Always Something There

Libretto-Vocal Book Pre-Release

[September 23, 2025]

Always

Something There Book by

Arrangements and Orchestrations by

Sandy Rustin

Geoffrey Ko

Originally directed by James Vásquez Developed by Lively McCabe Entertainment & Primary Wave Music

NOTICE: DO NOT DEFACE! Should you find it necessary to mark cues or cuts, use a soft black lead pencil only.

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Please note this material has yet to be finalized, and is subject to change upon official release. It is intended for advance ("pre-release") perusal purposes only. Should you proceed with securing a performance license for this title, we cannot guarantee that the enclosed content will match the final rental set of materials you will ultimately receive as a part of your license.The final rental materials are the only materials you will be permitted to use.

All music, lyrics and dialogue contained herein are the property of the Authors and are fully protected by copyright.

You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material and/or the exclusion of existing material. Any changes shall constitute a willful infringement of said copyright and will subject you to all the criminal penalties and civil liabilities under the United States Copyright Act. This material must be returned. You may not duplicate any portion of these materials, disseminate them in any way, in whole or in part, including electronic or digital transmission and posting on the Internet, or use them for any other purpose than perusal.

© All rights reserved.

‭Contractual Music Credits‬ “‭ There’s Always Something There To Remind Me”‬ ‭Written by Burt F. Bacharach and Hal David‬ ‭Published by BMG Gold Songs o/b/o itself and Songs of Fujimusic (ASCAP) and Universal Music Corp. o/b/o itself,‬ ‭PW Arrangements and New Hidden Valley Music Co. (ASCAP)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Borderline”‬ ‭Written by Reginald Grant Lucas‬ ‭Published by Universal Music - Careers (BMI)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Could've Been”‬ ‭Written by Lois Ann Blaisch‬ ‭Published by‬‭George Tobin Music, Inc.‬ “‭ Cups (When I'M Gone)”‬ ‭Written by Luisa Amanda Gerstein Vallejo, Heloise Tunstall-Behrens and A.P. Carter‬ ‭Published by BMG Gold Songs (ASCAP) and Peer International Corporation (BMI)‬ ‭Used by permission of Peer International Corporation‬ “‭ Even The Nights Are Better”‬ ‭Written by Terry Skinner, J. L. Wallace and Kenneth E. Bell‬ ‭Published by Next O Ken Music/Yak Yak Music/peermusic (BMI), Universal Songs of Polygram Int., Inc. (BMI)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ ‭Used by permission of Peer International Corporation‬ “‭ Get The Party Started”‬ ‭Written by Linda Perry‬ ‭Published by‬‭Sony/ATV Harmony (ASCAP) and Stuck In‬‭The Throat Music (ASCAP)‬ “‭ Holiday”‬ ‭Written by Curtis Lee Hudson and Lisa C. Stevens‬ ‭Published by Round Hill Compositions (BMI) and Pure Energy Music Publishing (BMI) c/o Open On Sunday‬ “‭ I Wanna Dance With Somebody”‬ ‭Written by George Robert Merrill and Shannon Rubicam‬ ‭Published by Songs of Universal, Inc. (BMI)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ ‭1‬

“‭ If You Were Here”‬ ‭Written by Tom Bailey, Alannah Joy Currie and Joseph Martin Leeway‬ ‭Published by Universal Music - MGB Songs o/b/o Universal Music Publishing MGB Ltd. (ASCAP)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Karma Chameleon”‬ ‭Written by George Alan O'Dowd, Michael Emile Craig, Roy Ernest Hay, Jonathan Aubrey Moss and Philip Stuart‬ ‭Pickett‬ ‭Published by BMG Platinum Songs US (BMI) and Songs of Universal, Inc. o/b/o Itself and PW Ballads (BMI)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Love Is A Battlefield”‬ ‭Written by Holly Knight and Michael Donald Chapman‬ ‭Published by BMG Gold Songs o/b/o Primary Wave Anthems o/b/o Knighted Music (ASCAP), Universal Music -‬ ‭MGB Songs (ASCAP) and Reservoir Media Music o/b/o Blue Raincoat Music Publishing Limited and Mike Chapman‬ ‭Publishing Enterprises (ASCAP)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Material Girl”‬ ‭Written by Peter Brown and Robert Rans‬ ‭Published by‬‭Sony/ATV Songs LLC (BMI)‬ “‭ Only In My Dreams”‬ ‭Written by Deborah Ann Gibson,‬ ‭Published by‬‭Music Sales Corporation (ASCAP)‬ “‭ Pour Some Sugar On Me”‬ ‭Written by Robert John Lange, Richard John Cyril Allen, Stephen Clark, Philip Kenneth Collen, Joseph Elliott, Richard‬ ‭Savage‬ ‭Published by Bludgeon Riffola Ltd (NS), BMG Gold Songs (ASCAP) and Universal Polygram Int. Publishing, Inc.‬ ‭o/b/o Out of Pocket Prod. Ltd. (ASCAP)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Shattered Dreams”‬ ‭Written by Clark Datchler‬ ‭Published by Music of Stage Three (BMI) o/b/o Stage Three Music (Catalogues) Limited (NS)‬ “‭ Stop”‬ ‭Written by Perry Farrell, David Michael Navarro, Eric Adam Avery and Stephen Andrew Perkins‬ ‭Published by I’ll Hit You Back Music Admin. by Songs of Kobalt Music Publishing (BMI), Songs Of Universal, Inc.‬ ‭o/b/o itself, Bubbly Orange Stuff Music and Swizzlestick Music (BMI) and Irving Music, Inc. o/b/o Embryotic Music‬ ‭(BMI)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Talk To Me”‬ ‭Written by Chas Sandford‬ ‭2‬

‭Published byWC Music Corp. (ASCAP)‬ “‭ The Loco-Motion”‬ ‭Written by Gerald Goffin, Carole King‬ ‭Published by Screen Gems - EMI Music, Inc. (BMI)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ The Search Is Over”‬ ‭Written by Frank Michael Sullivan III and James M. Peterik‬ ‭Published by‬‭Three Wise Boys Music LLC (BMI) and Concord‬ “‭ Together Forever”‬ ‭Written by Pete Waterman, Mike Stock and Matt Aitken‬ ‭Published by Mike Stock Publishing Limited (PRS), Universal Songs of Polygram Int., Inc. o/b/o Sids Songs Ltd. and‬ ‭Universal Music - Careers o/b/o All Boys Music Ltd. (BMI)‬ ‭All rights on behalf of Mike Stock Publishing Limited administered by Warner-Tamerlane Publishing Corp. (BMI),‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ We Got The Beat”‬ ‭Written by by Charlotte Caffey‬ ‭Published by Universal Music - MGB Songs (ASCAP)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ We're Ready”‬ ‭Written by Tom Scholz‬ ‭Published by Universal Music Works o/b/o Hideaway Hits (GMR)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬ “‭ Whip It”‬ ‭Written by Gerald Casale and Mark Allen Mothersbaugh‬ ‭Published by BMG Platinum Songs US o/b/o itself and Devo Music (BMI)‬ ‭Not for broadcast transmission. All rights reserved. DO NOT DUPLICATE.‬

‭3‬

CAST OF CHARACTERS 6 Principals / 11 (or more) Ensemble *This script maps out a cast of 17; the show may be done with as few as 14.

SAMANTHA CRAIG (age 18): A girl with a huge heart, classic teenage angst, and a newly discovered voice.

SAMANTHA CRAIG (STEVENS/ROY) (age 45): Initially seen as a woman at the bottom of the barrel, and later as a woman living her best life.

CAMELIA SHACKLEBAUM (18): Samantha's best friend. A trend setter and feminist before feminism was trendy.

COOPER ROY (age 18): Samantha's secret crush, he is shy and sensitive in the way that Led Zeppelin fans often are.

JOHNNY STEVENS (18): This boy will not survive the #metoo movement as he ages. Samantha's bully of a high school boyfriend and eventual exhusband.

WINSTON LEE (18): Cooper's friend. He basically started Dungeons and Dragons as like a thing. One day, he will invent "apps" and marry Camelia.

ENSEMBLE WOMAN (40s): HOTEL CLERK (a wry sense of humor and an unusual hairdo will get her far). SAMANTHA'S MOM (never met a Jane Fonda video she couldn't drink a Tab while watching. She's the kind of mom with secret passions who also sometimes forgets her daughter's birthday).

SEÑORA JACKSON (Spanish Teacher at the high school). STUDIO CLUB SINGER (a Madonna lookalike at Studio Nightclub).

ENSEMBLE MAN (40s): STAGE MANAGER, PRINCIPAL KANEFSKY, ADULT COOPER ROY (Samantha's husband in a revised alt-realty).

ENSEMBLE TEENS (At least nine actors required): TEEN 1: HOTEL CONCIERGE, DEBBIE WALLER, Sam's replacement in the band.

Never met another girl she wasn't ready to buoy. A sensitive, pragmatic feminist ahead of her time. A Joan Cusack-esque gal.

TEEN 2: HOBBS TOTONCHI. "Hobbs on Keys" is what he wants on his gravestone. Ella is what he wants for the dance.

TEEN 3: DUCKIE MELBER, the anxious drummer in Cooper's band with a mad crush on Scarlet.

TEEN 4: ELLA MENKEN, Sam and Camelia’s friend. She loves lip gloss so much, she keeps one in each pocket, her locker, and her Trapper-Keeper.

She is a closet brainiac.

TEEN 5: SCARLET WALTON, Sam and Camelia's other friend. She is serious about two things in the world: Ralph Macchio and fashion.

TEEN 6: GAVIN LOUIS, Johnny's sidekick. He's never been in an actual fight, but he has threatened to "punch the lights out" of 27 kids in his graduating class. This week.

TEEN 7: HOTEL GUEST, STUDENT, LESLIE HUFFINGTON (a Teen Madonna lookalike).

TEEN 8: STUDENT, LACY (Adult Sam and Adult Cooper's daughter).

TEEN 9: STUDENT, GREG (Adult Sam and Adult Cooper's son).

CASTING NOTE: The roles of SCARLET/DUCKIE/HOBBS can be played by any gender and pronouns may be changed accordingly. The name SCARLET may be changed to SCOTTIE. ALWAYS SOMETHING THERE ... is committed to supporting a cast and crew of diverse theatre workers. This diversity includes, but is not limited to, gender identities, ethnic and racial backgrounds, sexual orientations, body types, ages, and ability.

SETTINGS A HOTEL - 2016 LOBBY ELEVATOR HOTEL ROOM SAMANTHA'S TEENAGE BEDROOM - '80s TREVIAN HIGH SCHOOL, SUBURBAN CHICAGO - '80s CLASSROOM HALLWAY GYMNASIUM COOPER ROY'S RAD GARAGE - '80s SAMANTHA'S ADULT HOME - 2016

PRODUCTION NOTES This show opens and closes NOW, but the bulk of the show takes place in the late '80s.

MUSICAL NUMBERS 0. OVERTURE ACT ONE 1. WE GOT THE BEAT (Go-Gos) COOPER, HOBBS, DUCKIE, ENSEMBLE 2. ONLY IN MY DREAMS (Debbie Gibson) ADULT SAMANTHA, FEMALE ENSEMBLE 3. KARMA CHAMELEON (Culture Club) CAMELIA, WINSTON, SAMANTHA, ELLA, SCARLET, JOHNNY, GAVIN, ENSEMBLE 4. TALK TO ME (Stevie Nicks) CAMELIA, ELLA, SCARLET, ENSEMBLE 5. THE SEARCH IS OVER (Survivor) TEEN SAMANTHA, ADULT SAMANTHA, COOPER, DEBBIE, ENSEMBLE 6. EVEN THE NIGHTS ARE BETTER (Air Supply) TEEN SAMANTHA, COOPER, DEBBIE, HOBBS, DUCKIE 7. THE LOCO MOTION (Kylie Minogue) CAMELIA, ELLA, SCARLET, WINSTON, ENSEMBLE 8. WHIP IT (Devo)/MATERIAL GIRL (Madonna) WINSTON, ELLA, SCARLET, TEEN SAMANTHA, CAMELIA, STUDIO CLUB SINGER, ENSEMBLE 9. TOGETHER FOREVER (Rick Astley) TEEN SAMANTHA, COOPER, DEBBIE, DUCKIE, HOBBS, ENSEMBLE ACT TWO 10. ALWAYS SOMETHING THERE TO REMIND ME (Naked Eyes) ADULT SAMANTHA, TEEN SAMANTHA, ENSEMBLE 11. POUR SOME SUGAR ON ME (Def Leppard) WINSTON, CAMELIA, TEEN SAMANTHA, ENSEMBLE 12. STOP (Jane's Addiction) / EYE OF THE TIGER (Survivor) SENORA JACKSON, JOHNNY, GAVIN, ADULT SAMANTHA, CAMELIA, ELLA, SCARLET, DEBBIE, ENSEMBLE 13. LOVE IS A BATTLEFIELD (Pat Benatar) ADULT SAMANTHA, TEEN SAMANTHA, JOHNNY, COOPER, ENSEMBLE 14. I WANNA DANCE WITH SOMEBODY (Whitney Houston) DUCKIE, ELLA, HOBBS, SCARLET, DEBBIE, GAVIN, ENSEMBLE 15. SHATTERED DREAMS (Johnny Hates Jazz) TEEN SAMANTHA, ADULT SAMANTHA, FEMALE ENSEMBLE 16. COULD'VE BEEN (Tiffany) TEEN SAMANTHA, COOPER

17. WE'RE READY (Boston) TEEN SAMANTHA, COOPER, DEBBIE, DUCKIE, HOBBS, CAMELIA, ELLA, SCARLET, WINSTON, ENSEMBLE 17A. BORDERLINE (Madonna) SCHMADONNA, ENSEMBLE VOICES 18. WE GOT THE BEAT (Reprise)/ CUPS (Anna Kendrick) / GET THE PARTY STARTED (Pink) TEEN SAMANTHA, COOPER, DEBBIE, DUCKIE, HOBBS, ENSEMBLE 19. IF YOU WERE HERE (Thompson Twins) (Instrumental Only) 20. MEGAMIX/BOWS Full Company

"ALWAYS SOMETHING THERE ..."

8/12/25

PROLOGUE It is 2016 in a Quality Hotel Lobby. (A LED LIGHT BOARD flashes: 2016).

MUZAK plays (instrumental only) GET THIS PARTY STARTED (Pink).

SAMANTHA, 45 tomorrow, enters through the lobby doors, pulling her suitcase behind her. She sees the front desk and crosses in.

MUZAK continues to play.

SAMANTHA Samantha Craig Stevens, checking in.

HOTEL DESK CLERK (ENSEMBLE WOMAN (politely cheerful) How many people in your room?

One.

SAMANTHA

HOTEL DESK CLERK So, just you?

SAMANTHA Yeah. Just me.

HOTEL DESK CLERK Cuz we’re having a best friends getaway weekend special if you wanna ...

SAMANTHA (interrupting, irritable) My best friend hasn’t talked to me in 12 years. (her PHONE RINGS) Excuse me ... (into her phone) Yes, Mr. Thomkins.

Yep, I’ll be ready by 6 AM. Nothing matters more to me than the success of Thomkins Toilets, sir.

Goodnight ...

SAM hangs up, more depressed than you can even imagine.

HOTEL DESK CLERK (presenting her with a manilla envelope, with a knowing grimace) Oh, this came for you today.

1

"ALWAYS SOMETHING THERE ..."

8/12/25

SAMANTHA I got mail? Here?

HOTEL DESK CLERK (with a judgmental knowingness) It was ... hand delivered. On behalf of a Mr. Johnny Stevens.

My husband?

SAMANTHA She opens the envelope - reads.

HOTEL DESK CLERK My husband served me divorce papers at the hospital while my mother was dying. So ... bright side?

SAMANTHA (upset - stuffing papers back in the envelope) Yeah. OK - am all I set here? Cuz there’s a mini-bar and a feather pillow calling my name.

The MUZAK shifts to WE GOT THE BEAT (Instrumental Only) (Go-Gos).

The CLERK hands SAM a key.

HOTEL DESK CLERK (sarcastically) Good luck sleeping. Cooper Roy’s got a show at the Palladium up the block.

SAMANTHA Cooper Roy is performing here?!

HOTEL DESK CLERK (handing SAM a flyer) Here’s a flyer but don’t get excited - it’s sold out.

SAMANTHA Oh, I ... don’t need a ticket. I’ve seen him perform a million times.

You have?!?

HOTEL DESK CLERK

SAMANTHA We used to ... we grew up together. (then) Actually - we used to play this song in high school.

2

"ALWAYS SOMETHING THERE ..."

8/12/25

HOTEL DESK CLERK (beyond impressed) You were in a band with Cooper Roy?!

TIME and SPACE begin to morph from 2016 to 1989.

As dialogue continues, TEENS FROM THE ‘80s begin to take over the space, weaving in and out of the ADULTS in 2016. We hear them singing “WE GOT THE BEAT” on repeat - low, distant - building.

MUSIC/LIGHTS/SPARKLE/FOG/HAZE help us understand a TIME/SPACE transition is underway as SAM’s memory takes hold.

The world of the ‘80’s exists only in SAM’s memory, juxtaposed with the reality of 2016. WE GOT THE BEAT builds ...

