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Don’t Look Back: The Musical

Set to the music of Boston Greatest Hits

A new & somewhat original musical by Halston Snell

It is a dark and rainy evening in the city. It is not stormy, but rather cold and drizzling as people briskly cross SL and SR holding umbrellas and newspapers over their heads to stay dry. The back drop cut out of the city skyscrapers is cast in silhouette against a dim blue light. SL is a park fountain and a bench occupied by a homeless man braving the rain. Taking center stage is the interior of a gloomy and badly-lit brick-walled bar, the kind of place where potentially shady deals are done. Above the bar is a badly maintained and minimally furnished flat, darkened at present. Neon signs, many partially burned out, advertising various brands of lager and spirits hang about the walls, the only aesthetic element in the dive. A motley crew of patrons inhabits the establishment and blocks our view of the bar CS: burly bikers sipping beer, throwing darts, and shooting pool, a fortune teller giving a tarot reading in a secluded corner table, slinky tramps strutting about doing their best to sell their profession, and various other bizarre characters going about their business. A rock band plays in the background toward USR as these activities are occurring.



AT RISE Cont.
The song quiets towards the chorus as the crowd parts for us, revealing a row of barstools lined up neatly against the well-stocked bar, then go back to their business. Center Stage is our protagonist, LENNY, and his girlfriend MARIANNE. LENNY is a plain-looking young man in his late-20’s to early 30’s wearing a starched white collared shirt with dull gray dress pants and polished black work shoes, typical office-worker attire with a nametag. MARIANNE is a Jersey-girl who frequents this breed of establishment but is wearing a black cocktail dress with silver heels and jewelry, quite inappropriate with the dress code we see in place with the other patrons. We cannot hear the couple over the crowd’s ruckus and the rock band, but their gestures indicate that they are in obvious distress. Their song ends and we are finally able to hear what they are saying. The band begins to play another unidentifiable piece in the background. It is popular and half of the bar goes to observe.

LENNY
Baby, I don’t know what else I can do for you!


MARIANNE
There’s nothin’ else ya can do for me! You’re just not enough for me anymore!
LENNY
Not enough for you? Not enough for you?! Well, then what is enough for you? I’ve given you candy, roses, moonlit walks, hell, I’ve even given you my best rock from my collection! What else could you possibly want? Girls love that kind of stuff!
MARIANNE
Tweaking LENNY’S chin
Well, guess what, sweetie? Not this girl. This girl needs someone like…like…she pauses. Well, someone not… like you.
LENNY is silent. She feels bad.
Goodbye, Lenny.
She leaves him, sauntering over to the crowd. She picks out one man in particular, the stereotypical tall, dark, and handsome type. They kiss and exit the bar together, SL through the park. LENNY does not see any of this.

“More Than a Feeling”
LENNY and BURLEY BIKER ENSEMBLE

LENNY
I looked out this morning and the sun was gone
Turned on some music to start my day,
I lost myself in a familiar song
I closed my eyes and I slipped away...

LENNY AND BURLY BIKER ENSEMBLE

It's more than a feeling,
when I hear that old song they used to play
ENSEMBLE
(more than a feeling)
LENNY
I begin dreaming
ENSEMBLE
(more than a feeling)
LENNY
'till I see Marianne walk away...

BURLY BIKER ENSEMBLE
I see my Marianne walkin' away


LENNY
So many people have come and gone

Their faces fade as the years go by

Yet I still recall, as I wander on
As clear as the sun, in the summer sky...

LENNY and B.B. ENSEMBLE

It's more than a feeling, when I hear that old song they used to play
ENSEMBLE
(more than a feeling)
LENNY
I begin dreaming
ENSEMBLE
(more than a feeling)
LENNY
'till I see Marianne walk away...

B.B. ENSEMBLE

I see my Marianne walkin' away

*dance break*
LENNY

When I’m tired and thinkin' cold
I hide in my music, forget the day
And dream of a girl, I used to know
I closed my eyes and she slipped away...

B.B. ENSEMBLE

She slipped away.

Singing these lines, they all exit SL into the wet city air

It's more than a feeling,
when I hear that old song they used to play...
(More than a feeling)

B.B Ensemble

I begin dreaming,
(more than a feeling)
'till I see Marianne walk away...





