Prologue A darkened stage. A spotlight on a young girl rocking a cradle as she sings, DADDY’S EYES. DADDY’S EYES YOU’RE LUCKY TO BE ALIVE, SAID A STRANGER ALL IN WHITE YOU’D BE SURPRIZED HOW MANY TIMES THIS HAPPENS IN A NIGHT BUT THE REAL SURPRIZE WAS WAITING FOR ME NINE MONTHS DOWN THAT ROAD WHEN THEY BROUGHT YOU IN FOR ME TO SEE AND I FELT MY FUTURE UNFOLD AS I WRAPPED MY ARMS AROUND YOU TO SOOTHE YOUR GENTLE CRIES AND THEN YOU LOOKED STRAIGHT UP AT ME, YOU HAD YOUR DADDY’S EYES. YOU’VE GOT YOUR DADDY’S EYES, I’M NOT LIKELY TO FORGET AND EVERYTIME YOU LOOK AT ME THAT NIGHT COMES BACK AND YET I CANNOT HELP BUT LOVE YOU CAN’T HELP BUT BE SURPRIZED BY ALL THE PAIN THAT BROUGHT YOU HERE YOU’VE GOT YOUR DADDY’S EYES… A voice calls out from off stage. “Pamela, they can’t wait any longer. They are here. You have to bring her down.” Pamela looks down at the little baby in the crib and says, “They tell me this is for the best little one…my heart says no, but they all say Yes. I must give you up. I love you and I know that I’ll never forget you…” She picks up the baby and walks out of the spotlight. Then blackout… Act One, Scene One: The stage is still dark, faintly we hear, “another day, another dollar…” as a spotlight finds one face on the blackened stage. “Another day, another dollar” repeats as, one by one, more spot lights find each individual cast member in various places on the stage as they join in Soon they are all lit. They are miming sitting in their cars, behind their steering wheels, driving to work and singing another day, another dollar”, over and over. The music builds into a powerful throb until the full cast is singing, “ANOTHER DAY, ANOTHER DOLLAR” and then the song begins… ANOTHER DAY ANOTHER DOLLAR (Part One) ANOTHER DAY, ANOTHER DOLLAR, WE'RE DRIVING IN OUR CARS ANOTHER DAY, BACK ON THE FREEWAY, WE DON’T KNOW WHERE WE ARE DEEPER IN DEBT, WE KEEP ON WORKING, WHAT CAN WE REALLY FEEL? AFTER THEY'VE SOLD US THAT, "NOSE TO THE GRIND STONE", THAT, "SHOULDER TO THE WHEEL" ANOTHER DAY, ANOTHER DOLLAR, ANOTHER ALIBI ANOTHER NIGHT, YOU CALL THIS LIVING? I CALL THIS REASONS WHY I'VE GOT TO CHANGE THIS LIFE I'M LIVING, I'VE GOT TO CHANGE IT FAST GOT TO GET OUT OF THIS RAT RACE RUNNING ME, DON'T KNOW IF I CAN LAST… ANOTHER DAY JUST LIKE THE OTHER, SAME AS THE ONE BEFORE PICTURE TWO MIRRORS, FACING EACH OTHER, THERE MUST BE SOMETHING MORE THRE'S GOT TO BE SOMEBODY SOMEWHERE, WHO'LL UNDERSTAND MY PLEA SOMEONE TO MAKE THIS LIFE WORTH LIVING FOR, SOMEBODY JUST FOR ME… ANOTHER DAY, ANOTHER DOLLAR, ANOTHER DAY, ANOTHER DOLLAR ANOTHER DAY, ANOTHER DOLLAR, ANOTHER DAY, ANOTHER DOLLAR The voices end in a delay echo “another day another dollar, dollar, dollar,” …and then the echo fades. The stage goes black. Act One, Scene Two – the offices of Busywork, Inc: Pamala, a thirty something woman, working at BW Inc in the HR department. Her desk is home to an ever changing bouquet of flowers, which she ignores daily. Her first interviewee of the day is a lovely young black girl named Chris, a bright, energetic and capable woman. They hit it off amazingly well at the interview and Pamala decides to hire her. Chris leaves and Pamala looks over her resume one more time, and that's when she notices Chris's birthdate. What a coincidence she murmurs born on the same day as… well...amazing. Pamala picks up some reports on her desk that she thought needed to be done, but they are all done as well. “Weirder”, she says. I would have sworn I still had to do these. Then she looks at the flowers, sniffs them and then declares, “back to work” The music swells, the cast begins to move again and they all sing various lines solo and other lines ensemble, “ANOTHER DAY, ANOTHER DOLLAR” Chorus reprise… Blackout Act One, Scene 3 – the Offices of Busywork Inc one month later Chris has been hired to work in the HR department of the Busywork, Inc headquarters. under Pamela. They get along famously and have become fast friends. The two are obviously very close. Chris discovers that Pamela hasn't had a date since Reagan was president. She urges Pamela to get out there. Pamela has no interest. They are at Pamela’s desk, on which there is a bouquet of tulips and no note. The office workers are busy and moving about but freeze as… Pamela remarks, “here they are again. Wonder who this secret admirer is. He’s certainly taking his time. Maybe he knows what I think of romance, or men in general for that matter…hmm, maybe it’s a woman. Who cares? I am most definitely not interested. Enough of this pointless rumination. So Chris, how do you like working here?” Chris says, “It’s a joy. Thanks so much for taking a chance on me, as you know, I had no experience but I am a fast learner. …and on another note, Pamela, I don’t know how you can have no curiosity as to where these tulips keep coming from, I would be consumed with curiosity …well, it’s your life. But regardless of your proclivities, you have to go with me to the office