SAMANTHA (distracted by her memories) No, no ... Well, I mean yes - a long time ago.

I sang.

HOTEL DESK CLERK Oh, well, sing something!

SAMANTHA (dream like) No no ... I don’t sing anymore.

Why not?

HOTEL DESK CLERK

SAMANTHA Because ... because ...

ADULT SAMANTHA observes a scene from her PAST in her ‘80’s HIGH SCHOOL GYMNASIUM as the 2016 HOTEL LOBBY begins to disappear and a vibrant OPENING NUMBER takes over.

As TEENS stream in, TEEN COOPER takes the stage ...

Cooper!

ADULT SAMANTHA (noticing him, flooded with nostalgia)

3

"ALWAYS SOMETHING THERE ..."

8/12/25

The hubbub of memory, like the unzipping of a zipper, now reveals the 1980’s RUBBER BAND. The lead guitarist and singer is COOPER ROY, amazing and adorable.

On keys is HOBBS (Teen 2). On drums is DUCKIE (Teen 3).

SAM is at a loss for words. But no matter, she’s lost in a memory now. The ‘80s have taken over.

HOTEL DESK CLERK Mrs. Stevens? ...

THE RUBBER BAND ALL THE KIDS JUST GETTING OUT OF SCHOOL THEY CAN'T WAIT TO HANG OUT AND BE COOL HANG AROUND 'TIL QUARTER AFTER TWELVE THAT'S WHEN THEY FALL IN LINE TEEN ENSEMBLE fills the stage as ADULT SAMANTHA weaves in and out of the scene from her past.

Camelia!

ADULT SAMANTHA (noticing her best friend)

THEY GOT THE BEAT THEY GOT THE BEAT KIDS GOT THE BEAT YEAH KIDS GOT THE BEAT

THE RUBBER BAND AND TEEN ENSEMBLE

COOPER GO-GO MUSIC REALLY MAKES US DANCE DOING THE PONY PUTS US IN A TRANCE THE WATUSI, JUST GIVE US A CHANCE THE RUBBER BAND AND TEEN ENSEMBLE THAT'S WHEN WE FALL IN LINE 'CAUSE WE GOT THE BEAT WE GOT THE BEAT WE GOT THE BEAT YEAH WE GOT IT!

COOPER

DUCKIE EVERYBODY GET ON YOUR FEET

4

"ALWAYS SOMETHING THERE ..."

8/12/25

ALL

WE GOT THE BEAT

HOBBS WE KNOW YOU CAN DANCE TO THE BEAT ALL

WE GOT THE BEAT

COOPER JUMP BACK, GET DOWN ALL

WE GOT THE BEAT

COOPER ROUND AND ROUND AND ROUND Music video style - it now becomes drums only underscoring as DUCKIE and HOBBS continue to sing; COOPER locks eyes with TEEN SAMANTHA. TEEN ENSEMBLE

WE GOT THE BEAT

DUCKIE AND HOBBS

WE GOT THE BEAT

COOPER gestures for TEEN SAM to come up on stage. To take the mic.

(Ala “16 Candles”) ...

TEEN ENSEMBLE

WE GOT THE BEAT

DUCKIE AND HOBBS

WE GOT THE BEAT

Me?

TEEN SAMANTHA (looking behind her first and then nearly mouthing the word)

WE GOT THE BEAT (WE GOT THE BEAT)

Yeah, you.

TEEN ENSEMBLE (DUCKIE AND HOBBS ECHO)

COOPER (warmly, from beneath his perfect bangs)

5

"ALWAYS SOMETHING THERE ..."

WE GOT THE BEAT (WE GOT THE BEAT)

8/12/25

TEEN ENSEMBLE (DUCKIE AND HOBBS ECHO)

TEEN SAM nods, breaking into a wide smile.

ADULT SAMANTHA Oh God - I was so young. (noticing TEEN JOHNNY) Johnny!

WE GOT THE BEAT WE GOT THE BEAT WE GOT THE BEAT

MALE ENSEMBLE FEMALE ENSEMBLE DUCKIE AND HOBBS TEEN SAM starts to make her way to the stage, ADULT SAM observing/weaving throughout, while the high school gymnasium pulsates with teenage angst and the smell of Drakkar.

TEEN JOHNNY (all bite AND bark), swoops in, with his buff and bully sidekick, GAVIN LOUIS (Teen 6), in tow.

WE GOT THE BEAT WE GOT THE BEAT WE GOT THE BEAT WE GOT THE ...

MALE ENSEMBLE FEMALE ENSEMBLE DUCKIE AND HOBBS TEEN SAMANTHA Just as TEEN SAM begins to sing, JOHNNY rips the microphone cord out of the amp. The music stalls.

COOPER/DUCKIE/HOBBS/TEENS (all at once / ad-libbing) Hey Man! / What’s your beef?! / Dude! / What happened to the music? Etc.

6

"ALWAYS SOMETHING THERE ..."

Johnny!

8/12/25

TEEN SAMANTHA/ADULT SAMANTHA

JOHNNY Samantha! We’ve talked about this. B.S. “bands” are a waste of time.

Total waste.

GAVIN

JOHNNY I have a basketball game. You’re my lucky charm.

ADULT SAMANTHA He always used to say that.

Let’s go ...

JOHNNY

TEEN SAMANTHA (all confidence gone) But Johnny ... I ...

ADULT SAMANTHA (wishing to reverse the past - calling out to her younger self, unheard by all) C’mon! Speak up for yourself!

JOHNNY I said, let’s go.

TEEN SAM decides to go with him.

She hands COOPER the mic and leaves with JOHNNY who pulls her off with him.

ADULT SAMANTHA (calling after them) No! Don’t go with him!

But they’re gone.

LIGHTS shift. TEENS begin to disappear as the memory of the ‘80s vanishes and life returns to the 2016 HOTEL LOBBY. A HOTEL GUEST strolls off the same way JOHNNY/TEEN SAM exited, pulling their suitcase.

ADULT SAMANTHA (CONT’D) Don’t go with him!

7

"ALWAYS SOMETHING THERE ..."

8/12/25

The GUEST is startled by SAM’s outburst and quickly exits.

CONCIERGE Uh, do you know her?

What?

SAMANTHA (still in a daze)

CONCIERGE Lady - you’re creeping out the guests. Are you OK? SAMANTHA (snapping out of it) Oh. God. Sorry. I uh ... that song - it just really brought me back.

By now the memory of the ‘80s is gone. We are back in the bleak HOTEL LOBBY. HOTEL DESK CLERK (realizing with delight) Hey - it says here it’s your birthday!

SAMANTHA It’s tomorrow.

HOTEL DESK CLERK (presenting a muffin) Complimentary muffin!

She sticks a candle in the muffin.

Lighting the candle, the CLERK starts to sing ...

HOTEL DESK CLERK (CONT’D) HAPPY BIRTHDAY TO YOU ...

CONCIERGE join in...

HOTEL DESK CLERK AND CONCIERGE HAPPY BIRTHDAY TO YOU HAPPY BIRTHDAY DEAR HOTEL GUEST/LADY HAPPY BIRTHDAY TO YOU The CLERK and SAMANTHA stand on profile - the birthday muffin between them - like a sad alt version of the end of 16 Candles.

HOTEL DESK CLERK Make a wish, Mrs. Stevens.

8

"ALWAYS SOMETHING THERE ..."

8/12/25

A thought. Then SAM snuffs out the candle with her fingers.

SAMANTHA Ya know what, I’m good, thanks.

HOTEL DESK CLERK (handing SAM the muffin) It’s bad luck to snuff out your birthday candle.

SAMANTHA How could my luck get any worse?

HOTEL DESK CLERK Don’t jinx yourself! (handing her a room key) Room 1107. It’s just down the hall.

HOTEL DESK CLERK points.

HOTEL DESK CLERK (CONT’D) Happy birthday.

SAM weakly acknowledges and moves towards her room.

SCENE 1 (CONTINUOUS FROM PROLOGUE) 2. ONLY IN MY DREAMS (DEBBIE GIBSON) SAMANTHA (re: the Cooper Roy flyer/divorce papers/muffin/phone) What an absolute disaster.

Then as SAM makes her way to her HOTEL ROOM ...

SAMANTHA (CONT’D) EV’RY TIME I’M TELLING SECRETS I REMEMBER HOW IT USED TO BE AND I REALIZE HOW MUCH I MISS YOU AND I REALIZE HOW IT FEELS TO BE FREE NOW I SEE I’M UP TO NO GOOD AH

OFF STAGE VOICES

SAMANTHA AND I WANNA START AGAIN CAN’T REMEMBER WHEN I FELT GOOD FELT GOOD BABY

OFF STAGE VOICES

9

"ALWAYS SOMETHING THERE ..."

8/12/25

SAMANTHA NO, I CAN’T REMEMBER WHEN ...

NO, ONLY IN MY DREAMS SAMANTHA (AND OFF STAGE VOICES) (CONT’D) AS REAL AS IT MAY SEEM IT WAS ONLY IN MY DREAMS NO, NO, NO, NO, ONLY IN MY DREAMS AS REAL AS IT MAY SEEM IT WAS ONLY IN MY DREAMS ADULT SAM finds herself in her hotel room. She sets her muffin down, kicks off her shoes, opens the mini-bar and begins to drink.

SAMANTHA & OFF STAGE ENSEMBLE OH, AH - OH, AH - OH, AH - OH, AH - AH AH, ONLY IN MY DREAMS AS REAL AS IT MAY SEEM IT WAS ONLY IN MY DREAMS (IT WAS ONLY IN MY DREAMS / IT WAS ONLY IN MY DREAMS - OH) NO, NO, NO, NO ONLY IN MY DREAMS AS REAL AS IT MAY SEEM IT WAS ONLY IN MY DREAMS Iconic SAX solo as SAM gets progressively more and more drunk.

ENSEMBLE OH, AH - OH, AH - OH, AH - OH, AH - AH SAM remembers the candle now and lights it ...

SAMANTHA NO, ONLY IN MY DREAMS AS REAL AS IT MAY SEEM IT WAS ONLY IN MY DREAMS I wish ... I wish I could do it all over again.

SAM blows out the candle and SOMETHING MAGICAL HAPPENS. SOUND. LIGHTS. MUSIC. MAGIC. SAM, oblivious to it all, promptly passes out on her bed.

Imagine a bit of an electrical, sparkly, lightening storm.

(Practically: A gentle strobe light / slow motion movement / a shift in music / a intense gust of wind).

10

"ALWAYS SOMETHING THERE ..."

8/12/25

Music/lights/sound transition us from 2016 to 1989.

The world goes topsy-turvy.

SCENE 2 (THE NEXT MORNING AND ALSO 27 YEARS EARLIER IN SAMANTHA’S TEENAGE BEDROOM).

In a SUDDEN juxtaposition, SUNLIGHT streams through the curtains as Debbie Gibson’s Only in My Dreams plays from SAM’s alarm clock.

Through theatrical magic, the HOTEL BED has become TEENAGE SAM’s BED and is rigged in such a way that TEEN SAM is pre-set under the covers.

Sam’s MOTHER knocks on Sam’s door, entering at the same time in a jazzercise leotard.

SAM’S MOM (classic ‘80s midwest, high energy, high bangs) Knock knock, sleepy head.

SAM’S MOM flips on all the lights revealing SAMANTHA’S TEENAGE BEDROOM, complete with Menudo and Michael J. Fox posters. Framed photos of teenage Johnny and Sam. TEENAGE SAM, stretches, moans, rolls over, pulling a pillow over her head.

SAM’S MOM (CONT’D) Uh-uh. We’re not doing this today, Samantha. My fingers are all sticky from morning decoupage, I’ve got Mr. Morietti coming over to look at the dishwasher in half an hour and I still haven’t done my Jane Fonda. Getupgetupgetup.

You can not miss the bus.

TEEN SAM sits straight up in bed.

Headgear and all.

Mom?!

TEEN SAMANTHA

SAM’S MOM Get up, girlfriend!

11

"ALWAYS SOMETHING THERE ..."

8/12/25

TEEN SAM’s hair is permed, she’s in Hello Kitty shortie pajamas and now, noticing herself - realizing she’s woken up in 1989 - she ... well, she screams.

SAM’S MOM (CONT’D) (covering her ears) Cut it out Sam! I don’t have time for hysterics this morning!

SAMANTHA (remembering) The mini-bar. (realizing) I must be realllllly drunk.

SAM’S MOM You better not be, young lady!

Or dead.

SAMANTHA (realizing with concern)

(desperate) Mom! Am I dead?!

SAM’S MOM (80s-mom-threatening) Not yet, but keep this up, Miss Thing, and you will be!

SAM’S best friend, CAMELIA, enters in leg warmers and a denim jacket coated in pithy buttons. She pulls her headphones off her walkman as she ENTERS the room, throwing her backpack on the floor.

CAMELIA (casually - this is an every day thing) Hi, Mrs. Craig.

Camelia!!!

SAMANTHA (not at all casual because she has timetraveled!)

SAM’S MOM Oh good, you’re here. See if you can get her out of bed. I’ll be doing macramé in the den.

She EXITS.

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CAMELIA (speed singing) Happy Birthday to you, Happy Birthday to you, Happy Birthday dear Sammy Boom Ba Bammmmmmmy, Happy Birthday to you.

SAM jumps out of bed to hug her friend.

SAMANTHA Cami, you’re talking to me!?

CAMELIA I’m singing to you! (with elaborate hand gestures/choreo) Friends ‘til the end.

We always will be.

Nothing can come between you and me.

SAMANTHA (desperate) What. Is. HAPPENING?!!!!!

CAMELIA It’s your 18th birthday, baby, that’s what’s happening!

18?!?

SAMANTHA SAM runs to her mirror. Seeing her teenage self for the first time, she gasps - touching her face!

CAMELIA (pulling out of her backpack ...)

I got you a Micky D’s Apple Pie to start your day healthy!

Oh my God.

SAMANTHA (shocked at her reflection)

CAMELIA (re: the apple pie) If you’re not gonna eat it, can I? I look ...

SAMANTHA

(thrilled/shocked) So ... young!

CAMELIA Don’t be crazy. You look very mature. (then) C’mon! Get dressed!

(MORE)

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8/12/25 CAMELIA (CONT’D) (then) Winston is waiting outside - he’s holding a boombox over his head pretending to be Boy George.

3. KARMA CHAMELEON (CULTURE CLUB) CAMELIA (CONT’D) He’s like ... (ala WINSTON) THERE'S A LOVIN’ IN YOUR EYES ALL THE WAY IF I LISTEN TO YOUR LIES, WOULD YOU SAY WINSTON appears in the doorway.

WINSTON Happy birthday, Sam. Winston!

SAMANTHA She runs to him and hugs him!

I'M A MAN

CAMELIA WINSTON

A MAN

CAMELIA WITHOUT CONVICTION I'M A MAN A MAN? WHO DOESN'T KNOW HOW TO SELL TO SELL A CONTRADICTION YOU COME AND GO YOU COME AND GO

SAMANTHA CAMELIA

WINSTON CAMELIA

WINSTON

CAMELIA Come on, come on, let’s go!

CAMELIA helps the shellshocked SAM get ready for school - clothes, makeup, shoes etc.

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8/12/25

CAMELIA (CONT’D) KARMA, KARMA, KARMA, KARMA, KARMA CHAMELEON SAMANTHA Karma! That’s it!

YOU COME AND GO Winston!

YOU COME AND GO

WINSTON SAMANTHA WINSTON

SAMANTHA (desperate for answers) What do you know about Karma?!

CAMELIA LOVING WOULD BE EASY IF YOUR COLORS WERE LIKE MY DREAMS WINSTON RED, GOLD, AND GREEN CAMELIA RED, GOLD, AND GREEN SAMANTHA Cami, I think I’m in some sorta karmic loop!

WINSTON That sounds fun!

SAMANTHA (to CAMELIA) I need to talk to you!

CAMELIA Pass me a note during class.

SAMANTHA (ala Ferris Bueller) But - how could I possibly be expected to handle school on a day like this?

CAMELIA Cute, Ferris Bueller. Let’s go.

SAM, now dressed, is whisked into the high school mayhem as the CAST shifts the SET, joining in song as the HIGH SCHOOL HALL takes shape.

She tries desperately to snap out of this. (Whatever “this” is.)

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SAMANTHA (slapping/pinching herself) Wake up, wake up, wake up! (suddenly seeing her entire high school universe in front of her ...)

What the ...

The SCHOOL BELL rings interrupting her as LYRIC kicks in ...

SCENE 3 (CONTINUOUS) CAMELIA DIDN'T HEAR YOUR WICKED WORDS EVERY DAY ELLA (Teen 4) and SCARLET (Teen 5) join the clique.

SAMANTHA Ella! Scarlet!

ELLA/SCARLET Happy Birthday, Sam! WINSTON AND YOU USED TO BE SO SWEET I HEARD YOU SAY CAMELIA AND WINSTON (ELLA AND SCARLET)

THAT MY LOVE (MY LOVE) WAS AN ADDICTION WHEN WE CLING (WE CLING) OUR LOVE IS STRONG WHEN YOU GO (YOU GO) YOU'RE GONE FOREVER

YOU STRING ALONG YOU STRING ALONG

CAMELIA, WINSTON, ELLA AND SCARLET

TEENS spill into the halls.

