Libretto VocaL book
Book and Lyrics by
Music by
Dan Collins
Julianne Wick Davis
Based on An Original Story by CELESTE LECESNE and The Academy Award-Winning Film “TREVOR” Directed by PEGGY RAJSKI and Produced by RANDY STONE
MU SI CAL NUM B E R S Act 1 0.
Overture ..............................................................................................................
1.
Do You Know / On With The Show ..................................................................
2.
Underneath ..........................................................................................................
2A.
Underneath—Tag ................................................................................................
3.
Everyday ..............................................................................................................
4.
Horse ....................................................................................................................
4A.
Horse Playoff .......................................................................................................
5.
It’s My Turn .........................................................................................................
6.
One Two ..............................................................................................................
6A.
One Two Playoff..................................................................................................
6B.
One Two (Reprise) ..............................................................................................
6C.
After Rehearsal ....................................................................................................
7.
One of These Days ..............................................................................................
7A.
Bench Transition .................................................................................................
8.
Everything is Weird ............................................................................................
9.
Daydream Sequence / Upside Down .................................................................
9A.
Weird ...................................................................................................................
10.
Can’t Wait ............................................................................................................
11.
Who I Should Be ..................................................................................................
11A. Do You Know (Reprise) ...................................................................................... 12.
I Don’t Know .......................................................................................................
12A. Finding the Notebook ......................................................................................... 13.
The Notebook ......................................................................................................
—i—
Act II 13A. Entr’acte ............................................................................................................... 14.
Your Life is Over .................................................................................................
15.
Ain’t No Mountain High Enough .......................................................................
15A. Ain’t No Mountain High Enough Playoff .......................................................... 15B.
Tastee Freez Transition .......................................................................................
16.
Weird (Reprise) ...................................................................................................
17.
What’s Wrong With You? ...................................................................................
18.
Remember Me ......................................................................................................
19.
Monday ................................................................................................................
20.
Invisible ...............................................................................................................
21.
Wrong ..................................................................................................................
22.
Endless Love ........................................................................................................
23.
One of These Days (Reprise) ..............................................................................
24.
My Imagination ...................................................................................................
25.
Finale ...................................................................................................................
26.
Curtain Call—I’m Coming Out ..........................................................................
—ii—
Trevor
— 1 —
ACT ONE 1981 - MONDAY SCENE ONE: VARIOUS LOCATIONS
Darkness…then lights rise on DIANA Ross; a sparkling, heavenly creature floating in a spot of light.
#1 —Do You K now ? / O n Wit h t h e S h ow
D i a n a / T r evo r & C o mp a ny
DIANA DO YOU KNOW WHERE YOU’RE GOING TO? DO YOU LIKE THE THINGS THAT LIFE IS SHOWING YOU? WHERE ARE YOU GOING TO DO YOU KNOW?
Ladies and Gentlemen; I want to thank you for being here tonight. Thank you for the love and for making this a really special evening for me. But thank you most of all for this fabulous young man.
(A light reveals TREVOR in the theater audience.)
TREVOR (Looking around him; so shocked!) Me?
DIANA That’s right! Come here, love. Join me.
(TREVOR moves onto the stage in modest disbelief) Don’t be shy darling. You know what I say, after all.
TREVOR I know everything you say!
DIANA Then you know:
— 2 —
Trevor
You can’t just sit there and wait for people to give you that golden dream.
TREVOR (Eagerly) You’ve got to get out there and make it happen for yourself.
DIANA Precisely!
(Trevor dramatically mimics her pose and they move together in harmony as he lip syncs along with her singing…) DO YOU GET WHAT YOU’RE HOPING FOR? WHEN YOU LOOK BEHIND YOU THERE’S NO OPEN DOOR
(A spot begins to rise on a tableau of MOM and DAD, bathed in the glowing light of a TV as they sit on their living room sofa. They are situated downstage of the floating DIANA and upstage of TREVOR so that TREVOR stands between them and their view of the TV.) WHAT ARE YOU HOPING FOR? DO YOU KNOW?
(MOM and DAD each lean away from one another, contorting themselves in order to see around TREVOR.)
DIANA Now: tell us what we’ll soon be saying in every household across the country; shouting from every rooftop around the world. Tell us…your name!
(HE is about to…)
MOM Trevor.
(DIANA disappears; music cuts out and the fantasy is fully broken.) What are you doing?
TREVOR Telling everyone my name!
DAD Well, can you tell everyone a little bit to the left, kiddo. You’re blocking the T.V.
Trevor
TREVOR (To the audience as HE moves out of MOM/DAD’s line of sight…) That’s my mom and dad. Their relationship with the Television is out of hand.
(MOM and DAD are bathed in the glowing light of the TV.) I DON’T THINK THEY WOULD CARE IF I STOPPED BREATHING AIR UNLESS SOME GUY ON THE NEWS TOLD THEM IT WAS SO
(HE moves in front of the TV screen again; MOM and DAD contort themselves to try to see around him…) EVEN THEN THEY’D JUST SAY
DAD “TREVOR, OUT OF THE WAY!”
MOM “RONALD REAGAN WAS SHOT!”
TREVOR …LIKE A WEEK AGO.
NEWS ANCHOR (VOICE) In day six of our continuing coverage of John Hinckley’s assassination attempt on the President, we delve into the would-be assassin’s strange obsession
(The voice fades as lights do the same on MOM/DAD.) [with a movie star and how it played a role in...]
TREVOR (ENSEMBLE) BUT I WON’T LET TV BE AS FAR AS I SEE CUZ MY FUTURE WON’T FIT ON A LITTLE SCREEN ONCE I LIGHT UP THE STAGE I’LL BE ALL OF THE RAGE AND THIS FRIDAY THEY’RE GONNA SEE WHAT I MEAN
I’VE BEEN PATIENTLY WAITING FOR ALL THE WORLD TO KNOW WHAT I ALWAYS KNEW BUT NOW JUST LIKE DIANA OUT OF NOWHERE I WILL BE DISCOVERED TOO
(The STUDENT ENSEMBLE appears and the scene transitions…)
— 3 —
— 4 —
Trevor
CUZ I KNOW WHERE I’M GOING (OH AH) AND I’M GOING FAR (GOING FAR) GONNA (SHOOT OUT OF HERE) LIKE A SHOOTING STAR (WOAH OH OH…) RIGHT NOW IS JUST THE BEGINNING OF WATCHING ME GO (GO) CUZ ONCE I’M ON I’M (ON AND ON) AND ON WITH THE SHOW
(Everyone is planted on the bus now. TREVOR sees CATHY.) Cathy! They’re announcing who got picked for the Talent Show today!
CATHY I know, but. Trevor. I heard they had tons of people try out; and I felt like Mrs. Kerr didn’t really appreciate your reenactments of those scenes from Fame.
TREVOR (ENSEMBLE) Don’t worry, Cathy. Diana Ross was discovered at a Talent Competition too. This is how it happens! EVERYDAY’S JUST A DAY (EVERYDAY’S JUST A DAY) THAT’S BEEN TICKING AWAY (THAT’S BEEN TICKING AWAY) LEADING UP TO THE DAY OF MY DESTINY NOW IT’S ALL TAKING SHAPE SOON I’LL FINALLY ESCAPE
(As the ENSEMBLE begins to move athletically around him…) EVERY DAY OF THIS MIDDLE-SCHOOL MISERY
COACH GREGORY (Breaking through the fantasy…) Alright Ladies and Ladies. That’s it for today.
(TREVOR and the STUDENT ENSEMBLE are in gym.) But we’re going to make the rest of the week a little more fun!
TREVOR (To the audience) When Coach Gregory says, “fun”: it usually turns out to be one of the most traumatic experiences of my existence.
Trevor
— 5 —
COACH GREGORY No more wussy aerobics. I’m going to pair everyone up for one-on-one basketball and then the winners will continue to advance until we have our ultimate competitor. I call it the “Ultimate Competitor Competition!”
TREVOR (ENSEMBLE) (Back to the audience as COACH GREGORY pairs everyone) Help me. EVERY GAME IS THE SAME (EVERY GAME IS THE SAME) WITH ANOTHER DUMB NAME (OH) FOR EMBARRASSING ME WHEN I TRY TO PLAY. NOTHING ELSE I CAN DO EXCEPT PRAY TO GET THROUGH WITHOUT HAVING TO PLAY:
(A spot highlights PINKY…)
ENSEMBLE PINKY FARRADAY! (PINKY FARRADAY) PINKY FARRADAY (AH AH)
(The female ensemble audibly swoons.)
TREVOR (ENSEMBLE) (THE ENSEMBLE dances worshipingly around PINKY as he moves through a choreographed display of his athletic prowess…) HE’S LIKE SOME KIND OF HERO (AH) LIKE IN A GREEK PLAY; THAT TAKES PLACE IN A GYM CUZ THERE’S NOTHING HE CAN’T PLAY (OH OH OO) SO IT’S A TRAGEDY TO PLAY AGAINST HIM
COACH GREGORY Pinky Farraday. Your competitor tomorrow will be: Trevor Nelson.
TREVOR (ENSEMBLE) (Way too dramatically/horrified: ‘outside voice’ by mistake.) NO!!!
(Did that escape!? Everyone stares.) …way. (As if he meant to be excited!)
— 6 —
Trevor
No way!
(A beat of judgement. TREVOR turns; escaping the moment.) I’VE GOTTA KEEP ON GOING (AH) THROUGH THIS TRAGEDY (WOAH WOAH) GOTTA HOLD ON UNTIL IT’S ALL HISTORY ‘TIL EVERYTHING RIGHT NOW, RIGHT NOW (OH OH OH OH) IS AGES AGO (OH OH OH OH) AND I AM
(Back to reality as the ENSEMBLE begins to move around him again…) (ON AND ON AND ON) (NA NA NA NA NA)
STUDENT ENSEMBLE (Absorbing TREVOR into the ENSEMBLE) ON AND ON AND ON AND (NA NA NA NA NA) ON AND ON AND ON AND ON
(We are now in one of TREVOR’s classrooms as the ENSEMBLE sits, revealing TREVOR again, back in his street clothes.)
TREVOR AND ON WITH THE SHOW
(TREVOR stands in the back of the class with MRS. KERR…) Mrs. Kerr. About the Talent Show this Friday; are you posting the participant list before or after lunch? Cuz if you wanted to see any portion of my audition again, I can–
MRS. KERR Trevor. You do understand you’d be in front of the entire school? And you were playing all the roles…even the women.
TREVOR Yeah. You can’t do Fame without Coco! She has all the best songs.
MRS. KERR Well, I don’t know if Principal Gordon and The PTA would understand that.
TREVOR But. The football team dances in those pink tutus every year.
Trevor
— 7 —
MRS. KERR That’s just a joke, Trevor. You were being serious.
TREVOR Well, I can make Coco a boy. I can change whatever you–
MRS. KERR Trevor. The program is set. And there’s just no place in it for you.
(MRS KERR claps some chalkboard erasers together, creating a dust cloud that grows into a fog as TREVOR sits; devastated. Through the following, DIANA emerges from the fog…)
TREVOR (ENSEMBLE) DIANA SAYS I CAN’T LAY DOWN AND DIE CUZ MY GOLDEN DREAM IS UP TO ME DIANA SAYS TO GET BACK UP AND TRY (OO…) CUZ THERE’S SO MUCH MORE I’VE GOTTA BE DIANA SAYS A VALLEY (AH…) IS THERE FOR GETTING THROUGH (OOO) DIANA SAYS (DON’T GIVE UP) AND I’M NOT GOING TO…
DIANA WHERE YOU GOING TO?
(As lights continue to shift and THE ENSEMBLE begins moving through the halls; somewhere between fantasy and reality.)
DIANA
STUDENT ENS. (1)
STUDENT ENS. (2)
WHERE YOU GOING TO? WHERE ARE YOU GOIN’ TO WHERE ARE YOU GOIN’?
DO YOU KNOW?
WHERE ARE YOU GOIN’?
WHERE ARE YOU GOIN’?
WHERE ARE YOU GOIN’?’
WHERE ARE YOU GOIN’?
WHERE ARE YOU GOIN’?
WHERE ARE YOU GOIN’?
(TREVOR navigates the obstacle of ENSEMBLE.)
TREVOR (ENSEMBLE) I’M GOING AND I’M GOING (AH…) LIKE DIANA GOES ON AND ON AND ON TIL EVERYBODY KNOWS (ON AND ON AND ON AND ON AND ON)
— 8 —
Trevor
AND JUST LIKE DIANA (WOAH OH OH…) I’LL NEVER TURN BACK NOW (OH OH…) I’LL FIND A WAY INTO THE TALENT SHOW SOMEHOW (OH OH…) CUZ I’LL NEVER STOP GOING (OO) TIL THAT’S WHERE I GO (GO AND GO AND GO AND GO AND GO)
(As the ENSEMBLE sweeps through the school day around him.) AND I AM ON AND ON AND ON (ON AND ON AND ON AND ON NA NA NA) (ON AND ON AND ON AND ON AND ON NA NA NA) (ON AND ON AND ON AND ON AND ON) SO LET’S GO ON (SO LET’S GO ON NA NA NA NA NA NA NA NA NA) SO LET’S GO ON (SO LET’S GO ON NA NA NA NA NA NA NA NA NA) SO LET’S GO ON (SO LET’S GO ON NA NA NA NA NA NA NA NA NA NA NA NA NA NA NA) (LET’S GO, LET’S GO, LET’S GO) LET’S GO ON ON WITH THE SHOW
(Lights plunge to black but for a spot around the resiliently triumphant TREVOR. A beat.)
WALTER (His voice from the darkness…) Trevor.
Trevor
— 9 —
SCENE TWO: TREVOR’S BEDROOM
Lights rise on TREVOR’s bedroom. TREVOR stands on his bed, still in his final pose.
WALTER Where’s the microscope?
TREVOR (Pointing to the microscope but still addressing the audience…) That’s Walter Stiltman. He lives next door.
WALTER (WALTER waives a women’s lingerie catalog in the air as he crosses to the microscope.) I was able to collect the specimen pretty quickly thanks to 7-B.
TREVOR I guess since his mom’s divorced, she has to buy this weirdly elaborate underwear out of magazines.
WALTER (Looking back at the magazine) Do you think Cathy wears stuff like this?
TREVOR (To WALTER now…) She wears a flannel navy nightgown with long sleeves. I’ve seen it.
WALTER Lucky.
TREVOR Hardly.
WALTER (HE turns the microscope toward TREVOR.) Woah! Get over here!
TREVOR (Sitting on the bed; dramatically defeated.)
— 10 —
Trevor
It’s not fair. Why is Mrs. Kerr in charge of putting together The Talent Show? She can’t even put together an outfit. You know?
WALTER I like what Mrs. Kerr wears. Especially that green dress with the loose button.
TREVOR OK.
WALTER (Referencing the microscope; urgently.) Would you just look at this already.
TREVOR (Looking into the microscope.) It looks like tadpoles.
WALTER Here: your turn.
TREVOR But: we already observed yours.
WALTER It’s a scientific experiment. We can’t learn anything from just one specimen. You’re the second variable.
TREVOR What are we learning again?
WALTER I’m working on a hypothesis that mine are abnormally strong. Like, top ten percent strong. But given that I have limited data; my adjusted hypothesis is that mine are just way stronger than yours.
TREVOR No they’re not.
WALTER (Pressing the catalogue to TREVOR’s chest)
Trevor
— 11 —
Prove it.
TREVOR …is it true it could make me go deaf?
WALTER No. Trust me.
TREVOR (Turning the pages) Do I need to use the same girl as you?
WALTER I was very happy with my choice. You should be equally happy with yours.
#2 —Under ne ath
T r ev o r, W a l t er
TREVOR (Looking through the catalogue) Right. OK.
TREVOR SHE’S GOT NICE EYES THEY GO WITH HER BRA AND WITH THAT STRAP ACROSS HER THIGHS.
WALTER Ok ....I guess
BUT WOULDN’T IT ITCH SITTING ON STRAW? THAT SEEMS A LITTLE UNISE
Walter. I don’t want a girl who isn’t smart.
She’s in a barn. So what!?
— 12 —
Trevor
WALTER
TREVOR
Trevor YOU REALIZE ITS NOT ABOUT HAY
I was kidding.
OR IF HER BRA GOES WITH HER EYES
I’m not being police.
STOP BEING POLITE SHE’S NOT HERE TO STAY
She’s not even naked.