mixer tonight. I can’t go alone, I am too new here.” Pamela replies, “I’ve already been to these office parties many times before. It will be just more of the same; the same booze, the same food, and the same transgressions. Only the names of the players change. Been there, done that, got the T shirt. You know how I feel about the whole dating game.” “Pamela, it will be different this time…I know it will. Please come with me.” Chris entreats. “I’m not going, and that’s final. Not to mention that I am swamped with paperwork. …hey, these are already completed…weird. Still, I’ve got way too much work right now. As a matter of fact, we’ve ALL got too much work right now to even have a life” NO TIME FOR ROMANCE IT'S A BUSY, BUSY WORLD GOING FASTER ALL THE TIME AND THERE AREN'T ENOUGH HOURS IN THE WAY THAT IT'S PICK UP THIS AND FAX ME THAT AND PUT IT OVER THERE IT'S A BUSY, BUSY, BUSY, BUSY DAY THINGS ARE BUZZIN', THINGS ARE HAPPENIN' THINGS ARE CRAZY IN THE HIVE AND WE GET NO LIVES ACCOUNTANTS SEEM TO SAY O WE'VE GOT LIVES WE WANT TO LIVE WE'VE GOT LOVE WE WANT TO GIVE BUT FOR NOW IT'S ONE MORE BUSY, BUSY, BUSY DAY WE'VE GOT NO TIME FOR ROMANCE NO TIME FOR ROMANCE…ROMANCE? TELL ME WHO'S GOT TIME FOR LUNCH WE'VE GOT NO TIME FOR GLANCE AT A STRANGER WE'RE BETROTHED TO A CLOCK WE'VE GOT TO PUNCH WE'VE GOT NO TIME FOR ROMANCE NO TIME FOR ROMANCE MY BOYFRIEND'S BEEN ON HOLD SINCE APRIL FIRST WE'VE GOT NO TIME, WE'RE MORE STYMIED THAN STEAMED AND THE FISCAL YEAR SCREAMS THINGS ARE GETTING WORSE THEY SAY THAT WORK EXPANDS TO FILL WHATEVER TIME YOU'VE GOT YOU CAN SAY THAT AGAIN, (I 'PROB'LY WILL) THEY SAY THAT WORK EXPANDS TO FILL WHAT EVER TIME YOU'VE GOT (SEE?) TIME DOESN'T WOUND ALL HEALS, IT KILLS. WE'VE GOT NO TIME FOR ROMANCE NO TIME FOR ROMANCE…ROMANCE? PHONES ARE RINGING OFF THE HOOK WE'VE GOT NO CHANCE FOR A DANCE WITH A STRANGER WE'RE LUCKY IF WE GET A SECOND LOOK WE NEED THE TOUCH OF A MATE WE NEED A COUCH, WE NEED A DATE WE NEED A BREAK FOR MORE THAN COFFEE, SMOKES, OR TEA WE NEED TO RUN THRU FIELDS OF GLADS LIKE THOSE PEOPLE IN THE ADS, WE NEED A WINDOW, …WITH A VIEW, …OF A TREE WE'VE GOT NO TIME FOR ROMANCE NO TIME FOR ROMANCE IF WE DIE AND GO TO HELL WHAT'S THE DIFFERENCE? COULD WE TELL? IT'S A BUSY, BORING, BUSY, BOSSY, BUSY, BITCHY, BUSY, BUSY DAY Cast freezes… Pamala picks up some reports on her desk that she thought needed to be done, but they are all done as well. “Weirder”, she says. I would have swor n I still had to do these. Blackout Act One, Scene Four– the Ladies Room: In the ladies room Chris again makes her plea. “Pamela, you are leaving no place for possibility here. What did you tell me? Who knows what might happen? Who knows if this isn’t the time when love will come knocking right on your door. You don’t want to miss that, do you?” Pamela replies, “Love comes knocking? Love runs away screaming is more like it. I’ve been to these parties, I’ve been on too many miserable dates. I even registered with cyber harmony. No more examples of God’s infinite sarcasm for me. I’ll just wait until the Power that be’s caves and delivers the real thing right to my door wrapped in a bow.” “Come on. You know that joke about the lottery and God? After years of not winning the lottery, this guy goes to church, gets on his knees and asked God why He hasn’t let him win. God replies, ‘MEET ME HALF WAY…BUY A LOTTERY TICKET.’ There you go. Nothing will change unless you take a chance. Can’t you take that chance again?” Pamela retorts, “Hey, I TOLD you that joke. And I remember the last time I gave in to optimism.” The intro begins and Pamela’s memories come alive as she sings, Just Like Love” JUST LIKE LOVE ONE MORE ENDLESS PARTY, I HARDLY EVER GO, BUT JUST THAT NIGHT, I THOUGHT I MIGHT, YOU NEVER KNOW IT WAS A CROWDED ROOM, BUT SOMEHOW I FOUND YOU AND THRU THE SMOKE AND WHISKEY, WE FELT SOMETHING NEW… AND WASN'T IT JUST LIKE LOVE? TOO GOOD TO BE TRUE? JUST LIKE LOVE? DIDN'T IT FOOL YOU TOO? JUST LIKE LOVE ISN'T IT JUST LIKE ROMANCE TO HIT YOU FROM BEHIND? YOU TURN AROUND, BUT NEVER KNOW WHAT YOU WILL FIND IT'S ONLY A GAMBLERS DREAM AND YET I STILL DON'T CARE I'D RATHER LOSE AT HEARTS THAN WIN AT SOLITAIRE AND WASN'T IT JUST LIKE LOVE? TOO GOOD TO BE TRUE? JUST LIKE LOVE? DIDN'T IT FOOL YOU TOO? JUST LIKE LOVE …SAYING GOODBYE TO YOU IT'S ALL SO CRAZY NOW, IT'S JUST AMAZING HOW LOVE SLIPS AWAY JUST LIKE LOVE? TOO GOOD TO BE TRUE? JUST LIKE LOVE? DIDN'T IT FOOL YOU TOO? JUST LIKE LOVE. JUST LIKE LOVE. JUST LIKE LOVE…TOO GOOD TO BE TRUE… Chris answers, “Okay, okay. I’m fine with it if it’s what you want. …say, I have an idea. Let’s put this whole office mixer party thing on hold and talk about it after work.” (and in an aside to herself) “I know you well enough by now to know that by then your resolve and caustic pessimism will have weakened enough so that I’ll get you to go to that party, …at least for a little while.” Act One, Scene Five – Mixer Office Party at the Bar near Busyworks, Inc: