and ARCHIE stand to the side, watching EVAN read his haftarah.)

front

œ (œ)

œœ ú

of the o - ther. And Just keep walk

108

One

your best shot...

œ œ œ œ œ

ther,

ing on.

œ œ œ œ œ œ

You

b & b bb Œ

walk

œ œ œ œ œ œ œ œ

( )

PATRICE, EVAN, ARCHIE:

of the o

PATRICE:

œ œ œ œ œj œ

front

j œ

œ œ œ œ

13 JR.

œœ œ œ œœ

œœœ ú

of the o - ther. And Just keep walk

bb &b b w w

( )

ing on.

Rit.

U ∑

b 44

EVAN: The amazing thing was my Bar Mitzvah wasn't completely empty. Patrice and Archie were there. And my Aunt Jessie and Uncle Phil came from Florida.

U ∑

4 &b 4

(PATRICE and ARCHIE stand to the side, watching EVAN read his haftarah.)

∑

œ œ

U ∑

(EVAN:) And my dad came, which was good. I guess. And he and my mom sat behind me and at one point I even caught them holding hands. And for a minute, a couple of minutes, it felt like a family again.

U ∑

(#27 – A LITTLE MORE HOMEWORK begins.)

13 JR.

A Little More Homework A LITTLE MORE HOMEWORK

stand

here

&b œ

call

man,

Œ ‰ œ œ

hind

œ œ œ œ œœ

‰

œ œ œ me

Music Theatre International • Broadway Junior® • Actor’s Script 7

(EVAN:)

If you

&b œ 6

U Ó

& b 44

œ œ

and

‰

you

œ œ

And

œ Œ Œ ‰œ

you're

109

call 7

&b &b

œ œ œ œ œœ

man,

And

œ œ

œ Œ Œ ‰œ

≈ œ

count - ing on me to come through,

know

that

I'll

give

You should

œ you

&b œ œ œ œ œ œ œ œ œ &b œ bœ œ &b Ó

œ œ œ

Œ ‰

But we

lit - tle

can,

œ œ

do.

try - ing

fol

low,

I am

‰ œœ œ œ œ œ œ œ œ œ

try - ing to lead,

œ œ œ œ œ œ œ ‰ œ œ œ œ I am

have

&b œ œ œ œ œ &b œ

j ‰ bœ

œ œ J

all

home - work

the

œ.

best that I

you're

I am try - ing to

≈œ œ œ

Þnd

b œ œ œ œ œ œ œ œ & 110 20

That we

true,

œ œ œ œ œ œ œ œ œ

But if you're gon - na stand

have to con - cede

what is

all

œ.

with

œ œ J

have

me,

you

‰ b œj 42 13 JR. a

But if you're gon - na stand

œ œ œ &b œ œ œ œ œ

œ.

have to con - cede

2 &b 4 œ bœ œ

lit - tle

That we

home

with

have

4 œ bœ 4 œ ú

you

j ‰ b œ 42

œ œ J

all

me,

‰ œ œ

work

to do.

(CHARLOTTE enters, followed by the other KIDS. They assemble into formation, both the characters they played and the real kids they are at the same time.)

Mid-Tempo Rock Groove

CHARLOTTE: (to the audience)

&b œ.

Day

œ œ œ œ

œ œ

turns

(EVAN:)

&b œ

(CHARLOTTE:)

œ œ œ to

day

œ œ

turns

&b ≈ œ œ œ œ œ œ

turns

lit - tle bit

œ œ œ œ œ

&b œ.

œ œ œ œ

tal - ler,

lit - tle bit

day

turns

œ œ œ œ

œ œ.

to day

turns

œ œ œ œ œ

You get a

œ œ.

old - er,

lit - tle bit

œ œ œ œ œ

bet - ter,

œ œ.

Music Theatre International • Broadway Junior® • Actor’s Script 28

to day:

lit - tle

bit.

111

tal - ler,

&b œ.

Day

turns

&b œ.

& b œœ ..

Day

turns

œ œ

fore

too

fast;

‰

j œ

all

on.

the

days

≈ œ

you

œ œ œœ œœ œ œ

œ œ œ œ

œ œœ .. œ

œ œ œœ œ œ œ œ

œ œ œ œ œ

day

turns

EVAN, ARCHIE, PATRICE:

&b ≈ œ œ œ œ œ œ

112

day

œ œ œ

& b œ œ œœ œ œ

And

œ œ œ

turns

bit.

And

turns

œ œ.

lit - tle

to day

turns

hold

CHARLOTTE, OTHERS:

day

œ œ

can't

œ œ œ œ

day

œ œ

bet - ter,

œ œ.