JUST WHILE YOU FANTASIZE
WALTER! SO TURN THE PAGE TURN THE PAGE TO WHAT YOU WANNA SEE TIL IT FEELS LIKE THUNDER IF HER OUTFIT MAKES YOU WONDER JUST TURN THE PAGE TURN THE PAGE INTO YOUR FANTASY CUZ YOU GOTTA SEE WHAT’S UNDER IT’S ALL ABOUT WHAT’S UNDER UNDERNEATH OH OH OH OH OH OH OH OH OH OH OH OH
TREVOR Like inner beauty, you mean?
WALTER (WALTER drops his head into his hands: he still doesn’t get it!) Not at all. No. STOP GOOFING OFF OPEN THE PRIZE IN THE PAGES OF THIS MAGAZINE FORGET THE BRAS AND TURN YOUR EYES INTO AN X-RAY MACHINE
WALTER (TREVOR) AND TURN THE PAGE (TURN) TURN THE PAGE (TURN THE PAGE)
Trevor
— 13 —
TIL IT’S NOT RATED P.G. LET IT BLOW YOUR MIND LIKE THUNDER; LIKE YOU FOUND THE NEXT WORLD WONDER, YEAH (AAH) YEAH, TURN THE PAGE (TURN) TURN THE PAGE (TURN THE PAGE) INTO YOUR FANTASY CUZ YOU GOTTA SEE WHAT’S UNDER (WHAT’S UNDER?) OH, IT’S ALL ABOUT WHAT’S UNDERNEATH (WHAT’S UNDERNEATH?) OH OH OH OH OH OH OH OH OH OH OH OH BOW CHICK-A BOW, WOW–
(MOM is revealed with a laundry basket)
MOM Knock, knock.
(WALTER scrambles to hide the catalogue. TREVOR runs over to the microscope, blocking it from her view.)
TREVOR Mom. Saying “knock, knock” after you walk in isn’t actually knocking.
WALTER Hi, Mrs. Nelson.
MOM What are you guys up to?
TREVOR
WALTER
Homework.
Science.
Science.
Homework.
Nothing.
Nothing.
MOM Well. I just popped our Swanson Dinners in the oven. Pot Roast! Or, pot pie? Pot something! They’ll be ready in time for The News, so finish up what you’re doing and come downstairs.
WALTER Yes, ma’am.
— 14 —
Trevor
(MOM exits.) ALL YOU GOTTA DO IS TURN TURN TURN TURN TURN TURN TURN TURN TURN (TURN TURN TURN TURN TURN TURN TURN)
Uch–gross!
TREVOR What?
WALTER The last two pages have underwear for guys. He looked like Pinky Farraday.
TREVOR Which one?
WALTER (TREVOR recovers the magazine.) The one on the tractor. It’s pretty disgusting.
TREVOR (Still looking) …Yuck…
WALTER
TREVOR
TURN THE PAGE TURN THE PAGE UNTIL IT’S MRS. KERR OH WOAH
(Referencing a page in the catalog.)
Mrs. Kerr!? Yes!! SAYING IT WAS ALL A BLUNDER
AND I BET THAT’S WHAT SHE’S WEARING
CUZ MY AUDITION STUNNED HER
UNDERNEATH
BOTH OH OH OH OH OH OH OH OH OH OH OH OH OH (BOW CHICK-A BOW, WOW) OH OH OH OH OH OH OH OH OH OH
Trevor
IT’S ALL ABOUT WHAT’S UNDER, UNDERNEATH
(WALTER tosses the magazine onto TREVOR’s bed. Once alone, TREVOR grabs the catalog and tears out a page as the scene changes to…)
— 15 —
— 16 —
Trevor
TUESDAY SCENE THREE: THE HALLS OF LAKEVIEW
The STUDENT ENSEMBLE enters the scene, absorbing TREVOR as the scene shifts to Lakeview Junior High…
#3 —Eve r yday
STUDENT ENSEMBLE EVERYDAY IS A DAY THAT KEEPS TICKING AWAY EVERYDAY IS AN ECHO OF YESTERDAY EVERY MOVE THAT WE MAKE FROM THE TIME WE’RE AWAKE IS A STEP WE’LL BE FOLLOWING EVERYDAY (EVERYDAY) EVERYDAY (EVERYDAY)
(Lights focus on FRANNIE and MARY; CATHY is within earshot.)
MARY Frannie. Laugh at me.
FRANNIE What?
MARY Jason is right over there, and I want him to think I’m funny. Now.
(FRANNIE laughs loudly–JASON notices)
JASON What’s funny?
FRANNIE Mary.
MARY Something I said, she means.
JASON I thought you guys were laughing about Pinky.
Trevor
— 17 —
FRANNIE No. Why would I laugh about Pinky?
JASON He’s paired up with some wimp today in gym.
CATHY (Tuning in…) Trevor’s not a wimp. He’s artistic.
JASON Same thing.
FRANNIE Not really. I mean. I know Trevor. He’s OK.
(They look at her; why does she know this?) We went to Carter together.
JASON Right.
(JASON moves away from them…)
MARY (To FRANNIE, not concerned that CATHY can hear her) Frannie: don’t remind people that you went to Carter; it’s the same as telling them you live west of Route 9.
CATHY What’s wrong with living west of Route 9?
MARY (To FRANNIE) Need I say more?
FRANNIE No. Sorry.
— 18 —
Trevor
(A brief moment of eye contact between CATHY and FRANNIE; then FRANNIE breaks the gaze as SHE moves away with MARY and the rush of STUDENT ENSEMBLE as the passing period ends…)
STUDENT ENSEMBLE EVERYDAY WE KEEP GOING ON AND ON AND ON LIKE WE KNOW THE WAY (ON AND ON AND ON ) EVERY DAY WE KEEP SHOWING WE KNOW JUST ENOUGH TO GET THROUGH TODAY (ON AND AN ON AND ON)
ENSEMBLE 1 (ENSEMBLE 2) GET ME THROUGH TODAY (NA NA NA NA NA) NA NA NA NA NA (GET ME THROUGH TODAY)
(TREVOR is revealed again; standing next to PINKY now, who holds a basketball…)
TREVOR GET ME THROUGH TODAY…
Trevor
SCENE FOUR: THE GYMNASIUM
#4 —Hor s e PINKY and TREVOR stand side by side in gym class. A weird beat as we take in the awkwardly matched duo.
PINKY Travis, right?
TREVOR Actually, it’s Trevor. Which is kind of like Travis, so I understand why you’d…
(Nervous) But it is actually Trevor; which is different.
PINKY Right.
(PINKY passes the ball to TREVOR, who misses it and chases it down. HE grabs the ball and then walks back toward PINKY)
TREVOR Now what?
PINKY Coach Gregory said Round One is HORSE.
TREVOR I thought we were playing basketball?
PINKY Right.
TREVOR (TREVOR looks at the ball, confused.) Right.
(A beat of nothing…)
— 19 —
— 20 —
Trevor
PINKY IF YOU MISS A SHOT THEN YOU GET A LETTER.
TREVOR IF YOU MAKE A SHOT?
(PINKY grabs the ball, balances on one foot.)
PINKY YOU DON’T GET A LETTER (PINKY SHOOTS. MAKES IT!)
TREVOR SO YOU GOT A POINT OR YOU GOT A LETTER?
PINKY NO, I MADE THE SHOT I GET NONE.
TREVOR WHAT’S BETTER?
And where’s the horse?
PINKY THE NAME OF THE GAME IS HORSE BUT YOU DON’T WANT THE LETTER “E” CUZ YOU DON’T WANT TO SPELL IT OUT
(TREVOR looks a little perplexed) LET’S PLAY AND YOU’LL SEE.
(PINKY leads TREVOR to the spot where he made the shot.) CUZ THE WAY IT GOES THE RULES AREN’T A LOT IT’S HARD TO GET IT WRONG JUST PLANT YOUR TOES INTO THAT SPOT MAKE MY POSE AND TAKE A SHOT AND YOU PLAY ALONG PLAY ALONG PLAY ALONG
Trevor
— 21 —
(TREVOR shoots. Not. Even. Close.)
TREVOR I’m more of a performer than an athlete.
PINKY Oh, c’mon THIS IS BARELY EVEN SPORTS YOU DON’T EVEN GOTTA TRY CUZ ANY REAL GUY ALREADY KNOWS THE WAY IT GOES
(The game progresses as TREVOR struggles to keep up.) YOU JUST GOTTA FOLLOW ME
PINKY
TREVOR
YOU GOTTA FOLLOW ME
I GOTTA FOLLOW YOU
FOLLOW ME
JUST GONNA FOLLOW YOU
FOLLOW ME
I GOTTA FOLLOW YOU
AND PLAY, PLAY
I GOTTA PLAY, PLAY
(PINKY and TREVOR continue to play as the other students are also seen in various states of play. COACH GREGORY spells out H-O-R-S on flashcards as focus returns back to TREVOR/PINKY…)
TREVOR This is hopeless. If I miss this I’ve got HORSE. And you don’t even have:
(Making an “H” sound) Hhh.
PINKY Hey. It could be worse: at least you don’t have to dance around in a pink tutu at the Talent Show on Friday.
TREVOR That’s a Talent?
PINKY You sound like my dad.
— 22 —
Trevor
But. It’s what the eighth-grade team does every year. But. It’s going to be humiliating.
TREVOR Wait.
(Lightbulb!) Do you need someone to reimagine it? Cuz I could definitely do that. And I could direct it and choreograph it.
(Hold on!) But I’d have to be credited in the program. As Creator. And Director. And Choreographer. SEE THE WAY IT GOES WE PRACTICE IT A LOT TIL YOU CAN’T GET IT WRONG YOU’LL JUST PLANT YOUR TOES INTO THAT SPOT
(Dancing for PINKY!) MAKE MY POSE AND TAKE A SHOT AND THEN PLAY ALONG PLAY ALONG PLAY ALONG
PINKY (Like TREVOR might be an alien…) What, like…Saturday Night Fever or something?
TREVOR Right. You could be John Travolta!
PINKY Yeah. I don’t think so.
(Coach Gregory’s whistle sounds; the students in gym class scatter and begin to exit.)
TREVOR (Stopping him–desperately.)
Trevor
— 23 —
But. You showed me how to play Horse–you can do anything.
PINKY Not that. No way.
FRANNIE (As she walks by.) Hey, uh. Hi…uh…
(She wants to tell PINKY hi. Chickens out!) …Trevor. Hi, Trevor. I, um, just wanted to say…I liked that dance you were doing. I love Saturday Night Fever–
PINKY Me too! John Travolta. Right?
FRANNIE Yeah. Right. So…
(Awkward glances.) Yeah.
(FRANNIE exits. A beat.)
PINKY OK, you’re on. You can try to; whatever you said you’d do. For the talent show.
(Passing the ball to TREVOR…) Yeah. We can figure it out after practice. See you there. Trevor.
(PINKY exits…)
TREVOR (Calling after him.) Yeah, OK!
(Alone and elated…) PLAY ALONG
(Lights out on TREVOR as JASON is revealed intercepting PINKY.)
— 24 —
Trevor
#4 a— Hor s e P la yo ff
JASON Hey. How was the freak show?
PINKY Huh?
JASON Trevor.
PINKY Oh. He’s funny.
JASON No kidding.
PINKY And, hey: I figured out how to get us out of wearing those tutus on Friday!
JASON C’mon, Pinky. What’s the big deal: it’s what the team always does.
PINKY Probably cuz they never had a way around it.
JASON What way around it?
PINKY Trevor. He’s going to teach us something. Like, something real so we’re not a joke.
JASON What!? You’re not serious.
PINKY Frannie Antonicelli saw him dance. She said it was cool.
JASON Pinky. He’s weird.
Trevor
PINKY No he’s not. He’s just…more of a performer than an athlete.
#5 —I t ’ s M y Tu rn (Lights suddenly reveal TREVOR, standing on his bed; lip syncing to and mimicking DIANA Ross as she is also revealed…)
DIANA IT’S MY TURN TO SEE WHAT I CAN SEE I HOPE YOU’LL UNDERSTAND THIS TIME IS JUST FOR ME
(MOM is revealed behind him with a laundry basket. SHE watches.) CUZ NOW IT’S MY TURN TO REACH AND TOUCH THE SKY NO ONE’S–
(TREVOR turns and sees MOM in the doorway.) Mom!
MOM Knock Knock.
— 25 —
— 26 —
Trevor
SCENE FIVE: TREVOR’S BEDROOM
Lights shift; MOM removes the needle from the record player. DIANA disappears as full lights reveal TREVOR’s bedroom.
TREVOR That isn’t knocking!
MOM (Crossing to his bed where his notebook is left out. SHE sets down the laundry basket and picks up the notebook.) Oh. It looks like your Diary is filling up. Time for a new one?
TREVOR (Grabbing the notebook.) It’s not a Diary-it’s an Idea Inspiration Journal: for when I’m inspired by ideas.
MOM Trevor… Is there anything you wanted to talk about?
TREVOR (Referencing the notebook.) Mom. The stuff in here is a little difficult to explain if you don’t understand the artistic influences behind the–
MOM No. I mean… About President Reagan. Being shot.
TREVOR (Turning to the audience) She’s obsessed.
MOM (MOM unloads some laundry…) They say the man who shot him; he did it to get the attention of an actress who he was infatuated with. Jodie Foster.
Trevor
— 27 —
(MOM observes the Diana Ross posters on his wall; along with some other related items of idolatry) What do you think of that?
TREVOR That’s crazy. She can’t even sing.
WALTER (WALTER enters – not seeing MOM at first.) Hey. Trevor. Where did you put the–
TREVOR Put what?
WALTER (Seeing MOM) The…uh, science magazine.
TREVOR (Referencing the laundry) Thanks, Mom. I can put the rest of this stuff away.
MOM And then come downstairs. You can do science in the living room.
(SHE exits)
WALTER She’s onto us. Let’s just go to the Frosti-Freez. Cathy’s working there with her mom tonight. Maybe she can get us free stuff.
TREVOR I can’t. I’ve got rehearsal.
(WALTER doesn’t follow…) For the Talent Show.
WALTER Mrs. Kerr let you in?
— 28 —
Trevor
TREVOR No. Pinky Farraday is letting me work with them.
WALTER No he’s not.
TREVOR How about I meet you at the Frosti-Freez tomorrow after we finish? Tonight’s our first rehearsal, so I feel like I should stay until–
WALTER Hold on. You’re actually serious? You’re doing the Talent Show with Pinky Farraday!?
TREVOR Creating directing and choreographing.
WALTER But: I thought they just danced around in those tutus every year while everyone laughs at them?
TREVOR Not anymore!
(Lights begin to shrink around TREVOR…)
#6 —One Tw o THIS WON’T BE THE SAME JOKE THEY’VE DONE TEN YEARS IN A ROW I WON’T GO FOR LAUGHS JUST CUZ IT’S SOMEWHERE SAFE TO GO WE GOTTA USE THIS MOMENT TO “BUILD CHARACTER” AND GROW AND WE GOTTA SHOW SOME TALENT CUZ IT’S CALLED A TALENT SHOW
(TREVOR is now isolated in a tight spot. Lights expand around him to reveal we are now in…)
Trevor
— 29 —
Scene Six: The Gymnasium – Rehearsal 1
TREVOR is in front of PINKY, JASON, TODD and LUKE as HE moves through a series of dance steps.
JASON Sorry. I don’t dance.
TREVOR (Intercepting JASON in his tracks) STANDING STILL’S A HABIT THAT YOU’VE GOTTA LEARN TO BREAK IT COMES FROM OVER-THINKING EVERY MOVE YOU EVER MAKE BUT THE MUSIC’S GONNA TELL YOU EACH AND EVERY STEP TO TAKE IT’S SIMPLE AS A PIECE OF PIE AND EASIER THAN CAKE
(TREVOR shows them the dance moves…) IT’S JUST A ONE TWO THREE FOUR FIVE SIX SEVE5N EIGHT NOW IT SHOULD BE LIKE NOTHING WHEN YOU DO IT ALL AGAIN
(Beat.)
JASON
PINKY
TODD
LUKE
One two three four
One two
One…
One, two
five
No, two?
What’s two?
What’s after that?
siz seven
Then three and four
I forgot two.
Oh, Ok, three
eight?
and…then?
What’s two?
and…
(They freeze in the final pose; LUKE fumbles and drops his cane. A beat, and then the rest of them follow suit.)