At the party, things are in full swing, Louden G Lizzard is over by himself, clearly a wallflower. They see Louden, and upon him noticing them he begins trying way too hard to be Mr. Studly Do Right Now! Hhe brightens up and makes his approach. Still trying waaaaaaaaaaay too hard. “Helloooooooo ladies, you look like you’re looking for trouble and that is my middle name, wild thang. What do you say? I’m Louden, in case you forgot. How about you and me doing the ‘wild thing’. …you’ve got those bedroom eyes. Wild thing, Oh yes, you could be a wild thing!” Pamela and Chris actually retch, but Louden won’t leave Pamela alone, He won’t take no for an answer until… Pamela points at some young ‘Miss Thing’ and says, “Say, didn’t that girl in the micro dress and thong number just wave at you?” Louden stops ...he looks longingly back at Pamela, but follows her direction. He looks disappointed and then in a burst of bravado, turns on a dime, and without missing a beat, starts smiling as he walks towards his NEW love interest singing “Dirty Job” DIRTY JOB WHEN YOU WALKED INTO THE ROOM I HAD YOUR NUMBER AND BEFORE TOO SOON, I KNEW YOU'D HEED THE CALL THERE'S A SPELL MY BODY NEEDS TO PUT YOU UNDER IT'S A LONG WAY DOWN BUT YOU WILL LOVE THE FALL IT'S A DIRTY JOB, BUT SOMEONE'S GOT TO DO IT TAKE YOU TO THE EDGE AND SET YOU FREE IT'S A DIRTY JOB BUT SOMEONE'S GOT TO DO IT AND THAT SOMEBODY MIGHT AS WELL BE ME WE COULD FLY IF WE PUT TWO AND TWO TOGETHER I COULD SHOW YOU WHAT I MEAN WITH JUST ONE KISS IF YOU TRUST ME JUST THIS ONCE AND THEN FOREVER YOU WILL NEVER EVER WONDER WHAT YOU'VE MISSED IT'S A DIRTY JOB, BUT SOMEONE'S GOT TO DO IT TAKE YOU TO THE EDGE AND SET YOU FREE IT'S A DIRTY JOB BUT SOMEONE'S GOT TO DO IT AND THAT SOMEBODY MIGHT AS WELL BE ME FOR THAT DIRTY JOB THIS IS BIGGER THAN THE BOTH OF US, DON'T FIGHT IT WE'VE ALL GOT TO FEED THOSE FIRES DOWN BELOW DON'T YOU SHAKE YOUR HEAD, I KNOW YOU'RE GONNA LIKE IT AND THEN MOMENT THAT WE TOUCH, THAT'S WHEN YOU'LL KNOW IT'S A DIRTY JOB, BUT SOMEONE'S GOT TO DO IT TAKE YOU TO THE EDGE AND SET YOU FREE IT'S A DIRTY JOB BUT SOMEONE'S GOT TO DO IT AND THAT SOMEBODY MIGHT AS WELL BE ME FOR THAT DIRTY JOB All the while he’s singing the song, he’s looking back longingly at Pamela. Lovely girls flock around Louden as he finishes the song, Dirty Job. Oddly enough, Louden hardly notices them as he again looks back at Pamela… Louden shouts to Pamela, who cringes and tries to hide behind the umbrellas in her mai tai’s. but he comes back…“Hey, I haven’t forgotten about you …I’m thinking we could really create some serious “wild thing” memories…just the two of us, wait did I say that out loud?…oops, sorry…” And Chris returns to Pamela from the bar. Act One, Scene Six – Still At the Party “Hey, I saw you from across the room. Why were you smiling at that guy? You’re not getting desperate, are you? Lowering your expectations?” Chris asks returning. “O no, just enjoying my fantasy about him floating down a lazy river…when suddenly a school of piranhas surround him and go for his taste buds. Wanna know if he makes it to shore?” Want to know if he ever enjoys sushi again? Pamela finishes with a swirl. “You worry me sometimes.” says Chris shaking her head. They glance at the girls Louden is flirting with. Echoes of “Wild Thang” reverberate from Louden. He is pretending to be in his element, but it’s clear he’s not. As for the ladies surrounding Louden, many of them are dressed as boldly as French prostitutes. “Wow, what kind of outfit is that?” asks Chris looking at some Miss Thing in spiked high heels, leather skirt and whip, “ “Guy magnet attire,” says Pamela, “And sadly, it’s working. These silly men are being led around like imprinted ducklings. It is amazing to me that they fall for that stuff. Then again maybe it’s always been this way?” Shaking their heads, Chris and Pamela break into “Sexy As I Wanna Be” SEXY AS I WANNA BE JUST LOOK AT ALL THOSE GIRLS AROUND HERE LOOK AT THE CLOTHES THEY TRY TO WEAR LOOK AT THE WAY THE MEN ALL GATHER GAWKING AND TRYING NOT TO STARE I KNOW THAT I COULD BE AS SEXY, I KNOW THAT I COULD LOOK LIKE THAT COULD IT BE THAT'S WHAT MEN ARE AFTER? WHO COULD BELIEVE A THING LIKE THAT? ISN'T IT WHAT'S INSIDE THAT MATTERS, NOT JUST THE SHAPE OF DERRIERES? WHY DO ALL MEN KEEP CHASING AFTER SOMETHING THAT'S TEMPORARILY THERE? STILL I KNOW I COULD BE SEXY AS ALL THOSE GIRLS IN THE MAGAZINES I THINK I'D LOOK GOOD IN A LITTLE TEDDY, I WOULD GREAT IN THOSE LEATHER THINGS MAYBE MY LIFE'S TOO ORDINARY, MAYBE MY LIFE'S TOO DULL AND DRAB? MAYBE I NEED TO GET MY NOSE PIERCED? BABY YOU NEED A TATTOO BAD I SHOULD BE SEXY AS I WANNA BE, I SHOULD BE SEXY AS I PLEASE YOU COULD HAVE BLONDE HAIR JUST LIKE MARILYN BRING ALL THOSE PLAYBOYS TO THEIR KNEES I COULD BE SEXY AS I WANNA BE, I COULD BE CRUISIN THE BOULEVARD I COULD MAKE ALL THE MEN GO CRAZY, I'D SHOW THEM ALL JUST WHO'S IN CHARGE ALL OF THOSE GIRLS THAT MEN DROOL AFTER, I COULD BE ALL