œ œ œ to

lit - tle bit

œ œ œ œ

I'm a

lit - tle bit

œ œœ .. œ

turns

to day

old

day

turns

er,

œ œ

turns

to day:

lit - tle

bit

13 JR.

strong - er, a

CHARLOTTE, OTHERS:

œ œ œ œ œ

œ. œ.

lit - tle bit

turns

& b œ œ œœ œ œ

&b œ

day

œ œ

a - head

œ œ .. œ œ

œ œ

day

turns

bit.

to day

turns

CHARLOTTE:

œ œ œ œ

œ œœ .. œ

turns

to day

And

œ œ œ

com - in'

the

days

œ bœ

œ œ œ œ œ œ œ nœ

out

œ œ.

of the way. You keep run - ning

bbbb

œ œœ

œ œœ œœ œœ œ œ

œ œœ

œ œœ .. œœ œ .

œ œœ

œ œ œœ œœ œœ œ

œ œ œœ œœ

œ œœ

EVAN, ARCHIE, PATRICE, CHARLOTTE:

get

ALL KIDS:

b & b b b œœœ ...

Day

b & b bb

œ œ œ œ

a lit - tle

you can't

&b œ bœ

œ œ

quick,

œ œ œ

smart - er,

œ œ œ œœ œ œ œ

Day

turns

day

turns

œ œœ

turns

to day

œ .. œœ .

œ œ œœ œ œœ œœ œ œœ

day

turns

to day:

Music Theatre International • Broadway Junior® • Actor’s Script

b & b bb ≈ œ œ œ œ œ œ

œ œ œ œ œ

113

œœ œœ œ to

œœ

œ œœ

day

turns

bb &b b ≈ œ œ œ œ œ œ bb &b b

œ œ œ œ œ

lit - tle bit

œ œ œ œœ œœ œœ œœ œ

b & b bb

œ œ œœ œ œ

Day

turns

œ œœ œœ œœ œ œ to

b b b œœ œ b & œ œœ

goes

day

blue

œ œ œœ œœ

Day

b 114 & b b b úú 49

turns

the sky

œ œœ

œœ œœ

goes

MOLLY:

j œ

And

black,

And no

œœ œœ œœ œœ

‰

œ œœ

And

œ œœ

œ œ œ œ

day

lit - tle bit.

to day

œ œ œ œ œ œ œ œ

to day

œ œ œ œ œ œ œ œ

lit - tle bit

œ œ œ œœ œœ œœ œœ œ

mat - ter what you do, you can't

b & b b b œœ ..

œ œ .. œœ œœ .

turns

and the sky

b & b b b b œœ œœ œœ œœ œœ

to day:

œ œ œ œ œ

œ œ œ œœ œœ œœ

er,

œ œœ .. œœ œ .

turns

œ œ œœ œœ

turns

clos - er,

day

œ œ œ œ œ

old

b b œ. b & b œ .. œ

day

lit - tle bit

fast - er,

œ œ

And I'm a

œ.

back, you go

œ œ œ œ

I've

day.

been

n n n n 13 JR.

œ.

œ œ œ œ

Day

œ œ

day

bb & b b úú

‰

j œ

‰

& œ œ œ œ œ œ

œ Œ

of the book

Hop - ing the bell

& bœ œ œ œ œ œ œ œ

down my pen

& bœ œ œ œ œ œ œ œ

But I'm not

too man - y an - swers that I

& bœ œ œ lit - tle

less

pres

ALL KIDS:

& Œ ‰ œ œ bœ œ œ

and a lit - tle more

& b œœ

œ œ

time.

fol

sure,

œ œ œ œ œ œ

There are

‰ j œ œ bœ œ œ œ œ did - n't get.

œ œ

SIMON:

Music Theatre International • Broadway Junior® • Actor’s Script

try - ing

RICHIE:

cil just yet,

‰. r œ œ œ

CASSIE:

œ œ bœ œ

the an - swers,

would - n't chime,

read - y to put

been

œœ œ œ œ œ

for

œ œ

nnnn

I've

nn &n n œ œ œ œ œ œ œ œ œ look - ing in the back

day.

And

MOLLY:

œ œ

low,

I need a

œ ú . ‰ œœ œœ b I am

‰

œ œ 115 œ œ I

and a lit - tle more

&b œ œ

œ œ

try - ing

fol

& b œœ

œ œ

œœ œ

try - ing

œ œ

lead,

œ œ

time.

I am

œ œ œ œ œ œ

‰

œœ œ

‰

low,

& b œœœ

try

œœ œ

- ing

learn

œœœ

what is

true.