TREVOR IT’S GONNA MAKE MORE SENSE WITH ALL THE COSTUMES AND THE LIGHTS YOUR FEET WILL TAKE THESE WOODEN FLOORS ON UP INTO NEW HEIGHTS SO BETTER KEEP YOUR EYES UP CUZ THAT’S WHERE I SET MY
— 30 —
Trevor
SIGHTS AND BETTER GET ACCUSTOMED TO A LOT OF SLEEPLESS NIGHTS
(Preparing to show them again…under his breath: exasperated) Oh my god, oh my god…
(Bright and encouraging again!) YOU GOTTA ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NOW DON’T GET TOO OFFENDED WHEN I SAY NOT GOOD ENOUGH SO TRY AGAIN
(Lights focus to a spot on TREVOR) GOTTA GET IT DON’T FORGET IT PRACTICE IN YOUR BED ONCE YOU GOT IT START FORGETTING EVERYTHING I SAID BECAUSE YOU GOTTA START TO START TO GET IT IN YOUR BLOOD INSTEAD CRY IT SWEAT IT TIL YOU GET IT GET WHAT I’VE GOT IN MY HEAD: CUE THE LIGHTS IT’S BEGUN THAT’S YOUR CUE START AT ONE AND THEN:
(Lights expand: THE GUYS are now in costumes and the set is fabulous as we are in TREVOR’s vision. Fantastic Dance Break!)
ALL IT’S JUST A ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT
Trevor
TREVOR
— 31 —
THE GUYS
ONE THROUGH EIGHT AGAIN AND THEN
ONE, TWO, THREE, FOUR
ONE THROUGH EIGHT AGAIN AND THEN
FIVE, SIX, SEVEN, EIGHT
ONE THROUGH EIGHT AGAIN AND THEN
ONE, TWO, THREE, FOUR
ONE THROUGH EIGHT AGAIN AND THEN
FIVE, SIX, SEVEN, EIGHT
YOU DO IT, DO IT, DO IT ALL AGAIN
YEAH, YEAH, YEAH AND AGAIN AND AGAIN AND AGAIN AND YOU
DO IT ALL AGAIN
DO IT ALL AGAIN
TREVOR (Lights out on all but TREVOR for a moment of thunderous adoration!) Thank you! No, no. Please. Oh, thank you for the love! Oh, my goodness!
FRANNIE (A voice from the darkness.) Trevor.
(Lights reveal FRANNIE as we are snapped back into reality.)
TREVOR Oh. Hi, Frannie Antonicelli.
FRANNIE Hey, Trevor. Nelson. How is it going? Rehearsals, I mean.
TREVOR Amazing. It will be. Eventually. It’s amazing in my head!
FRANNIE Oh. Well. Good.
(Weird beat…) Trevor. Has Pinky… Did he…say anything? About me. Or who he’s asking to the Quality Courts on Thursday? And if it’s me?
— 32 —
Trevor
TREVOR Asking to: where?
FRANNIE The Quality Courts.
(Still nothing.) Where the team always goes the night before the Show. You know. To prove that they’re men and not…well–
TREVOR Not what?
FRANNIE …“Dancing pansies” is what Mary says.
TREVOR Men dance. Gene Kelly. Fred Astaire. Tommy Tune.
FRANNIE That’s just…that’s what Mary said. I didn’t mean to bother you with it. I just thought; if he said anything…
(Weird beat.) Are you taking Cathy?
TREVOR Do people rehearse monologues there?
FRANNIE OK, well. Trevor. I’ll see you.
(About to leave…) Hey… It’s nice what you’re doing for them–with the Talent Show. I saw a little of the end and it seems really–cute.
(FRANNIE is gone. TREVOR is appalled!)
Trevor
#7 —One / Two (r epr ise)
TREVOR (To the audience) Cute!?
(The magnitude of this weighing on him…) That’s what polite moms say to delusional children. Diana Ross was not discovered because someone thought she was “cute”.
(Scene transitions us to…)
— 33 —
— 34 —
Trevor
WEDNESDAY SCENE SEVEN: THE GYMNASIUM – REHEARSAL 2
The next day’s rehearsal; TREVOR attempts to command the troops to excellence…
TREVOR
THE GUYS ONE, TWO
We have to do better.
THREE, FOUR
We have to practice like no one has everpracticed before!
FIVVE, SIX, SEVEN, EIGHT ONE, TWO
We Have
THREE, FOUR
To Be:
FIVE, SIX, SEVEN, EIGHT
(THE GUYS all finish–it was not good…)
TREVOR (Not meaning it at all.) Amazing.
(Taking out his notebook as if looking over notes…) A few things. Todd: the ground isn’t going anywhere, don’t be afraid to pick up your feet. Luke: bend your arm. Now your leg. See: your joints work, use them. Jason: you’re a natural! Everyone should be watching Jason.
JASON (As the guys laugh and mimic JASON’s “beautiful dancing”, etc.) Shut up. No I’m not. No you shouldn’t.
TREVOR Look. I know it’s scary - but just remember how brave Diana Ross was when she abandoned her signature look and wore almost no makeup at all.
(What!?) On the cover of her album. “diana”.
JASON Wait. The album is called “Diana”?
Trevor
— 35 —
TREVOR No. It’s called “diana”. With a lower case “d”.
JASON What?
TREVOR I know. She’s incredible. But we should stop for the day in accordance with our bylaws. Thanks, everyone and practice, practice, practice!
(The guys begin packing up to leave.) I’ll see you all tomorrow; oh, except Luke: we just need a quick minute to go over your relationship with your cane.
PINKY Oh, hey: we can’t tomorrow, Trevor. We’ve gotta go to The –
JASON Pinky.
(Stopping PINKY and pulling him aside. LUKE/TREVOR separate from the group; the guys pack to leave.) You’re not gonna tell him about the Quality Courts, are you?
PINKY Yeah. We’re all supposed to go. That’s the tradition, right?
JASON For the team. Trevor’s not one of us. I mean: what are we even doing? This is nothing like Saturday Night Fever.
PINKY Yeah, Trevor said you can’t do Travolta with an Ensemble.
JASON Pinky. Every other team for the last ten years put on those dumb tutus and they all survived. But no one’s ever done…whatever this is. He’s weird.
PINKY He’s fine, OK.
— 36 —
Trevor
(A tense beat between them as the guys look on.) Besides, what are you worried about?
(Ribbing…) You’re a natural!
JASON (The guys laugh at the tension breaking crack and begin to exit.) No I’m not! Shut up!
(Back to PINKY…) Just. Think about it.
(JASON exits. A beat as PINKY observes TREVOR.)
PINKY Hey, Trevor. Uh…you wanna take a walk together?
TREVOR What? Where?
PINKY Home. Unless you have somewhere else to –
TREVOR No. I mean. Yes. No. But yes. I’ll walk with you. Yes. Cuz: no. So: yes.
PINKY OK…
(Lights shift, moving us into…)
Trevor
— 37 —
SCENE EIGHT: SIDEWALKS – THE WALK HOME
#8 —Aft er R ehe a rs al
TREVOR (As they walk…) I thought everyone did a lot better today, right? I mean, except Luke! My god! If he doesn’t hurt himself it’s gonna be someone else. Maybe we should take his cane away.
(As the thought spirals in his visionary eye) How do you think he’d be with a tambourine?
PINKY Trevor, hey: do you think…
TREVOR The tambourine was just an idea; it seemed less dangerous, but I –
PINKY No. I know. It’s not that. It’s just…well…some of the guys… They’re not so sure we should do your dance.
TREVOR (Crushed.) Oh.
PINKY But my dad says anything’s better than a guy named Pinky in a pink tutu.
TREVOR But. Then. Why did he…?
PINKY Oh. Pinky was the nickname of some baseball player he loved. He was young and stupid when he had me. That’s another thing he says.
TREVOR Well; Diana Ross says: “Instead of looking in the past, I put myself years ahead and try to look at what I need to do now in order to get there then.”
— 38 —
Trevor
PINKY Huh?
TREVOR She’s saying: you should do what you want. Not what your dad says or Jason. Because, you have to do whatever is going to get you to your golden dream; not anyone else’s.
PINKY My golden dream?
TREVOR You know: your life’s passion.
(A confused beat) Like: what gets you out of bed in the morning?
PINKY My mom.
TREVOR No. I mean… What do you imagine yourself being when you’re old. Like, in ten years.
PINKY Uh –
#9 —One of Thes e D ay s
TREVOR Don’t think; just go. In another ten years…I…Pinky Farraday…
(PINKY looks uncertain) The first thing that comes into your brain. IN ANOTHER TEN YEARS…
PINKY I WON’T BE STANDING HERE
Trevor
TREVOR Great! IN ANOTHER TEN YEARS
PINKY I’LL BE STANDING IN ANOTHER SPOT
TREVOR OK. More specific: IN ANOTHER TEN YEARS
PINKY I’M GONNA BE…SOMEWHERE
(TREVOR looks at him expectantly) AND I’M GONNA GET I’M GONNA GET A SHOT!
TREVOR Yes!
BOTH CUZ ONE OF THESE DAYS
TREVOR I’LL BE A STAR AND PEOPLE WILL SAY I’VE GOT IT ALL
BOTH AND ONE OF THESE DAYS
PINKY INSIDE A BAR OH I’M GONNA GET I’M GONNA GET SOME ALCOHOL ONE OF THESE –
TREVOR Wait…alcohol?
PINKY Yeah. Like I said: I’m gonna get a shot. Probably Tequila.
— 39 —
— 40 —
Trevor
TREVOR Sorry. I was unclear. I don’t just mean what you’ll be able to do. I mean something more like:
TREVOR
PINKY
IN ANOTHER TEN YEARS
OK…
I’LL STILL BE LOOKING BACK AT THE TALENT SHOW THAT MADE MY GOLDEN DREAM COME TRUE
It did?
AND IN ANOTHER TEN YEARS
(TREVOR looks at PINKY, expectantly)
PINKY Oh - uh: I’M GONNA SHOW THEM ALL I CAN DO STUFF NO ONE THOUGHT I’D DO
TREVOR Yes!!
BOTH CUZ ONE OF THESE DAYS
TREVOR I’LL REACH THE TOP AND IF THERE’S MORE, THEN I’LL REACH THAT TOO
BOTH YEAH, ONE OF THESE DAYS
PINKY THEIR JAWS WILL DROP WHEN THEY ALL SEE WHEN THEY ALL SEE MY RAD TATTOO ONE OF THESE –
TREVOR A tattoo!?
Trevor
— 41 —
PINKY Yeah. My dad’ll freak out, but that won’t matter anymore.
TREVOR OK. Rad. But: A DECADE’S TOO BIG TO BE THINKING SMALL A DECADE’S FOREVER AND THAT’S HOW FAR YOU GOTTA SEE
BOTH A DECADE AND I COULD BE HAVING IT ALL
PINKY WITH FRANNIE RIGHT THERE NEXT TO ME
TREVOR Frannie Antonicelli?
PINKY Yes! I get it now. The way I feel about Frannie; that’s how you feel about this Talent Show!
TREVOR I don’t know about that. She’s just a girl, and the Show is –
PINKY Just a girl!? She’s everything you said: she makes me excited to get up in the morning. She even makes me excited to go to school; you know?
(An uncertain beat.) C’mon. There’s gotta be someone like that for you too; who you can’t stop thinking about being with someday.
TREVOR Uh –
PINKY Don’t think. Just go. The first thing that comes into your brain:
(Smiling; aware he is turning the tables) IN ANOTHER TEN YEARS
— 42 —
Trevor
TREVOR I’LL BE WITH SOMEONE
PINKY IN ANOTHER TEN YEARS
TREVOR IT’LL BE SOMEONE…REALLY GREAT
PINKY More specific: IN ANOTHER TEN YEARS
TREVOR I’LL FIND SOMEONE MORE THAN MY FANTASIES CREATE
PINKY Better!
BOTH AND ONE OF THESE DAYS
PINKY SHE’LL MAKE MY DAY SO MUCH BETTER THAN ANY I’VE HAD YET
TREVOR
PINKY
CUZ ONE OF THESE DAYS
CUZ ONE OF THESE DAYS
SHE’LL LEARN THE WAY
Alright
TO JOIN ME IN SINGING A GREAT DUET
ONE OF THESE—
ONE OF THESE—
PINKY Wait. What?
TREVOR A duet. You know, like, a song we’d sing together. With harmonies.
PINKY And that’s what you’d want to do with her?
Trevor
TREVOR Uh…well…and… I’d get her this weirdly elaborate underwear. From this magazine I totally looked at.
PINKY (Laughing and starting to exit.) OK. That could work, I guess. Trevor, hey: I’ll tell the guys we have to try harder. At your dance.
TREVOR Really!?
PINKY (PINKY moves to exit again.) Yeah. Let’s do something we can be proud of in ten years. Without tutus.
TREVOR Pinky.
(PINKY turns. TREVOR stands for a beat, fighting an internal battle.) She likes you too.
PINKY Huh?
TREVOR Frannie. Antonicelli. She wants you to ask her to go to the…something court with her tomorrow.
PINKY The Quality Courts!?!
TREVOR That’s it.
PINKY Seriously!?!
(TREVOR nods “yes”)
— 43 —
— 44 —
Trevor
No way!
PINKY
TREVOR
(Freaking out, pacing.) This is amazing. Tell her “yes”.
Me?
No, I need to ask her, right? Right.
I think so. Unless you don’t want to.
I’ll call her.
Or think about it some more!
PINKY (Giddy!) Hey, who are you bringing?
TREVOR Me!?
PINKY Yeah: everyone on the team has to go. It’s tradition.
TREVOR The Team? Oh…
(Me?? Woah.) Right. Of course. I’ll be there. With someone!
BOTH CUZ ONE OF THESE DAYS IT’S CRYSTAL CLEAR
PINKY SHE’S GONNA SEE
BOTH TOTALLY SEE! WE’RE MEANT TO BE
PINKY (Giving TREVOR a giant hug.) You’re the best, Trevor!
Trevor
(PINKY’s porchlight turns on or something, signaling it is time to go in? Another bro pat/punch/something and he exits.)
TREVOR (TREVOR sits on the bench, exhilarated/euphoric/dumbfounded…) ONE OF THESE DAYS…
#1 0 —B ench Tra ns itio n (…meanwhile, WALTER is revealed on another bench: abandoned/alone…)
— 45 —
— 46 —
Trevor
SCENE NINE: THE FROSTI-FREEZ / THE PHONE CALL / TREVOR’S HOUSE
Lights fade entirely on TREVOR as WALTER is fully revealed sitting at a picnic table at the Frosti-Freez with two sundaes. CATHY enters, wiping down the tables and seeing him…
CATHY Hey. You’re still waiting for Trevor?
WALTER Nope! Here. Want a melted sundae?
CATHY Walter: you know he’s super busy. For his golden dream.
WALTER Yeah, but. Aren’t you a little worried about, you know: those people. And Trevor. Together.
CATHY You mean that Frannie’s gonna like him? I know! But you don’t think he’ll like her back, do you? I mean; I watched every Tony Awards with him since 1976!
WALTER What!? Uh: no. I don’t think that will happen. I don’t think that at all.
CATHY But. Frannie is like…Strawberry Bubblicious.
WALTER Huh…?
CATHY Like – it doesn’t matter what other kind of bubble gum is in the room if Strawberry Bubblicious is around. You know?
(A beat.) I haven’t had gum in a really long time.
WALTER Nineteen months and twenty-three days!
Trevor
CATHY What?
WALTER Since you got your braces.
CATHY O…K.
WALTER I…just. I always remember, cuz –
(!?!?!?) That’s the day I started growing out my mustache and beard.
(Feeling his upper lip and chin…) See?
CATHY Yeah, well. I wouldn’t worry, Walter. There must be a logical explanation.
WALTER (Still referencing his beard.) Testosterone.
CATHY No. I mean, for Trevor.
WALTER Trevor!? Logical?
#1 1 —Eve r yt hing is W eir d HE’S BEEN LOST IN MAKE-BELIEVE SINCE THE DAY WE MET SO ANYTHING BUT “LOGICAL” IS PROB’LY OUR BEST BET
CATHY BUT MEETING YOU IS SOMETHING TREVOR NEVER WOULD FORGET
— 47 —
— 48 —
Trevor
WHAT IF HE’S WITH FRANNIE AND WE JUST DON’T KNOW IT YET?
THIS IS WEIRD MAYBE WE SHOULD TRY TO FIND HIM?