THOSE GIRLS INSTEAD I COULD BE BOLD AS JANEY MANSFIELD BUT NOT SO BOLD YOU'D LOSE YOUR HEAD I COULD BE SEXY AS I WANNA BE, I CAN DO ANYTHING I PLEASE CAUSE I'M SEXY AS I WANNA BE, (spoken alternately by Chris and Pamela) "HEY MAC, GOT A PROBLEM WITH THESE? (raises her skirt just a little bit to show off her legs) GIMME A BREAK, I CAN BE SEXY. WAIT A MINUTE, I AM SEXY. YEAH, WHO PUT THEM IN CHARGE? WHO ARE THEY TO CALL THE SHOTS? YEAH, WHO'S TO SAY WHO IS SEXY AND WHO IS NOT?" (singing again) I COULD WEAR GARTER BELTS AND STOCKINGS I COULD WEAR PUSH UP BRAS AND MORE I COULD WEAR SPIKED HIGH HEELS AND VINYL BUT WHAT AM I DOING ALL OF THIS FOR? THERE'S ONLY SO MUCH TIME FOR LIVING PART OF THE TIME WE SPEND ASLEEP PART OF THE TIME WE'RE OUT THERE SHOPPING PART OF THE TIME WE'VE GOT TO EAT WHAT DOES THAT LEAVE FOR BEING SEXY? WHAT DOES THAT LEAVE FOR HAVING FUN? I THINK I MAY BE GOING CRAZY, BABY YOU'RE NOT THE ONLY ONE WHO ISN'T SEXY AS I WANNA BE, ALREADY FINE THE WAY I AM NO ONE CAN TELL ME HOW I OUGHTA BE THIS TIME THE SLAUGHTER COMES TO THE LAMB… I CAN BE SEXY AS I PLEASE A fellow appears out of the crowd, smiling at Chris and beckoning for a dance. Chris smiles a yes. Chris exits waving on the arm of the lucky fellow as Pamela says, “I’m taking the elevator to the roof for a freath of bresh air. (she looks exasperated, and exits.) Act One, Scene Seven- the Roof of Busyworks, Inc: Up on the roof, Pamela sits on the ledge and looks up at the stars and says, “So this is my life. I don’t think I’ve had a date since Clinton was getting lucky and this party is about as happening as the line at the post office. Is this what life is about? Disappointment? Disillusionment? (she shakes her head, no) Hey, hey, enough of this self pity caca, time to move on from that. Ah well, I’ve got these stars to keep me company. Too bad I quit smoking. ” Meanwhile, Louden has also gone up on the roof and is just coming around the corner when he hears a man talking and he stops and listens… “Beautiful night, isn’t it? Pamela looks up to find herself staring into the eyes of a very handsome man. And before she can come back with a snappy put down, Pamela finds herself saying, “Yes, it is.” “May I join you?” he asked sitting down and smiling at her. “You’re not going to ask me about the ‘wild thing’ are you? Pamela retorts, a little taken back by his confidence and Louden cringes in the shadows. “WHAT!” he gasps. “Good answer, stranger. But you can only join me for a moment. I truly am enjoying the solitude after enduring that room full of Friday night philanderers.” Meanwhile Louden cringes further in the shadows. “I know exactly what you mean. Just let me know when I’ve reached my limit,” he smiles, “I am James and you would be Pamela, right? I’ve seen you around the office the few times I’ve called on your company through the years, just never found the right moment to introduce myself. You know, I have even overheard you at the water cooler. You have that rare combination of good humor and good looks. Oops…Was that too much and too fast? …Is it leaving time already? It’s just that I’ve just been wanting to meet you for so long and I wasn’t even going to come to this party, …and now that I am here, well, maybe I AM rushing things.” “Perhaps a bit,” says Pamela, “How about if we take a little break …and to couple it with a break with tradition, … I’ll be the one to go and get us both a drink. What would you like?” “Martini, not too trendy dry, and thanks. Say this IS a surprise. …You are very good at this surprise thing, aren’t you?” James replies. “We all have our gifts,” Pamela smile and exits, but stops for a second just out of James’s site, smiling…as Louden scoots around the corner so as not to be seen by either. From different sides of the stage, James and Louden (unaware of each other) follow her with their eyes until she is gone and then, seeing her reflection in the glass and knowing she is still there, James begins to sing, “When Love Comes Knockin” Unbeknownst to either one, Louden joins in wistfully. WHEN LOVE COMES KNOCKIN' WHEN LOVE COMES KNOCKIN AROUND WHEN LOVE COMES KNOCKIN AROUND AND AROUND YOU BETTER BE THERE WHEN LOVE COMES KNOCKIN AROUND Then Louden also sings the chorus solo to himself… WHEN LOVE COMES KNOCKIN AROUND WHEN LOVE COMES KNOCKIN AROUND YOU BETTER BE THERE ROCKIN, WHEN LOVE COMES KNOCKIN WHEN LOVE COMES KNOCKIN AROUND James sings… LIKE A CHILD AT A WISHING WELL YOU'VE BEEN WISHING WITH ALL YOUR MIGHT FOR A CHARM THAT CAN BREAK THE SPELL THAT'S BEEN KEEPING YOUR HEART LOCKED UP SO TIGHT WHEN LOVE COMES KNOCKIN AROUND WHEN LOVE COMES KNOCKIN AROUND YOU BETTER BE THERE ROCKIN, WHEN LOVE COMES KNOCKIN WHEN LOVE COMES KNOCKIN AROUND Louden sings… WHO CAN SAY WHAT LIFE HOLDS IN STORE? THAT'S A SECRET THAT NO ONE KNOWS BUT THE JOY WE'RE CREATED FOR IS THE KEY THAT CAN OPEN ANY DOOR WHEN LOVE COMES KNOCKIN AROUND WHEN LOVE COMES KNOCKIN AROUND YOU BETTER BE THERE ROCKIN, WHEN