LENNY

I see my Marianne walkin' away…  

As the song comes to a close, LENNY sits on the ground and gives into his emotions. The BURLY BIKER ENSEMBLE returns to the bar while playing the punching game before exiting with the other bar attendees SR. LENNY shakes his head distractedly.
Mmm. Forgot my coat…
He stands up slowly and walks back into the bar. It is empty with the exception of the bartender, GUY, a large man with a shaved head, probably in his mid-40’s, wiping down the bar surface with a dirty towel. Now that the live entertainment has gone home for the evening, a worn-out piano recording plays in the background.

GUY
When LENNY walks in,
Sorry, son, but we’re closed fer the night.

LENNY
I know. I left my coat.
GUY
This it? He reaches behind the bar and brings up a plain gray jacket that has been stained with what appears to be beer. Lenny takes the coat and
examines it, more disappointed than irritated

Got a little wrecked.


LENNY
Yeah. Guess so. He hesitates, but he is cold. He slips it on.

GUY
Resuming wiping off the bar and without looking up,
Saw yer lady trashed you. Like you was yesterday’s leftovers.
LENNY
Sitting,
You would have seen that, wouldn’t you?

GUY
Yessir. Y’wanna talk ‘bout it?

LENNY
Ah…not really.
GUY
Good. Cuz I don’t either. Guys lose their women in this here place all the time. Nothin’ new ‘bout that. Yer no diff’rent than them other fellas. I says to them like I’ll say to you: I says, you need to keep hold of yer women. They got no right to be dumpin’ yer sorry ass. You dump them out with the trash, not them dump you! That’s just not the nat’ral order uh things, y’know? Not the way nature intended.

LENNY
Ah, I suppose, but don’t you think that’s a little…

GUY
He reaches in and claps LENNY on the shoulder,
‘Course ya see things my way. Now tell ya what, you go up there to your apartment and sleep your little head on this and we’ll see about findin’ you another woman first thing tomorrow morning. Another lady, good as new.



LENNY
Sir, you really don’t have to do this. I don’t need another girlfriend. I can manage by my—

GUY
Son, what’s your name?
LENNY
My name’s Len—

   GUY
Squinting and reading LENNY’S nametag,
Lenny. That’s a nice, strong name, you got there, Lenny. I like that. Well, Lenny, I know I don’t have to do this fer you.
LENNY
Beginning to stand up,
Then thank you for hearing me out but I really should be getting home---
GUY
Pushing him firmly on the shoulder to sit down
I KNOW I DON’T HAVE TO DO THIS FOR YOU, but there’s no need to thank me. I’m just doing my job. When I see a kinsman in distress I’ve gotta help ‘im out.

LENNY
Sir, I’m not in distress.
GUY
Lenny, you’re a man in distress if I’ve ever seen one. Seen plenty of ‘em back in ‘Nam. I remember ‘Nam…

LENNY
Silently doing the math,
You’re not even old enough to have fought in the Vietnam
W—
GUY
Boy, don’t you go tellin’ me what I have and haven’t done! I want you to get up to you’re apartment and get rested for tomorrow’s woman-hunting, you hear me?

LENNY
I really don’t want another girlfriend!

GUY
Pointing with the dirty rag
Right NOW, Leonard!
LENNY
Seeing this as his opportunity to go home,
Yes sir.
GUY
He’s back to wiping down the countertop,

Bright and early tomorrow morning.

LENNY
Yes sir.

GUY
Stop ‘yes sir’ing me, boy. Name’s Guy.

LENNY
Yes, Guy.
GUY
Right. You have a good night now.

LENNY
Thank you, Guy.
The lights on the bar dim as we hear LENNY’S footsteps on the stairs up to his apartment. As he enters, the lights come on directly over the flat. It is whitewashed and the furniture is plain. CS is a recliner that is obviously secondhand and next to it is a small end table housing a lamp and a single framed picture of MARIANNE. SR is a kitchen that is as dreary as the living room. There is a refrigerator and a dining room table with a single daisy in a vase. LENNY drags himself to the recliner and flops down. He picks up the picture of MARIANNE.
See my Marianne walkin’ away…
He rocks himself in the chair, hugging the photograph. He closes his eyes and goes to sleep. Lights down and…

END SCENE 1

SCENE 2

The next morning in LENNY’S apartment. The sun is shining, the birds are singing, and LENNY is still asleep in his chair clutching MARIANNE’S picture. All is peaceful until we hear a slamming on the door.
LENNY
Startled, throws the picture,
Whuh, who’s there…?
A pause. Then, more slamming. LENNY groggily stomps to the door and wrenches it open.
Buddy, I don’t know who you think you are, but you can’t just—
He is cut off by the pat on the back he receives from GUY, much more jovial and seemingly larger from the night before.