CAMELIA, WINSTON, ELLA, SCARLET AND TEENS KARMA, KARMA, KARMA, KARMA, KARMA CHAMELEON YOU COME AND GO YOU COME AND GO LOVING WOULD BE EASY IF YOUR COLORS WERE LIKE MY DREAMS RED, GOLD, AND GREEN RED, GOLD, AND GREEN

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JOHNNY and GAVIN run into the group of TEENS. JOHNNY (re: SAMANTHA) There’s my girl.

SAMANTHA (still in a daze) Oh my God. Johnny. Look at you.

JOHNNY (licking a finger with a sizzle sound) Smokin’. I know. (then) So - what’s on the menu today?

ELLA (hinting) Birthday cake?!

JOHNNY No way, dude. (flexing) I’m off sugar. (then) Can I have your Ham & Cheese?

SAMANTHA (a bit breathless with the memory) I used to give you my lunch.

JOHNNY Babe - what do you mean “used to?”

As he opens her backpack, taking her sack lunch for himself ...

I'M A MAN

JOHNNY

(CONT’D)

GAVIN

A MAN

JOHNNY WITHOUT CONVICTION I'M A MAN

“A man.”

WHO DOESN'T KNOW HOW TO SELL

CAMELIA (with an eye roll) JOHNNY

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TO SELL A CONTRADICTION YOU COME AND GO YOU COME AND GO

8/12/25

GAVIN JOHNNY

The “set-up” of school continues.

ALL KARMA, KARMA, KARMA, KARMA, KARMA CHAMELEON KARMA CHAMELEON YOU COME AND GO YOU COME AND GO YOU COME AND GO

CAMELIA AND WINSTON ALL CAMELIA AND WINSTON ALL

LOVING WOULD BE EASY IF YOUR COLORS WERE LIKE MY DREAMS RED, GOLD, AND GREEN RED, GOLD, AND GREEN KARMA, KARMA, KARMA, KARMA, KARMA CHAMELEON On the button, SAM, still shocked, but now fully outfitted as her teenage self, finds herself, as the second SCHOOL BELL RINGS, in Spanish class. CAMELIA, ELLA, SCARLET, WINSTON, JOHNNY, GAVIN, and COOPER are also in class.

Hola, class.

SEÑORA JACKSON

SAMANTHA (to herself) This is insane.

STUDENTS Hola, Señora.

SAMANTHA (inhaling - nearly to herself) It even smells like high school.

SEÑORA JACKSON Please open your text books to Chapter Eight, read the “do-now” and ... do it now.

(KIDS open their books) (MORE)

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8/12/25 SEÑORA JACKSON (CONT’D) I’m going to smoke in the teacher’s lounge.

Nobody pull the fire alarm. Winston, you’re in charge. Adios.

The room fills with the buzz of teens left unsupervised. WINSTON stands.

WINSTON (calling after her, delighted) Sure thing, Señora Jackson! (ala Pretty in Pink - he addresses the class) Morning - welcome to another day of higher education. (the class groans - and then ...)

Si alguien necesita ayuda, avíseme.

JOHNNY Winston. How is it possible to have “win” in your name, but still be such a loser.

Yeah.

GAVIN (ever the sidekick) A spitball hits JOHNNY’s face.

JOHNNY (standing, irate) Hey! Who did that?

(KIDS snicker) Oh, you think that’s funny?

COOPER scoffs, rolling his eyes.

He stands up, grabbing his guitar.

JOHNNY (CONT’D) (turning his attention to COOPER) Was it you, Frank Zappa?

COOPER (on his way out) Frank Zappa’s rad.

JOHNNY (irate) Can it, dingleberry. I’m gonna ask you again.

Did-you-throw-a-spitball-at-me?!

COOPER (at the door) I don’t throw spitballs.

SCARLET Cooper, where are you going?

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COOPER My family speaks Spanish. If Señora Jackson isn’t here, I don’t really need to be here either. (then to SAM) Hey Sam. SAMANTHA (shocked by the sight of him) Cooper. You look just the same.

JOHNNY Don’t say “hi” to my girlfriend, Van Halen.

COOPER (blown away by how dumb that is) Again. Not an insult. (on his way out) See ya later, Sam. He EXITS. JOHNNY If he’s going, I’m going.

GAVIN Yeah, me too.

ELLA But he already speaks Spanish.

JOHNNY repeats her words, in mocking gibberish.

JOHNNY (at the door) Sam, ditch with me. You can buy me a Big Gulp from the 7-11.

Yes!

GAVIN (under his breath, an ‘80’s fist pump)

SAMANTHA Uh. That’s ok. I’m gonna do the “do now.”

JOHNNY More like “do not.” (then - offering a high five to GAVIN) Hey-o, up high.

(GAVIN high fives him) Down low.

(GAVIN tries, but JOHNNY disses him with the “fixing his hair” move) Too slow.

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With a weird blown kiss and gross laugh, JOHNNY EXITS, GAVIN in tow.

SAMANTHA (hushed and desperate to ELLA, SCARLET, and CAMELIA) Guys ... I really need to talk to you.

WINSTON I was just gonna say the same thing. I could really use some one-on-one time, Camelia.

CAMELIA Not now, Winston.

ELLA I can’t believe Johnny didn’t wish you a happy birthday!

SAMANTHA Johnny’s forgotten my birthday for like thirty years; I’m used to it. (desperate) Is there a conference room where we can talk?

SCARLET A “conference room?”

Now?!?

In private?

SAMANTHA (urgently) (re: WINSTON - who is hovering)

WINSTON Oh, don’t mind me. I can keep secrets.

SAMANTHA Winston, you gave away her 21st surprise party.

We’re 18.

ELLA

SAMANTHA I swear to God, we’re 45.

CAMELIA (a realization!)

Ohmigod, are you doing drugs?!

The kids all GASP. No! Wait.

SAMANTHA (then) (MORE)

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8/12/25 SAMANTHA (CONT’D) (considering) Maybe? That would explain things.

SCARLET (a serious accusation) Sam. Are you wigging out?!

SAMANTHA Yes! Yes! I am completely wigging out!

CAMELIA (realizing this is major) OK. Hallway. Now. (the KIDS, who’ve been eavesdropping, make a move to join them - she stops them) Just us.

WINSTON opens the door for them.

As the GIRLS flood out into the hallway, the TEENS all ad-lib: TEENS (ad-lib) Do you have a date for the turnabout dance yet?

Have you studied for bio? Are you going to the pep rally? See you in the parking lot later. My mom won’t let me. ETC ...

M’Ladies.

WINSTON (a farewell) CAMELIA, ELLA, and SCARLET have pulled SAMANTHA out into the hallway.

SCENE 4 (CONTINUOUS) 4. TALK TO ME (STEVIE NICKS) MUSIC begins to underscore.

CAMELIA (re: WINSTON) He thinks he’s in love with me.

SAMANTHA That’s good cuz you marry him.

Shut up!

CAMELIA (shoving her)

(then) What is going on with you today?

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SAMANTHA You’re my best friends, right?

CAMELIA/SCARLET/ELLA (crossing her heart / slicing her neck) Cross my heart and hope to die.

SAMANTHA God, I’ve missed you guys. (then) OK, before I explain what’s going on, I’m just gonna old-school close my eyes and make a wish.

So if I disappear, call me in like 30 years.

What?

CAMELIA/SCARLET/ELLA SAM squeezes her eyes shut and ...

SAMANTHA (desperate) I wish I could go back to my life!

Nothing happens.

Ugh!

SAMANTHA (CONT’D) (beyond frustrated) CAMELIA pulls SAM to her.

CAMELIA THERE'S NO SENSE IN DANCING 'ROUND THE SUBJECT A WOUND GETS WORSE WHEN IT'S TREATED WITH NEGLECT SAMANTHA I knew wishing wouldn’t work!

CAMELIA WELL, DON'T TURN NOW THERE'S NOTHING HERE TO FEAR SAMANTHA I gotta find my way back to that hotel room.

As CAM sings, SAM starts to go.

CAM stops her.

CAMELIA YOU CAN TALK TO ME Camelia!

SAMANTHA

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SCARLET YOU CAN TALK TO ME ELLA YOU CAN TALK TO ME SAMANTHA Ok ... so ... here’s the thing ... I ...

CAMI/ELLA/SCARLET (interrupting) YOU CAN SET YOUR SECRETS FREE, BABY SAMANTHA I’m a middle aged woman trapped in my teenage life.

ELLA And she’s a Hollywood lawyer trapped in Small Town, USA. SCARLET We all have our struggles, Sam. CAMELIA Now whatever it is, you can tell us.

As the song picks up, CAMELIA, SCARLET, and ELLA form an old school MTV girl band - ironically, hardly conscious of SAMANTHA as she tries her hardest to talk to them ...

SAMANTHA Well, what I’m trying to say is ...

CAMELIA (interrupting)

DUSTY WORDS LYING UNDER CARPETS SELDOM HEARD WELL, MUST YOU KEEP YOUR SECRETS LOCKED INSIDE HIDDEN DEEP FROM VIEW SAMANTHA Cami, I think I’ve broken the time/space continuum.

CAMELIA YOU CAN TALK TO ME SAMANTHA I need you to believe me.

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CAMELIA YOU CAN TALK TO ME ELLA AND SCARLET WHEN YOU'RE DOWN, DOWN CAMI/ELLA/SCARLET YOU CAN TALK TO ME SAMANTHA I’m trying to!

T-T-TALK TO ME

CAMI/ELLA/SCARLET (overboard, vibing with herself)

SAMANTHA Guys, listen to me! I have lived this life already. This isn’t some freak show deja vu.

I’m a grown up!

ELLA Sounds like Peggy Sue is taking her 18th birthday a liiiiitttle too seriously.

SAMANTHA I can prove it. I can predict the future.

SCARLET Is this like a Ouija Board situation?

SAMANTHA Tonight, you’ve planned a party for me. You got us fake IDs and we’re going to Studio Nightclub to hear Cooper’s band.

CAMELIA (to SCARLET) You told her?

SCARLET I swear, I didn’t!

SAMANTHA (to CAMI) And next fall, you’ll go to UCLA but I’ll marry Johnny even though you try to talk me out of it.

ELLA Just because he made you a homemade valentine in kindergarten doesn’t mean he’s a worthy life partner.

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SAMANTHA (to CAMI) And years later, you and I get into this big fight.

Tragic!

SCARLET

SAMANTHA And you become a high-powered attorney ...

CAMELIA (getting into the fantasy) How “high-powered?”

SAMANTHA But eventually you stop talking to me ...

Never!

CAMELIA

SAMANTHA And I’m stuck doing sales for a toilet company, while Johnny cheats on me and serves me divorce papers on my 45th birthday!

SCARLET This is a really bleak fantasy, Miss Cleo.

ELLA Why won’t you just tell us what’s really going on?

SAMANTHA Are you guys listening to me?! This is some serious “back to the future” bullsh -The bell rings AND ...

CAMELIA (overlapping so that she completes the “T” sound with the start of the word “TALK”) TALK-TALK-TALK TO ME ELLA YOU CAN TALK TO ME CAMI/ELLA/SCARLET YOU CAN TALK TO ME SCARLET WHEN YOU’RE DOWN, DOWN CAMI/ELLA/SCARLET YOU CAN TALK TO ME T-T-TALK TO ME

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SAMANTHA (exasperated) I gotta get back to my real life!

ELLA You should prob’ly go see Ms. Gross in guidance.

SAMANTHA I don’t have time!

SCARLET Maybe make time?

SAMANTHA I have to get home!

CAMELIA My mom can give you a ride after school.

SAMANTHA You don’t get it!

SAMANTHA storms off, unnoticed by her friends who are wrapped up in their song.

CAMELIA LET THE WALLS BURN DOWN SET YOUR SECRETS FREE SCARLET YOU CAN BREAK THEIR BONDS ‘CAUSE YOU’RE SAFE WITH ME ELLA YOU CAN LOSE YOUR DOUBT ‘CAUSE YOU’LL FIND NO DANGER HERE The ENSEMBLE filters in, helping to transform the set to a different HALLWAY. CAMELIA/ELLA/SCARLET (TEENS) TALK, TALK, TALK TO ME (YOU CAN TALK TO ME) WELL, I CAN SEE YOU BABY (YOU CAN TALK TO ME - I CAN SEE YOU RUNNING) [WELL, I CAN SEE YOU BABY] (I CAN SEE YOU RUNNING) TALK TO ME, YEAH CAMELIA AND TEENS TALK, TALK, TALK TO ME (YOU CAN TALK TO ME) WELL, I CAN SEE YOU BABY

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(YOU CAN TALK TO ME - I CAN SEE YOU RUNNING) [WELL, I CAN SEE YOU BABY] (I CAN SEE YOU RUNNING) TALK TO ME, YEAH (YOU CAN TALK TO ME) WHEN YOU’RE DOWN, DOWN (YOU CAN TALK TO ME) SET YOUR SECRETS FREE (I CAN SEE YOU RUNNING) WELL I CAN SEE YOU BABY (WELL I CAN SEE YOU BABY) (WELL I CAN SEE YOU BABY) YOU CAN TALK TO ME (TALK TALK TALK TO ME) CAMELIA/ELLA/SCARLET (noticing SAM has left - they AD LIB) Hey, where’d she go? Maybe she went to the bathroom? C’mon guys, follow me. (Etc).

SCENE 5 (CONTINUOUS) SAM runs through the empty hall.

COOPER sees her ... lost amidst the lockers.

Sam?

Cooper! Hi. You OK?

Ummm ...

COOPER SAMANTHA (surprised) COOPER SAMANTHA (not at all OK)

COOPER You going to your locker?

SAMANTHA I ... don’t know. (finding her locker) My locker!

COOPER Do you need help or something?

SAMANTHA (a new thought!)

Are you good at physics? Like black holes or worm holes or ...

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8/12/25

COOPER (interrupting) Not a science guy. (then) I have Battle of the Bands practice ...

SAMANTHA (a gasp, remembering) Battle of the Bands! Senior Year!

Rrrright.

COOPER (she’s being weird)

SAMANTHA (nearly to herself) God, I screwed that up.

COOPER (confused) It hasn’t happened yet.

SAMANTHA I’m supposed to sing with you.

You are?

COOPER

SAMANTHA (a distant memory) Didn’t you ask me to sing with you?

COOPER Yeah, a few weeks ago, but you said Johnny would go crazy.

I did.

He would.

SAMANTHA (it’s all coming back) (then) SAM starts to pace, thinking.

COOPER I got Debbie Waller to replace you.

SAMANTHA Debbie Waller! No! She runs a cosmetics pyramid scheme!

COOPER (confused) We’re just doing a trial period.

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8/12/25

SAMANTHA I have dibs. I’ve built that band one garage rehearsal at a time since the 5th grade.

COOPER You’re the one who quit.

SAMANTHA Ugh, this is torture! (another idea!)

Do you know any magicians?

COOPER Look, don’t put a hex on Debbie or anything, Sam. SAM works her locker combination.

COOPER (CONT’D) (CONT’D) I’m sure you can just talk to her. It’s not uncommon for sweet bands to go through a shake up.

SAMANTHA (opening her locker - growing unhinged) Is it uncommon for divorceés to remember their high school locker combinations?!

She pulls out her backpack and slams her locker shut to make her point!

Divorceés?

COOPER (concerned)

SAMANTHA When’s Battle of the Bands?

COOPER A week from Saturday.

SAMANTHA (nearly to herself) I don’t even know if I’ll still be here then.

COOPER Why? Where are you going?

SAMANTHA (nearing hysteria) Probably nowhere! I’m probably stuck here. (realizing) Oh my God. What if I’m stuck here?! I wish I (light bulb - a gasp!)

(MORE)

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8/12/25 SAMANTHA (CONT’D) Wish. My wish! Cooper! That’s it! I need a muffin!

What?

COOPER

SAMANTHA (suddenly desperate) Do you have a muffin?! And a candle? Maybe some tiny bottles of vodka?!

Uh ... no?

COOPER

SAMANTHA Maybe I can reverse this!

COOPER Reverse what?

SAMANTHA I gotta get myself outta here!

Outta where?

COOPER

SAMANTHA (quickly, as she runs off) Good luck at Battle of the Bands!

Music begins to underscore.

SAMANTHA (CONT’D) (calling as she goes) I’ve had a crush on you since the 5th grade and now you’re famous! Bye forever ...

She EXITS leaving COOPER baffled.

5. THE SEARCH IS OVER (SURVIVOR) HIGH SCHOOL HALLWAYS shift and COOPER exits.

TEEN SAMANTHA runs - desperate to find her way home through these halls - a bit of a hall of mirrors (aka lockers) trying to get out.

As TEEN SAM struggles through the MAZE OF “MIRRORS” suddenly, she spots ADULT SAMANTHA within one of the mirrors, looking back at her.

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TEEN SAMANTHA (with a gasp) There I am! How do I get back to you?!