LOVE COMES KNOCKIN WHEN LOVE COMES KNOCKIN AROUND (INSTRUMENTAL VERSE WHILE JAMES DANCES AROUND WITH A PROP and Louden watches unseen) NOW IT'S TIME TO BEGIN AGAIN SO CLOSE YOUR EYES AND THEN COUNT TO TEN WHEN LOVE COMES KNOCKIN AROUND WHEN LOVE COMES KNOCKIN AROUND YOU BETTER BE THERE ROCKIN, WHEN LOVE COMES KNOCKIN, WHEN LOVE COMES KNOCKIN AROUND YOU BETTER BE THERE ROCKIN YOU BETTER BE THERE, NO DON'T YOU BE OUT WALKIN AROUND AND AROUND AND AROUND AND AROUND, WHEN LOVE COMES KNOCKIN AROUND Pamela she shakes her head no. “Not too fast here, girl”, she says to herself and exits. Act One, Scene Eight – the Ladies Room: Passing the ladies room on the way back to the party, Pamela runs into Chris. “Chris, I can’t believe this, but I actually met someone who might have some potential …walks on his hind legs and everything.” Chris squeals, “Details, I need details”, and drags Pamela into the ladies room but before Pamela can even begin, Chris says... “Now listen you. Since you hired me you have always given me advice and now I’m going to give you some. If you like this guy, you must let him know it. Don’t play that coy 20th Century fox act. This is a new millennium. And it’s great that you offered to go and get him a drink and even MORE amazing that he went for it, instead of trying to impress you with his wallet or his sophistication. Now pretend that I am you and you are him and he is me and we are all together…sorry, I couldn’t resist. Okay, just listen to me. Pretend I am the parent and you the child. Now, this is how it goes, got it?” Chris sings “Hard to Say No HARD TO SAY NO MOMMA ALWAYS TOLD ME BEWARE OF THE NIGHT AND UP UNTIL I SAW YOU I THOUGHT SHE WAS RIGHT POPPA ALWAYS TOLD ME PUT UP A FIGHT AND UP UNTIL YOU TOUCHED ME I THOUGHT SHE WAS RIGHT YOU MAKE IT HARD, HARD, HARD TO SAY HARD, HARD, HARD TO SAY HARD, HARD, HARD TO SAY TO SAY NO CAREFUL WHO YOU'RE TEASING, I'M TALKING TO YOU I KNOW WHAT YOU'RE FEELING, I'M FEELING IT TOO I CAN'T KEEP A SECRET, EVERYONE KNOWS CAN'T HIDE HOW YOU MOVE ME, SEE HOW IT SHOWS? YOU MAKE IT HARD, HARD, HARD TO SAY HARD, HARD, HARD TO SAY HARD, HARD, HARD TO SAY TO SAY NO ALL OF THAT PREACHIN SAYS IT'S A SIN NOW ALL OF THAT TEACHIN'S GOIN' OUT THE WINDOW FEEL MYSELF REACHIN' OOO HARD TO SAY NO MOMMA ALWAYS TOLD ME BEWARE OF THE NIGHT AND UP UNTIL I SAW YOU I THOUGHT SHE WAS RIGHT POPPA ALWAYS TOLD ME PUT UP A FIGHT AND UP UNTIL YOU TOUCHED ME I THOUGHT SHE WAS RIGHT YOU MAKE IT HARD, HARD, HARD TO SAY HARD, HARD, HARD TO SAY HARD, HARD, HARD TO SAY TO SAY NO Pamela listens, smiling, while Chris gives her a dose of her own medicine and some encouragement to take a chance or two. She joins in on the last chorus. The song ends, they laugh and exit for the bar. ACT ONE, SCENE NINE, BUSYWORK, INC, MONDAY MORNING The bright lights open on the offices of Busywork, Inc. A co-worker asks a visiting James, “Are you all right? You just filled your coffee mug with toner.” “What? Oh, sorry. Yeah, I ‘m okay, I just need to take care of something. (He has a bouquet of roses and a note in his other hand) So which floor is HR?” Meanwhile in her cubicle at HR, Pamela is smiling into her monitor as she types…nothing, while humming “Hard To Say No” to herself. Louden shows up and asks her, “What’s up?” and Pamela blissfully replies, “I’ll get right on it. What? Oh, it’s you. Well, I’m even glad to see you today Lizaard. And I am sort of out of it, aren’t I? Okay. I met someone Friday night and we went out Friday, Saturday and Sunday nights. We had a grand time. He spoke in complete sentences and he didn’t grope me even once.” Louden looks disappointed, but tries to cover it with sarcasm: “Wow, is he gay? Not that there’s…ah so… are you in love or in shock?” “I don’t know. It’s been so long, they almost feel the same to me. I do know that if he asks me out for tonight, I’m saying yes.” Just then James comes around the corner wearing a singular plaid jacket but no flowers or note, “I found you. Time for a coffee break?” Pamela smiles, “Did I mention that he has impeccable timing?” The take each other’s hands, walk towards the Employee lounge sign. As they leave, he looks at some unfinished files on her desk. He sits down and begins to go over them in a conscientious manner. Hearing them returning Louden slips away unseen as Pamela and James re-enter… “So do you think you can make even more time for me this evening? I have just one out of the office sales call later this afternoon that shouldn’t take too long at all and then I’ll pick you up? Say around seven?” “That,” says Pamela, “would be perfect. I will see you tonight.” As they confirm the date for dinner and James wanders off, Chris wonders up and asks, “Are you ready to go to lunch?” They exit, and when they are gone James returns and puts some flowers and a note on Chris’ desk. He exits stage left as Louden enters stage right. Louden finds the bouquet of roses and the note on Chris’s desk. He assumes it