œœ œ

œœœ

œœ œ

j & b œœœ œœœ œœœ œœœ ‰ œœ œœ b b œœœ and

I need...

&b œ bœ œ œ

lit-tle more

&b œ bœ œ œ

lit-tle more

œ bœ œ œ

And we all

œ œœœ œ

home - work,

œ œœœ

home - work,

œ œœœ œ

I am

œœœ

œœ

you

want

j œ b œœ œœœ

œœ ... œ

‰ œ œ œ œ

úú ..

what

œ œ œ nœ I

116

œ œ œ œ œ œ œ œœ #œ œ œ œ œ nœ œ try - ing

œ œœ œ

have

‰ b œj a

j œœœ œœœ ‰ œj

œ. b b œœ .. all

have

b bb œœœœ ....

j œœ œœ ‰ œj œœ œœ

all

42 œ

have

‰ œ œ 44

13 JR.

lit-tle more

home - work,

œ bœ œ œ

œ œœœ œ

lit-tle more

all

have

2 4 œ

home - work

‰ œ œ 44 to do.

(The KIDS begin fading offstage.)

(ALL:) (except soloists)

4 &b 4

œ. œ.

œ œ œœ œœ œ œ

Day

turns

œ œ œ œ

day

turns

(EVAN, PATRICE, ARCHIE, BRETT, KENDRA, LUCY:)

& b 44

œ œœ œœ œ

‰.

& b œœ ..

&b ú

œ œ œ œ

day

turns

r œ œ œ œ

to day

œ œœ œ

‰

bœ œ œ

lit - tle more

œ œ œœ œœ œ œ

turns

œ œ

turns

œ œœ .. œ

day

Day

home - work

œ œ œ œ

j œ œ

turns

œ œœ .. œ

day

œ œ

do.

œ œ

turns

Music Theatre International • Broadway Junior® • Actor’s Script

117

œ œœ œœ œ

‰.

œ. œ.

day

turns

œ œœ œœ œ

‰.

day

bœ œ œ

œ œ œ œ

turns

œ œœ œœ œ

œ œ œ œ

day

œ œ

do.

œ œœ œ

‰

j œ œ

bœ œ œ

lit - tle more

Day

œ œ

r œ œ œ œ

œ œ œœ œœ œ œ

j œ œ

œ œœ .. œ

day

turns

day

home - work

PATRICE, EVAN, ARCHIE:

&b ú

lit - tle more

œ œ œ œ

& b œœ ..

‰

œ œ œœ œœ œ œ

turns

œ œœ œ

r œ œ œ œ

118b

œ œ œ œ

turns

day

turns

œ œœ œ

turns

Day

home - work

œ œ œ œ Ó

œ œœ .. œ

day

œ œ

do.

œ œ

turns

13 JR.

&b ú &b

œ œœ œœ œ to

‰.

œ. œ.

day

EVAN:

& b wwww

bœ œ œ

day...

lit - tle more

day

r œ œ œ œ

turns

(ALL KIDS:)

œ œœ œ

œ œ œœ œœ œ œ

Day

turns

&b œ œ œ œ œ œ

œ œ œ œ

home - work

œ œ œ œ Ó

turns

No Rit.

turns

œ œ

œ œ .. œ œ

to day

œ œ .. œ œ

do.

œ œ

day

turns

œ œ œœ œœœ œ œ œ

turns

day...

(EVAN, alone, turns to the audience.) EVAN: My name is Evan Goldman. I live at 24 Plains Drive, Appleton, Indiana. I'm thirteen years old. And I'm just getting started.

úúú ... ú.

U Œ

THE END (#28 – BOWS begins. The lights fade on EVAN. The cast bows. And then sing!! #29 – BRAND NEW YOU begins.)

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Thirteen JR.

Brand New You BRAND NEW YOU Funky Pop

4 &b 4

&b œ

Ó œ œ

.. ‰ j œ œ œ œ œ œ œ œ ALL:

I saw the cov - er and I I told my - self I bet - ter

‰ œj œ œ œ œ b œ œ œ

judged the book. run and hide.

j œ œ

I turned a - way with - out a I nev - er no - ticed what was

j œ œ

sec - ond look, there in - side

&b œ œ œ œ œ

But now, But now,

I see a brand new I see a brand new

&b Nœ

œ.

œ œ

Nœ Œ Ó

120

now now

∑

you.

Œ Œ

‰ j œ œ œ œ

(ALL:)

∑

now, now,

you!

bœ œ œ

o - pened my

‰ j œ œ œ œ

(ALL:)

o - pened my

13 JR.

&b ú

œ œ œ œ œœœœ œ

& b úúú ...