A connection of nostalgia and urgency between them as: SCENE 6 (CONTINUOUS) ADULT SAMANTHA (with urgency) HOW CAN I CONVINCE YOU WHAT YOU SEE IS REAL? WHO AM I TO BLAME YOU FOR DOUBTING WHAT YOU FEEL? TEEN SAMANTHA I WAS ALWAYS REACHING ADULT SAMANTHA YOU WERE JUST A GIRL I KNEW TEEN SAMANTHA I TOOK FOR GRANTED THE FRIEND I HAVE IN YOU TEEN SAMANTHA/ADULT SAMANTHA I WAS LIVING FOR A DREAM LOVING FOR A MOMENT TAKING ON THE WORLD THAT WAS JUST MY STYLE NOW I LOOK INTO YOUR EYES I CAN SEE FOREVER THE SEARCH IS OVER YOU WERE WITH ME ALL THE WHILE The SCHOOL BELL rings.

Students pour into the halls. As the “MIRRORS”/LOCKERS shift away, so too does ADULT SAM as TEEN SAM’s FRIENDS present her with a giant birthday cake. Candles ablaze.

Sa-aaam!

CAMI/ELLA/SCARLET SAM turns and notices them.

TEEN SAMANTHA That’s not a muffin. I need a muffin!

CAMELIA (duh) It’s a birthday cake, Sam.

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TEEN SAMANTHA I guess it’s better than nothing.

Gee thanks.

CAMELIA

(then) Well, go ahead. Make a wish.

THIS IS IT. The moment to wish herself BACK to her regular life.

SAM, filled with desperate hope, closes her eyes.

This is it.

SAMANTHA

(then) I wish I could go back to my real life!

Eyes closed, TEEN SAM blows out the candles.

Nothing. NOTHING HAPPENS. SCARLET You’re not really s’posed to say your birthday wish out loud, ya know?

SAMANTHA (opening her eyes - frustrated) I’m still here?!

ELLA Especially when it’s super weird.

SAM grabs the matches and tries to light the candles again.

SAMANTHA Lemme try again.

CAMELIA One wish per candle, Sam, or bad luck.

SAM scoffs in disbelief at the irony!

CAMELIA takes the cake from SAM as she and the TEENS pour off stage.

CAMELIA (CONT’D) Meet outside by the senior tree. I’ll save you the biggest slice.

They all EXIT, leaving TEEN SAM alone once more.

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8/12/25

She finds a remaining “MIRROR”/ LOCKER where ADULT SAM stares back at her again. They share a moment.

TEEN SAMANTHA/ADULT SAMANTHA (OFF STAGE ENSEMBLE) I WAS LIVING FOR A DREAM (OOO) LOVING FOR A MOMENT (AH) TAKING ON THE WORLD (OOO) THAT WAS JUST MY STYLE (AH) NOW I LOOK INTO YOUR EYES (AH) I CAN SEE FOREVER (AH) THE SEARCH IS OVER YOU WERE WITH ME ALL THE WHILE COOPER takes over vocals as the set shifts ...

SCENE 7 (CONTINUOUS/AFTER SCHOOL) COOPER’s GARAGE comes into focus.

COOPER’s at the mic.

COOPER NOW THE MILES STRETCH OUT BEHIND ME LOVES THAT I HAVE LOST BROKEN HEARTS LIE VICTIMS OF THE GAME As he sings, ADULT SAMANTHA disappears and TEEN SAM continues to search for a way back to her reality.

Now in COOPER’S GARAGE, COOPER (guitar), DUCKIE (drums), HOBBS (keys), and DEBBIE (backup) behind him.

DEBBIE takes over the vocals as SAMANTHA ENTERS, bewildered, unintentionally arriving at COOPER’S GARAGE. DEBBIE (super emo/borderline goth)

THEN GOOD LUCK IT FIN’LY STRUCK LIKE LIGHTNIN’ FROM THE BLUE COOPER/DEBBIE EVERY HIGHWAY IS LEADIN’ ME BACK TO YOU

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COOPER notices SAM and signals the band to stop. They do ... a record scratch moment.

SAMANTHA (a bit dazed ...)

You sound ... great (?), Debbie.

DEBBIE Thanks. I’ve been listening to a lot of Bad Religion. What are you doing here?

SAMANTHA (... and confused) You mean here in 1989 or here in Cooper’s garage.

Whoa. Meta.

DEBBIE

SAMANTHA I’ve been looking for a portal back to reality.

DEBBIE Huh. I never pegged you as a new-age chick.

SAMANTHA I wound up here. Sense memory, I guess. This is where I always go after school.

Used to go.

COOPER

SAMANTHA (dejected) Right. Sorry.

She starts to walk away.

COOPER Wait - you don’t have to leave.

She doesn’t?

DEBBIE

COOPER This is your band, Sam. SAMANTHA You’d really let me back in the band?

DEBBIE But I’m the lead lady singer now. I already put it on my college application activities list.

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COOPER I told you this was just a trial run, Debbie.

DUCKIE Sam and Cooper started this band for our blockparty talent show when we were like 10.

HOBBS Lotta history, dude.

SAMANTHA (realizing) I never shoulda left.

COOPER/DUCKIE/HOBBS She wants her spot back in the band, Debbie.

A beat.

DEBBIE May I have some time to consider?

COOPER How long do you need?

DEBBIE (she grabs a rad skateboard) Long enough to circle the block a coupla times.

Seems fair.

HOBBS Debbie wheels herself off ...

SAMANTHA (soaking in the space) God, I’ve missed this garage.

COOPER Lucky for you, garages don’t hold grudges.

SAMANTHA Do guitar players?

COOPER Some. But most believe in second chances.

SAMANTHA I’m sorry; I never should’ve let Johnny talk me into quitting (light bulb - gasp!)

Second chances?! What if ... what if I don’t need a muffin or a magician or a physicist?!

COOPER Why would you need any of those things?

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SAMANTHA (on her own track) What if my wish already came true and I’m in the middle of a do-over?!

COOPER Like in four-square?

HOBBS Did your ball bounce out of bounds?

DUCKIE Did you forget to call “No Black Magic?”

SAMANTHA (nearly laughing) Kind of! Yes, I forgot to call no black magic!

I forgot to call ... anything!

HOBBS (hammering home the four square metaphor) So, now you’re stuck in a quadrant and you’ll never be King?!

SAMANTHA Exactly! I never spoke up for myself. I just ... let high school happen to me.

DUCKIE Oh, I get it. You need a redo!

HOBBS Mr. Kessing let me re-do my algebra test - aced it!

SAMANTHA (with newfound resolve) Cooper. I think I might actually have to be in your band again.

COOPER Great. I didn’t want you to quit to begin with. (then) Hey, um, did you mean what you said earlier?

About how you felt about me since fifth grade?

ELLA, SCARLET, CAMELIA and WINSTON ENTER (maybe on roller skates/ skateboards).

CAMELIA (coming to a stop) Samantha? You’re back in Cooper’s garage band?

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WINSTON Garage band. That would be a great name for a computer software program that allows you to record music on multiple tracks.

SCARLET Are you practicing for Studio Nightclub tonight?

ELLA (whispering) That’s supposed to be her birthday surprise.

CAMELIA She knows, you guys. She’s IN the band!

ELLA Does Johnny know about this?

SAMANTHA Johnny doesn’t need to know everything, OK? SCARLET Evolving! I like it.

CAMELIA I thought we were studying for finals.

ELLA We’re on our way to your house.

SCARLET Winston made us study guides.

Finals?!

SAMANTHA

CAMELIA Were you abducted by aliens or something?

SAMANTHA I’m open to all theories.

ELLA Ohmigod, can we be your test audience?

SCARLET Ohmigod, yes! I was born to be a groupie.

SAMANTHA I haven’t rehearsed in like 28 years.

SCARLET My mother says hyperbole is unbecoming.

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WINSTON So, does this mean we’re not studying? (to CAMELIA) Cuz, I was looking forward to sharing text books and smelling your hair.

CAMELIA Winston. We’ve discussed private vs. public.

WINSTON Sorry, my filter is busted but also your hair smells like coconuts.

SAMANTHA If I’m not having a nervous breakdown then I definitely need to study. I don’t even remember what classes I’m in.

WINSTON I’ll help you, Samantha. Any friend of Camelia’s is a friend-in-law to me.

CAMELIA We’re not married!

Yet.

WINSTON (an eternal optimist)

COOPER (gaining control) OK - one practice tune and then finals prep?

DUCKIE (anxious) We’re gonna sing? Now? HOBBS I thought you had your stage fright under control, Duckie.

DUCKIE That was before people showed up.

ELLA As president of the fan club of - what’s the name of your band?

HOBBS Rubber. Get it? Rubber Band.

That’s rad.

ELLA

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HOBBS (stars in his eyes) Thank you, Ella.

ELLA (stars in her eyes) You’re welcome, Hobbs. (then) As president of Rubber Band’s fan club, I say YES! Rock out first, study second.

One song?

COOPER (to SAM)

SAMANTHA (resigned - and maybe a little excited) What if Debbie comes back?

COOPER She’s into her skateboard. We’ve got time.

SAMANTHA What if I don’t remember?

COOPER You’ll remember. (then - prompting ...)

Duckie ... Hobbs ...

They start to play.

6. EVEN THE NIGHTS ARE BETTER (AIR SUPPLY) SAMANTHA (she does remember) I WAS THE LONELY ONE WONDERING WHAT WENT WRONG WHY LOVE HAD GONE AND LEFT ME LONELY As SAM sings, her focus shifts more and more towards COOPER who plays guitar.

SAMANTHA (CONT’D) YOU DID MORE THAN END A BROKEN HEART ‘CAUSE NOW YOU’VE MADE A FIRE START SAMANTHA AND COOPER (DUCKIE/HOBBS)

AND I, I CAN SEE THAT YOU FEEL THE SAME WAY I NEVER DREAMED THERE’D BE SOMEONE TO HOLD ME UNTIL YOU TOLD ME

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AND NOW THAT I FOUND YOU EVEN THE NIGHTS ARE BETTER (AH) NOW THAT WE’RE HERE TOGETHER (AH) EVEN THE NIGHTS ARE BETTER SINCE I FOUND YOU DUCKIE AND HOBBS OH, WHOA, WHOA EVEN THE DAYS ARE BRIGHTER SAMANTHA AND COOPER WHEN SOMEONE YOU LOVE’S BESIDE YA SAMANTHA EVEN THE NIGHTS ARE BETTER SINCE I FOUND YOU ...

Just as SAM is sounding particularly amazing, DEBBIE wheels back on. They stop playing.

Another record scratch moment.

SAMANTHA (CONT’D) Debbie. Sorry. Didn’t mean to jump the gun.

DEBBIE Yeah, that was premature.

ELLA Ohmigod, that was psycho rad, Sam! SCARLET Duckie, you’re amazing.

I am?

DUCKIE (nothing better has ever happened to him)

CAMELIA Samantha! That was like next level singing!

SAMANTHA (relishing the moment) That felt so good.

DEBBIE Why did you quit in the first place?

SAMANTHA That’s a question I’m currently exploring with myself.

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CAMELIA Well, as your best friend and future attorney, you are booked for tonight at Studio Nightclub.

ELLA Ohmigod, Sam! Your first real gig!

Hang on ...

Debbie?

SAMANTHA (then) They all look to DEBBIE. A breath.

DEBBIE Why do you want this so bad, Samantha?

A breath. A realization.

SAMANTHA Nobody’s ever asked me that before. What I want.

DEBBIE Well ... I’m asking now.

SAMANTHA (a breath and then) I think singing might be my destiny and if I ignore the impulse I’m pretty sure my life takes a sharp turn off track.

Intense.

DEBBIE

SAMANTHA That, or I might be in a coma.

DEBBIE Copy. And what’s in it for me?

SAMANTHA You ... can ... sing back up? Maintain your “singer in a band” persona?

DEBBIE Can we have matching t-shirts that we all wear to school on the same day?

SCARLET I’ll design them.

DEBBIE (a decision) How can society advance if women don’t support each other’s dreams?

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CAMELIA, ELLA, and SCARLET offer snaps.

CAMELIA Snaps to that, girlfriend.

SAMANTHA (hugging her) Thank you, Debbie. (then) I’m sorry I misjudged you for working in multilevel marketing. If I ever regain consciousness, I think we should be friends.

What?

DEBBIE (baffled)

CAMELIA (extending a hand to COOPER, all business) My client requires 25% of box office sales plus 10% for her representation. She needs Dr. Pepper and green M&Ms in her dressing room.

SAMANTHA Oh, I don’t need ...

CAMELIA (overlapping/interrupting) And four front row tickets for me and my staff.

ELLA and SCARLET high five.

CAMELIA (CONT’D) Do we have a deal Mr. Roy? COOPER You strike a hard bargain, Ms. Shacklebaum. (then - shaking her hand) I accept. (then - extending his hand to SAM) Sam? Their handshake evolves into an elaborate, choreographed, quirky shake unique to them - their pals ad-lib “Whoa, Okayyyy, Cool,” etc.

COOPER (CONT’D) I thought you forgot.

I had.

SAMANTHA (flooded with nostalgia) 7. THE LOCO MOTION (KYLIE MINOGUE)

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CAMELIA (in awe of her post-handshake hand) This is my first real deal! The adrenaline is coursing through my veins. I feel elated! (a build) I feel alive! (a build!!!)

I feel like ... dancing! Sam - you’re my first client!

SAMANTHA Oh, Cami, I don’t think I need a lawyer CAMELIA (pulling SAM with her - and calling back to the band) Show’s at eight - I’ll have her there by 7:30.

As the music kicks in, CAMELIA, ELLA, SCARLET, and WINSTON (perhaps on roller skates/skateboards) move through the song as the SET shifts from COOPER’s garage to SAMANTHA’s bedroom.

CAMELIA (ELLA/SCARLET/WINSTON) (CONT’D) (interrupting) EV’RYBODY’S DOIN’ A BRAND NEW DANCE NOW ELLA, SCARLET, WINSTON COME ON, BABY, DO THE LOCOMOTION CAMELIA I KNOW YOU’LL GET TO LIKE IT IF YOU GIVE IT A CHANCE NOW ELLA, SCARLET, WINSTON COME ON, BABY, DO THE LOCOMOTION The ENSEMBLE filters in, helping to transition the set.

CAMELIA (ELLA, SCARLET, WINSTON, ENSEMBLE) MY LITTLE BABY SISTER CAN DO IT WITH EASE (OOO WAH OOO) IT’S EASIER THAN LEARNIN’ YOUR ABCS (OOO WAH OOO) SO COME ON, COME ON DO THE LOCOMOTION

CAMELIA, ELLA, SCARLET, & WINSTON

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CAMELIA WITH ME YOU GOTTA SWING YOUR HIPS NOW COME ON, BABY JUMP UP JUMP BACK

CAMELIA, ELLA, AND SCARLET

CAMELIA OH, WELL I THINK YOU GOT THE KNACK WINSTON DO THE LO DO THE LO DO THE LOCO - LOCOMOTION COME ON, BABY DO THE LOCOMOTION

ENSEMBLE

ELLA AND SCARLET DO THE LO DO THE LO DO THE LOCO - LOCOMOTION COME ON, BABY DO THE LOCOMOTION

ENSEMBLE

CAMELIA (ALL) DO IT NICE AND EASY NOW, DON’T LOSE CONTROL (OOO WAH OOO) A LITTLE BIT OF RHYTHM AND A LOT OF SOUL (OOO WAH OOO) SO COME ON, COME ON DO THE LOCOMOTION COME ON, COME ON DO THE LOCOMOTION COME ON, COME ON DO THE LOCOMOTION WITH ME WHOA WHOA WHOA

ALL

CAMELIA

SCENE 8 (CONTINUOUS) As the song buttons, the ENSEMBLE disperses, and SAMANTHA, ELLA, SCARLET, CAMELIA, and WINSTON arrive in SAMANTHA’s BEDROOM.

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SCARLET begins to piece together an outfit for SAM from her closet.

SAM stares at herself in her mirror, ADULT SAM staring back at her.

SCARLET You have to look Pat-Benatar-hot tonight. Where do you keep your leather?

What?

SAMANTHA

SCARLET Pants - halter tops - leg warmers?

SAMANTHA I’m not gonna make it through the ‘80s twice.

With utter agreement, ADULT SAM makes her way off as the scene continues ...

SAMANTHA (CONT’D) Winston, do you know any Harry Potter abracadabra stuff?

WINSTON Who’s Harry Potter?

SAMANTHA Never mind! I remember. (moving toward the door) Maybe I need a fire place so I can apparate.

WINSTON stops her.

WINSTON People don’t operate in fireplaces, Sam. (then, spreading out books and flashcards) OK - I’ve organized our study space into areas.

Calculus, World History, Biology, Spanish, and English Lit. I thought we could start with a trivia game I’ve prepared about the progression of classical civilizations and then move on to flash cards on limits and derivatives of functions.

SAMANTHA You’ve really always been like this.

WINSTON (ala Say Anything) Just trying to leave as many doors open as possible, ya know.

(MORE)

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8/12/25 WINSTON (CONT’D) Cuz, I don’t want to sell anything, buy anything, or process anything as a career.

SAMANTHA Don’t worry. You’re gonna invent apps.

WINSTON Like spanakopita?

CAMELIA interrupts ...

CAMELIA (holding up a letter) Um?! An acceptance letter to Boston Conservatory of Music! Sam, congratulations!

Oh - right.

SAMANTHA (remembering)

(she takes it out of CAMELIA’s hands reading it) I forgot about this.

CAMELIA How could you forget about your literal dream?!