should be on Pamala’s desk and is about to move it when he sees who the roses are for. He cannot help himself. He reads the note. It is addressed to Chris. It is an invitation for a liason …with James. End of Act One Act Two As in the first act, we open on a darkened stage as one by one the cast members are illuminated by spot lights as they one by one join in the singing of “Another Day Another Dollar: Act Two, Scene One – individual spotlights on each character ANOTHER DAY ANOTHER DOLLAR Part Two ANOTHER DAY, ANOTHER DOLLAR, ANOTHER BILL THAT'S DUE, ANOTHER NIGHT TOO TIRED TO MAKE IT, TOO TIRED TO WATCH THE LATE NIGHT NEWS I'VE GOT TO CHANGE THIS LIFE I'M LIVING, THERE'S GOT TO BE A WAY GOT TO GET OUT OF THIS RAT RACE RUNNING ME, CAN'T TAKE ANOTHER DAY ANOTHER DAY, ANOTHER DOLLAR, ANOTHER ALIBI ANOTHER NIGHT, YOU CALL THIS LIVING? I CALL THIS REASONS WHY I'VE GOT TO CHANGE THIS LIFE I'M LIVING, I'VE GOT TO CHANGE IT FAST GOT TO GET OUT OF THIS RAT RACE RUNNING ME, DON'T KNOW IF I CAN LAST… ANOTHER DAY, ANOTHER SUNRISE, WE'RE DRIVING IN OUR CARS ANOTHER NIGHT, BACK ON THE FREEWAY, WE COME HOME WITH THE STARS DEEPER IN DEBT, WE KEEP ON WORKING, WHAT CAN WE REALLY FEEL? AFTER THEY'VE SOLD US THAT, "NOSE TO THE GRIND STONE", THAT, "SHOULDER TO THE WHEEL" ANOTHER DAY JUST LIKE THE OTHER, SAME AS THE ONE BEFORE PICTURE TWO MIRRORS, FACING EACH OTHER, THERE MUST BE SOMETHING MORE THRE'S GOT TO BE SOMEBODY SOMEWHERE, WHO'LL UNDERSTAND MY PLEA SOMEONE TO MAKE THIS LIFE WORTH LIVING FOR, SOMEBODY JUST FOR ME… ANOTHER DAY, ANOTHER DOLLAR, ANOTHER DAY, ANOTHER DOLLAR ANOTHER DAY, ANOTHER DOLLAR, ANOTHER DAY, ANOTHER DOLLAR Act Two, Scene Two- the Offices of Busywork, Inc: Chris is looking at the roses and the note. She hears Pamala approaching and she puts them under her desk. Pamela is full of joy and even more so as James shows up smiling. “What a weekend” James say and Pamela agrees. He takes her hand as they sing the duet, FALLING IN LOVE NEVER AGAIN, I TOLD MYSELF WHEN I LAST GAVE AWAY MY HEART I SAID NEVER AGAIN SO HOW DID THIS CRAZINESS START? CAN YOU BELIEVE IT? I THINK THAT WE'RE FALLING IN LOVE SOMEWHERE THERE LIES A LOOK IN YOUR EYES THAT SAYS YOU'VE BEEN THERE BEFORE WE'VE PLAYED THOSE GAMES AND I THINK THAT WE BOTH KNOW THE SCORE CAN YOU BELIEVE IT? I THINK THAT WE'RE FALLING IN LOVE AFTER THEY CHASE YOU THOSE HEARTACHES EMBRACE YOU IT SEEMS LIKE THEY NEVER WILL MEND WHAT CAN YOU DO IF IT'S NOT UP TO YOU IN THE END? CAN YOU BELIEVE IT? I THINK THAT WE'RE FALLING CAN YOU BELIEVE IT? I THINK THAT WE'RE FALLING CAN YOU BELIEVE IT? I THINK THAT WE'RE FALLING IN LOVE James says he has to make some sales calls and will call her later and see her tonight. He leaves. “So, shall we do lunch and you can tell me all about it?” Chris asks. Are you kidding? What a wonderful weekend and it looks like we’re extending it all the way into this week. Wow. I am so happy right now, I don’t think that just lunch is enough of a celebration for the way I feel. What do you say we spend our lunch hour shopping?” Chris puts on a happy face and squeals an enthusiastic “YES” and off they go to the mall, singing the duet “Shoppers Paradise.” Act Two Scene Three – At the Mall SHOPPER'S PARADISE BORN TO SHOP SOME PEOPLE SAY, THAT WE'RE SLAVES TO DNA THAT OUR GENES MAKE US EXCEED OUR MEANS IF SIGNS ALL SAY "SALE TODAY ARE WE DESTINED FROM THE WOMB TO BE DRAWN TO FITTING ROOMS WHERE THE MIRRORS PLAY NON STOP THE GAMES THAT MIRRORS PLAY, CHARGE AWAY I'LL SAY I AM, WHAM BAM, THANK YOU MA'AM CALL A COP, CAUSE I CAN'T STOP I'LL TRY IT ON, REALLY THIS WON'T TAKE LONG I WAS BORN TO SHOP IN A SHOPPER'S PARADISE, YOU DON'T HAVE TO ASK ME TWICE WITH A HANDBAG FULL OF CREDIT CARDS IT'S PURCHASE PLEASE WITH SUCH EASE I'VE BEEN CLIPPING COUPONS TOO THAT'S NOT ALL I'M GONNA DO I'LL BE THERE AT DAWN OUT ON THE LAWN TO CHEER OUT LOUD WITH THE CROWD SALES, SPECIAL DEALS, WE'VE EVEN A SHOPPER'S MEAL ALL FOR YOU AND YOUR FRIENDS WHO LOVE CLOTHES, PANTYHOSE, IT SEEMS LIKE WE NEVER CLOSE BLUE LIGHT SPECIALS TOO IN A SHOPPER'S PARADISE, IT'S SO GOOD IT SEEMS A VICE ALL THE CHOICES HERE AND NOT TO DEAR SO WHAT THE HEY, CHARGE AWAY WITH AN ENDLESS SHOPPING LIST WE BROUGHT DOWN THE COMMUNISTS WE OUTSPENT THE RUSKIES AND THE REST CAUSE SHOPPING IS WHAT WE DO BEST WHY WE'VE SAVED THE WORLD MADE IT SAFE SO CHARGE IT GIRL, IT'S OUR PATRIOTIC CRY MAN THOSE CHECK OUT STANDS, ISN'T CONSUMING GRAND? TRY IT ON FOR SIGHS CAN'T DENY MY DESTINY, WHEN IT'S NATURES PLAN FOR ME I WAS BORN UNDER A CLEARANCE SIGN MY FIRST WORDS THESE, CHARGE IT PLEASE AND MY LULLABY THE RING THAT THE REGISTER WOULD SING YOU GET YOURS AND I'LL GET MINE CAUSE THERE'S SO MANY STORES SO LITTLE TIME FEEL IT'S GABARDINE, DARLING YOU MUST BE SEEN IN SUITS LIKE THIS WHY LIFE IS BLISS JUST CHECK OUT HOW GOOD YOU LOOK WHY, I'VE WORN OUT MY OLD CHECK BOOK MAY I SHOW YOU THIS IN A SHOPPER'S PARADISE, EVERYTHING'S ON SALE HALF PRICE COULD THERE BE AN EDEN HALF AS NICE AS HERE