WALTER YEAH, IT’S WEIRD LIKE OUR FRIENDSHIP’S ALL BEHIND HIM SO HE MADE A FOOL OF ME
CATHY YOU KNOW TREVOR WOULDN’T DO THAT
BOTH WHEN HE GETS HERE THEN YOU’LL SEE SOMETHING’S WEIRD (WEIRD, WEIRD)
(Lights reveal FRANNIE with a phone: nervous.)
FRANNIE Hello!? Mary! It’s Frannie.
(A spot reveals MARY; also on the phone.) Guess what. You’ll never guess. Try. You won’t.
MARY Pinky asked you to go to the Quality Courts with him tomorrow?
FRANNIE How did you know? And why do I feel sick?
MARY Don’t worry, it’s just a place. Kissing is the same there as it is anywhere.
FRANNIE Kissing?
MARY Yeah. What were you planning to do?
FRANNIE I don’t know. I just wanted him to ask me. Can’t we just talk?
Trevor
— 49 —
MARY Frannie. It’s Pinky Farraday. I mean, he could have his pick: and Lindsay’s been after him, you know. And she knows how to do way more than talk.
FRANNIE But. I...
MARY Frannie:
(Daggers from MARY) I’VE BEEN DOING EVERYTHING I CAN TO HELP YOU FIT BUT I CAN’T HELP YOUR PAST WHEN YOU’RE NOT OVER IT STOP ACTING LIKE A WEIRDO AND GROW UP SOMEHOW CUZ EVERYTHING IS DIFFERENT
FRANNIE EVERYTHING IS CHANGING
(As MOM is revealed, pacing and looking at a catalog page…)
BOTH EVERYTHING IS DIFFERENT NOW
(Lights focus on Trevor’s house where MOM continues to study the catalog page…)
MOM WASN’T IT JUST YESTERDAY WHEN HE WAS SINGING MOVIE SCENES INSTEAD OF HIDING MAGAZINES WITH MEN ON FARMS IN NOTHING BUT THEIR UNDERWEAR? AND WHO FARMS IN THEIR UNDERWEAR? AND WHY WOULD TREVOR EVEN CARE? AND WASN’T IT JUST YESTERDAY WHEN I WAS SIMPLY UNAWARE
(DAD has entered the scene; observing MOM as she spirals.) THAT THIS WAS EVER EVEN THERE –
DAD What was where?
— 50 —
Trevor
MOM (CONCEALING THE CATALOG PAGE BEHIND HER BACK.)
Nothing. Where? This? Nothing.
DAD (Looking at the page.) What!? You’re looking at this? In the middle of the living room!?
MOM It was under Trevor’s mattress.
DAD But. This is a man. In his underwear.
MOM On a tractor!
DAD Well. You should probably talk to him about it.
MOM Me!?
DAD You’re the one who lets him keep a diary and act like Diana Ross.
MOM Well. You never showed him how to throw a ball.
DAD Really?
MOM And it’s not a diary, it’s a…um… – Fine. I’ll deal with it.
DAD No, wait. You’re right. I should do it. YOU’LL GO BACK TO YESTERDAY
Trevor
— 51 —
ACTING LIKE HE’S STILL A KID EXCUSING EVERYTHING HE DID BUT THAT WON’T WORK, WE CAN’T IGNORE IT NOW OR WAIT YOU’VE DONE ALL A MOTHER CAN BUT NOW IT’S GONNA TAKE A MAN I’LL TALK TO HIM AND SET THINGS STRAIGHT
#1 2 —D aydre am Sequ enc e / U ps ide D ow n (The spots fade on the rest as lights fully reveal TREVOR’s bedroom. HE sits on his bed, writing lovingly in his Idea Inspiration Journal.)
TREVOR ONE OF THESE DAYS MMM MMM MMM MM
(Reading back what he’s written.) I’d like to thank everyone involved in the Lakeview Junior High 17th Annual Celebration of Talent for declaring our routine the Best Directed, Choreographed and Reimagined Routine in the history of the Show.
(Writing some more…) ONE OF THESE DAYS MMM MMM MMM MM
And I’d like to thank Pinky Farraday. Pinky. Remember the day we walked home together after rehearsal and both realized how special this performance was going to be. And you hugged me.
(A beat. Moving on.) Also: thanks Bob Fosse, Michael Bennett and Debbie Allen for inspiring me. Also. Pinky. Do you hug people a lot? I mean, whatever; I just wondered… Cuz it felt like…I don’t know: I just wish I had hugged you back, you know? Cuz I thought: “oh, you’re gonna shake my hand”, but then you were like…
(PINKY emerges from beneath the mattress; in a tuxedo…)
— 52 —
Trevor
TREVOR
ENSEMBLE TURN TURN
And I was like…
TURN TURN
And we were like…
TURN TURN TURN
ENSEMBLE (TREVOR looks at PINKY; excited/confused/exhilarated) TURN THE PAGE TURN THE PAGE INTO YOUR FANTASY (WOAH)
THE GUYS
THE GIRLS
TURN THE PAGE, TURN THE PAGE (OH OH)
CUZ YOU GOTTA SEE WHAT’S UNDER
TURN THE PAGE, TURN THE PAGE (OH OH)
OH CUZ YOU GOTTA SEE WHAT’S UNDER
TURN THE PAGE, TURN THE PAGE
TURN THE PAGE, TURN THE PAGE
TURN, TURN, TURN
TURN, TURN, TURN
TURN, TURN, TURN, TURN, TURN, TURN,
TURN, TURN, TURN, TURN, TURN, TURN,
TURN, TURN
TURN, TURN
(Through the following, the fabulous DIANA Ross is revealed along with the ENSEMBLE, all dressed for a prom-like event. PINKY fends off all the female admirers and asks TREVOR to dance instead! They dance together, cheered on by their peers.)
DIANA & ENSEMBLE UPSIDE DOWN BOY, YOU TURN ME INSIDE OUT AND ROUND AND ROUND
I KNOW YOU GOT CHARM AND APPEAL YOU ALWAYS PLAY THE FIELD I’M CRAZY TO THINK YOU’RE ALL MINE AS LONG AS THE SUN CONTINUES TO SHINE THERE’S A PLACE IN MY HEART FOR YOU THAT’S THE BOTTOM LINE
UPSIDE DOWN
Trevor
— 53 —
BOY, YOU TURN ME INSIDE OUT AND ROUND AND ROUND UPSIDE DOWN YOU’RE TURNING ME YOU’RE GIVING LOVE INSTINCTIVELY AROUND AND ROUND YOU’RE TURNING ME AROUND AND ROUND YOU’RE TURNING ME AROUND AND ROUND YOU’RE TURNING ME AROUND AND ROUND YOU’RE TURNING ME
TREVOR Stop!
(The fantasy evaporates as TREVOR looks at the audience; suddenly mortified.)
#1 2 a—W eir d THAT WAS WEIRD DID EVERYONE JUST SEE THAT? IT WAS WEIRD LIKE, WHY WOULD I EVEN DREAM THAT CUZ I KNOW IT’S NOT OK SOMETHING’S GOT MY BRAIN ALL MIXED UP SOMETHING’S DIFF’RENT EVERY DAY SOMETHING’S –
MOM (At the door.) Knock Kno –
TREVOR Not a knock!!
DAD Trevor. Hey, look. I need to – It’s time we –
(A beat as MOM looks to DAD expectantly.) Your mother was cleaning around the house today. All over. The kitchen, the bathroom, our bedroom, the living room…the front steps. The other bathroom…
— 54 —
Trevor
(MOM looks to DAD; get on with it!) The linen closet.
MOM (Taking matters into her own hands.) Trevor. Are you talking to any girls at school?
TREVOR What do you mean?
MOM Anyone special?
TREVOR Special how?
DAD Girls.
MOM What your father means to say is… Sometimes. Around your age, things get confusing. And. Well, maybe you… Look at farming magazines that are a little –
WALTER (Having arrived at the bedroom door; melted sundae in hand and CATHY right behind him.) Farming Magazines!?
MOM (Shocked.) Someone needs to learn to knock.
WALTER (To MOM and DAD; terrified) Please don’t tell my mom!
Trevor
— 55 —
DAD Your mom?
WALTER About the magazine. She gets them in the mail, and – We just – We thought it was funny. That’s all. I swear.
TREVOR I swear too!
MOM
DAD
Oh. So.
You mean.
It was your mother’s magazine.
It wasn’t Trevor’s. So, he didn’t—
Not Trevor’s?
Wait. You mean:
MOM & DAD (Locking eyes.) Peggy!?
MOM (Trying to hold back laughter.) Well. That is a little funny, I suppose.
DAD (Stifling laughter too.) A little bit. Maybe.
(Starting to lose it more. Nope!!)
— 56 —
Trevor
MOM
DAD
No
Very immature.
It’s not–
No.
Yes.
So.
Not a joke.
Yes.
Mm mm.
I think we’re good here.
Good? Good.
(DAD swings the door shut. A beat.)
WALTER Trevor. First you ditch me and now you’re gonna get me grounded for the rest of my life!
TREVOR I’m sorry, Walter. There’s just: a lot going on right now. Like: have you heard of the Quality Courts?
WALTER That hotel they’ve been building forever on Route 9?
CATHY There’s a spot behind the construction zone where people go make out.
(A beat.) I know things.
TREVOR Cathy!
(Lightbulb!) You’re a girl!
CATHY Thanks!
Trevor
— 57 —
WALTER What are you talking about?
TREVOR Do you want to go there? With me?
WALTER/CATHY What!? No./What!!?
CATHY Yes. Yes. Yes, I’ll go. I’ll go!
#1 0 —C an’ t W ait
Tr ev or , Ca t hy , Pi nk y , F r an n i e & S tu d en t E n semb l e
THIS IS GONNA BE AWESOME!
TREVOR THIS IS GONNA MAKE EVERYTHING OK
WALTER THIS IS TOTALLY SCREWED UP!
ALL THREE CAN’T BELIEVE THIS IS HAPPENING TODAY
— 58 —
Trevor
THURSDAY SCENE TEN: THE QUALITY COURTS
The imposing, shadowy construction site takes shape around TREVOR and CATHY as lights fade on WALTER.
TREVOR (To the audience) The Quality Courts is a pretty bizarre place. I mean, yes; it would be an incredible place to stage West Side Story. But aside from that, I’m not really sure why anyone would find it romantic.
(CATHY peels back the corners of her mouth and reaches inside.) What are you doing?
CATHY (Pulling her hands out of her mouth…) I’ve gotta take out my rubber-bands.
TREVOR Right.
(Psyching himself up) THIS IS GONNA BE EASY
CATHY THIS IS GONNA BE TOO GOOD TO FORGET
TREVOR THIS IS GONNA BE NOTHING
BOTH CAN’T BELIEVE WE HAVEN’T STARTED YET
(They are a hair away from kissing. TREVOR dodges her kiss as lights reveal FRANNIE and PINKY…)
PINKY What’s wrong?
FRANNIE Nothing. It’s just…
Trevor
— 59 —
I guess I thought it would be a little more romantic here, and less. Dirty.
PINKY What do you mean?
(Taking in the surroundings…) Look! From over here you can see the water tower. And we can sit on these cinder blocks, which is way better than the ground:
(PINKY seats FRANNIE on a cinder block and tries to create a romantic picture for her…) THIS IS REALLY ROMANTIC!
FRANNIE THIS IS GONNA BE REALLY, REALLY NICE
PINKY & CATHY THIS IS GONNA BE SEXY AND I BET THAT WE’RE GONNA DO IT TWICE
(Lights focus back on FRANNIE/PINKY)
FRANNIE/TREVOR Twice?
CATHY Yeah. Right after we do it once. I CAN’T WAIT
CATHY & PINKY CAN’T WAIT
ALL FOUR I CAN’T WAIT FOR US TO START
TREVOR (Peeling CATHY away…) BUT I’M SCARED I’LL BE A MONSTER ONCE I FIN’LLY TAKE THE BAIT CUZ I CAN’T WAIT
ALL FOUR I CAN’T WAIT FOR THAT ONE PART IT’S RIGHT AROUND THE CORNER
— 60 —
Trevor
IT’S RIGHT AROUND THE CORNER AND I
(They are all a hair away from kissing – then break apart) I CAN’T WAIT
(A new spot reveals MARY and JASON. JASON sees TREVOR with CATHY; TREVOR nods not so subtly.)
MARY (Referencing TREVOR and CATHY.) What are they doing here?
JASON Trevor’s still trying to prove he’s not a freak. And Pinky’s still buying it.
MARY That’s so funny.
(Watching JASON watch PINKY…) Wait. Are you like: jealous?
JASON What? No. It’s just: you wouldn’t get it.
MARY Calm down, Jason. What’s the big deal? We just need to show Pinky that Trevor’s a freak by tomorrow, right?
JASON You could do that?
MARY THIS IS GONNA BE EASY
CATHY THIS IS GONNA BE
(Pushing CATHY away as JASON avoids MARY. Lights also rise on a few other student couples nervously navigating adolescent intimacy.)
TREVOR, JASON, FRANNIE & FEMALE ENSEMBLE WAIT A SECOND, PLEASE
Trevor
FRANNIE THIS SHOULD GO LIKE A ROMANCE
TREVOR & PINKY (MARY/JASON) THIS IS GONNA BE GONE LIKE IT’S A BREEZE (GONE LIKE A BREEZE)
TREVOR AND I CAN’T WAIT
FRANNIE & MARY CAN’T WAIT
TREVOR, JASON & STUDENT ENSEMBLE I CAN’T WAIT
TREVOR TIL THIS IS THROUGH
(Realizing what he’s said/sung) I JUST MEAN THIS STUPID PART WHERE WE ANTICIPATE CUZ I CAN’T STAND
ALL CAN’T STAND I CAN’T STAND NOT KISSING YOU IT’S GONNA BE LIKE, EVERYTHING, AND I…
(Lights reveal the full STUDENT ENSEMBLE; the other couples on their dates at the Quality Courts.)
TREVOR (PLUS STUDENT ENSEMBLE) (MY HEART) IS IN MY EARS AND I HEAR (MY BLOOD FLOWING) (MAYBE ALL I NEED) (IS YOU TO GET ME GOING) MAYBE I’LL BE DIFFERENT (HUH, HUH, HUH) ONCE WE MAKE IT THROUGH THIS (HUH, HUH, HUH) SO TAKE A GOOD DEEP BREATH (HUH, HUH, HUH) AND THEN WE’LL DO THIS
(LET’S GET TO THIS)
— 61 —
— 62 —
Trevor
STUDENT ENS HUH HUH
FRANNIE
STUDENT ENS 2
STUDENT ENS 3
UH
UH UH
CAN’T WAIT
UH UH
UH
UH UH
CAN’T WAIT
UH UH
THERE’S A PIMPLE
HUH HUH
UNDER MY NOSE
HUH HUH
PINKY & FRANNIE
HUH
UH
UH UH
EV’RY SECOND THAT
OH
CAN;T WAIT
UH UH
UH
UH UH
CAN’T WAIT
UH UH
GOES IT KEEPS ON GROWING
HUH HUH HUH HUH
CATHY (Posing “glamorously!!”) CHECK ME OUT IN ALL THESE POSES!
UH UH CAN’T WAIT
UH
UH UH
OH OH
CAN’T WAIT
UH UH
UH
UH UH
CAN’T WAIT
UH
JASON ARE WE REALLY
CAN’T
GONNA KEEP GOING?
HUH
MARY MAKE A MOVE FAST OR ELSE IT’S LIKE, “SEE YA!”
CAN’T WAIT UH
HUH HUH
CAN’T WAIT
UH
HUH HUH
UH
CAN’T WAIT
CAN’T WAIT
TREVOR THAT’S WHERE TONY WOULD FIRST SEE
WAIT
UH UH UH
MARIA
CATHY It’s Woolite…Gentle Cycle.
TREVOR …AND I CAN’T WAIT!
CAN’T WAIT
Trevor
— 63 —
FRANNIE CAN’T WAIT
ALL CAN’T WAIT TO MAKE THIS REAL I’M READY TO GET MOVING FROM THIS ENDLESS LIMBO STATE AND I CAN’T WAIT I CAN’T WAIT TO FEEL IT’S GONNA BE LIKE I DON’T KNOW IT’S GONNA BE LIKE I DON’T KNOW IT’S GONNA BE LIKE I DON’T KNOW AND I – (UH UH UH) I CAN’T WAIT (UH UH UH) I CAN’T (UH UH UH) I–
(Everyone is about to kiss. The stage is suddenly filled with flashing red and blue light.)