GUY
Good mornin’, Lenny! You ready to go find yerself another lady? He walks around inspecting LENNY’S home.

LENNY
Adamantly,
I told you this already Guy: I don’t want another girlfriend.
GUY
In the kitchen,
Well, what’cha plan on doin’ then? Livin’ yer whole life without a woman? He picks up the flower on the table, What do we have here? A little daisy. Cute, Lenny. Real sweet of you.
LENNY
Putting the flower back in its vase,
It’s from my old girlfriend, Marianne. Before she…you know…

GUY
Taking the flower again and finally throwing it in the trash,
You need to just forget about this Marianne! She’s the one who dumped ya, right? Let you go like a little fish. I’ll say it again: That’s not the way that works! Not the way nature wanted. Time to go find ya another girl. Nice and proper-like, in the city.

“Peace of Mind”
GUY, LENNY, and CITYFOLK ENSEMBLE (including homeless man from earlier)

GUY
Now if you're feelin' kinda low 'bout the dues you've been paying
Future's coming much too slow
And you wanna run but somehow you just keep on stayin'
“Peace of Mind”- GUY cont.

Can't decide on which way to go
Yeah, yeah, yeah

I understand about indecision

LENNY
But I don't care if I get behind

GUY
People livin' in competition

LENNY
All I want is to have my peace of mind. (yeah)

GUY and LENNY exit LENNY’S apartment and downstairs to bar. They exit bar and go into city to join CITYFOLK ENSEMBLE.

GUY
Now you're climbin' to the top of the company ladder
Hope it doesn't take too long
Can't cha see there'll come a day when it won't matter
Come a day when you'll be gone

I understand about indecision

LENNY
But I don't care if I get behind

GUY
People livin' in competition


LENNY and GUY
All I want is to have my peace of mind.



ENMSEMBLE
Take a look ahead, take a look ahead, yeah, yeah, yeah, yeah... whoa!

*dance break*

“Peace of Mind” Cont.

During dance break, LENNY is paired up with various women to dance with by GUY, but never stays with one for more then a few seconds.

GUY
Now everybody's got advice they just keep on givin'

LENNY
Doesn't mean too much to me

GUY
Lot's of people out to make-believe they're livin'
Can't decide who they should be.

GUY and ENSEMBLE
I understand about indecision

LENNY
    But I don't care if I get behind

GUY
People livin' in competition

LENNY and ENSEMBLE
All I want is to have my peace of mind.

ENSEMBLE
Take a look ahead, take a look ahead. Look ahead.

The song ends and the CITYFOLK go back to their business. LENNY is distraught. He walks SL to the fountain and the bench. He sits on the fountain edge dejectedly while GUY takes the bench.

GUY
Cautiously. He knows that he’s screwed up.
So, ah, Lenny. Did’ya find anyone ya liked?

LENNY doesn’t answer.

GUY Cont.
Anyone pretty enough for ya?

LENNY is still not answering.

Okay, Lenny now you’re just bein’ stubborn. You can’t tell me that you couldn’t find one woman in that whole damn city that you weren’t interested in?

LENNY mumbles
What was that?
LENNY
I said I did.
GUY
Triumphantly
HA!! I knew you’d find someone! So what’s the girl like, huh?

From the town SR enter AMANDA. She is not exceptionally pretty, but not too plain either. She is like LENNY in that way: a forgettable face. She is carrying a black briefcase that is not hers and is walking toward GUY and LENNY, out of breath

AMANDA
Sir, is this yours?
GUY
Thinking that she is talking to him
Why, no, miss that’s not mine. Oh, but I’ll be glad to take it off your pretty little—

AMANDA
I meant him. She steps to LENNY. Is this yours?