IN SHOPPER'S PARADISE? They exit the stage ladened with packages. Act Two, Scene Four – at the home of Pamela: Pamela is in their home, waiting by the phone which isn’t ringing, a phone that is doing a duet with the doorbell, which isn’t ringing either. The silence is deafening. She sings a sad slow version of the chorus and bridge of “Just Like Love” WASN’T IT JUST LIKE LOVE? TOO GOOD TO BE TRUE WASN’T IT JUST LIKE LOVE? DIDN’T IT FOOL ME TOO? JUST LIKE LOVE, JUST LIKE LOVE I’M SAYING GOODBYE TO YOU IT’S ALL SO CRAZY NOW, IT’S JUST AMAZING HOW IT SLIPS AWAY JUST LIKE LOVE, JUST LIKE LOVE, JUST LIKE LOVE… TOO GOOD TO BE TRUE. She takes the phone off the hook, turns out the light and goes up to bed. Act Two Scene Four B Chris is in her room in her home, looking at the note from James and is clearly angry and confused as to how to proceed. She waits a beat, rips up the note and throws the bouquet of roses in the trash. Act Two, Scene Five – the Offices of Busywork, Inc: The next day at Busywork, Inc, Pamela is in a funk; in a rage; in a snit; and in a power pantsuit. “I don’t feel like working. Maybe I’ll just go shopping again, just to keep from going postal. I can’t believe I fell for it. I can’t believe I didn’t listen to my little voice. The one that always told me this was too good to be true,” laments Pamela “Pamela, something must have happened …or maybe it’s for the best.,” Chris says, in a soothing manner. “Maybe he really isn’t so nice?” “Nice? No, I don’t think nice is the word. Do you know he hasn’t even had the courage to call or come by today. Ah, it doesn’t matter,” Pamela says, then sings the bridge from Falling In Love, AFTER THEY CHASE YOU THOSE HEARTACHES EMBRACE YOU IT FEELS LIKE THEY NEVER WILL MEND WHAT CAN YOU DO IF IT’S NOT UP TO YOU IN THE END CAN YOU BELIEVE IT…? “So doo you want to go shopping maybe?” Chris asks, trying to think of something. Pamela glumly agrees and they exit stage left to the tune of Shopper’s Paradise in a minor mode. Act Two, Scene Six – at the home of Pamela, Chris is there: Nighttime at Pamela home, Chris, who is keeping her company, looks stunned and happy at the same time. Something has gone down between them. Chris says to Pamela, “This is too outside. So.. the only way to find out is to do a DNA test, I guess.” Before Pamela can reply the doorbell rings. Chris sort of sleep walks to the door and answers the doorbell and there is a disheveled James, still wearing the clothes he was wearing at work the day before. He is smudged with grease and dirt, his plaid sports coat is ripped at the shoulder and his hair is askew and seems to have dried vegetation in it, he is also covered with a layer of permafrost. And as he melts, he smells…odd. Sort of a combination of hostess hoo hoos, axel grease and swamp caca. “Can I see Pamela?” he asks. “Oh You. Isn’t this a surprise? See Pamela? I’m not sure it’s a good idea right now. Did you know you reek of sort of a combination of hostess hoo hoos, axel grease and swamp caca?” Chris says pinching her nose, as from the confines of her bedroom Pamela screams: “I am not home. Tell him to go away” James refuses and shouts out. “No, I am not leaving until you’ve heard what happened. He soldiers on, “You know I would never intentionally hurt you. You must know that in your heart. It hurts me to think that you would even consider that I would hurt you. And there is an explanation…maybe not a simple explanation, but an explanation. Please just listen for a minute.” Pamela enters and wrinkles her nose. “Wow,” she says, “that is the weirdest bouquet I have ever endured.” She says pointedly. “Please, I can explain. Just listen. HARD TO BELIEVE (A RAP) MY CALL WAS WAY OUT IN THE COUNTRY SO FAR OUT THERE WASN’T ANY FREEWAY I TRIED TO CALL BUT I HAD NO CEL RECEPTION IF YOU THINK I DIDN’T TRY YOU’VE GOT A MISCONCEPTION (Chris and Pamela roll their eyes) DRIVING LOST, I HAD MYSELF A BLOWOUT TIRE GONE, I DIDN’T KNOW A WAY OUT TRIED TO CHANGE IT BUT I SLIPPED INTO THE BOG YOU KNOW THAT CREEPY PLACE WITH ALL THE SINGING FROGS I COULDN’T GET OUT OF THERE FOR, OH THE LONGEST TIME SLIPPING AND SLIDING, ALL COVERED UP IN SLIME (Chris and Pamela gasp and sing…) THIS IS SO HARD TO BELIEVE, SO HARD TO BELIEVE, THIS IS SO HARD TO BELIEVE FINALLY GOT MYSELF OUT, TRIED TO CATCH A RIDE BUT NOONE EVEN SLOWED DOWN OR PULLED OVER TO THE SIDE I STARTED WALKING LOOKING FOR ASSISTANCE BUT THE WAY I LOOKED ALL I GOT WAS MORE “GOOD RIDDANCE” WHEN YOU WANT A PAY PHONE YOU KNOW YOU NEVER SEE ‘UM SEEMS THEY ALL HAVE DISAPPEARED…IT’S THE NEW MILLENIUM CONVENIENCE STORE PAY PHONE MIGHT BE MY ONLY HOPE FOUND ONE? IT DIDN’T WORK. I WALKED ON UP THE SLOPE. (Pamela and Chris start to smile and sing) THIS IS SO HARD TO BELIEVE, SO HARD TO BELIEVE, THIS IS SO HAAARD TO BELIEVE But James continues, ONCE INSIDE THE STORE THEY DIDN’T LIKE MY LOOK I ASKED IF I COULD USE THEIR PHONE THO IT WAS OFF THE HOOK YOU WON’T BELIEVE WHAT HAPPENED NEXT