ELLA Ohmigod you’re gonna be in Boston too?!

WINSTON If she doesn’t fail her finals.

CAMELIA Who else is gonna be in Boston?

ELLA I am. Studying psychology at Harvard. I got in early admissions.

What?!

CAM/SCAR/WINS

ELLA I hide my intellect to make it easier to thrive within our patriarchal society, but like yeah (nearly squeaking) I’ll be in Boston too!

CAMELIA Sam, you’re going to Boston?

No. Why not?

SAMANTHA CAMELIA

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SAMANTHA Cuz ... I don’t go to Boston.

ELLA Not with an attitude like that you don’t.

“Change your mind, change your outcome.” (then casually) Phil Donahue.

CAMELIA (re: the return postcard) You gotta send this in to accept your spot, ya know?

SAMANTHA But college is a fortune and Johnny said ...

WINSTON (interrupting) Never let finances get in the way of dreams, Sam. I can help you navigate federal and state loan applications, easy breezy.

SCARLET (interrupting - holding up an outfit) Too Joan Jett, right?

At this, SAM’S MOM, opens the door. Her bangs are impossibly higher and she wears a bedazzled outfit.

Sam?

SAM’S MOM

(noticing everyone) Oh, hi guys! Didn’t hear you come in. I get so focused when I’m using my bedazzler. Ya need snacks? I got Hi-C and Hot Pockets in the kitchen.

ALL (adlib) No thanks, Mrs. Craig, I’m good, etc.

Mom!

WINSTON No thanks, Mrs. Craig. No time for distractions.

SAMANTHA SAM runs to her and hugs her.

SAMANTHA (CONT’D) (CONT’D) I was too shocked earlier to really notice you.

OK?

SAM’S MOM (weirded out)

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SAMANTHA (an idea!)

You should go to art school!

What?

SAM’S MOM

SAMANTHA Winston can help you navigate the loans.

WINSTON At your service, Mrs. Craig.

SAMANTHA You’re always saying you missed your calling!

20 years from now you’re gonna fill my basement with crafts. Go! Get your MFA! Be an artist!

SAM’S MOM Sam, what’s gotten into you?

SAM hugs her again.

SAMANTHA I see you now. Homemade cookies and clean laundry in my drawers ... go to Grad School after I graduate, Mom. You deserve it.

SAM’S MOM You’ve been watching too much Geraldo.

SAMANTHA I mean it, Mom. Your ship hasn’t sailed.

SAM’S MOM (flustered) OK, well, food for thought, I guess. (about to go) Oh, Johnny called. He said to be ready at six.

SAMANTHA Be ready for what?

CAMELIA Maybe he wants to take you out for your birthday.

SAM’S MOM Don’t be silly, Camelia, it’s not Sam’s birthday. (then) Say no to drugs, kids. Bye! She EXITS.

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CAMELIA Your mom doesn’t know it’s your birthday?

SAMANTHA And no amount of therapy will ever lessen the sting.

CAMELIA What are you gonna do? Johnny is coming to pick you up but you have a gig!

WINSTON I would argue that there’s an even more important issue at hand.

Time travel?

Fashion?

Finals!

SAMANTHA SCARLET WINSTON 8. WHIP IT (DEVO) / MATERIAL GIRL (MADONNA)

WINSTON (CONT’D) (taking charge - with urgency) Sam, if you don’t pass your finals, they could rescind your acceptance at college, not to mention the fact that Principal Kanefsky won’t let you participate in Battle of the Bands. (then) Now, no more dilly-dallying!

CRACK THAT WHIP WINSTON passes out study guides, flash cards, etc. He reveals a portable chalk board from SAM’s closet, covered in facts. The kids get busy in a rhythmic, choreographed study session.

WINSTON (CONT’D) GIVE THE PAST A SLIP STEP ON A CRACK Ew! What?

CAMELIA/SCARLET/ELLA

WINSTON BREAK YOUR MAMA'S BACK

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SCARLET/ELLA/CAMELIA Rude. Winston!

WINSTON WHEN A PROBLEM COMES ALONG YOU MUST WHIP IT BEFORE THE CREAM SITS OUT TOO LONG YOU MUST WHIP IT WHEN SOMETHING'S GOING WRONG YOU MUST WHIP IT (spoken in tempo) NOW WHIP IT INTO SHAPE WINSTON has rolled out a globe and lab skeleton from like ... nowhere?

CAMELIA You brought props?

WINSTON (carrying on regardless)

SHAPE IT UP GET STRAIGHT GO FORWARD ...

MOVE AHEAD TRY TO DETECT IT IT’S NOT TOO LATE

The DOORBELL rings interrupting.

The GIRLS GASP. The MUSIC STOPS but WINSTON keeps going, rather oblivious.

TO WHIP IT It’s Johnny!

WHIP IT GOOD

WINSTON (CONT’D) SAM/CAMELIA/ELLA/SCARLET WINSTON

SAMANTHA What do I do?!

Hide!

CAMELIA CAMELIA starts to hide SAMANTHA in the closet.

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WINSTON Guess we’re taking a little study break, then?

ELLA You’re not really s’posed to date someone you have to hide from, Sam. SAMANTHA Well, it’s not like I can break up with him.

Why not?!

CAMELIA

WINSTON He’s a pretty major scumbag, Samantha.

ELLA Clearly narcissistic with a borderline personality disorder.

SAMANTHA Why haven’t you ever said anything?

SCARLET It’s not cool to rail on someone else’s boyfriend, ya know?

CAMELIA Plus we figured eventually, you’d figure it out.

SAMANTHA But I didn’t! I don’t! I never do!

ELLA Don’t beat yourself up, Sam. (presentational) “From error to error, one discovers the entire truth.” (then casually) Freud.

SCARLET Cut yourself some slack, Sam. I mean, it’s not like you’re gonna marry the guy.

Before SAM can react, JOHNNY ENTERS, dressed for basketball, spinning a ball on his finger.

SCARLET slams the closet door on SAM, closing her in.

JOHNNY What’s up, dipsticks? Where’s my girl?

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CAMELIA Sorry, Johnny, you just missed her.

JOHNNY What d’you mean? Where’d she go?

ELLA (feigning irritation) That’s what we’d like to know.

JOHNNY You don’t know where she went?

SCARLET Weird, right?

JOHNNY (a thought) She prob’ly left early to get court side seats for my game.

CAMELIA Good thinking. I bet you’re right.

JOHNNY (impressed with himself) Good looking and smart. Daaaang! How do the rest of you survive?! (then noticing WINSTON) Wait? You’re here?

WINSTON Astute observation.

JOHNNY But there are girls here.

Indeed.

WINSTON (with pride)

JOHNNY Are you doing their homework?

No. No?

WINSTON (defensive) JOHNNY

WINSTON I am helping with their homework.

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JOHNNY And it allll makes sense. (then) Sucks to be you. (then with a spin of his ball) See ya suckers.

JOHNNY EXITS. SAMANTHA EXITS the closet.

SAMANTHA He’s been this awful the whole time?

WINSTON No. He used to be nice. His dad used to take us bowling on Tuesday nights.

ELLA Yeah, once we planted watermelon seeds together in my grandma’s back yard.

SCARLET I tie-dyed him a bandana in 4th grade that he wore for a whole year.

SAMANTHA Yeah. Right. He wasn’t always this way.

WINSTON Ever since his father went to prison for embezzlement, he’s really taken a turn for the jerk.

ELLA Sudden instability coupled with inherent insecurity can really do that to a guy.

SAMANTHA (realizing) But if I break up with him now, that will change the entire trajectory of my life.

CAMELIA Way to give one boy all the power, Sam. SCARLET (holding up an outfit, changing the vibe) In an outfit like this - GOD, feel this faux silk poly-blend ...

(MATERIAL GIRL kicks in ...) ... your life can be whatever you want it to be. But as far as I’m concerned, unless some guy is investing in my fashion empire, boys have nothing to do with it.

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SCARLET

8/12/25

(CONT’D)

SOME BOYS KISS ME SOME BOYS HUG ME I THINK THEY’RE OK

WINSTON (overlapping) I believe we’ve veered slightly off topic.

SCARLET IF THEY DON’T GIVE ME PROPER CREDIT I JUST WALK AWAY

WHIP IT GOOD!

WINSTON (reasserting himself)

CAMELIA Not now, Winston!

SCARLET THEY CAN BEG AND THEY CAN PLEAD BUT THEY CAN’T SEE THE LIGHT THAT’S RIGHT!

ELLA AND CAMELIA

SCARLET ‘CAUSE THE BOY WITH THE COLD HARD CASH IS ALWAYS MISTER RIGHT SAMANTHA’s bedroom reveals itself to be a playground of hidden props supporting both WINSTON (school supplies) and SCARLET (fashion).

For example, window shades are pulled down to reveal chalk boards and world maps while racks of couture clothing spill out of SAM’s closet - and all the while the songs compete.

SCARLET, ELLA, AND CAMELIA ‘CAUSE WE ARE LIVING IN A MATERIAL WORLD AND I AM A MATERIAL GIRL IT’S NOT TOO LATE

WINSTON

SCARLET SOME BOYS ROMANCE SOME BOYS SLOW DANCE THAT’S ALRIGHT WITH ME

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ELLA IF THEY CAN’T RAISE MY INT’REST THEN I HAVE TO LET THEM BE CAMELIA SOME BOYS TRY AND SOME BOYS LIE BUT I DON’T LET THEM PLAY NO WAY!

ELLA AND SCARLET

SCARLET ONLY BOYS WHO SAVE THEIR PENNIES MAKE MY RAINY DAY SCARLET, ELLA, AND CAMELIA ‘CAUSE THEY ARE LIVING IN A MATERIAL WORLD AND I AM A MATERIAL GIRL WHIP IT GOOD!

WINSTON

SCARLET, ELLA, AND CAMELIA ‘CAUSE THEY ARE LIVING IN A MATERIAL WORLD AND I AM A MATERIAL GIRL ELLA AND CAMELIA LIVING IN A MATERIAL WORLD MATERIAL

SCARLET

ELLA AND CAMELIA LIVING IN A MATERIAL WORLD MATERIAL

SCARLET

ELLA AND CAMELIA AND ENSEMBLE LIVING IN A MATERIAL WORLD MATERIAL

SCARLET

ELLA AND CAMELIA AND ENSEMBLE LIVING IN A MATERIAL WORLD Throughout the above SAM manages to both study with WINSTON and be styled by SCARLET.

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The SET and PROPS shift to STUDIO NIGHTCLUB (for example, the globe becomes a disco ball, etc.) a classic ‘80s club - neon lights, big hair.

CLUB SOUNDS mingle with voiceover, of club goers as they ENTER the club ...

ALL (voiceover - ad lib) Oooh, I love this song. Oh hi, guys, you look great. ID please. Do you guys wanna a drink?

ETC. MATERIAL GIRL takes on a production number vibe. The ENSEMBLE joins in while ...

SCENE 9 (LATER THAT NIGHT - CONTINUOUS) They DANCE as they prep SAM for her debut.

CLUB SINGER BOYS MAY COME AND BOYS MAY GO AND THAT’S ALRIGHT, YOU SEE EXPERIENCE HAS MADE ME RICH AND NOW THEY’RE AFTER ME CLUB SINGER, SCARLET, SAMANTHA, ELLA, CAMELIA ‘CAUSE EVERYBODY’S SCARLET, SAMANTHA, ELLA, CAMELIA, AND ENSEMBLE LIVING IN A MATERIAL WORLD AND I AM A MATERIAL GIRL CLUB SINGER YOU KNOW THAT WE ARE ALL LIVING IN A MATERIAL WORLD AND I AM A MATERIAL GIRL WINSTON WE’VE STILL GOTTA WHIP IT SCARLET, SAMANTHA, ELLA, CAMELIA, AND FEMALE ENSEMBLE IN A MATERIAL WORLD AND I AM A MATERIAL GIRL

WINSTON, MALE ENSEMBLE IN TO SHAPE SHAPE IT UP

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58

SCARLET, SAMANTHA, ELLA, WINSTON, MALE ENSEMBLE (CONT’D) (CONT’D) CAMELIA, AND FEMALE ENSEMBLE GET STRAIGHT YOU KNOW THAT WE ARE GO FORWARD LIVING IN A MATERIAL WORLD MOVE AHEAD AND I AM A MATERIAL GIRL IT’S NOT TOO LATE

TO WHIP IT GOOD!

ALL As the song ends, TEEN SAM finds herself in the wings of the nightclub stage with COOPER and the BAND, looking incredible.

COOPER (blown away by SAM’s “look”) Wow. You look ...

SAMANTHA (self conscious) Too much? Scarlet sometimes thinks she’s Betsy Johnson.

COOPER You look incredible.

SAMANTHA Thanks. I feel like - myself.

You excited?

COOPER

SAMANTHA Totally. If I don’t wake up or suddenly disappear, it’s gonna be epic.

Just then, there’s a kerfuffle as WINSTON, ELLA, SCARLET, and CAMELIA try to prevent JOHNNY (in his b-ball uniform) and GAVIN (also in uniform) from making their way backstage. We hear ...

JOHNNY Move it! Gavin’s punk sister Lydia said she saw Samantha here.

GAVIN Lydia never lies.

CAMELIA Well, maybe Lydia saw someone who looks like Sam.

"ALWAYS SOMETHING THERE ..."

8/12/25

ELLA Yeah, cuz she’s definitely not here.

SCARLET Yeah, and she’s definitely not singing with Cooper’s band.

JOHNNY What? She’s singing in Cooper’s band?

Scarlet.

ELLA (exasperated)

SCARLET Not all of us are going to Harvard, Ella.

CAMELIA (regaining control of the situation) It doesn’t matter - you can’t come back here.

You’re not on the list.

JOHNNY Oh, and you are?

JOHNNY and GAVIN try to push their way through as CAMELIA, SCARLET, ELLA, and WINSTON try to block them.

CAMELIA Yes, well, I’m her lawyer.

SCARLET I’m her stylist.

ELLA I’m her therapist.

WINSTON And I’m tech support.

Their struggle has led them straight to SAM, COOPER, DUCKIE and HOBBS. JOHNNY (pushing through) Yeah, well, I’m pretty sure “boyfriend” is on the list. So move!

He successfully breaks through.

SAMANTHA Johnny? I thought you had a game tonight.

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JOHNNY What are you wearing?!?

Oh. Um ...

SAMANTHA (confidence lost)

SCARLET (getting super defensive) Do you have a problem with her outfit?!

JOHNNY I have a problem that I had a game tonight and we lost.

COOPER Well, whose fault is that?

GAVIN His for missing that three pointer at the buzzer.

Gavin!

JOHNNY

(to SAM) It was your fault. For denying me the presence of my lucky charm.

SAMANTHA I’m not that lucky, Johnny.

JOHNNY Ha! You can say that again! (then) All I know is that you weren’t there tonight and we lost. And where were you?! Huh?! At some podunk-dweeb-filled-music-place? Singing with a bunch of tone-deaf tools pretending they’re Pavarōtti?

COOPER Do you just not know anything about music?

CAMELIA She’s not tone-deaf, Johnny. She’s really good.

JOHNNY mock repeats “she’s really good.”

JOHNNY (snapping his fingers authoritatively) Let’s go. We’re leaving and you’re changing into normal clothes. Now. Just then the CLUB STAGE MANAGER (ENSEMBLE MAN) pokes his head in.

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STAGE MANAGER Rubber Band. Places please.

JOHNNY Rubber Band? Like the office supply?

DUCKIE It represents the elasticity of music.

SCARLET I love that, Duckie.

DUCKIE Thank you, Scarlet.

They blush.

JOHNNY Samantha, I said we’re leaving.

SAMANTHA (conflicted) Johnny ... I ...

STAGE MANAGER (interrupting) She can’t leave. She’s on in two.

SAMANTHA Yeah. Right. (a deeper realization) I can’t leave.

JOHNNY Uh, I say you can leave and you’re leaving.

SAMANTHA Yeah, I heard you, Johnny. But ... (a moment of bravery) I don’t want to go.

What?

JOHNNY (irate)

SAMANTHA (to the BAND) C’mon guys. You heard him - places.

Samantha!

JOHNNY They push past a disgruntled, muttering JOHNNY, to take their position on stage.

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Samantha!

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JOHNNY (CONT’D) (still trying to gain control) Loud applause as SAM, COOPER, DEBBIE, DUCKIE, and HOBBS appear in position on stage. WINSTON, ELLA, SCARLET, CAMELIA, JOHNNY, GAVIN (and OTHERS) fill out the audience.

SAMANTHA approaches the microphone. At first tentative ...

SAMANTHA Good ... Good Evening ...

A moment of uncomfortable microphone feedback ...

Behind her, unseen by the rest, in a SPECIAL LIGHT, ADULT SAM appears.

ADULT SAMANTHA You got this.

TEEN SAM inhales with renewed confidence.

TEEN SAMANTHA Good Evening, Ladies and Gentlemen! We are ...

The Rubber Band!

The CROWD hoots and cheers! ADULT SAM moves off to the side observing.

She nods them in.