TREVOR
ENSEMBLE
Run!
OH OH
(Everyone scatters. TREVOR doesn’t know where to go. Suddenly, someone pulls him behind a dumpster; it is PINKY. They are crammed next to each other.)
OH (WAIT) OH OH OH (WAIT) OH OH WAIT!
(The song buttons and lights go dark except for the flashing red/blue police lights. A beat as the police lights intensify and fade. Then lights reilluminate TREVOR and PINKY crammed behind the dumpster.)
TREVOR What happens if they catch us?
PINKY I’ve never been caught.
TREVOR So how do we get away?
PINKY I’ve never gotten away either.
— 64 —
Trevor
TREVOR You mean, you’ve never – ?
PINKY Shhhh!
(PINKY peers over the dumpster.) We should be safe back here; they’re just driving through the main lot now.
(Ducking back down again. A beat.) Hey. How’d it go with Cathy?
TREVOR Huh? Oh. Great. Yeah, really, really…great. How about Frannie?
PINKY She was pretty nervous.
TREVOR Cathy wasn’t nervous. Not. At. All.
PINKY I don’t get it. I thought Frannie liked me. But it was like she was scared of me.
TREVOR You can be a little scary sometimes.
PINKY What do you mean?
TREVOR Something about your eyes. Or the way you talk. I can’t really explain it. But, I’m sure she wanted to…you know.
PINKY Yeah. Well, I don’t know if I really want to anymore.
Trevor
— 65 —
TREVOR Why not?
PINKY I don’t know. I guess…there’s someone who’s sort of changing my mind.
TREVOR Really!? Who?
PINKY It’s embarrassing. I don’t think they feel the same.
TREVOR Yes they do. I mean, of course they do. Why wouldn’t they!?
PINKY (Laughing) Easy for you to say; you’ve got Cathy.
TREVOR No. I like somebody else too. Someone who…I can’t say either.
PINKY So that makes two of us then.
TREVOR Yeah.
(An electric beat as they stare at one another.) Pinky. Why are you so nice to me?
(PINKY looks confused) It’s just; you don’t have to be. But…you are.
#1 1 —W ho I S h ould B e
P i nk y , T r ev o r
PINKY I don’t know…you’re…
— 66 —
Trevor
IT’S SORT OF HARD TO EXPLAIN YOU’RE NOT LIKE ANYONE ELSE I KNOW IT’S LIKE, YOU’RE LIKE; I DON’T KNOW BUT NOT AFRAID JUST TO LET IT SHOW AND I COULD NEVER DO THAT WITH EVERYONE ALWAYS TELLING ME WHO I SHOULD BE
BUT WHEN I’M TALKING TO YOU I’M NEVER THINKING OF THAT STUFF IT’S LIKE, I’M LIKE; I DON’T KNOW BUT SOMEHOW I’M ALWAYS GOOD ENOUGH CUZ EVEN WHEN I SOUND DUMB OR I DON’T PLAY ALONG YOU LOOK AT ME AND IT’S LIKE YOU SEE WHO I SHOULD BE
AND I DON’T KNOW WHO THAT IS YET I DIDN’T KNOW I COULD EVEN KNOW I THOUGHT THE ONLY PLACE I’D GET WAS NOWHERE LIKE MY DAD SAID I’D GO BUT THANKS TO YOU, NOW I KNOW IF I LOOK TEN YEARS AHEAD AND I START GETTING THERE NOW I COULD GO SOMEWHERE INSTEAD SOMEHOW
TREVOR Actually; it was more Diana Ross who said that.
PINKY Right.
TREVOR Sorry, I just can’t take credit for her amazingness –
PINKY (Laughing)
Trevor
Yeah, OK. I guess what I’m trying to say then is: Thanks. Diana Ross.
TREVOR I know! Right? (PINKY laughs along with TREVOR at the awkwardness. TREVOR beams. A beat.) Pinky – can I tell you something?
PINKY (Peering over the dumpster to assess the scene again.) Oh, hey. I think they’re gone.
(Exiting from behind the dumpster.) I should go find Frannie.
TREVOR Yeah. Me too. But: Cathy.
PINKY What were you gonna say?
TREVOR Oh. I was gonna say…just…
(Tense beat) Break a leg.
PINKY Huh?
TREVOR Tomorrow. At the Talent Show! Good luck is bad luck in theater, so…break a leg.
PINKY Thanks.
(PINKY moves to exit – then) Hey, Trevor. Break a leg too, OK.
(PINKY exits – TREVOR seems momentarily in raptured shock)
— 67 —
— 68 —
Trevor
TREVOR Yeah. OK. I will…
(TREVOR watches after him; a mess of emotion…) IT’S SORT OF HARD TO EXPLAIN I NEVER FELT LIKE THIS BEFORE IT’S LIKE, I’M LIKE; I DON’T KNOW BUT I JUST WANT TO KNOW EVEN MORE I PLAY IT OVER AGAIN AND AGAIN AND AGAIN AND FOR A SECOND IT’S LIKE I SEE WHO I SHOULD BE
(A glittering DIANA appears…)
#1 1 a—D o Yo u Know ? (R epr ise)
Diana
DIANA (TREVOR moves downstage, embodying DIANA…) ONCE WE WERE STANDING STILL IN TIME CHASING THE FANTASIES THAT FILLED OUR MINDS AND YOU KNEW HOW I LOVED YOU, BUT MY SPIRIT WAS FREE LAUGHING AT THE QUESTIONS THAT YOU ONCE ASKED OF ME
(…DIANA hands TREVOR’s notebook to him.) DO YOU KNOW…
#1 2 —I Don’t Kn ow I DON’T KNOW I DON’T KNOW HOW TO SAY WHAT I KNOW BUT I THINK NOW I KNOW YOU ARE THINKING IT TOO
(HE opens the notebook and begins to write…) AND I DON’T KNOW I DON’T KNOW WHY I THOUGHT ALL ALONG I WAS FEELING WRONG FOR JUST FEELING TRUE
IT’S LIKE EVERYTHING TURNED UPSIDE DOWN AND FINALLY
T r ev o r
Trevor
— 69 —
RIGHT AND DAYLIGHT DOESN’T MEAN A THING CUZ EVERYTHING’S BRIGHT AND I DON’T HAVE THE ROOM FOR ALL I’M FEELING RIGHT NOW I WISH THAT I COULD FIND THE WAY TO TELL YOU I GOTTA TELL YOU CAN’T WAIT TO TELL YOU SOMEHOW–
WALTER Hey.
FRIDAY SCENE ELEVEN: LAKEVIEW JUNIOR HIGH (VARIOUS)
Lights reveal TREVOR, now sitting in the school. HE quickly shuts the notebook as WALTER advances on him.
WALTER Did you and Cathy have a nice time last night?
TREVOR Walter. I’m sort of busy right now with something a little more serious than –
WALTER Something serious? Really!? Oh, you mean like: living in a daydream all week? Or do you mean obsessing over this talent show. Or maybe like -
(Noticing TREVOR’s notebook – grabbing it.) …writing Pinky’s name on your diary?
TREVOR It’s not a diary.
(Grabbing it back and hiding it on the desk behind him.) Walter! Just because you’re jealous –
WALTER Jealous!? Of Pinky!? Have you completely lost it!!?
— 70 —
Trevor
TREVOR I can’t right now. It’s a really important day and –
WALTER No it’s not! It’s the Lakeview Talent Show: Who cares!? I mean, what do you think is gonna happen? You’re not even in the show.
TREVOR I am in the show. It’s my vision, and when people see what I did, they’ll all know.
WALTER Know what?
TREVOR That I’m worth something even though I don’t have muscles or play football or go on dates. That I’m more than someone who sits around this stupid town doing nothing but weird science experiments.
(TREVOR exits. A beat as WALTER stands alone, then notices the notebook still on the desk and picks it up, considering it for a moment before MARY approaches him…)
#1 2 a—Finding th e N ot eboo k
I nst r u men t al
MARY Hey.
(Referencing the notebook.) Is that Trevor’s
WALTER Uh…?
MARY You’re his friend, right?
WALTER (Rushing to exit.) I don’t know about that anymore.
Trevor
— 71 —
MARY (Taking advantage of the moment.) True. Trevor’s friends with Pinky Farraday now. I guess he can’t be hanging around with anyone who’s so…weird.
WALTER Me!?
MARY Well: that’s what Trevor told Pinky.
(To FRANNIE.) Right?
WALTER But! I’m not the one who…
(Waiving the notebook in the air) I mean: talk about weird.
MARY What do you mean?
WALTER He –!
(WALTER considers the notebook.) Uh…
MARY Frannie.
FRANNIE Walter. He went to the Quality Courts with Cathy. He’s not being a good friend.
WALTER (A beat. HE sets the notebook down on a chair.) You found it in his chair if anyone asks.
(WALTER exits. MARY takes the notebook from FRANNIE.)
— 72 —
Trevor
MARY (Looking at the notebook. Then, to FRANNIE.) Nicely done.
FRANNIE What are you going to do?
MARY (MARY opens the notebook…) Let’s see.
(Flipping/scanning through the pages.) Stupid. Boring. So. Sad.
(Jackpot.) Oh my God. Wait. Jason was right.
1 3 —The Note boo k
Ma r y, F r an n i e, T rev o r & E ns emb l e
Look!
(Turning the pages, pointing out everywhere it is written…) Pinky. Pinky. Pinky…
(With a laugh; reading the pages to FRANNIE melodramatically…) I DON’T KNOW I DON’T KNOW IF MY HEART IS TO BLAME WHEN I’M WRITING YOUR NAME ON THE PAGE NEXT TO MINE
MARY & FRANNIE (FRANNIE has taken the notebook, reading with more concern/guilt) AND I DON’T KNOW I DON’T KNOW HOW YOUR EYES ARE SO BLUE
Trevor
FRANNIE AND IF IT’S ME OR YOU WHO’S MAKING THEM SHINE
MARY (Taking the notebook back and showing the other girls.) IT’S LIKE EVERYTHING TURNED UPSIDE DOWN AND FINALLY RIGHT
(While LINDSAY reads over her shoulder…)
MARY & FRANNIE AND DAYLIGHT DOESN’T MEAN A THING CUZ EVERYTHING’S BRIGHT
MARY AND I DON’T HAVE THE ROOM FOR ALL I’M FEELING RIGHT NOW
MARY, LINDSAY, FRANNIE & FEM. ENS. I WISH THAT I COULD FIND THE WAY TO TELL YOU
(LINDSAY pulls others into the group to read the notebook as well…) GOTTA TELL YOU CAN’T WAIT TO TELL YOU SOMEHOW
(A spot has revealed TREVOR in his suit and ready for the show…)
TREVOR I WANNA GO WHERE YOU’RE GOING WHEREVER YOU ARE
TREVOR & MARY (As the notebook is passed between the giddy girls) I WANNA BE WHERE YOU’RE STANDING NO MATTER HOW FAR
TREVOR & FEMALE ENS. I’M LOST FOR WORDS FOR EXPLAINING THEY MAY NEVER BE FOUND
TREVOR (PLUS ENSEMBLE) IT’S BEYOND ANYTHING I CAN SAY WITH A SOUND IT’S LIKE
— 73 —
— 74 —
Trevor
(TREVOR dances his heightened words as the girls pass the notebook between them and read the pages…) OH OH OHOHOHOH I’M LIKE
(Another burst of music and dance) OH OH OH OH YOU’RE LIKE
(Music/dance) OH OH OH OH OH OH WE’RE LIKE
(Music/dance. The notebook cycles back to MARY.) OH OH OH OH
MARY THIS IS WEIRD
MARY & THE GIRLS WAY TOO WEIRD
MARY EVEN WEIRDER THAN IT COULD BE: JACKPOT WEIRD
THE GIRLS SUPER WEIRD
MARY (ENSEMBLE) SO LET’S GET IT WHERE IT SHOULD BE (AH) JASON NEEDS THIS YESTERDAY (OH) CUZ THE SECOND PINKY SEES IT (AH) THERE’S NO WAY HE CANNOT SAY (WEIRD) TREVOR’S WEIRD…(WEIRD)
(JASON receives the notebook, starts reading…) WEIRD (WEIRD WEIRD)
JASON (ENSEMBLE) NOW HE’S TOTALLY CAUGHT THIS IS (BETTER THAN I THOUGHT) HE’S BEEN MAKING US LOOK STUPID BUT THAT ISN’T LASTING LONG
(Showing the other guys (sans PINKY) the notebook)
Trevor
— 75 —
ALL IT TAKES IS A GLANCE AND HE (DOESN’T STAND A CHANCE) THE SECOND PINKY REALIZES (SOMETHING’S REALLY WRONG)
(PINKY enters; JASON brings the notebook to him.) ALWAYS KNEW I WAS RIGHT BUT NOW IT’S THERE IN BLACK AND WHITE AND ANYONE CAN SEE HE’S ACTING
(As PINKY looks through the notebook; the GUYS gathered around him.)
JASON
STUDENTS
OH
ANYONE CAN SEE
LIKE I SAID HE’S ACTING
HE’S ACTING
LIKE A GIRL.
STUDENTS ANYONE CAN SEE HE’S ACTING
LIKE A GIRL.
LIKE A GIRL
LIKE A GIRL
LIKE A GIRL
LIKE A GIRL
JUST LIKE A GIRL
JUST LIKE A GIRL
YOU’RE ACTING
LIKE A GIRL
JUST LIKE I TOLD YOU ALL
LIKE A GIRL
LIKE A GIRL
ALONG
TOLD YOU ALL ALONG
TOLD YOU ALL ALONG
TOLD YOU ALL ALONG
TOLD YOU ALL ALONG
TOLD YOU ALL ALONG
(TREVOR is revealed under a banner reading: “The Lakeview Junior High 17th Annual Celebration of Talent”.
TREVOR ONE OF THESE DAYS IS HERE TODAY MY GOLDEN DREAM IS COMING TRUE AFTER THE SHOW I’LL BREAK AWAY JUST LIKE DIANA SAID I’D DO AND I’LL BE ON AND ON AND ON AND ON AND ON AND ON AND ON AND ON AND ON AND ON AND ON AND ON AND ON WITH THE SHOW
(Lights rise on the Gymnasium, ON AND ON AND ON NA NA where we see LINDSAY on stage, feverishly trying to NA NA NA NA complete a Rubik’s Cube AS AND ON WITH THE SHOW A timer ticks away on a stool beside her.)
ENSEMBLE
— 76 —
Trevor
SCENE TWELVE: THE TALENT SHOW
The Talent Show curtain falls on LINDSAY, still trying to complete the puzzle as a timer runs out. MRS. KERR steps out in front of the curtain.
MRS. KERR Oh. Too bad. But let’s give a big hand for Lindsay Gibbons and her Rubik’s Cube! I really thought she was going to solve it.
(Tepid applause.) OK. As you all know, it’s a Lakeview tradition that our eighth-grade football team closes the show. But instead of the hilarious pink tutus we’ve all come to know and love, they’ll be doing: something else. Yes! Oh, but first: Jason has asked me to invite Trevor up to say a few words, so…
(Spotting TREVOR in the audience) Trevor.
TREVOR Well, first: I’d like to thank you for being here tonight. Thank you for the love and for making this a really special evening for me. But thank you most of all to Pinky Farraday: for making this all possible! I think it’s safe to say, this will be like nothing Lakeview Junior High has ever seen before.
(TREVOR motions toward the curtain dramatically.) CUE THE LIGHTS IT’S BEGUN THAT’S YOUR CUE AND START AT ONE! AND THEN:
(PINKY and the guys pour on to the stage – hopping around mockingly in the pink tutus.)
THE GUYS (Mockingly) ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT ONE TWO THREE FOUR
TREVOR
What? Wait: no!
FIVE SIX SEVEN EIGHT
ENSEMBLE I DON’T KNOW I DON’T KNOW
Trevor
— 77 —
I DON’T KNOW I DON’T –
TREVOR Stop! DIANA SAYS I CAN’T LAY DOWN AND DIE CUZ MY GOLDEN DREAM IS UP TO ME IT’S UP TO ME DIANA SAYS A VALLEY IS THERE FOR GETTING THROUGH DIANA SAYS DIANA SAYS DIANA SAYS DIANA SAYS
ENSEMBLE
DIANA
I DON’T KNOW I DON’T KNOW OH OH OH I DON’T KNOW I DON’T OH OH OH I DON’T KNOW I DON’T I DON’T KNOW I DON’T OH OH OH
TREVOR I DON’T KNOW
DO YOU KNOW WHERE YOU’RE GOING TO?