LENNY
He is fumbling for words. This is    the girl he found in the city.
Oh, umm, no, it’s not mine.
  
  
AMANDA
No, I’m pretty sure this is yours. She pushes the briefcase into his lap. Have a nice day, Sir.

   LENNY
Uhh, thank you miss…?
But she is gone.
…You have a nice day too.

She exits the way she came and LENNY looks down interestedly at the case in his lap. He looks and GUY, who shrugs, and he opens it. Inside is a letter which he reads aloud to us.

“To that guy in cubical 5,
I see you everyday, but I don’t even know your name. Like clockwork every morning at 8:30 sharp I bring you your coffee and the morning paper and you just nod silently as I walk away.”
SL, AMANDA is in the bar, nursing a drink.
AMANDA
But when I walk away, I’m not sad. I’m not the least bit sad because, well, I know what you’re still there. And I know that even for that brief second, you acknowledged me, even if you don’t know who I am. And well, when I saw you in the city with your friend and you were with all of those other women…
LENNY
“I was jealous. So since I didn’t get to say this the first day I met you, it’s nice to meet you, Lenny. My name is Amanda, and I love you.”
“Amanda”
LENNY and AMANDA

AMANDA
Babe, tomorrow's so far away
There's somethin' I just have to say
I don't think I could hide what I feel inside
Another day
“Amanda”- AMANDA Cont.
Knowin' I love you



LENNY
And I, I'm gettin' too close again
And I don't wanna see it end
If I tell you tonight, would you turn out the light
And walk away
Knowin' I love you?

I'm gonna take you by surprise
And make you realize, Amanda
I'm gonna tell you right away
I can't wait another day, Amanda
I'm gonna say it like a man
And make you understand, Amanda
I love you

AMANDA
And I feel like today's the day
I'm lookin' for the words to say
Do you wanna be free? Are you ready for me
To feel this way?
I don't wanna lose ya

LENNY
So it may be too soon I know
The feelin' takes so long to grow
If I tell you today, will you turn me away
And let me go?
I don't wanna lose you

*Dance Break*

I'm gonna take you by surprise
And make you realize, Amanda
I'm gonna tell you right away
I can't wait another day, Amanda
I'm gonna say it like a man
And make you understand, Amanda
Oh, girl

*More dance break!*

AMANDA and LENNY
You and I, I know that we can't wait




“Amanda”- LENNY Cont.
And I swear, I swear it's not a lie, girl

AMANDA and LENNY
Tomorrow may be too late

LENNY
You, you and I, girl, we can share a life together
It's now or never and tomorrow may be too late

AMANDA
And feelin' the way I do

LENNY
I don't wanna wait my whole life through
To say

LENNY and AMANDA
I'm in love with you

END SCENE 2

SCENE 3

Several months have passed. The season has shifted to winter and small yet thick piles of snow and crystalline icicles accent the setting. AMANDA sits on the park bench in silence, silhouetted by a cold blue light. “Foreplay” plays as LENNY and AMANDA DUPLICATES reenact in pantomime the history of their relationship up to this point as taken place in the apartment, the bar, and the town, complete with BAR-GOERS and CITYFOLK. The story should begin peaceful yet become energetic in places of musical intensity. Ideally, halfway through the instrumental, action should become chaotic as we see AMANDA meeting with another man in the city whose face is concealed by a jacket hood and afterwards her return to LENNY in the apartment. In the mime, LENNY openly accuses her of seeing another man, though she denies it.
They fight as the music crescendos but when it begins spiraling downward to its conclusion, she walks out the door, leaving LENNY alone in the apartment. The lights dim on the DUPLICATE and turn to the real AMANDA, who has been crying. From SL LENNY enters out of breath and bundled up in his winter gear, including a scarf and earmuffs.

LENNY
There you are! You just ran off and I had no idea where you were!
AMANDA
Oh, well, um, you found me.
LENNY
Yeah, I know. Hey, I’m sorry, I yelled at you, dear. I don’t know what got into me. It’s just, well… he sits down on the bench, you haven’t been around lately. You always get back late from work and I’m worried that—

AMANDA
That there might be someone else.