9. TOGETHER FOREVER (RICK ASTLEY) SAMANTHA IF THERE'S ANYTHING YOU NEED ALL YOU HAVE TO DO IS SAY YOU KNOW YOU SATISFY EVERYTHING IN ME WE SHOULDN'T WASTE A SINGLE DAY SO DON'T STOP ME FALLING IT'S DESTINY CALLING A POWER I JUST CAN'T DENY COOPER IT'S NEVER CHANGING CAN'T YOU HEAR ME, I'M SAYING I WANT YOU FOR THE REST OF MY LIFE

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SAMANTHA AND COOPER TOGETHER FOREVER AND NEVER TO PART TOGETHER FOREVER WE TWO AND DON'T YOU KNOW I WOULD MOVE HEAVEN AND EARTH TO BE TOGETHER FOREVER WITH YOU DEBBIE (too goth) IF THEY EVER GET YOU DOWN THERE'S ALWAYS SOMETHING I CAN DO HOBBS AND DUCKIE BECAUSE I WOULDN'T EVER WANNA SEE YOU FROWN I'LL ALWAYS DO WHAT'S BEST FOR YOU SAMANTHA AND COOPER SO DON'T STOP ME FALLING IT'S DESTINY CALLING A POWER I JUST CAN'T DENY IT'S NEVER CHANGING CAN'T YOU HEAR ME, I'M SAYING I WANT YOU FOR THE REST OF MY LIFE SAMANTHA, COOPER, DEBBIE, DUCKIE HOBBS, AND ENSEMBLE TOGETHER FOREVER AND NEVER TO PART SAMANTHA AND COOPER TOGETHER FOREVER WE TWO SAMANTHA, COOPER, DEBBIE, DUCKIE, HOBBS, AND ENSEMBLE AND DON'T YOU KNOW I WOULD MOVE HEAVEN AND EARTH TO BE TOGETHER FOREVER WITH // YOU On the word “YOU” SAMANTHA and COOPER kiss. The crowd goes crazy.

JOHNNY, having seen enough, storms out in a huff, knocking over people as he storms off.

COOPER (dumbfounded) What are you doing?

SAMANTHA I’m rewriting history.

They kiss again.

ADULT SAM registers the moment.

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ALL (EXCEPT COOPER AND SAMANTHA WHO ARE TOO BUSY KISSING!) TOGETHER FOREVER WITH YOU MAGIC. A bit of that “electrical storm” vibe. Perhaps this is the moment when all has righted itself in the world! How will we know?!

We’ll have to wait for ACT 2!

END OF ACT 1.

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ACT TWO SCENE 10 (A NEW DAY - ON REPEAT - UNTIL TODAY, ONE WEEK LATER) LIGHTS rise on SAMANTHA’S TEENAGE BEDROOM. It’s a NEW DAY. (On repeat).

10. ALWAYS SOMETHING THERE TO REMIND ME (NAKED EYES) Strewn across SAM’s room are FORTUNE TELLING TOOLS: a OUIJA BOARD, A MAGIC-8 BALL, TAROT CARDS, AN ORIGAMI FORTUNE TELLER, A CRYSTAL BALL, A CAULDRON, etc.

SAMANTHA’s alarm clock (which is the opening chords of Always Something There To Remind Me) is going off.

ADULT SAM shuts off the alarm as the music starts.

The LED Message Board reads: DEC 8 ADULT SAMANTHA (OFFSTAGE ENSEMBLE) (pulling back the covers on TEEN SAM) I WALK ALONG THE CITY STREETS YOU USED TO WALK ALONG WITH ME (getting SAM out of bed) AND EVERY STEP I TAKE REMINDS ME OF JUST HOW WE USED TO BE (getting SAM dressed) OH, HOW CAN I FORGET YOU GIRL? TEEN SAMANTHA (exasperated to find herself still HERE)

AH WHEN THERE IS

ADULT SAMANTHA

ADULT SAMANTHA AND ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME TEEN SAMANTHA I’m still here?!

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ADULT SAMANTHA ALWAYS SOMETHING THERE TO REMIND ME TEEN SAM gets back in bed. ALARM goes off again. Another NEW DAY. ADULT SAM shuts off the alarm, pulling the covers back once more.

TEEN SAMANTHA But I joined the band! I kissed the boy!

ADULT SAMANTHA Well, that must not be enough!

The LED Message Board reads: DEC 10.

ADULT SAMANTHA

(CONT’D)

WHEN SHADOWS FALL I PASS THE SMALL CAFE WHERE WE WOULD DANCE AT NIGHT OH, HOW CAN I TEEN SAMANTHA (exasperated)

AH FORGET YOU GIRL? WHEN THERE IS

ADULT SAMANTHA (getting her out of bed)

ADULT SAMANTHA AND ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME TEEN SAM is back in bed. ALARM goes off again. A NEW DAY. TEEN SAMANTHA Still?! I thought I’d cracked the code! What else I’m s’posed to do?

ADULT SAMANTHA I WAS BORN TO LOVE YOU AND I WILL NEVER BE FREE YOU'LL ALWAYS BE A PART OF ME WHOA OH OH OH TEEN SAMANTHA (reading the Magic 8 ball message) Outlook hazy?!

The LED Message Board reads: DEC 11.

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ALARM goes off again. ADULT SAM shuts it off again, pulling back the covers.

THERE IS

ADULT SAMANTHA

ADULT SAMANTHA AND ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME TEEN SAMANTHA (re: the Magic 8 Ball message) I don’t wanna “try again!”

Throughout the following - TEEN SAM gets in and out of bed on repeat - perhaps engaging with different fortune telling tools with each NEW DAY. ‘CAUSE THERE IS

ADULT SAMANTHA

ADULT SAMANTHA AND ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME TEEN SAMANTHA Michael J. Fox, I need your Delorian!

A NEW DAY The LED Message Board reads: DEC 12.

YEAH THERE IS

ADULT SAMANTHA

ADULT SAMANTHA AND ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME TEEN SAMANTHA David Copperfield, where are you now?

A NEW DAY The LED Message Board reads: DEC 13.

ADULT SAMANTHA AND ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME TEEN SAMANTHA I can’t keep living in the past!

MALE ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME A NEW DAY The LED Message Board reads: DEC 14.

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ADULT SAMANTHA AND ENSEMBLE ‘CAUSE THERE IS ALWAYS SOMETHING THERE TO REMIND ME MALE ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME A NEW DAY The LED Message Board reads: DEC 15.

FEMALE ENSEMBLE ALWAYS SOMETHING THERE TO REMIND ME ADULT SAMANTHA ALWAYS SOMETHING THERE TO REMIND ME ENSEMBLE ALWAYS SOMETHING THERE By the end of the song, CAMELIA, ELLA, and SCARLET now stand at SAM’s bed. ADULT SAM observes through the bedroom mirror.

CAMELIA Samantha! Get up! Our final final is in like 20 minutes.

SCARLET We can’t be late or Señora Jackson will kill us!

ELLA And then straight up fail us.

SAMANTHA (sitting up in bed - holding a MAGIC WAND) I’m still waking up here?!

ELLA I know. Adolescence is endless.

CAMELIA (pulling her out of bed) Seriously. Get up.

ADULT SAM has placed SAM’s college acceptance post card where SCARLET will find it.

SCARLET (noticing the post card) What is this?

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SAMANTHA (getting up/getting dressed) It’s been a week already! I’m serious, guys! I don’t belong here. I’ve tried everything!

CAMELIA This crisis of conscience thing is really starting to grate on my nerves, Sam. SCARLET (then re: the postcard) You still haven’t sent back your college acceptance?

SAMANTHA No, I told you - I don’t go.

ELLA This is a once-in-a-lifetime opportunity, Sam. SCARLET You’ve been talking about going to college for music since the third grade.

CAMELIA (taking it) You’re mailing this on our way to school.

SAMANTHA Hypothetically - if you were stuck in the wrong phase of your life - what would you do?

SCARLET No such thing as the “wrong phase of your life,” Sam. CAMELIA If you’re so anxious about being a grown up, then do everything you can now to make sure your adulthood is rad.

ELLA That way, when you’re forty-something and losing collagen in your cheek bones, at least you’ll have built an incredible foundation to make yourself feel relevant and vibrant.

WINSTON appears in SAM’s doorway.

WINSTON Camelia, you look beautiful in the neon glow of Samantha’s bedroom.

CAMELIA (a bit moved actually) Thank you, Winston.

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WINSTON Hiya Sam; I hate to rush your morning routine, but if I don’t pull out of your driveway within the next 90 seconds, there’s no way I’ll make it to Spanish in time, and if I don’t make it to Spanish in time, I might fail our final exam, and if I fail our final exam, I might not get into Northwestern, and if I don’t get into Northwestern ... I’ll die. So - excuse my pushiness, but ... (ala Pretty in Pink) I’m off like a dirty shirt.

11. POUR SOME SUGAR ON ME (DEF LEPPARD) STEP INSIDE WALK THIS WAY YOU AND ME BABE Hey hey!

WINSTON (CONT’D) (CONT’D)

(spoken in tempo) CAMELIA, part eye-roll, part into his unabashed ambition, pulls SAMANTHA out the door.

They get in WINSTON’s car (perhaps created by the bodies of the ENSEMBLE). It’s a bit of a Revenge of the Nerds fantasy moment.

WINSTON (CONT’D) LOVE IS LIKE A BOMB, BABY, C'MON GET IT ON LIVIN' LIKE A LOVER WITH A RADAR PHONE LOOKIN' LIKE A TRAMP, LIKE A VIDEO VAMP DEMOLITION WOMAN, CAN I BE YOUR MAN? MY MAN?

CAMELIA

WINSTON (CONT’D) (the most manly he’s ever been) Camelia - shall we discuss our plans for the Turnabout dance in the car?

RAZZLE AND DAZZLE AND A FLASH A LITTLE LIGHT TELEVISION LOVER, BABY, GO ALL NIGHT SOMETIME, ANYTIME, SUGAR ME SWEET LITTLE MISS INNOCENT SUGAR ME, YEAH YEAH

CAMELIA AND WINSTON

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WINSTON C'MON, TAKE A BOTTLE, SHAKE IT UP BREAK THE BUBBLE, BREAK IT UP As the SET shifts, and music plays, they get in the car, which the ENSEMBLE helps to “drive” as the SET shifts to HIGH SCHOOL. WINSTON POUR SOME SUGAR ON ME OOO, IN THE NAME OF LOVE (OOO IN THE NAME OF LOVE)

(SAMANTHA/ENSEMBLE) (CONT’D)

WINSTON AND CAMELIA POUR SOME SUGAR ON ME WINSTON (SAMANTHA/ENSEMBLE) C'MON, FIRE ME UP (OOO, FIRE ME UP) POUR YOUR SUGAR ON ME (OOO) I CAN'T GET ENOUGH I'M HOT, STICKY SWEET FROM MY HEAD TO MY FEET, YEAH At a MAILBOX, TEEN SAM gets out of the “car,” deliberately makes a wish on the POSTCARD, kisses it and puts it in the mailbox.

Perhaps a subtle gust of wind, a moment of slo-mo and then ...

Listen:

WINSTON (CONT’D) (responding to traffic as they drive)

RED A-LIGHT, YELLOW LIGHT, GREEN-A-LIGHT GO As the SET transforms into school, music plays ... WINSTON is in a fantasy of “coolness.”

WINSTON (CONT’D) CRAZY LITTLE WOMAN IN A ONE MAN SHOW MIRROR QUEEN, MANNEQUIN, RHYTHM OF LOVE WINSTON AND SAMANTHA SWEET DREAM, SACCHARINE, LOOSEN UP (LOOSEN UP) TAKE A BOTTLE, SHAKE IT UP BREAK THE BUBBLE, BREAK IT UP

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WINSTON (CAMELIA/ENSEMBLE) POUR SOME SUGAR ON ME OOO, IN THE NAME OF LOVE (OOO, IN THE NAME OF LOVE) POUR SOME SUGAR ON ME C’MON, FIRE ME UP (OOO, FIRE ME UP) POUR YOUR SUGAR ON ME (OOO) ALL I CAN'T GET ENOUGH POUR SOME SUGAR ON ME, OH, IN THE NAME OF LOVE POUR SOME SUGAR ON ME OOO, IN THE NAME OF LOVE POUR SOME SUGAR ON ME OOO, C'MON FIRE ME UP POUR SOME SUGAR ON ME, YEAH, SUGAR ME. The button of the song lands them in the SCHOOL HALL. SCENE 11 (CONTINUOUS) In their haste JOHNNY, with GAVIN in tow, bumps into WINSTON JOHNNY Watch it loser!

Wind knocked outta WINSTON’s sails, JOHNNY now bumps into SAMANTHA. JOHNNY (CONT’D) Hey, watch where you’re going!

SAMANTHA Ow! That really hurt?!

They look up, realizing ...

JOHNNY (CONT’D) Oh, it’s you.

SAMANTHA (CONT’D) Oh - sorry, I didn’t mean ...

JOHNNY (CONT’D) Didn’t mean what? To suck face with a loser guitarist in front of millions of people?

Ooooooohhhh.

GAVIN

SAMANTHA No - I didn’t mean to bump into you just now.

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JOHNNY Oh, OK, cool. So then, you did mean to lock lips with Eric Clapton last week?

Oh my God.

COOPER (headed into class - rolling his eyes) JOHNNY sticks his foot out to trip COOPER, but COOPER effortlessly steps over it, ducking into class.

Hey Sam.

Hey Cooper.

Gag me.

COOPER (CONT’D) (dreamily) SAMANTHA (double dreamily) JOHNNY

GAVIN With a spoon.

DEBBIE enters the classroom.

DEBBIE Hey Gavin, do you have a date for the Turnabout dance yet?

No.

GAVIN

DEBBIE OK. Just doing research.

DEBBIE makes her way as GAVIN fist pumps the air “YES!” SAMANTHA Look, Johnny, I’ve been walking on eggshells with you all week. We need to talk.

So talk.

Privately.

JOHNNY SAMANTHA (re: GAVIN)

JOHNNY This is private.

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Yeah.

8/12/25

GAVIN

SAMANTHA (exhaling) You can’t keep being mean to me in the hallway.

JOHNNY I’m not mean to you. I bought you Starburst last week.

SAMANTHA I wanna have a real conversation.

JOHNNY What’s there to talk about? You made a laughably regrettable decision, and now you owe me. Big time.

Owe you?

SAMANTHA

(reaching a boiling point) Owe you what, Johnny? You’ve been horrible to me.

JOHNNY scoffs.

12. STOP (Jane’s Addiction)/EYE OF THE TIGER (Survivor) LIGHTS shift from Spanish class to an MTV music video vibe. SEÑORA JACKSON ENTERS (ala the beginning of “Stop” by Jane’s Addiction).

She wears sunglasses and red lips.

SEÑORA JACKSON SEÑORES Y SEÑORAS NOSOTROS TENEMOS MÁS INFLUENCIA CON SUS HIJOS QUE TÚ TIENE, PERO LOS QUEREMOS CREADO Y REGADO DE LOS ANGELES, JUANA'S ADDICCIÓN. Chords begin. SEÑORA JACKSON ENTERS the classroom. LIGHTS/HALL turns into a fantasy rock show with JOHNNY at the helm. As Jane’s Addiction underscores, JOHNNY addresses SAM. LIGHTS and TECH go wild.

JOHNNY Who told you your hair looked good in pigtails?

Who let you borrow his alligator stapler - no questions asked? Who let you have unlimited access to his secret stash of Twinkies?

(MORE)

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8/12/25 JOHNNY (CONT’D) Me. This Guy. That’s who. D’you know how many girls at this school would die to be my girlfriend?

All the GIRLS react with disgust.

JOHNNY (CONT’D) So. Many. Girls.

Now, EYE OF THE TIGER mashes in to STOP as ADULT SAMANTHA appears behind TEEN SAM, pulsing with the inner voice they share.

ADULT SAMANTHA RISING UP STRAIGHT TO THE TOP HAD THE GUTS, GOT THE GLORY WENT THE DISTANCE, NOW I'M NOT GOING TO STOP JUST A GIRL AND HER WILL TO SURVIVE ADULT SAMANTHA AND JOHNNY (different emotional tracks) IT'S THE EYE OF THE TIGER IT'S THE THRILL OF THE FIGHT RISING UP TO THE CHALLENGE OF OUR RIVAL AND THE LAST KNOWN SURVIVOR STALKS HIS PREY IN THE NIGHT AND HE'S WATCHING US ALL WITH THE EYE ELLA SO MANY TIMES IT HAPPENS TOO FAST SCARLET YOU TRADE YOUR PASSION FOR GLORY CAMELIA DON'T LOSE YOUR GRIP ON THE DREAMS OF THE PAST ELLA/SCARLET/CAMELIA YOU MUST FIGHT JUST TO KEEP THEM ALIVE ALL IT'S THE EYE OF THE TIGER IT'S THE THRILL OF THE FIGHT RISING UP TO THE CHALLENGE OF OUR RIVAL AND THE LAST KNOWN SURVIVOR STALKS HIS PREY IN THE NIGHT AND HE'S WATCHING US ALL WITH THE EYE ...

OF THE TIGER

ADULT SAMANTHA

FEMALE ENSEMBLE ONE COME A DAY THE WATER WILL RUN NO MAN WILL STAND FOR THINGS THAT HE HAD DONE

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JOHNNY HURRAH AND THE WATER WILL RUN IT WILL RUN - OH GOOD, GO!