(Lights plunge to black.)
END OF ACT ONE ACT TWO SCENE ONE: THE FUNERAL/TREVOR’S HOUSE
1 3 A— Ent r ’ acte
I n st r um ent a l
Darkness as the Entr’acte plays. Then…
1 4 —Your Li fe is O ver
C om pa n y
— 78 —
Trevor
ENSEMBLE (The ENSEMBLE is revealed; a procession of black umbrellas) OH OH OH OH
(TREVOR lies in a heap on the bed. Then, lifting his head up…)
TREVOR Yesterday was the worst day in the history of time.
ENSEMBLE YOUR LIFE IS OVER
(A spot reveals WALTER in a pool of light.)
WALTER (PLUS ENSEMBLE) HOW CAN YOU EVER SHOW YOUR FACE AGAIN AT LAKEVIEW JUNIOR HIGH (YOUR LIFE IS OVER) I JUST KEEP ON RELIVING IT AND THEN I WANNA DIE
WALTER
ENSEMBLE
Trevor. I’m sorry that Pinky didn’t do your dance. While everyone watched. After you worked so hard on it all week. Cuz, if everyone had just seen it; it would have made everything happen for you. But, instead…
OOOO OO AH AH OH OH OOO OO
CATHY (PLUS WALTER) (YOUR LIFE IS OVER) YOUR GOLDEN DREAM WAS COMING TRUE BUT NOW THE DREAM IS DEAD (YOUR LIFE IS OVER) WHY CAN’T IT BE YESTERDAY, SO I COULD HAVE SAID:
CATHY (PLUS WALTER) Trevor. If I could tell you one thing: it would be how much Pinky regretted everything the second it was over. And how Pinky ran after you, but you were gone by the time he got through. And how he shouted at the top of his lungs:
ENSEMBLE OOOO OO AH AH OH OH OOO OO AH
Trevor
ENSEMBLE MY LIFE IS OVER
PINKY A WORLD WITHOUT YOU IN THE WORLD IS NO WORLD ANYMORE
ENSEMBLE MY LIFE IS OVER
MOM Knock knock.
(MOM springs out of the bleakness in normally colored clothing.)
THE ENSEMBLE (Annoyed with MOM!) SAYING “KNOCK KNOCK” ISN’T REALLY KNOCKING ON THE DOOR
SATURDAY
(Lights shift dramatically; disappearing the ENSEMBLE and revealing TREVOR lying in his bed and in his bedroom, candles burning on his dresser.)
MOM Trevor?
(A beat.) Why are you burning candles in here?
TREVOR (From his bed; arms folded over his chest.) Ambience. Which you’re ruining!
MOM (Taking in the scene.) What’s this all about, dear?
TREVOR It’s just. Pinky did something. Or, didn’t do something.
— 79 —
— 80 —
Trevor
MOM Pinky? That boy from school?
TREVOR He’s more than just that.
MOM Trevor…
(A beat. Retreat!) No burning candles in your bedroom. OK.
(SHE exits. Lights shift back to the funeral lighting and the mourners are animated again.)
ENSEMBLE (As they fling flowers at TREVOR!) IT’S A TRAGEDY WHAT A TRAGEDY HOW COULD LIFE DO SUCH A THING TO ME? LIKE AN OPEN WOUND ALL FULL OF SALT
(A burst of pained movement from the mourning ENSEMBLE) HOW CAN I GET THROUGH LIVING IN A WORLD WITHOUT YOU
CATHY/WALTER
PINKY
MARY/JASON
AND IT’S ALL MY
FRANNIE/CATHY/ LINDSAY
FAULT ALL MY FAULT
IT’S ALL MY FAULT
IT IS ALL MY FAULT
MY FAULT
IT’S ALL MY FAULT ALL MY FAULT ALL MY FAULT
IT’S ALL MY FAULT IT’S ALL MY FAULT
ENSEMBLE ALL MY FAULT, ALL MY FAULT ALL MY FAULT, IT’S ALL MY FAULT ALL MY FAULT
YOUR LIFE IS OVER
Trevor
— 81 —
WALTER AND WHAT THE FUTURE COULD HAVE BEEN IS EVERYBODY’S LOSS
ENSEMBLE YOUR LIFE IS OVER
CATHY JUST IN TIME FOR THIS APPEARANCE FROM DIANA ROSS
(A light rises on DIANA as she descends to the podium)
DIANA My dearest Trevor. My greatest fan. I was so saddened to hear how you perished of complete humiliation at The Lakeview Junior High 17th Annual Celebration of Talent. I was nearly too consumed by grief to be here today; but no: there is no mountain so high, no river so wide, and no valley so low it could keep me away. Because I know your pain, Trevor. After I left The Supremes; people said I was wrong and I was over. But, Trevor; no matter how humiliated, abandoned or confused you may be: you must get up! Because love:
ENSEMBLE LOVE!
DIANA Is still alive. Love:
ENSEMBLE LOVE!
DIANA Is not defeated. And love!
ENSEMBLE AND LOVE!
DIANA Is always worth the fight. And you know what I say, Trevor:
1 5 —A in’t No Moun ta in
D i an a , E n sem b l e
— 82 —
Trevor
DIANA & ENSEMBLE AIN’T NO MOUNTAIN HIGH ENOUGH AIN’T NO VALLEY LOW ENOUGH AIN’T NO RIVER WIDE ENOUGH TO KEEP ME FROM YOU
(TREVOR jumps up from his bed and embodies DIANA’s pose as the funeral transforms into a sparkling Diana Ross number!) AIN’T NO MOUNTAIN HIGH ENOUGH NOTHING CAN KEEP ME KEEP ME FROM YOU OOO
TREVOR (To the audience.) Diana’s right. Pinky wouldn’t do this. There’s gotta be a logical explanation!
(TREVOR crosses the stage, grabs the phone, dials and then presses it to his ear.)
DIANA IF YOU NEED ME, CALL ME
TREVOR Hello. Mrs. Farraday. This is Tevor for Pinky.
NO MATTER WHERE YOU ARE NO MATTER HOW FAR
Trevor.
JUST CALL MY NAME
Trevor Nelson! Oh. Well, can you just tell him: I know he can’t be to blame, for what happened at the show. And that it hasn’t changed anything between us. And—
(MOM from another phone in the house)
MOM Trevor!
TREVOR Mom!? Where are you!?
MOM On the living room phone!
Trevor
— 83 —
Mrs. Farraday, I’m so sorry. Trevor, please hang up!
TREVOR Mrs. Farraday – just tell Pinky I’ll be there in fifteen minutes!
(TREVOR hangs up and MOM is gone. To the audience; elated…) This is even better. Once I can talk to Pinky face to face; it’ll all be OK. I know it.
(The ENSEMBLE appears again, dressing TREVOR and primping him as the scene transforms to a fabulous fantasy space; mirrored walls lined with lightbulbs as he is prepared to meet PINKY.)
DIANA NO WIND (NO WIND) NO RAIN (NO RAIN) CAN STOP ME, BABY IF YOU’RE MY GOAL
DIANA & ENSEMBLE (DIANA) AIN’T NO MOUNTAIN HIGH ENOUGH NOTHING CAN KEEP ME KEEP ME FROM YOU AIN’T NO MOUNTAIN HIGH ENOUGH (IN THIS WORLD) AIN’T NO VALLEY LOW ENOUGH (NOTHING IN THIS WORLD) AIN’T NO RIVER WIDE ENOUGH TO KEEP ME FROM YOU (CAN KEEP ME FROM YOU)
AIN’T NO MOUNTAIN HIGH ENOUGH AIN’T NO VALLEY LOW ENOUGH AIN’T NO RIVER WIDE ENOUGH (NOTHING CAN KEEP ME) TO KEEP ME FROM YOU (FROM YOU) AIN’T NO MOUNTAIN HIGH ENOUGH!
1 5 A— A in’ t N o Mou nt ain (P lay of f)
I nst r u men t al
(THE ENSEMBLE has been leading TREVOR toward his goal and in the final moment, they lead up to a great reveal, but instead of PINKY, it is a priest (FATHER JOE). The fantasy shatters and TREVOR, FATHER JOE and MOM are left on stage…)
MOM Trevor. You remember Father Joe, from church.
(Squeezing his shoulders; “go with it!”) Every Sunday!
— 84 —
Trevor
TREVOR Uh –
MOM Of course, you do! He’s just – Trevor: Father Joe is going to take you over to The Frosti-Freez because: we thought it might be good for the two of you to just, you know, talk about some things.
TREVOR But, I have to go talk to –
MOM No buts!
(Whispered into TREVOR’s ear.) And don’t order anything too extravagant. Or too sweet. Or salty.
(MOM exits. TREVOR and FATHER JOE stare at one another.)
1 5 B—Fr os t i- Fre ez Tr ans itio n
D i a na , E ns emb l e
SCENE TWO: THE FROSTI-FREEZ
TREVOR and FATHER JOE each receive their orders (soda cups) from the counter and sit down at a picnic table…
FATHER JOE How is your water?
TREVOR Warm.
FATHER JOE You could have gotten ice cream, you know. Or at least ice. It’s not a sin.
(A beat of soda slurping...) Trevor. You know –
Trevor
— 85 —
Someday you’ll look back and be amazed by how much you’ve changed. And the whole world too. You won’t even recognize yourself. And you’ll understand how your parents feel right now because; well, I know that you’ll have kids of your own and –
TREVOR How?
FATHER JOE Well, Trevor. What happens is: first a man and a woman who are very much in love get married –
TREVOR No, I mean: how do you know I’ll have kids of my own?
FATHER JOE Of course you will.
TREVOR You don’t.
FATHER JOE I’ve sworn a vow of celibacy. Do you know what celibacy is?
(TREVOR deadpans the audience – “seriously!”) It means abstinence from marriage and sexual relations. Do you understand what that is?
TREVOR (To the audience) It wasn’t until that moment - and halfway through my saliva warm “holy water” - that I realized the purpose of this miserable setup between my mom and Father Joe.
FATHER JOE Trevor. Did you ever have desires, and I’m talking about sexual desires, for another boy? Be honest with me. I can help you if you’re honest with me. Did you ever, for example , want to touch another boy? Like, and I’m not trying to suggest anything here but: like, Pinky Farraday?
— 86 —
Trevor
TREVOR What!? No. He’s just…he’s the kind of person that makes me, and everyone, feel, you know, really. Happy. So happy that you think about him all the time like…an older brother you never had. And you write about him in your notebook because he makes you so happy that you can’t keep it inside and you just want to be sure it’s going to be like this forever. That happens with friends sometimes, right?
FATHER JOE Well. Trevor. Friends are people who make us happy, yes. But, just in our hearts and not…well…in certain other places. Because if anyone is making you happy there. Well. Then that’s not happy like a friend. But if it’s anywhere else… Then…well…yes, that’s a friend. Probably. But if not…No. Make sense?
TREVOR Yes. Definitely. Thank you!
(Lights out on FATHER JOE; leaving TREVOR perplexed…)
1 6 —W e ir d ( Rep ris e)
T r ev o r
THAT WAS WEIRD IN EVERY WAY IT COULD BE REALLY WEIRD LIKE I’M NOT WHO I SHOULD BE BUT THE MORE I PLAY ALONG THE MORE SOMEBODY’S TELLING ME I’M DOING SOMETHING WRONG SOMETHING…WEIRD
(CATHY enters the scene carrying a milkshake.)
CATHY Trevor! Are you OK!? Did you want a milkshake? It was a mistake so it’s free.
TREVOR No, thanks.
Trevor
— 87 —
CATHY I couldn’t find you after the show yesterday. I looked everywhere!
TREVOR I left. Right away.
CATHY Yeah, I guess it was pretty…um. But. Probably not as bad as you thought it was. I bet most people don’t even believe it.
TREVOR Believe what?
CATHY Nothing. Never mind.
TREVOR Cathy!
CATHY It’s so stupid. I mean: so what if you like dancing and singing and Dana Ross. It doesn’t mean you’re…what people are saying.
TREVOR What are people saying!?
(A beat. CATHY looks around, then whispers into TREVOR’s ear…) Who said that?
CATHY I heard Lindsay saying it to Mandi. But they’re wrong. We can prove it.
TREVOR What do you mean?
CATHY We can…finish what we started. At the Quality Courts.
TREVOR But…we’re in the parking lot. There’s people around.
— 88 —
Trevor
1 7 —W hat ’s W ro ng Wit h You ?
C at h y , Al l b u t T r ev or
CATHY Exactly! So by Monday all they’ll be talking about is: You!
(A beat of music) And me!
(Another burst of music) AND OUR STRAWBERRY MILKSHAKE JUST ONE STRAWBERRY MILKSHAKE
(SHE reveals an extra straw and puts it into her shake, seductively.) THAT WE SIPPED OUT OF TWO DIFFERENT STRAWS
TREVOR What are you talking about?
CATHY US TOGETHER RIGHT HERE OUT IN THE OPEN IN THE MIDDLE OF PUBLIC AND PROBABLY BREAKING SOME LAWS
(Doing an awkward not-as-seductive-as-she-thinks-it-looks dance…incorporating the milkshake.) OH OH OH OH OH OH OH OH OH OH OH OH OH OH OH OH
(CATHY goes in for a kiss, TREVOR turns his cheek so it lands there instead.)
TREVOR Great! Now you can tell everyone that we kissed –
CATHY We nothing! You turned. On purpose.
TREVOR Cathy, I can’t get into semantics. I have to find Pinky and make sure –
Trevor
CATHY Pinky? Pinky!? WHAT’S WRONG WITH ME WHY CAN’T I BE ANYONE TO YOU BUT WHO YOU ALWAYS SEE? I’VE BEEN SENDING SIGNALS LOUD AND STRONG SO TELL ME WHAT IS WRONG WITH ME
I’VE BEEN TRYING EVERYTHING I CAN THINK OF ANYTHING I CAN THINK OF TO MAKE US MORE THAN JUST FRIENDS YOU INVITE ME TO A PLACE FOR FRENCH KISSING AND WE’RE ALMOST FRENCH KISSING AND THEN SUDDENLY THAT’S WHERE IT ENDS?
WHAT’S WRONG WITH ME I WANNA BE TOGETHER LIKE THE COUPLES I SEE ON TV BUT YOU WOULD TRADE ME FOR A SONG SO TELL ME WHAT IS WRONG WITH ME
I SAID THAT EVERYONE WAS CRAZY WHEN THEY SAID I WAS CRAZY FOR SAYING YOU’RE TOTALLY NOT I KEPT ON GIVING YOU DEFENSES WHEN IT WENT OUT OF STYLE AND NOTHING IS ALL THAT I GOT OH, NOTHING IS ALL THAT I GOT YEAH, NOTHING IS ALL THAT I GOT, OH
…WHAT’S WRONG WITH ME
— 89 —
— 90 —
Trevor
I NEVER KNEW THE PROBLEM’S ALWAYS BEEN I NEVER HAD A CLUE THAT THE REAL QUESTION ALL ALONG IS TREVOR: WHAT IS WRONG WITH YOU?
(Lights out on everyone, leaving TREVOR isolated in a spot. Then…)
PINKY Trevor?
(Lights expand to reveal.) SCENE THREE: PINKY’S FRONT DOOR
TREVOR stands at PINKY’s front door – PINKY stands in the doorway.
PINKY What are you doing at my house!?
TREVOR Pinky! I… Thought. Cuz, I know you wouldn’t – I mean: it can’t be your fault. What happened at the show. Right?
(A porch light or internal light turns on?)
PINKY You need to go.
Trevor
TREVOR But –
PINKY (Starting to close the door.) Bye, Trevor.
TREVOR Wait.
(PINKY stops.) You said you liked someone who you couldn’t say.
PINKY What?
TREVOR At the Quality Courts. Why couldn’t you say? Who it was?
PINKY Mary is Frannie’s best friend.
TREVOR Mary…?
PINKY Yes. Did you actually think – I mean. How could write that stuff?
TREVOR What stuff?
PINKY About me. In your notebook.
TREVOR My notebook? But. How did you – ?
— 91 —
— 92 —
Trevor
PINKY Everyone saw it.
TREVOR What? But –
(The gravity of the situation dawning on him…) …Oh no.
PINKY Are you even living in the real world?