LENNY
Sighs
I guess you could say that. My last girlfriend left me. Guy, you know Guy.
AMANDA
Quietly
He’s a nice man.
LENNY
The best man I know. He told me not too long ago that my last girlfriend, Marianne, left me for another guy that same night. I almost hit him right in the jaw, but then I remembered that it’s because of him that I met you. And I know that you would never leave me for anyone else, right? I love you Amanda. I would never leave you.

AMANDA
Lenny, there’s something I think I need to tell you.


“Long Time”
AMANDA, LENNY, CITYFOLK ENSEMBLE

AMANDA
It's been such a long time
I think I should be goin', yeah
And time doesn't wait for me, it keeps on rollin'

ENSEMBLE
Sail on,

AMANDA
on a distant highway

AMANDA and ENSEMBLE
I've got to keep on chasin' a dream
I've gotta be on my way

LENNY
Wish there was something I could say.

ENSEMBLE
Well I'm takin' my time,

AMANDA
I'm just movin' on
You'll forget about me after I've been gone

ENSEMBLE
And I take what I find,

AMANDA
I don't want no more
It's just outside of your front door.

AMANDA and LENNY
It's been such a long time. It's been such a long time.

LENNY and ENSEMBLE
Well I get so lonely

LENNY
when I am without you

AMANDA
But in my mind, deep in my mind,
I can't forget about you
“Long Time” Continued

ENSEMBLE
Good times,

AMANDA
and faces that remind me

LENNY and AMANDA
I'm tryin' to forget your name and leave it all behind me

LENNY
You're comin' back to find me.

ENSEMBLE
Well I'm takin' my time,

LENNY
I'm just movin' on
You'll forget about me after I've been gone

ENSEMBLE
And I take what I find,

AMANDA
I don't want no more
It's just outside of your front door.

AMANDA, LENNY and ENSEMBLE
It's been such a long time. It's been such a long time.

*Dance Break*
During dance break, enter GUY from his bar.

GUY
It's been such a long time, I think I should be goin', yeah
And time doesn’t wait for me, it keeps on rollin'

ENSEMBLE
There's a long road,

GUY and ENSEMBLE
I've gotta stay in time with


“Long Time” Continued

GUY and AMANDA
I've got to keep on chasin' that dream, though I may never find it

LENNY
I'm always just behind it.

GUY and AMANDA kiss then skip off SR, his arm around her waist.

ENSEMBLE
Well I'm takin' my time,

LENNY
I'm just movin' along

ENSEMBLE
Takin' my time,

LENNY
just movin' along

LENNY and ENSEMBLE
Takin' my time, takin' my time...

END SCENE 3

SCENE 4

The next day at the bar, which is once again teeming with people, more specifically, the same crowd of BAR-GOERS as featured in the beginning of the play. The bartender is not GUY, but is instead some poor shmuck who has no idea what he is even doing behind the counter at a job like this. Enter LENNY from SR, off early from work. He enters the bar, but does not go for the counter. He makes a subtle beeline for the fortuneteller in the corner. She is an old withered crone with a hooked nose and a
SCENE 4 Continued

humpback and she goes by the alias of MADAM J. SWINDLER. Her private table is draped in a Bohemian scarf with a deck of tarot cards in the center, waiting to be spread. LENNY sits across from her.

MADAM J.S.
Good noon, my child. You come to have fortune told, yes? I  very good fortune teller. Future I see. Good future only. You want good future-fortune, yes?

LENNY
Ah, well, yes, I suppose that’s why I came here. I was just wondering if you would be able to tell me my… whispering, my love fortune.
MADAM J.S.
Cackling loudly,
I can do love fortune! Love fortune easy, so easy! No need cards to tell yours: You hopeless, child. Go home and crawl under rock. Never come out. Have good day, okay?

LENNY
No, no! I want you to tell me my real fortune, using those cards of yours!
MADAM
I tell you again, no need to wake up cards for you. You
Hope—
LENNY
Exasperated,
Yes, yes, I know I, I’m hopeless!

MADAM
Then what else you want? Go away, little pest.

LENNY
Pulls out a single piece of folded paper and puts it in front of him.
A hundred bucks.
MADAM
Suddenly interested,
Hmm… Two hundred.