JOHNNY AND GAVIN JOHNNY, GAVIN AND ENSEMBLE JOHNNY

JOHNNY AND GAVIN (ENSEMBLE) GIMME THAT (OOO) GIMME THAT (OOO) YOUR AUTOMOBILE (OOO) TURN OFF THAT SMOKESTACK (OOO) AND THAT GODDAMN RADIO (OOO) Ensemble continues underneath through the end of the song.

ADULT SAMANTHA, ELLA, SCARLET, CAMELIA, AND DEBBIE IT'S THE EYE OF THE TIGER IT'S THE THRILL OF THE FIGHT RISING UP TO THE CHALLENGE OF OUR RIVAL AND THE LAST KNOWN SURVIVOR STALKS HIS PREY IN THE NIGHT AND HE'S WATCHING US ALL WITH THE EYE OF THE TIGER

JOHNNY AND GAVIN (CONT’D) GIMME THAT GIMME THAT YOUR AUTOMOBILE TURN OFF THAT SMOKESTACK AND THAT GODDAMN RADIO HUM ALONG WITH ME ALONG WITH THE T.V AND HE’S WATCHING US ALL WITH THE EYE

THE EYE OF THE TIGER THE EYE OF THE TIGER THE EYE OF THE TIGER OF THE TIGER

GIMME THAT, GIMME THAT, GOOD, GO! TURN OFF THAT SMOKE STACK NOT GONNA

STOP!

JOHNNY AND GAVIN (CONT’D) In one moment, the music shifts as LIGHTS/EVERYTHING restores to “normal.”

SEÑORA JACKSON appears as she did at the beginning of the song - now looking like herself.

STUDENTS take their seats as music begins to underscore and SEÑORA JACKSON passes out the tests.

13. LOVE IS A BATTLEFIELD (Pat Benatar)

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SEÑORA JACKSON OK, mis amigos, the test starts now.

As the music intro builds, the STUDENTS begin to take their exam.

TEEN SAMANTHA, motivated/buoyed by the previous song, shifts into a fantasy.

LIGHTS shift as she privately imagines confronting JOHNNY and professing love to COOPER, ala an MTV Music Video, while the rest of the class remains focused/frozen taking their exams.

WE ARE YOUNG WE ARE YOUNG

ENSEMBLE SOLO 1 ENSEMBLE SOLO 2

ADULT SAMANTHA (spoken) We are young.

ENSEMBLE SOLO 4 HEARTACHE TO HEARTACHE WE STAND

ENSEMBLE SOLO 5 HEARTACHE TO HEARTACHE WE STAND

ADULT SAMANTHA (spoken with above) Heartache to heartache we stand.

NO PROMISES

ENSEMBLE SOLO 7

ENSEMBLE SOLO 7 (CONT’D) ENSEMBLE SOLO 8 NO DEMANDS NO PROMISES, NO DEMANDS ADULT SAMANTHA (spoken with above) No promises, no demands.

ENSEMBLE SOLO 1 LOVE IS A BATTLE FIELD ENSEMBLE SOLO 2 LOVE IS A BATTLE FIELD

WHOA-OO WHOA-OO WHOA

SAMANTHA

ENSEMBLE SOLO 3 (spoken) Love is a battlefield.

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(getting up out of her seat - singing to COOPER)

WE ARE STRONG NO ONE CAN TELL US WE'RE WRONG SEARCHING OUR HEARTS FOR SO LONG BOTH OF US KNOWING LOVE IS A BATTLEFIELD (now to JOHNNY) YOU'RE BEGGING ME TO GO THEN MAKING ME STAY WHY DO YOU HURT ME SO BAD IT WOULD HELP ME TO KNOW

JOHNNY DO I STAND IN YOUR WAY OR AM I THE BEST THING YOU'VE HAD? SAMANTHA BELIEVE ME, BELIEVE ME I CAN'T TELL YOU WHY BUT I'M TRAPPED BY YOUR LOVE AND I'M CHAINED TO YOUR SIDE SAMANTHA re-takes her seat, LIGHTS shift back to normal, the CLASS unfreezes, and SAM finishes her test.

SEÑORA JACKSON Wrap it up, muchachos.

As the STUDENTS move to hand in their exams and EXIT the classroom, they sing - as if now also in SAM’S fantasy.

SAMANTHA, JOHNNY, COOPER AND ENSEMBLE WOMEN

WE ARE YOUNG HEARTACHE TO HEARTACHE (TO HEARTACHE) WE STAND (WE STAND) NO PROMISES (NO PROMISES) NO DEMANDS (NO DEMANDS) LOVE IS A BATTLEFIELD (LOVE IS A BATTLEFIELD) WE ARE STRONG (WE ARE STRONG) NO ONE CAN TELL US WE'RE WRONG (AH AH) SEARCHING OUR HEARTS FOR SO LONG (WE ARE YOUNG) BOTH OF US KNOWING

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SAMANTHA, JOHNNY, and COOPER hand in their finals at the same moment.

SAMANTHA, JOHNNY, AND COOPER LOVE IS A BATTLEFIELD The song buttons. The school bell rings. As the KIDS file out of class, over the loudspeaker we hear the distinct sound of a preloudspeaker announcement.

PRINCIPAL KANEFSKY (over loudspeaker/perhaps visible w mic) Boys and Girls, this is your principal speaking. Whoever stole the Glenridge High mascot, please return it immediately or today’s pep rally and game against Glenridge will be canceled. I repeat - Glen the Goat has been reported stolen and must be returned ... or else. I’m looking at you, Mr. Stevens.

JOHNNY Gavin, go give the goat back.

Aw, man.

GAVIN (disappointed) Annoyed, GAVIN exits.

COOPER See you after school, Sam? JOHNNY (using quotation fingers) Oooooh, after school meeting for “band” practice?

COOPER You don’t have to put it in “quotes” - it’s literally band practice.

JOHNNY Whatever, David Bowie.

Gah!

COOPER (exasperated)

JOHNNY What’s the point?

COOPER ... Of ... ???

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JOHNNY Of being in a band. I mean it’s not like you guys are good enough to go pro or something.

COOPER Whatever you say, Johnny.

COOPER moves away as SCARLET and DUCKIE make their way to the door.

14. I WANNA DANCE WITH SOMEBODY (Whitney Houston) FEMALE ENSEMBLE

AH

SCARLET Hey Duckie - how’d you do?

What?

DUCKIE

SCARLET (continued without pause from above) On the test?

FEMALE ENSEMBLE

YEAH

DUCKIE Oh. Not great.

FEMALE ENSEMBLE

WOO!

SCARLET I thought you studied.

DUCKIE I did, but I was distracted.

HEY, YEAH By what?

HAA OOH YEAH

FEMALE ENSEMBLE SCARLET FEMALE ENSEMBLE

HOBBS and ELLA have made their way to the door.

Ella ...

HOBBS

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FEMALE ENSEMBLE

AH-HA

HOBBS There’s something I’ve been meaning to talk to you about.

FEMALE ENSEMBLE

YEAH OK?

ELLA She readies herself for the big question.

... I WANNA DANCE Hold please.

FEMALE ENSEMBLE ELLA ELLA and SCARLET find each other to gossip about what’s about to happen!

ELLA (CONT’D) THE CLOCK STRIKES UPON THE HOUR AND THE SUN BEGINS TO FADE SCARLET THERE’S STILL ENOUGH TIME TO FIGURE OUT HOW TO CHASE MY BLUES AWAY DUCKIE I'VE DONE ALRIGHT UP 'TIL NOW IT'S THE LIGHT OF DAY THAT SHOWS ME HOW HOBBS BUT WHEN THE NIGHT FALLS LONELINESS CALLS DUCKIE AND HOBBS OH, I WANNA DANCE WITH SOMEBODY I WANNA FEEL THE HEAT WITH SOMEBODY SCARLET AND ELLA YEAH, I WANNA DANCE WITH SOMEBODY WITH SOMEBODY WHO LOVES ME By now, GAVIN has re-entered.

GAVIN AND DEBBIE OH, I WANNA DANCE WITH SOMEBODY I WANNA FEEL THE HEAT WITH SOMEBODY

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SCARLET, ELLA, DEBBIE, DUCKIE, HOBBS AND GAVIN YEAH, I WANNA DANCE WITH SOMEBODY WITH SOMEBODY WHO LOVES ME SCARLET I'VE BEEN IN LOVE AND LOST MY SENSES SPINNING THROUGH THE TOWN ELLA SOONER OR LATER, THE FEVER ENDS AND I WIND UP FEELING DOWN ELLA AND SCARLET AND DEBBIE I NEED A MAN WHO'LL TAKE A CHANCE ON A LOVE THAT BURNS HOT ENOUGH TO LAST ELLA, SCARLET, DEBBIE, AND FEMALE ENSEMBLE SO WHEN THE NIGHT FALLS MY LONELY HEART CALLS ALL OH, I WANNA DANCE WITH SOMEBODY I WANNA FEEL THE HEAT WITH SOMEBODY YEAH, I WANNA DANCE WITH SOMEBODY DUCKIE/HOBBS/ELLA/SCARLET/DEBBIE/ GAVIN WITH SOMEBODY WHO LOVES ME The CLASS is invested in getting dates for the dance. EVERYONE gets involved.

SAM and COOPER slowly start to drift towards each other.

SOMEBODY WHO SOMEBODY WHO

GIRLS BOYS

ALL SOMEBODY WHO LOVES ME SOMEBODY WHO

BOYS

GIRLS SOMEBODY WHO TO HOLD ME IN HIS ARMS DEBBIE OH I NEED A MAN WHO'LL TAKE THE CHANCE ON A LOVE THAT BURNS HOT ENOUGH TO LAST

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DEBBIE/GAVIN SO WHEN THE NIGHT FALLS MY LONELY HEART CALLS ALL OH, I WANNA DANCE WITH SOMEBODY I WANNA FEEL THE HEAT WITH SOMEBODY YEAH, I WANNA DANCE WITH SOMEBODY WITH SOMEBODY WHO LOVES ME

CAMELIA/WINSTON OH, I WANNA DANCE

DON’T YOU WANNA DANCE? SAY YOU WANNA DANCE! DON’T YOU WANNA DANCE?

OH, I WANNA DANCE I WANNA DANCE I WANNA DANCE

DON’T YOU WANNA DANCE? SAY YOU WANNA DANCE! DON’T YOU WANNA DANCE?

YEAH

DON’T YOU WANNA DANCE? SAY YOU WANNA DANCE! DON’T YOU WANNA DANCE?

I WANNA DANCE

WITH SOMEBODY WHO LOVES ME

WITH SOMEBODY WHO LOVES ME

OH, I WANNA FEEL THE HEAT, YEAH YEAH, I WANNA DANCE WITH SOMEBODY WHO LOVES ME

The song buttons!

DUCKIE (with SCARLET) Yes, I’ll go to the dance with you!

You will?!

I will!

Yes!

ELLA (with HOBBS) GAVIN (with DEBBIE) ALL (fist pump psyched) The TEENS make their way out of the HALL as SAM and COOPER are about to ask each other to the dance when ...

JOHNNY (pulling SAM to him) Goes without saying, but we’re going to the dance together.

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COOPER, disgusted, turns on a dime and EXITS with the rest of the kids, leaving SAM looking after COOPER, but left with JOHNNY. ADULT SAM now appears - nearly a shadow behind her.

A breath. A choice. And then ...

SAMANTHA Johnny. I need to say something.

JOHNNY (turning on a dime) Oh, here it is. The part where you’ve come to your senses, tell me you can’t live without me, admit that I’m the best thing to ever happen to you ...

15. SHATTERED DREAMS (Johnny Hates Jazz) Musical intro beat underscores.

SAMANTHA In first grade, when you’d pull my pigtails, it would hurt. But when I told my mom, she’d say: “Oh, that means he likes you!” (nearly an aside) Not her fault. Product of the ‘50s. (then) And in middle school, when you’d snap my bra on the bus, she would say: “Someone has a crush on you!” So, I grew up thinking that when you hurt me or embarrassed me or told me what to wear or ate my lunch or hacked into my computer ...

JOHNNY I never hacked into ...

You will.

SAMANTHA

(then) ... That that was your way of “liking” me. (realizing) Which is not true and not cool. (then) Only, I couldn’t see it before. I just thought: “this must be what it’s like when a boy likes you.” But, it’s not. No matter how many Starburst you give me. I know that now. (then) And somehow, I’ve been gifted another chance to do something about it.

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TEEN SAMANTHA (ADULT SAM ECHOES) SO MUCH FOR YOUR PROMISES THEY DIED THE DAY YOU LET ME GO CAUGHT UP IN YOUR WEB OF LIES BUT IT WAS JUST TOO LATE TO KNOW I THOUGHT IT WAS YOU WHO WOULD STAND BY MY SIDE AND NOW YOU'VE GIVEN ME, GIVEN ME NOTHING BUT SHATTERED DREAMS, SHATTERED DREAMS FEELS LIKE I COULD RUN AWAY, RUN AWAY FROM THIS EMPTY HEART JOHNNY Gimme a break.

SAMANTHA YOU'VE GIVEN ME, GIVEN ME NOTHING BUT SHATTERED DREAMS, SHATTERED DREAMS FEELS LIKE I COULD RUN AWAY, RUN AWAY FROM THIS EMPTY HEART ENSEMBLE WOMEN join in.

SAMANTHA & WOMEN YOU'VE GIVEN ME, GIVEN ME NOTHING BUT SHATTERED DREAMS, SHATTERED DREAMS FEELS LIKE I COULD RUN AWAY, RUN AWAY FROM THIS EMPTY HEART OH, OH, OH, NO JOHNNY What are you even talking about?! I don’t have to listen to this!

He EXITS! SAMANTHA SO MUCH FOR YOUR PROMISES SAM EXITS the classroom as the FEMALE ENSEMBLE shifts the SET. In the shifting of the HIGH SCHOOL HALLWAY, “MIRRORS”/LOCKERS pass TEEN SAM by and she shares a reflective moment with ADULT SAM. SAMANTHA (CONT’D) Johnny’s an idiot.

Yeah.

ADULT SAMANTHA The SET ultimately evolves into COOPER’s GARAGE.

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Music underscores, morphing into: 16. COULD’VE BEEN (Tiffany) SCENE 12 (CONTINUOUS) SAMANTHA ENTERS COOPER’S GARAGE. SAMANTHA (continuous) And a bully.

Yeah.

COOPER

SAMANTHA And I realized something this morning when I woke up still here.

COOPER Where else do you wake up?

SAMANTHA I don’t want to grow up and wish for a redo life. I wanna live the life I want right from the get-go, ya know?

Uhhh?

COOPER (increasingly baffled by her)

SAMANTHA (continuing on) And at first, I thought - maybe that means I oughta be on my own, ya know? Like, I don’t need a guy to “complete” me.

Right.

COOPER

SAMANTHA I could be fiercely independent. And that’s true. I could. But then I also thought about how it would feel to grow up and live the kind of life I wanna live, but not be able to share it with the person I’d like to share it with.

Ya know?

... Maybe?

COOPER (really trying to follow)

SAMANTHA Like I can be fiercely independent and also in a healthy relationship. Ella says the two things aren’t mutually exclusive.

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Oooook.

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COOPER

SAMANTHA So then I thought about our kiss. Ya know last week at the club ...

COOPER (duh) Yeah, I remember our kiss.

SAMANTHA And how twenty years from now I don’t wanna be stalking you on Instagram, curious if your wife had Botox, and wondering if you’re really happy.

Instagram?

COOPER

SAMANTHA COULD'VE BEEN SO BEAUTIFUL COULD'VE BEEN SO RIGHT COULD'VE BEEN MY LOVER EVERY DAY OF MY LIFE COULD'VE BEEN SO BEAUTIFUL COULD'VE BEEN SO RIGHT I'LL NEVER HOLD WHAT COULD'VE BEEN ON A COLD AND LONELY NIGHT COOPER THE SWEET WORDS YOU WHISPERED DIDN’T MEAN A THING. I GUESS OUR SONG IS OVER AS WE BEGIN TO SING. SAMANTHA THE MEMORIES OF YOUR LOVIN’ STILL LINGER IN THE AIR LIKE THE FADED SCENT OF YOUR ROSES, STAY WITH ME EVERYWHERE. EVERY TIME I GET MY HOPES UP THEY ALWAYS SEEM TO FALL. COOPER STILL COULD’VE BEEN IS BETTER THAN WHAT COULD NEVER BE AT ALL. AT ALL

SAMANTHA AND COOPER

COULD’VE BEEN SO BEAUTIFUL COULD’VE BEEN SO RIGHT COULD’VE BEEN MY LOVER EVERY DAY OF MY LIFE. (MY LIFE)

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SAMANTHA COULD’VE BEEN SO BEAUTIFUL COOPER COULD’VE BEEN SO RIGHT. SAMANTHA YOU CAN’T HOLD WHAT COULD’VE BEEN ON A COLD AND LONELY NIGHT SAMANTHA AND COOPER YOU CAN’T HOLD WHAT COULD’VE BEEN ON A COLD AND LONELY NIGHT COOPER COULD'VE BEEN SO BEAUTIFUL SAMANTHA COULD'VE BEEN SO RIGHT SAMANTHA (CONT’D) Will you go to the Turnabout dance with me?