TREVOR Pinky, it was just; I was only –
PINKY What’s wrong with you?
(PINKY closes the door on TREVOR. A beat, then TREVOR looks back at the audience…)
1 8 —R e memb er M e
Di an a Ro ss & E n semb l e
TREVOR Everyone at school is saying that I’m a gay. But, I look in the mirror and I don’t see anything different. So, maybe… There’s these doctors I heard about; they use electricity on people’s brains to completely reset them back to normal…
(TREVOR retrieves a large battery with frayed wires extending from it) …I think it could work on me too.
SUNDAY SCENE FOUR: TREVOR’S BEDROOM
DIANA is revealed as TREVOR sits and begins to touch the frayed wires to his tongue; recoiling at the shock.
DIANA BYE BABY, SEE YOU AROUND DIDN’T I TELL YOU I WOULDN’T HOLD YOU DOWN
Trevor
TAKE GOOD CARE OF YOURSELF, Y’HEAR DON’T LET ME HEAR ABOUT YOU SHEDDING A TEAR YOU’RE GONNA MAKE IT YOU’RE GONNA MAKE IT
DIANA & ENSEMBLE (DIANA) REMEMBER ME AS A SUNNY DAY THAT YOU ONCE HAD, ALONG THE WAY DIDN’T I INSPIRE YOU A LITTLE HIGHER REMEMBER ME AS A FUNNY CLOWN THAT MADE YOU LAUGH WHEN YOU WERE DOWN (DIDN’T I BOY? DIDN’T I BOY?)
(TREVOR begins the task of purging all of his Diana Ross paraphernalia from his room into a large garbage bag.) REMEMEBER ME AS A BIG BALLOON AT A CARNIVAL THAT ENDED TOO SOON REMEMBER ME AS A BREATH OF SPRING REMEMBER ME AS A GOOD THING
HUH HUH HUH REMEMBER ME AS A SUNNY DAY (PLEASE DARLING) (REMEMBER ME AS A GOOD THING) REMEMBER ME WHEN YOU DRINK THE WINE OH, YEAH. BABY, OH YEAH (REMEMBER ME AS A GOOD THING) (REMEMBER ME AS A GOOD THING) (REMEMBER ME AS A GOOD THING) REMEMBER ME AS A BIG BALLOON DON’T FORGET ME DARLING
(The room is entirely sanitized of Diana Ross.) (REMEMBER ME AS A GOOD THING) (REMEMBER ME AS A GOOD THING) (REMEMBER ME AS A – )
(DIANA disappears behind TREVOR’s door, then DAD appears on the other side …)
DAD Trevor. Hey…
(Taking in the room…) What happened to your posters?
— 93 —
— 94 —
Trevor
TREVOR I’m living in the real world now.
DAD Oh. Well…good. Hey. I know tomorrow’s your first time back at school since that show on Friday. And. I thought…if you wanted to…we could. Talk. I know you’ve got that report to give in front of everyone too, so maybe –
TREVOR Dad. It’s all under control.
DAD Oh. OK.
(Noticing the battery.) You and Walter working on another science project?
TREVOR Sort of. I mean. I am.
DAD Good. Well. I hope it works out.
TREVOR Yeah. Me too.
(DAD exits. TREVOR touches the wires to his tongue again…)
1 9 —M onday
S t ud en t E n semb l e
SCENE FIVE: SPLIT: TREVOR’S BEDROOM / THE HALLS OF LAKEVIEW
TREVOR’s bedroom begins to disappear as The STUDENT ENSEMBLE enters the scene. But TREVOR remains at his desk with the battery, still attempting to correct himself… MONDAY
STUDENT ENSEMBLE EVERYDAY KEEPS ON GOING
Trevor
— 95 —
ON AND ON AND ON
JASON (Spotting PINKY and joining him in front of the school’s trophy case.) Hey! Did Trevor actually show up today?
PINKY I don’t know. Who cares?
JASON Pinky, if he’s here, we have to do something. We can’t just let him walk around like everything’s –
PINKY Jason. Just, forget it. Alright.
JASON Really? Cuz no one else has.
(JASON indicates the ENSEMBLE around them, looking and whispering; then turning quickly away when PINKY looks.)
STUDENT ENSEMBLE EVERYBODY IS TALKING ON AND ON AND ON
PINKY But…he’s the one who – I never –
JASON So do something about it.
PINKY I don’t want to talk to him again.
JASON Pinky. You want to be remembered as the guy who won half these trophies, or as the guy who acted like a fairy with Trevor?
— 96 —
Trevor
PINKY (Panicked.) What do I do?
JASON You don’t even have to talk to him.
(JASON tears out a piece of notebook paper and hands it to PINKY.) Just write down what you’d say.
PINKY Yeah. OK…
STUDENT ENSEMBLE (As PINKY writes, checking in with JASON periodically, who looks over PINKY’s shoulder.) GET ME THROUGH TODAY (NA NA NA NA NA)
JASON That’s it?
PINKY No. Also, uh –
STUDENT ENSEMBLE (As PINKY writes another sentence.) GET ME THROUGH TODAY (NA NA NA NA NA)
JASON (Amused?) Yes! Perfect.
(Taking the note, folding it as MARY walks by.) Hey, Mary.
(Handing her the note.) For Trevor. The long way around.
MARY Got it.
Trevor
— 97 —
(MARY immediately opens the letter and reads it as she crosses away. Meanwhile, PINKY and JASON share a meaningful ‘bro-hug’ or ‘secret handshake’. Then PINKY crosses away as JASON watches after him; longingly? Focus switches to MARY as she passes the note through the ENSEMBLE as TREVOR stands up from his desk, mustering courage.)
TREVOR GET ME THROUGH TODAY…
SCENE SIX: MRS. KERR’S CLASSROOM / THE HALLS OF LAKEVIEW
TREVOR is in MRS. KERR’s classroom now…
2 0 —I nvis ib le
S t ud en t E n semb l e
STUDENT ENSEMBLE (Seated around TREVOR, passing the note between them…) SNAP FLIP TURN SNAP
MRS. KERR Trevor. Your report is next.
(Looking at her list of topics.) The loss of innocence as reflected in literature.
(TREVOR stands at his desk and unfolds his report…) In front of the class like everyone else, dear.
STUDENT ENSEMBLE TURN TIP SLIP TURN
(TREVOR slowly marches the gauntlet of desks toward the front of the classroom. The students snicker, whisper, but as TREVOR passes them and/or tries to make eye contact, they look quickly away, pretending to ignore him. He finally reaches the front of the classroom.)
TREVOR (Looking down at the piece of paper; hands shaking)
— 98 —
Trevor
The loss of innocence is brought about by an experience with no explanation. The character must experience this loss.
(The class’ snickers/whispers overtake TREVOR’s following dialog…) Must react with natural spontaneity. Must be hurt. The experience must be potent enough to be remembered –
(The bell rings and class ends as the students file out – avoiding eye contact with TREVOR while they walk past him. TREVOR spots PINKY and rushes after him.)
TREVOR Pinky.
(PINKY ignores him and continues out of the scene…) Pinky, wait up!
JASON (Intercepting TREVOR as PINKY disappears…) Trevor. Cut it out.
TREVOR But I’m OK now. I promise. I had this procedure. Well, I performed it myself, but I feel different. Better. Normal.
JASON Pinky told you what he thought in his note. It hasn’t changed.
(JASON moves to exit.)
TREVOR Note? What note?
JASON Look:
(Turning and advancing on TREVOR.) you’re sick.
(JASON slams TREVOR against a locker.) And anyone who would even talk to you now is as sick as you are.
TREVOR I’m not sick.
Trevor
— 99 —
JASON You are.
(JASON reveals TREVOR’s notebook and throws onto the ground at TREVOR.) And you’ll never get better.
ENSEMBLE (JASON turns and exits, leaving TREVOR on the ground; HE looks around him, but his peers avoid eye contact and no one helps. The note continues to pass through the ensemble until it reaches FRANNIE.) SNAP SLIP TURN SNAP
(TREVOR stands and moves through the halls; through the following he disappears and reappears amongst the ENSEMBLE as they avoid him, glare at him, whisper, laugh, etc.) LOOK THE OTHER WAY NO ONE THERE TO SEE YOU ARE YESTERDAY AND YOU DON’T KNOW ME NO YOU DON’T KNOW ME
(FRANNIE chases MARY in the halls.)
FRANNIE Mary! You let everyone see this note?
MARY Hilarious, right? But you can give it Trevor now.
FRANNIE But. It’s horrible.
MARY Yeah. He deserves it.
FRANNIE No. You’re wrong. And you’re just: mean.
MARY (Exiting as TREVOR approaches.)
— 100 —
Trevor
Pinky’s right. You’re just as weird as Trevor.
TREVOR Hey, Frannie. Did you have a note for me? From Pinky?
FRANNIE Pinky’s not talking to me anymore.
TREVOR But. Mary said she gave the note to Lindsay who gave it to Mandi who gave it to you.
FRANNIE Trevor: please. Forget it.
(FRANNIE exits. Through the following, the ENSEMBLE’s movements grow more aggressive toward TREVOR, advancing on him violently until he flinches, falls and cowers…)
STUDENT ENSEMBLE TURN TIP RUN TURN GET AWAY FAST NOTHING ELSE TO DO BUT KEEP ON WALKING PAST CUZ I DON’T KNOW YOU NO I DON’T KNOW YOU
MRS. KERR (As TREVOR runs through.) No running in the halls!
1/2 STUDENT ENSEMBLE
1/2 STUDENT ENSEMBLE
SNAP TURN SLIP TIP TURN, RUN
TURN, RUN
TIP SNAP RUN SLIP TURN, RUN
TURN, RUN
Trevor
— 101 —
STUDENT ENSEMBLE YOU’RE INVISIBLE INVISIBLE TO ME OH, YOU’RE INVISIBLE. OH, INVISIBLE INVISIBLE
(FRANNIE finds CATHY and WALTER in the halls…)
FRANNIE Walter. Cathy. You guys need to talk to Trevor.
WALTER We’re not really talking.
FRANNIE What?
(Looking at CATHY for confirmation) But…you’re his friends.
CATHY And you know all about that; as long as it’s on the right side of Route Nine.
FRANNIE Cathy. I’m sorry things changed, OK. But we still all know Trevor. And someone has to get him to stop asking about Pinky’s note.
WALTER Why?
FRANNIE Because…
(FRANNIE pulls the note from her pocket and hands it to WALTER. HE and CATHY read the note through the following; then TREVOR spots them…)
STUDENT ENSEMBLE DUCK DODGE SLIDE YOU WON’T CATCH MY EYE YOU’RE NOT WORTH THE RISK
— 102 —
Trevor
GO AHEAD AND TRY SLIDE TREAD SNEAK DUCK I’LL BE WALKING LIGHT LIKE A MYSTERY I’LL BE OUT OF SIGHT YOU WON’T NOTICE ME YOU WON’T NOTICE ME
TREVOR (Spotting him.)
THE GUYS
THE GIRLS
Walter?
(They scatter.)
DUCK SLIDE DODGE
Wait, I need to talk to you.
Walter, please!
SNEAK TURN
TURN
RUN
RUN
SNAP TIP SLIP TREAD THERE’S NOBODY NOWHERE NO ONE YOU EVER KNEW I’M INVISIBLE,
I’M INVISIBLE
INVISIBLE TO YOU
INVISIBLE TO YOU
TREVOR (Intercepting WALTER.) Frannie told you about Pinky’s note, didn’t she?
WALTER (Trying to get away) Trevor, I can’t talk to you.
Trevor
— 103 —
TREVOR Walter. I’m sorry. I know I haven’t been a good friend. I know it. But that doesn’t mean –
WALTER You’re sorry? Now? Cuz you need something from me.
TREVOR Walter, please: Pinky might have said something really important to me and I –
WALTER He didn’t.
TREVOR You know?
WALTER Trevor, trust me –
TREVOR Trust you? After you showed my notebook to everyone!?
(A crowd has begun to discretely listen to their argument, which is becoming louder than they realize.)
WALTER Well, I didn’t know it got so much worse past the cover. I mean, geeze: why do you have to act so weird all the time. We’re not kids anymore, can’t you just start acting like a normal person and stop –
TREVOR Can’t I act normal!? You’re the one who looks at your sperm under a microscope!
WALTER (Suddenly aware of people listening to them as they laugh, jeer, etc. TREVOR is still in a zone.) Trevor –
TREVOR You wanted to look at mine too –
— 104 —
Trevor
WALTER Shut up.
TREVOR - for your “experiment”!
WALTER Fine, Trevor. Fine.
(Pulling the letter out) Here is your wonderful, important letter from your best, best, best friend.
(WALTER throws the letter onto the ground and exits. TREVOR picks it up; unfolds it and begins to read…¬)
STUDENT ENSEMBLE (Closing in around him with oppressing menace…) I LEARNED ABOUT STRANGER DANGER AND NOTHING IS STRANGER THAN YOU I GOTTA SAVE GOTTA SAVE MYSELF NOW AND THAT MEANS MAKING MAKING YOU YOU YOU YOU NO ONE.
PINKY Trevor. Don’t call me. Don’t talk to me. You’re a faggot. A weak person. And you probably don’t deserve to live.
STUDENT ENSEMBLE NO ONE NOTHING NOWHERE I CAN SEE NO ONE NOTHING NOWHERE
STUDENT ENSEMBLE 1
STUDENT ENSEMBLE 2
YOU’RE INVISIBLE
I CAN SEE
INVISIBLE
NO ONE
INVISIBLE
NOTHING NOWHERE I CAN SEE
NO ONE
INVISIBLE
Trevor
— 105 —
(A spot isolates TREVOR. HE stares out over the audience as the ENSEMBLE fades into whispered conversations around him.)
2 1 —W r ong
T r ev o r
TREVOR I THOUGHT I WAS SOMEONE GOING SOMEWHERE I THOUGHT EVERYTHING ABOUT ME WAS GONNA GET ME THERE AND EVERYBODY WOULD FOLLOW ALONG I THOUGHT THEY WOULD BUT I WAS WRONG
CUZ ALL I THOUGHT’S A FANTASY A DAYDREAM OF WHO I SHOULD BE IGNORING EVERY PART OF ME I DIDN’T WANT TO KNOW I NEVER KNEW MY HEART AT ALL BUT NOW I KNOW THAT IT CAN FALL AND WHEN IT DOES I KNOW IT DOESN’T HAVE A PLACE TO GO OH OH
I THOUGHT I COULD FIX IT I TRIED EVERY WAY BUT SOMETHING IN ME IS TOO BROKEN TO TRY ANOTHER DAY I THOUGHT I’D BE SOMEONE I THOUGHT I WAS STRONG THOUGHT I WAS RIGHT
(TREVOR is now back in his room. HE removes a bottle of pills and paper/pencil from his bedside drawer). SCENE SEVEN: TREVOR’S BEDROOM
TREVOR Dear mom and dad: I don’t want you to think I haven’t given this a lot of thought. I have. I tried to cure myself, but nothing worked. And don’t think it’s your fault. It just happens. And please, if it’s possible; play Endless Love at my funeral. It’s my absolute fav.
— 106 —
Trevor
2 2 —Endle ss Lov e
Di a n a , T r ev o r
(DIANA is slowly revealed…)
DIANA MY FIRST LOVE YOU’RE EVERY BREATH THAT I TAKE YOU’RE EVERY STEP I MAKE
TREVOR (DIANA) AND I (I) I WANT TO SHARE
BOTH ALL MY LOVE WITH YOU
DIANA NO ONE ELSE WILL DO
TREVOR AND YOUR EYES
DIANA YOUR EYES YOUR EYES
BOTH THEY TELL ME HOW MUCH YOU CARE OH, YES YOU WILL ALWAYS BE MY ENDLESS LOVE…
(TREVOR fades away so that only DIANA remains…)
DIANA TWO HEARTS TWO HEARTS THAT BEAT AS ONE OUR LIVES HAVE JUST BEGUN OH, MY LOVE, MY LOVE MY ENDLESS LOVE
(The music swells and plays during a stretch of complete, unsettling darkness. Then a light reveals JACK, a young candy striper, as he pulls back a medical curtain revealing TREVOR in a hospital bed…) TUESDAY
Trevor
TREVOR Hello?
JACK Hey there.
TREVOR Who are you?
JACK Jack. I work here.
(Lights expand fully on… ) SCENE EIGHT: THE HOSPITAL
JACK Your parents went to meet with the Doctor after you fell asleep. They should be back soon.