LENNY
Reaches into his wallet again,
One-fifty.
MADAM
One-fifty. Okay, is deal.
LENNY
Hands over the bills. MADAM examines the bills in the weak light. Satisfied that they are not fake, she pockets them and closes her eyes as she shuffles the deck.
So, um, what now?
MADAM
SHHHH!!! You will scare off spirits. Be quiet pest-child.

LENNY
…Sorry.
MADAM
Emerging from her trance, begins to deal cards, setting them up in an elaborate manner that looks more like a game of solitaire than a tarot reading. In fact, it may very well be a game of solitaire at the rate this is going. She flips over the first card.
World card. Success. Harmony. Far travel. You travel?

LENNY
No, I haven’t traveled very far. My ex-best friend did elope to Mexico with my ex-girlfriend yesterday.

MADAM
Okay. Is still travel.

LENNY
I mean, I don’t know what I did! She just left me for him. What’s so great about him? He’s loud, he’s disgusting, he’s—
MADAM
Sounds like you jealous. Flips a card, Lovers. Flips the card next to it, Death. No need to explain those two, yes?

LENNY
Death and lovers. No, I’m pretty sure I understand that one.

MADAM
Okay, so you love this girl still, but she no love you. She love your best friend. Love him in Mexico. Good country for tanning in little bikinis.
LENNY
Disturbed by both the visuals of GUY and AMANDA in Mexico and of MADAM in a bikini on the beach,
Uhh, right.
MADAM
So you still care for this girl. Tell me about her, How you still feel. Will make sprits work better.

“Tell Me”
LENNY and BAR-GOER ENSEMBLE

LENNY
I stand on my own
And wonder if you've ever been alone
With all the world around you
Say the word, I'd be there
And like a fool I'd go anywhere
Just like the day I found you

Tell me what you see
Tell me you believe in my love

LENNY and ENSEMBLE
Tell me what you need
Tell me you believe in my love

LENNY
I don't understand what to say
You take my breath and then you

LENNY and ENSEMBLE
walk away

LENNY
Your life goes on without me

And you can look right at me
But in your eyes it's a mystery
What do you feel about me?

Tell me what you see
Tell me you believe in my love
“Tell Me” Continued

LENNY and ENSEMBLE
Tell me what you need
Tell me you believe in my love

LENNY
Tell me you believe
Tell me you believe
Tell me you believe
Tell me you believe

LENNY and ENSEMBLE
Tell me you believe
Tell me you believe
Tell me you believe
Tell me you believe
Tell me you believe
Tell me you believe

LENNY
Tell me you believe in my love

I don't really know what to say
I don't know how but I could learn to pray
If praying makes you hear me

I could stay on my own

LENNY and ENSEMBLE
And wonder if I would have ever known

LENNY
I just want you near me

LENNY and ENSEMBLE
Tell me if it's real
Tell me what you feel in my love

Tell me what you need
Tell me you believe in my love

Tell what to give
Tell me how to live for your love

Tell me what you see
Tell me to believe in your love
MADAM
You beyond caring for girl. You sound like you need new girl. I have daughter. Tiny thing. Exotic beauty. Works around street corner after midnight. I call her. You two meet. You see? Things work out always.

LENNY
I, I’m sorry, Madam, but I’m not interested in buying your daughter. I’m sure that she’s a nice girl, but I’m not into that kind of thing—
MADAM
This card says something else. Judgement card. Card of letting things go. And this card, Card of World. Card of Conclusion. All cards tell story, these cards tell story of you. You have girl, you lose her to best friend. Lovers and Death is death of love. Judgement and World, cards of future. See? I always give good future-fortune.

LENNY
Good future-fortune? What is this crap? You’re telling me that I lost love and now I have a future? What kind of future is that? That’s what I paid you to tell me!

MADAM
I do not know. One-Fifty buys four cards. One-fifty more for four more cards. Is deal?

LENNY
No, no, it’s not a deal!
MADAM
Then I tell you again: You hopeless.

LENNY
Yeah, so I’ve heard.
MADAM
Then give up.
LENNY
Pause,
Give up?
MADAM
Yes. Give up on love. Love has no time for you, you have no time for love. You blind, but try to see signs. They say give up. Leave love be.
LENNY
Mesmerized,
Give up on love…Give up on love! That’s it! Just let it go! No more!
MADAM
Yes, child, that’s what I say! Leave love! Kill love! Love dies! Love dead already! You win!