œœ b œœ úú œ œ ú

eyes

eyes.

And there's a great

œ nœ

& b œJ œ b œ œ œ

nœ

big

world

And there's a great

j œ œ œ œ

& b œJ œ b œ œ œ

‰ j œ œ œ œ

a - round.

world

œ œ œ

œ œ

o - pened my

‰ j œ œ œ œ

a - round.

o - pened my

&b ú

œ œ œ œ œœ œ œ œ

œ œ œ bœ

& b úúú ...

œœœ b œœœ úúú

œ œ bœ

j b ‰ b œ & œ

‰

eyes

eyes.

just

j b ‰ b œ & œ just

look,

And just look,

j œ œ

Look

j œ œ

Look

Music Theatre International • Broadway Junior® • Actor’s Script 23

œ what

œ œ Jœ J

found!

Œ ‰ j œ œ œ I

121

o - pened my

just

look,

Look

what

Œ ‰ j œ œ œ

o - pened my

&b ú

œ œ œ œ

& b úúú ...

œœœ b œœ œ

eyes

eyes.

& b œJ œ

big

bœ œ œ

world

œ œœ

úú ... ú

And there's a great

nœ

a - round.

‰ j œ œ œ

&b ú

œ œ œ œ œœœœ œ

& b úúú ...

œœœ b œœœ www

eyes.

j j b ‰ ‰ b œ œ œ & œ œ œ 122 (ALL:)

just

look,

Look at

what

o - pened my

œ œ œ bœ

eyes

‰ j œ œ œ

o - pened my

œœœœ œ œ œ 3

∑

found!

Œ ‰ j œ œ œ

And just look,

œ œ J I

œœœ œ œ

found!

13 JR.

œœ b œœ ww

úú ..

eyes.

j j &b ‰ bœ œ œ ‰ œ œ œ

(ALL:)

just

look,

j œ & b Œ ‰ œœ Ó >

Look at

what

j œ ‰ b œœ œœ n œœ œœ œœ œœ œ œ œ œ œ

Hoo!

œœœ œ œ

œ œ J

found!

n œœ ‰ œ

I see a brand new

you!

j œœ Ó œ >

Hoo!

new

n œœ œ

you!

j ‰ œœœ Ó >

j & b ‰ b œœœ œœœ n œœœ œœœ œœœ œœœ

n œœ œ

j & b ‰ b œœœ œœœ n œœœ œœœ œœœ œœœ

see

a brand

see

brand

new

Hoo!

you!

(#30 – EXIT MUSIC begins.)

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words to know from 13 JR.

abruptly: Suddenly and without warning. astonished: Amazed or surprised. engulfs: Overwhelms and immerses. ballad: A light song that typically tells a sentimental or romantic story. Bar Mitzvah: A Bar or Bat Mitzvah (Bar for boys and Bat for girls) is a Jewish coming-of-age ceremony where the young person is officially considered an adult in the faith and becomes responsible for their actions. The Bar/Bat Mitzvah can be celebrated with a service in the synagogue where a young person reads from the torah, and sometimes the ceremony is followed by a party to celebrate. Barry White: A Grammy® Award–winning American singer and songwriter known for his romantic songs and deep, bass vocal tone. buzzsaw: A circular, power-operated saw that makes a buzzing sound when in use. Chippewa: Indigenous people of the Great Lakes region; Ojibwe is the actual name of the Chippewa nation. concede: To hesitantly give up; reluctant to acknowledge defeat. Dan Quayle: The 44th Vice President of the United States of America under George H. W. Bush; from Indianapolis, Indiana. degenerative neuromuscular disorder: A progressive loss of function in muscles caused by the nerves that control the muscles. emerge: To come into view. epiphany: A sudden realization or insight. flit: To move swiftly and quickly from one place to another. forlorn: Lonely, miserable, hopeless, and sad. haftorah: a series of selections from the Hebrew Bible that is publicly read in synagogue as part of Jewish religious practice, and often during Bar and Bat Mitzvahs. illegible: Difficult to read due to the quality of handwriting, smudging, font size, or color. inventive: Having imagination or creative thinking skills. jeopardize: To put in a situation where one is exposed to risk.