(JACK sets down a tray of food in front of TREVOR.) You look better than you did last night. How do you feel?
TREVOR Sick. And sore from…being sick. Over and over.
JACK Well, good thing you were.
(JACK completes some tasks. TREVOR watches him, curiously.)
TREVOR Aren’t nurses supposed to be girls?
JACK I’m a candy striper.
TREVOR What’s that?
JACK Like a volunteer.
— 107 —
— 108 —
Trevor
TREVOR And they’re not girls?
JACK Some are. Some aren’t. There’s no rule.
TREVOR Oh. So, I guess you know…why I’m here, then.
JACK I know you took way too many aspirin and you won’t have a headache for about a year.
TREVOR I won’t?
(JACK smiles) That’s not true! But I shouldn’t be here. At all.
JACK Trevor…
(A thoughtful beat…) Dr. Harris spoke with you, right?
TREVOR Yes. A hundred times. And he says we have to keep talking. But…
(An uncertain beat.) Did anyone say…? Am I going to try again? To do what I did?
JACK I think I should get the Doctor and –
TREVOR It doesn’t matter. People like me are sick and never get better. We’re better off gone.
Trevor
— 109 —
JACK Who said that?
TREVOR It’s true. Isn’t it?
JACK No.
(A beat. JACK seems torn about continuing the conversation or getting the doctor. HE checks in with the door, then…) It’s not.
TREVOR But wouldn’t it be easier?
JACK Trevor. I know it might not seem like it now; but once you’re out of here and –
TREVOR Everything will be the same. You don’t know what you’re talking about. You don’t know anything. No one does.
JACK I know this isn’t where you want to be. In the hospital. But I guess you’re right; I don’t know much besides that. So, help me out. Where would you rather be?
TREVOR What?
JACK When you’re far away from here. And old. Like: in ten years.
(TREVOR looks in disbelief.)
2 3 —One of The se D ays (Rep ris e) Don’t think! Just go; off the top of your head: IN ANOTHER TEN YEARS…
J ack , T r evo r & C o mp a ny
— 110 —
Trevor
TREVOR YOU WON’T BE TALKING STILL
JACK OK; that’s positive for you, I guess. IN ANOTHER TEN YEARS
TREVOR I’LL BE SITTING IN ANOTHER SPOT
JACK More specific: IN ANOTHER TEN YEARS
TREVOR I’M GONNA BE SOME GUY NO ONE KNOWS SOME FREAK THEY ALL FORGOT
JACK OK. I was thinking something more like: IN ANOTHER TEN YEARS I’M GONNA SEE THE WORLD IN ANOTHER TEN YEARS I’LL MAKE MY BIGGEST DREAMS LOOK SMALL AND WHEN I COME HOME THEY’LL ALL LOOK AT ME LIKE THE GREATEST STAR OF ALL!
TREVOR I don’t think so!
(JACK smiles; gotcha!) It’s just: that’ll always be Diana Ross.
JACK Mmm. I think you mean Donna Summer.
TREVOR I don’t.
Trevor
— 111 —
JACK I mean, I saw Diana in concert once; she was good, but –
TREVOR Good!? She’s the best!
JACK Second best.
TREVOR OK. Are you sure you’re not actually a patient here; like for a head injury or something?
JACK Are you sure you’ve ever heard a Donna Summer song?
TREVOR “Hot Stuff” is cute, but Diana’s work with The Supremes alone puts Donna to shame. And then there’s –
(Catching himself) I mean. Not that I like her. Cuz Diana Ross is for…um…and I’m not – I just have this friend who’s…really, seriously committed to her. But he’s weird.
JACK TEN YEARS AGO I USED TO HATE THAT WORD TEN YEARS AGO IN WHISPERS UP AND DOWN THE HALLS I KNEW WHAT IT MEANT BUT COULDN’T LET IT SHOW SO I FADED BACK INTO THE WALLS…
TEN YEARS AGO I USED TO HIDE MYSELF MY EVERY MOVE WAS TRYING JUST TO FALL IN LINE I CHANGED HOW I WALKED
— 112 —
Trevor
AND WHEN I WOULD TALK I USED A VOICE THAT WASN’T MINE
AND BACK IN THOSE DAYS I USED TO DREAM I’D WAKE UP AS SOMEBODY NEW BACK IN THOSE DAYS I’D CRY AND SCREAM THAT EVERY DAY WOULD JUST BE THROUGH OH OH BACK IN THOSE DAYS I’D PRAY AND PRAY TO BE ANOTHER LIFE AWAY WHERE ONE OF THESE DAYS WOULD BE OK JUST LIKE I HEARD DIANA SAY –
Oh. Never mind.
TREVOR What? Why?
JACK You wouldn’t care about what Diana Ross said at her concert.
TREVOR It’s OK. You can still say it.
JACK Well, she said: “My darlings: always remember, no matter how difficult it may seem at the time – it’s always easier to live the truth than live a lie…
(A light has revealed DIANA as JACK embodies her movements, now mouthing the words that she speaks…)
DIANA So be true – because I love you no matter what. But I love you happy most of all!
(SHE blows a kiss…)
Trevor
TREVOR She didn’t say that.
(Lights out on DIANA. Woops!) Uh. It’s just. My friend told me everything she ever said.
JACK Well, this wasn’t famous; just something she said. At her concert. That I saw.
TREVOR Really!?
(He nods ‘yes’) Do you have a pen or something I can write that down with. Just…
JACK For your friend.
(MOM and DAD are revealed at the hospital room door…)
MOM Knock knock.
(An uncertain beat.) Can we…?
(JACK nods then goes about tidying the room.)
DAD You look a little less pale, bud.
(A beat.)
MOM Oh honey, I’m so, so –
(SHE goes in for a big hug and kiss – TREVOR blocks her a little; glancing at JACK, embarrassed.)
TREVOR Mom. Not now.
MOM Oh.
— 113 —
— 114 —
Trevor
(SHE glances at JACK…) Well, it’s time to go, dear. Back. Home. And I just wanted to say…
(Another look at JACK out of the corner of her eye.) Uh. They say the President is going to make a full recovery and should be back in the White House by next week! So…I just wanted you to know how much I admire that kind of courage. OK?
TREVOR OK.
DAD And, hey. That bag of posters is still in the garage and…well, it might take a while for the wrinkles go away. But…over time. You know. So. You get dressed and we’ll bring the car around and get you back home. OK.
(MOM/DAD exit. A beat of TREVOR and JACK…)
TREVOR Sorry. They’re really –
JACK Trying. They’re really trying.
TREVOR Yeah. I guess.
(The weight of reality) But how can I…what if…? What’s going to happen now?
JACK Tomorrow. The next day. The next one. A DECADE’S JUST TIME AND YOU’LL SEE HOW IT GOES IT’S GONE IN A MINUTE AND ANY MINUTE NOW THIS ALL WILL BE
JACK ONE OF THOSE DAYS OH OH
Trevor
— 115 —
TREVOR ONE OF THESE DAYS
(JACK moves to exit…)
TREVOR Jack!
(HE stops. A moment…) It’s nice to meet you.
JACK You too.
(HE exits. TREVOR watches where he went for a beat; giddy, confused, overwhelmed and cautious.)
2 4 —M y I mag ina t ion
T r ev o r
TREVOR IS IT MY IMAGINATION LIKE IT SOMETIMES, ALWAYS IS WAS I HEARING MY OWN STORY WHEN I HEARD HIM TELLING HIS LIKE A SIGNAL OUT OF NOWHERE LIKE A LIGHT I’VE NEVER KNOWN SHOWING ME I COULD BE SOMETHING MORE THAN ALONE
IS IT MY IMAGINATION MAKING DAYDREAMS OUT OF DUST ARE THE FEELINGS I’M FEELING SOMETHING I CAN REALLY TRUST LIKE A WORLD THAT FINALLY OPENED FROM A WHISPER TO A SCREAM TELLING ME THIS COULD BE SOMETHING MORE THAN A DREAM
WHAT IF SOMEDAY ISN’T SOMEDAY WHAT IF IT’S RIGHT NOW WHAT IF WHO I HID IS WHO I GET TO BE SOMEHOW
— 116 —
Trevor
WHAT IF WEIRD IS ONLY DIFFERENT WHAT IF DIFFERENT ISN’T WRONG WHAT IF NORMAL ISN’T HOW I HAVE TO PLAY ALONG PLAY ALONG
IS IT MY IMAGINATION LIKE IT ALWAYS WAS BEFORE WILL I HOLD ON TO THIS FEELING WHEN I WALK OUT OF THAT DOOR IS IT TOO MUCH TO BELIEVE NOW THAT IT ISN’T ONLY ME IS IT MY IMAGINATION IS IT MY IMAGINATION OR COULD IT BE? …COULD IT BE?
2 5 —Final e
T r ev o r & C om pa n y
LATER… SCENE NINE: VARIOUS LOCATIONS
Lights shift and TREVOR is outside as the STUDENT ENSEMBLE is en route to school. HE encounters WALTER at the bus stop.
WALTER Hey.
TREVOR Hey.
WALTER It’s late. The bus. So, you didn’t miss it.
TREVOR Oh. Good.
(Beat…)
WALTER I thought you moved or something. You were gone so long.
Trevor
— 117 —
(Another beat.) Nothing changed. Except Frannie’s hanging out with Cathy now instead of Mary. And Pinky’s hanging out with Mary now instead of Frannie. And I’m hanging out with no one now instead of you. And. I’m sorry.
TREVOR Walter…
(A beat.)
WALTER Yeah?
TREVOR (TREVOR seems to be searching for the perfect words. Then…) The bus is here.
(The lights shift…)
STUDENT ENSEMBLE ON AND ON AND ON (NA NA NA NA NA) ON AND ON AND ON (NA NA NA NA NA)
(TREVOR and WALTER join CATHY on the bus.)
CATHY (Pointedly to TREVOR.) Were you sick?
TREVOR What?
CATHY You weren’t in school.
TREVOR No. It was just…um –
CATHY Food poisoning. Was it bacterial, viral or a parasite?
(TREVOR and WALTER stare at her for a beat.)
— 118 —
Trevor
I know things. Like. I know, Trevor… I know friends is the best thing we can ever be. Which is better than anything else.
TREVOR Yeah. Well…
(A big beat.) Besides: I don’t kiss people who my other best friend wants to kiss.
CATHY/WALTER What!?/ Trevor!
WALTER (Looking at CATHY; defending himself.) I don’t know what he’s – He must have another other best friend, because –
TREVOR Nope. Still Walter!
WALTER (Recognizing TREVOR’s acceptance of his apology…) Oh.
(CATHY peels back the corner of her mouth and reaches inside.) What is she doing!?
TREVOR Taking out her rubber bands.
CATHY (Advancing on WALTER, pushing him down into his seat and revealing a piece of gum.) Here.
WALTER What is – ?
Trevor
— 119 —
CATHY Bubblicious. Strawberry.
(SHE forces the piece into WALTER’s slack-jawed mouth – then pulls him closer.). Chew it!
(HE chews rapidly! CATHY pulls WATLER in close and sniffs in the delicious watermelon aroma and moves in for a kiss; lights go out on them before they connect just before they connect.)
TREVOR (Close call!) THAT’S NOT PART OF THE SHOW CUZ WE DON’T NEED TO KNOW WHAT IT LOOKED LIKE WHEN WALTER AND CATHY KISSED BUT I’M STILL GLAD TO SEE (WELL NOT LITERALLY) BUT I GUESS THIS WAS SOMETHING I WOULD HAVE MISSED
(A light reveals COACH GREGORY and the guys in gym.)
COACH GREGORY OK you little pudding pops; we’re going to make the rest of the week a little more fun! I’m going to pair you each up for one-on-one-rapid-fire dodgeball matches, and the winner of each match will progress –
TREVOR BUT I WOULD LIKE TO MISS EVERY SECOND OF THIS YES, I KNOW EVERY DAY CAN’T ALL GO MY WAY BUT I REALLY DON’T KNOW WHERE TO GO WITH THE SHOW WHEN I STILL HAVE TO FACE:
COACH GREGORY Pinky Farraday. You’re first competitor will be…Trevor Nelson.
JASON Careful; she might want a kiss.
(The guys howl with laughter.)
— 120 —
Trevor
TREVOR (ENSEMBLE) I’M RIGHT BACK IN THE GAME NOW AND I’VE GOTTA GET THROUGH ANOTHER MARATHON
(PINKY and TREVOR are side by side; holding dodgeballs. JASON stands in close proximity.) AND HE ACTS LIKE A STRANGER BUT HOW CAN I FORGET AND KEEP MOVING ON?
STUDENT ENSEMBLE (The students play dodgeball; PINKY and TREVOR just stare one another down for a beat…) ON AND ON AND ON AND ON AND ON
(TREVOR throws the ball badly; PINKY picks it up.)
PINKY You can just forfeit, you know.
(A beat.) C’mon. I don’t want to hurt you.
TREVOR You don’t?
PINKY Look. Everyone was saying… I mean. They thought I was… But. Trevor –
JASON What’s going on?
(To TREVOR.) You flirting again? TREVOR What? No. I’m just –
JASON (Intimidating TREVOR.) You’re just: what?
Trevor
— 121 —
(A beat – TREVOR is lost for words. JASON leads PINKY away.) C’mon, forget this. What a weirdo.
(They move to exit. TREVOR struggles for a beat, then-)
TREVOR Wait. You don’t even know me. But I know you now: and in ten years, you’re going to be just the same. And I’ll be so much weirder than you can even imagine. And I can’t wait.
JASON Oh, let me guess: Diana Ross said that, right?
TREVOR No. I did.
(An ecstatic beat…) I’VE GOTTA KEEP ON GOING (AH) TO KNOW WHERE I’LL BE (OO…) AND THERE’S NO ONE TO FOLLOW THERE EXCEPT FOR ME (OH) CUZ ALL I AM RIGHT NOW IS RIGHT NOW (OH OH…) ALL I AM RIGHT NOW IS RIGHT NOW ALL I AM RIGHT NOW IS RIGHT NOW (OO…) I’M RIGHT, NOW I KNOW AND I AM ON (AND ON AND ON) AND I’LL BE (ON AND ON AND ON) I’M GOING (ON AND ON AND ON) (ON AND ON AND ON) (NA NA NA NA NA) I’M GOING ON (NA NA NA NA NA) I’M GOING ON (NA NA NA NA NA) I’M GOING ON (ON AND ON AND ON) (NA NA NA NA NA) ON WITH THE SHOW (ON AND ON AND ON) (NA NA NA NA NA)
(BLACK OUT!) CURTAIN
2 6 —C ur t ain Call— I’m Co min g O ut
D i a n a & C om pa n y
— 122 —
Trevor
(Through the darkness…)
DIANA I’M COMING OUT I’M COMING OUT I WANT THE WORLD TO KNOW GOT TO LET IT SHOW I’M COMING OUT I WANT THE WORLD TO KNOW I GOT TO LET IT SHOW
DIANA & ENSEMBLE THERE’S A NEW ME COMING OUT AND I JUST HAD TO LIVE AND I WANNA GIVE I’M COMPLETELY POSITIVE
I THINK THIS TIME AROUND I AM GONNA DO IT LIKE YOU NEVER KNEW IT OH, I’LL MAKE IT THROUGH
THE TIME HAS COME FOR ME TO BREAK OUT OF THIS SHELL I HAVE TO SHOUT THAT
I AM COMING OUT I’M COMING OUT I WANT THE WORLD TO KNOW I GOT TO LET IT SHOW I’M COMING I WANT THE WORLD TO KNOW I GOT TO LET IT SHOW I GOT TO SHOW THE WORLD ALL THAT I WANT TO BE AND ALL MY ABILITIES THERE’S SO MUCH MORE TO ME (AH) SOMEHOW, I HAVE TO MAKE THEM JUST UNDERSTAND
Trevor
— 123 —
I GOT IT WELL IN HAND AND, OH, HOW I’VE PLANNED I’M SPREADIN’ LOVE (AH) THERE’S NO NEED TO FEAR AND I JUST FEEL SO GLAD (OH) EVERY TIME I HEAR
I’M COMING OUT I WANT THE WORLD TO KNOW GOT TO LET IT SHOW (YOU GOT TO LET IT SHOW) I’M COMING OUT (I’M COMING) I WANT THE WORLD TO KNOW YOU GOT TO LET IT SHOW I’M COMING OUT
2 7 —Ex it M usic
I nst r u men t al