LENNY
Yes! Love is dead! I beat it! I’m done! I’m finished!

“Don’t Look Back”
LENNY, MADAM J.S., MARIANNE, GUY and AMANDA (In wedding attire), CITYFOLK ENSEMBLE, BAR-GOER ENSEMBLE, BURLEY BIKER ENSEMBER (For these purposes, ‘ENSEMBLE’)

LENNY
Don't look back

ENSEMBLE
A new day is breakin'

LENNY
It's been too long since I felt this way

I don't mind

ENSEMBLE
where I get taken

LENNY
The road is callin'
Today is the day

ENSEMBLE
And I can see
It took so long just to realize
I'm much too strong
Not to compromise

LENNY
Now I see what I am is holding me down
I'll turn it around, oh yes I will

Everyone exits outside into city where they are joined by CITYFOLK ENSEMBLE

LENNY and ENSEMBLE
I finally see the dawn arrivin'
I see beyond the road I'm drivin'

GUY
Hey, Lenny? What’s goin’ on? Wha’d ya do ta my bar?

LENNY
Can’t you hear? I gave up!

AMANDA
On what?

LENNY
On love!
It's a bright horizon

ENSEMBLE
but I'm awakin'

LENNY
Oh I see myself in a brand new way
The sun is shinin'

LENNY and ENSEMBLE
The clouds are breakin'
'Cause I can't lose now, there's no game to play

GUY and ENSEMBLE
I can tell
There's no more time left to criticize
I've seen what I could not recognize

LENNY
Everything in my life was leading me on
But I can be strong, oh yes I can

LENNY and ENSEMBLE
I finally see the dawn arrivin'
I see beyond the road I'm drivin'

LENNY
Far away and left behind,

MARIANNE and MADAM J.S.
left behind

MARIANNE
My baby left me too! Tall, dark, handsome, gawd, he was gorgeous. I’m gonna give up on love, too.




MADAM
Oh, no, no, no, you no need to give up! You have future! You have good future! Come with me, I give you good fortune. If no good fortune, my daughter is good girl. You meet with her around corner after midnight tonight, okay?

MARIANNE
Well, alright. I gots nothin’ to lose.

They go back into the bar and sit at her table.

LENNY
Oh the sun is shinin' *and I'm on that road*

*Dance Break*

LENNY
Don't look back

ENSEMBLE
A new day is breakin'

LENNY
It's been too long since I felt this way
I don't mind

ENSEMBLE
where I get taken

LENNY and ENSEMBLE
The road is callin'
Today is the day

GUY and AMANDA
I can see
It took so long just to realize
I'm much too strong
Not to compromise

LENNY
Now I see what I am is holding me down
I'll turn it around, oh yes I will
“Don’t Look Back” Continued

LENNY, GUY, and ENSEMBLE

I finally see the dawn arriving
I see beyond the road I'm driving

LENNY
Far away and left behind

EVERYONE
Don't look back
Don't look back
Don't look back
   Don't look back...


Music fades.

CURTAINS CLOSE.

END OF DON’T LOOK BACK: THE MUSICAL
This is the one-act musical that I wrote for my Playwriting class. It follows the story of Lenny, a typical American middle-class office worker and his dysfunctional attempts at finding love.

Yeah, this started out serious. Screw that. XD

I'm not sure if there are any copyrights needed for this but just in case there are, all songs used in this script are copyright Boston. :)

In case you don't know the songs or would just like to read it along with the score, here's the playlist I made to go with it: [link]

Enjoy! :D
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:iconbiancamakesart:
BiancaMakesArt Featured By Owner Nov 26, 2010  Student General Artist
featured in my group!!!!! :D
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:iconfroggy-spaztastic:
Froggy-Spaztastic Featured By Owner Nov 27, 2010
Woot! XD
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:iconkadberryf:
KadberryF Featured By Owner Apr 11, 2009  Student General Artist
LOVE.

OMG I WOULD LOVE TO SEE THIS!!!!!!! (faints from so much love...)
Reply
:iconcolorfulgreyscale:
ColorfulGreyscale Featured By Owner Apr 5, 2009
That was great, Halston! I loved it <3 Later, I'll listen to the score. But that was a really cute play. It would be fun to see on stage.
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