COOPER Yeah, I will.

They kiss.

SAMANTHA YOU CAN’T HOLD WHAT COULD’VE BEEN ON A COLD AND LONELY NIGHT Song buttons. They kiss again.

As the music plays off, DUCKIE, HOBBS, DEBBIE, WINSTON, ELLA, SCARLET, and CAMELIA ENTER (maybe on skateboards/roller skates).

COOPER and SAMANTHA pull away from each other.

SCANDAL?!

CAMELIA (re: catching them smooching) COOPER and SAM pull apart, blushing.

HOBBS I hope this new dynamic won’t have a negative impact on the band.

ELLA That’s very insightful of you, Hobbs.

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HOBBS Thank you, Ella.

WINSTON Hey Cooper, how did you manage to shift your relationship with Samantha from platonic to romantic and is there a template I could follow?

CAMELIA Winston. Remember how we talked about transparent questions and how they reduce a man’s power of mystique?

WINSTON I remember everything you’ve ever said to me, Camelia, but that doesn’t get your lips closer to mine.

CAMELIA Again. Just a reminder - tons of people can hear you.

SCARLET Does Johnny know? About ... this? Like, that it’s a recurring theme?

SAMANTHA ... Who cares?!

ELLA I’m seeing real growth in you, Samantha.

SAMANTHA You have no idea. (then) Besides, I have a different battle to fight.

SCARLET (realizing) Battle of the B! (then) I don’t even know what I’m gonna wear yet!

CAMELIA You don’t need a special outfit, Scar. It’s just an in-school competition.

COOPER Yeah, but ... this year’s winning band gets to go on to compete at the state battle.

SAMANTHA What? Really?!

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COOPER Mr. Kanefsky said there’s gonna be talent scouts at state - and the winning band gets to go on to nationals to compete for a record deal.

ALL (ad-libbed) Really?! A record deal?! Oh my God! Etc. ELLA Are you guys ready?

SAMANTHA No! No, we’re not ready. To go to state?!

Nationals? Be worthy of a record deal?! Our song ... it’s not ... special enough.

DEBBIE How’re we s’posed to make it special?

SAMANTHA I don’t know, but ... this might be it!

COOPER Might be what?

SAMANTHA The moment I’ve been waiting for. My chance to change the future.

SCARLET I can style you guys. You’ll at least look cooler than everyone else.

SAMANTHA Thank you. Yes. That will totally help - but if we’re gonna win this thing, what we really need, is to sound better than everyone else.

DEBBIE Not to set off any alarms, but I heard that Leslie Huntington’s band - Schmadonna - is playing. She does birthday parties!

They all GASP in awe!

SAMANTHA We have to think of something that will set us apart from Schmadonna. Something no one’s ever heard before.

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Thinking, SAM turns to face the GARAGE WALL, where she now notices ADULT SAM leaning against a row of movie POSTERS - specifically, a POSTER of BACK TO THE FUTURE. ADULT SAM subtly gestures to the poster.

TEEN SAM gasps!

What?!

ALL 17. WE’RE READY (BOSTON)

SAMANTHA (to the poster) Thank you, Marty McFly! As music starts to underscore, the FRIENDS huddle up as SAM relays her plan, unheard by the audience.

SAMANTHA (CONT’D) I have an idea. (ala Back to the Future) It might not make sense now, but your kids are gonna love it.

There is a hint musically of Anna Kendrick’s CUPS and Pink’s LET’S GET THIS PARTY STARTED, woven in to the accompaniment. An Easter egg of what’s to come.

A “getting ready” for Battle of the Bands montage commences as they sing ...

SAMANTHA (CONT’D) I'M READY FOR MORE ADULT SAM, almost as TEEN SAM’s shadow, weaves throughout.

SAMANTHA/ADULT SAM AND COOPER (DEBBIE, DUCKIE, AND HOBBS) THE FEELIN' NOW THAT I'M BESIDE YOU (OOH) SAMANTHA/ADULT SAM, COOPER, CAMELIA (DUCKIE, HOBBS, DEBBIE, ELLA, SCARLET, WINSTON) WE'LL OPEN THE DOOR (OOH) DO ANYTHING THAT WE DECIDE TO

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ALL + ENSEMBLE AND I KNOW THAT THERE'S SOMETHING THAT'S JUST OUT OF SIGHT AND I FEEL LIKE I'M FINALLY SEEING THE LIGHT HOLDIN' ON, GIRL I KNOW IT'S RIGHT I KNOW IT'S RIGHT WE'RE READY! Throughout the song, SCARLET styles the band in amazing outfits and the SET shifts to the decorated HIGH SCHOOL GYM. SCENE 13 (CONTINUOUS) COOPER AND SAMANTHA (ALL) YOU AND I (OOH) WE'LL FIND A REASON TO SIMPLIFY SIMPLIFY (OOH)

SAMANTHA COOPER (ALL)

COOPER AND SAMANTHA (ALL) A CHANGE OF SEASON COOPER, SAMANTHA, AND ADULT SAM (ALL) AND I FEEL LIKE IT'S TIME WE WERE OFF ON OUR WAY (OOO) WE CAN GO SO MUCH FARTHER THAN WE'VE COME TODAY (OOO) HOLDIN' ON, GIRL AND COME WHAT MAY

ALL

COME WHAT MAY WE'RE READY! WE’RE READY!

WE'RE READY! WE’RE READY! YEAH!

SAMANTHA, ADULT SAM SAMANTHA, ADULT SAM, DEBBIE, CAMELIA, ELLA, AND SCARLET

ADULT SAMANTHA

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WE CAN FIND A WAY

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SAMANTHA By the end of the song, the KIDS have all EXITED leaving ...

17A BORDERLINE (Madonna) SCHMADONNA ... ready to rock.

PRINCIPAL KANEFSKY (voiceover) Ladies and Gentlemen, Schmadonna ...

LESLIE HUNTINGTON (OFF STAGE BACKGROUND SINGERS) SOMETHIN’ IN THE WAY YOU LOVE ME WON’T LET ME BE I DON’T WANNA BE YOUR PRISONER, SO BABY, WON’T YOU SET ME FREE STOP PLAYIN’ WITH MY HEART FINISH WHAT YOU START WHEN YOU MAKE MY LOVE COME DOWN IF YOU WANT ME LET ME KNOW BABY, LET IT SHOW HONEY LESLIE DON’T YOU FOOL AROUND JUST TRY TO UNDERSTAND I’VE GIVEN ALL I CAN ‘CAUSE YOU’VE GOT THE BEST OF ME BORDERLINE FEELS LIKE I’M GOING TO LOSE MY MIND YOU JUST KEEP ON PUSHIN’ MY LOVE OVER THE BORDERLINE BORDERLINE FEELS LIKE I'M GOING TO LOSE MY MIND YOU JUST KEEP ON PUSHING MY LOVE OVER THE BORDERLINE LESLIE

(CONT’D)

KEEP PUSHIN’ ME KEEP PUSHIN’ ME ( KEEP PUSHING MY LOVE YEAH!

The crowd goes wild. LESLIE HUNTINGTON (dressed as Madonna) takes a bow.

As she clears the stage, PRINCIPAL KANEFSKY takes the mic. ADULT SAM is present ... watching.

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PRINCIPAL KANEFSKY Well done ... Schmadonna! (reading from his clipboard) Alrighty - our final band to take the stage before the judges select which band will go to “State” is: The Rubber Band!

The CROWD cheers as SAMANTHA, COOPER, DUCKIE and HOBBS take the stage.

JOHNNY and GAVIN ENTER the gym.

JOHNNY, noticing SAM on stage, crosses to the amp and unplugs the mic, ala the opening sequence. The feedback from the amp screeches.

Johnny!

SAMANTHA (from stage - upset)

JOHNNY Samantha! We’ve talked about this. B.S. “bands” are a waste of time.

SAMANTHA (with newfound strength) No, Johnny! You’re a waste of time!

ALL TEENS (ad-lib) Ooooh. Burnnnnn. (Etc.) SAMANTHA And time is not something I’m willing to waste.

She plugs the mic back in triumphantly as the crowd cheers!

18. WE GOT THE BEAT (Go-Gos) / CUPS (Anna Kendrick) / GET THE PARTY STARTED (Pink) SAMANTHA (CONT’D) I’m breaking up with you, Johnny. It’s over.

Forever. You’ve been so loud for so long, I haven’t been able to hear myself. (then) But I know what I want and I won’t let you - or anyone else - take my voice away. (then - nearly to ADULT SAM) I’m not sure if this will change anything - but I pray to God it changes everything.

RELIEVED and PROUD ...

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So do I.

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ADULT SAMANTHA ADULT SAM makes her way off as ...

SAMANTHA (to the band) OK. Ready guys? Let’s do this. (with resolve, she counts the BAND in ...)

SAMANTHA (CONT’D) A One-Two-Three-Four ...

COOPER ALL THE KIDS JUST GETTING OUT OF SCHOOL THEY CAN'T WAIT TO HANG OUT AND BE COOL HANG AROUND 'TIL QUARTER AFTER TWELVE THAT'S WHEN THEY FALL IN LINE As SAMANTHA begins to introduce the signature “CUPS” rhythm ...

COOPER, DEBBIE, DUCKIE, HOBBS THEY GOT THE BEAT THEY GOT THE BEAT KIDS GOT THE BEAT YEAH, KIDS GOT THE BEAT Ala “Pitch Perfect” - the arrangement becomes wholly original with a contemporary vibe Samantha has brought the band into the future.

SAMANTHA I GOT MY TICKET FOR THE LONG WAY ‘ROUND TWO BOTTLE O’ WHISKEY FOR THE WAY AND I SURE WOULD LIKE SOME SWEET COMPANY THE RUBBER BAND joins SAM on the signature “CUPS” rhythm and encourages the “audience” to do the same. The KIDS ad-lib throughout - impressed with the new sound, new moves, etc.

SAMANTHA (CONT’D) AND I’M LEAVING TOMORROW, WHAT DO YOU SAY? WHEN I’M GONE WHEN I’M GONE YOU’RE GONNA MISS ME WHEN I’M GONE YOU’RE GONNA MISS ME BY MY WALK YOU’RE GONNA MISS ME BY MY TALK OH, YOU’RE GONNA GET THIS PARTY STARTED ON A SATURDAY NIGHT EVERYBODY’S WAITING FOR ME TO ARRIVE

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COOPER SENDING OUT THE MESSAGE TO ALL OF MY FRIENDS WE’LL BE LOOKING FLASHY IN MY MERCEDES BENZ SAMANTHA and THE BAND’s voices weave in and out of each other as the band’s sound shifts from inherently ‘80s, to something decidedly fresh (for this crowd).

The effect of the following is MIND BLOWING, BATTLE OF THE BANDS WINNING, MAGIC. SAMANTHA I GOT LOTS OF STYLE CHECK MY GOLD DIAMOND RINGS DUCKIE, DEBBIE, HOBBS I CAN GO FOR MILES IF YOU KNOW WHAT I MEAN SAMANTHA AND I SURE WOULD LIKE SOME SWEET COMPANY AND I’M LEAVIN’ TOMORROW, WHAT DO YA SAY? WHEN I’M GONE WHEN I’M GONE YOU’RE GONNA MISS ME WHEN I’M GONE YOU’RE GONNA MISS ME BY MY WALK YOU’RE GONNA MISS ME BY MY TALK, OH YOU’RE GONNA MISS ME WHEN I’M GONE SAMANTHA (CONT’D) WHEN I’M GONE WHEN I’M GONE YOU’RE GONNA MISS ME WHEN I’M GONE

COOPER (DUCKIE AND HOBBS) I’M COMING UP SO YOU BETTER GET THIS PARTY STARTED (I’M COMING UP, I’M COMING)

SAMANTHA (CONT’D) YOU’RE GONNA MISS ME BY MY WALK YOU’RE GONNA MISS ME BY MY TALK, OH YOU’RE GONNA MISS ME WHEN I’M GONE

COOPER/DUCKIE/HOBBS/DEBBIE I’M COMING UP SO YOU BETTER GET THIS PARTY STARTED

Beneath the following, DEBBIE, DUCKIE, HOBBS, and ENSEMBLE sing “WE GOT THE BEAT” ...

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SAMANTHA (CONT’D) WHEN I’M GONE WHEN I’M GONE YOU’RE GONNA MISS ME WHEN I’M GONE YOU’RE GONNA MISS ME BY MY WALK YOU’RE GONNA MISS ME BY MY TALK, OH YOU’RE GONNA MISS ME WHEN I’M GONE

COOPER I’M COMING UP SO YOU BETTER GET THIS PARTY STARTED

COOPER (CONT’D) GET THIS PARTY STARTED

DEBBIE, DUCKIE, HOBBS, AND ENSEMBLE WE GOT THE BEAT (WE GOT THE BEAT)

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I’M COMING UP SO YOU BETTER GET THIS PARTY STARTED

EVERYONE is singing alone, finding their own beat.

COOPER AND SAMANTHA GET THIS PARTY STARTED GET THIS PARTY STARTED GET THIS PARTY STARTED

WE GOT THE BEAT

DEBBIE, DUCKIE, HOBBS, AND ENSEMBLE (CONT’D) WE GOT THE BEAT (WE GOT THE BEAT) WE GOT THE BEAT (WE GOT THE BEAT) WE GOT THE BEAT (WE GOT THE BEAT) WE GOT THE BEAT (WE GOT THE BEAT) WE GOT THE BEAT (WE GOT THE BEAT)

ALL By the end - the TEENS in the audience (and maybe even the REAL audience) sing along/participate in the rhythmic moves of the CUPS song. It’s a BIG moment.

As their epic musical adventure buttons - the CROWD goes wild for the new style of music! The band HUGS! CAMELIA and WINSTON kiss!

(Finally!)

Señora Jackson approaches them with a HUGE GIANT EPIC trophy.

They’ve WON!!! And just as she hands it to them ...

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SOMETHING MAGICAL HAPPENS. SOUND. LIGHTS. MUSIC. MAGIC. That ol’ electrical, sparkly, lightening storm from ACT I. The world goes topsy-turvy once more.

With the same SOUND from the opening time-travel moment, LIGHTS suddenly rise on 2016.

SCENE 14 (2016) We’re no longer in a high school.

We’re in Samantha Craig Roy’s bedroom on the morning of her 45th birthday.

LACY (Teen 1) and GREG (Teen 2) ENTER her room. LACY holds a big bouquet of flowers.

LACY/GREG HAPPY BIRTHDAY TO YOU HAPPY BIRTHDAY TO YOU HAPPY BIRTHDAY DEAR MO-OM HAPPY BIRTHDAY TO YOU. ADULT SAMANTHA, woozy, starts to wake up - confused!

LACY (coming to kiss her) Happy Birthday, Mom. GREG How’d you sleep?

SAMANTHA

Uhhh ...

SAMANTHA frantically looks around her.

Mom, you OK? Me? Mom?

GREG SAMANTHA

(relishing the word)

LACY She’s still out of it.

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GREG We tried to wake you earlier - but you were like dead to the world.

LACY Singing in your sleep and everything.

GREG How was the concert last night?

Concert?

SAMANTHA

GREG Was it sold out?

LACY River Arena holds like 15,000 people.

I ...

SAMANTHA

LACY Uncle Winston and Aunt Camelia sent flowers. (reading the card) To Our Best Friends and #1 Clients: See you at the Grammy’s! We love you!

SAMANTHA The Grammy’s?!

LACY Can I come this year?

GREG No, I get to go - you went last year!

SAMANTHA (realizing) I ... I don’t work for a toilet company.

Ewww. What?

LACY

SAMANTHA Camelia is ... still my friend?

LACY Are you gonna be weird now that you’re getting old?

GREG Oh, and Grandma called. She said she’s dropping off that piece of hers you liked at the gallery as a birthday gift.

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SAMANTHA She remembered my birthday?

LACY We gotta go; Señora Jackson will kill us and then straight up fail us if we’re late.

GREG She’s started threatening people with her cane. (giving her a quick kiss) Happy Birthday. Love you.

LACY (quick kiss) Happy Birthday, Mom. SAMANTHA OK. Thank you. Bye. I ... I love you.

LACY (on her way out) Love you too, Mom. The KIDS EXIT. ADULT COOPER ENTERS the room holding a breakfast tray - a stack of pancakes - with lit candles.

Hey, you.

Me?

COOPER SAMANTHA (with a look behind her! Is this gorgeous man here for her?!)

COOPER Yeah, you. Glad to see the birthday girl’s awake.

SAMANTHA (an inhale of joy) Cooper! It’s you. I always wanted it to be you.

COOPER Who else would I be?

She laughs, hand over her mouth as COOPER sits - pancake “cake” between them. (Ala the end shot of “16 Candles”).

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Behind them, TEEN SAM and TEEN COOPER - seen in silhouette - sit cross legged, a birthday cake between them.

21. IF YOU WERE HERE (Thompson Twins) (Instrumental only).

SAMANTHA Thanks for bringing me breakfast.

COOPER Thanks for looking beautiful.

SAMANTHA Thanks for being here when I woke up.

COOPER Happy Birthday, Samantha. Make a wish.

SAMANTHA It already came true.

Over the cake - they kiss.

BLACK OUT - END OF SHOW

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