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Jerry Lewis: An American comedian, actor, and filmmaker that served as a spokesman and chairman for the Muscular Dystrophy Association. kippah: Hebrew; a brimless cap, usually made of cloth, traditionally worn by Jewish males to fulfill the customary requirement that the head be covered. Called “yarmulke” in Yiddish. maneuvers: Shifts in tactic; to move skillfully. muscular dystrophy: A group of muscle diseases that cause progressive muscle weakness, decreased muscle mass, and decreased mobility. obscure: Something that is not easily seen or understood. petrified: Frozen; taken over by fear. phony: Not real; fake. pork rinds: Also known as chicharrones; pieces of pig skin that are fried and eaten as a snack. Resurrection: To rise from the dead. snubbing: To ignore or intentionally neglect a person or idea. succubus: An evil, supernatural entity that appears in female form. The Met: The Metropolitan Museum of Art located in New York City; the largest art museum in the United States. UFOs: Unidentified flying objects. unenlightened: Showing a lack of understanding or knowledge; oblivious. unenthusiastic: Showing a lack of excitement. whipped: Slang; controlled by a significant other to an extreme degree. winces: Flinches or shrinks back.

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glossary actor: A person who performs as a character in a play or musical. author: A writer of a play or musical, also known as a playwright. A musical’s authors include the book writer, a composer, and a lyricist. blocking: The actors’ movement in a play or musical, not including the choreography. The director usually assigns blocking during rehearsals. book writer: One of the authors of a musical. The book writer writes the lines (dialogue) and the stage directions. Also called the librettist. cast: The performers in a show. cheating out: Turning oneself slightly toward the house when performing so the audience may better see one’s face and hear one’s lines. choreographer: A person who creates and teaches the dance numbers in a musical. composer: A person who writes music for a musical. creative team: The author(s), director, choreographer, music director and designers for a play or musical. cross: When an actor onstage moves toward or away from another actor or object. dialogue: A conversation between two or more characters. director: A person who provides the artistic vision, coordinates the creative elements, and stages the play. downstage: The portion of the stage closest to the audience. The opposite of upstage. house: The area of the theater where the audience sits to watch the show. house left: The left side of the theater from the audience’s perspective. If something is located “house left,” it is to the left side of the audience as they are seated in the theater. house right: The right side of the theater from the audience’s perspective. If something is located “house right,” it is to the right side of the audience as they are seated in the theater. lines: The dialogue spoken by the actors. lyricist: A person who writes the lyrics of a musical. The lyricist works with a composer to create songs. lyrics: The words of a song.

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monologue: A dramatic speech by one actor. music director: A person who is in charge of teaching the songs to the cast and orchestra and maintaining the quality of the performed score. musical: A play with songs that are used to tell a story. objective: A goal or purpose to be achieved. off-book: The actor’s ability to perform his or her memorized lines without holding the script. offstage: Any area out of view of the audience. Also called backstage. onstage: Anything on the stage and within view of the audience is said to be onstage. opening night: The first official performance of a production, after which the show is frozen, meaning no further changes are made, and reviews may be published. play: A type of dramatic writing meant to be performed live on a stage. A musical is one kind of play. protagonist: The main character in a musical. The action centers around this character. raked stage: A stage which is raised slightly upstage so that it slants towards the audience. rehearsal: A meeting during which the cast learns and practices the show. script: 1) The written words that make up a show, including spoken words, stage directions, and lyrics. 2) The book that contains those words. speed-through: To speak through the dialogue of a scene as quickly as possible. A speed-through rehearsal helps actors memorize their lines, and it infuses energy into the pacing of a scene. stage directions: Words in the script that describe the actions of the characters. stage left: The left side of the stage, from the actor’s perspective. The same side of the theater as house right. stage manager: A person who is responsible for keeping all rehearsals and performances on schedule. stage right: The right side of the stage, from the actor’s perspective. The same side of the theater as house left. upstage: The part of the stage farthest from the audience. The opposite of downstage. warm-ups: Exercises at the beginning of a rehearsal or before a performance that prepare actors’ voices and bodies.

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Actor’s Script Credits Contributing Editors Mary-Catherine Chambliss, Marty Johnson, Rebecca Marlowe, Jiana Odland, and Marianne Phelps Designers Kevin Johnson Steven G. Kennedy Layout Matt Hagmeier Curtis Steven G. Kennedy Music Layout Daniel Mertzlufft Rob Rokicki Music Supervisor Lindsay Lupi Associate Editor Laura Jo Schuster Senior Managing Editor Susan Fuller The Broadway Junior® Concept and Format Created by Music Theatre International (MTI) Adaptation and support materials developed for MTI by iTheatrics under the supervision of Timothy Allen McDonald. See MTI’s complete line of Broadway Junior® musicals at: broadwayjr.com MTI’s School Edition and full-length musicals may be found at: MTIShows.com

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13 JR.