IT NEARLY BLEW MY MIND TWO MASKED MEN CAME IN FLASHING GUNS PULLING OFF A CRIME! (Pamela and Chris really roll their eyes). GIMME ALL YOUR MONEY THEY SHOUTED RIGHT AT ME THEY EMPTIED OUT OUR POCKETS AND THE REGISTER, YOU SEE WE HAD NO CHOICE BUT TO OBEY, AS “IN THE BACK” THEY CRIED THEY TOOK US TO THE WALK IN AND LOCKED US THERE INSIDE I’VE BEEN IN THE DEEP FREEZE SINCE THEY LOCKED US IN WAITING FOR THE DAY CLERK TO WONDER WHERE WE’D BEEN HE HEARD US POUNDING ON THE DOOR AND WENT TO FIND THE CAUSE THAT’S HOW WE WERE RESCUED AND THEN CALLED IN THE LAW I GOT HERE JUST AS QUICKLY AS CIRCUMSTANCE ALLOWED SO PLEASE ACCEPT APPOLOGIES I’M ON MY KNEES HERE NOW (Pamela and Chris truly react with a gasp as they realize that he might have been hurt or even killed) James concludes, “They let us out, the police came, we gave a report and then the police were cool and dropped me off right here. No question that standing you up is wrong, even though it wasn’t my fault. But don’t shut me out. Chris looks disgusted and leaves the room as Pamela looks at him with forgiveness and James concludes, “They let us out, the police came, we gave a report. I didn’t want to call you with this story. I figured you’d have to smell it to believe it. And you have to believe me. I mean, I would deserve some credit for even making this up, let alone living through it. . Act Two Scene Seven – Meanwhile, Outside Pamela’s home: Louden, with a big bouquet of Tulips, is in his car listening to a radio broadcast. It seems a single masked man held up a convenience store. There is a description of the man and what he was wearing, which includes a singular plaid jacket. Louden realizes it’s a description of James. He suddenly KNOWS it’s James. He decides he must go in and confront James and save Pamela, but realizes that perhaps it would be better if the police were also there. He pulls out his cel phone and calls the police. He gives them the address and waits in the car. Meanwhile… Act Two Scene Eight In Pamela’s home Pamela and James holding hands, though she is also holding her nose. He almost has her convincded. They lean towards each other for a brave kiss when suddenly, Chris rushes back into the room with the pieces of the note and the trashed bouquet. “So Mr Wonderful, how do you explain this?” She throws the note and the bouquet at James. He looks surprised and angry but before he can act, police sirens and screeching tires are heard outside. They all stop and turn, just as the door bursts open and in come the police and a beat or two later, a reluctant Louden, still holding a bouquet of tulips. The police briskly lead James off in handcuffs and Louden is standing there with the tulips. “Tulips! Tulips? It’s you? All this time the tulips were from you? Wait, were you also the phantom picking up my slack at the office? It WAS you!” “Can we go somewhere and talk?” Louden asks. They walk to a little hill where the stars are shining and the moon is on the rise. Louden begins, “Well, after my divorce for at least a year, I lost my confidence and my mojo. Then when I was at my lowest, I suddenly saw you. I was so attracted to you I didn’t know what to say or how to act, so I was trying to pull off the Studley Dooright act…which was clearly a mistake. But I just find you so incredible, that I lose my personality, brains, experience, charm, elan, suave, demeanor, wits, education… I think you get the idea. And then when I realized what was going on with James, I just couldn’t stand by anymore.” “He’s right Pamala,” Chris call out, “James actually sent me those flowers and a note requesting a little romantic getaway after your weekend with him. I was so stunned, I didn’t even know what to do.” They both look surprised that Chris is listening and both go, “Hey, some privacy please!” Louden interjects, “I came tonight because I found the flowers and the note and I just had to say something. Then just as I was driving here I heard the police bulletin and realized that it had to be James that had robbed that convenience store, I just knew I had to do something…and here I am. Again, hopefully this makes up for the lame behavior at the office mixer.” “So, it would appear that once more I have gotten everything wrong. You are the good guy? And James is the slime? I must be God’s favorite toy.” This is stunning stuff for Pamela, and she is overwhelmed by the turn of events and also sincerely hungry for a connection and a mate and she is bursting with a secret that she can no longer contain. She opens up to Louden. “Well while we are letting our secrets show, I haven’t ever told anyone this, but I think Chris may notbe just my friend. We might be so much more… Everything has to happen for a reason, otherwise what are we doing here?” Then Chris walks up to them as Pamela turns to her and sings a reprise of “Daddy’s Eyes” DADDY’S EYES YOU’RE LUCKY TO BE ALIVE, SAID A STRANGER ALL IN WHITE YOU’D BE SURPRIZED HOW MANY TIMES THIS HAPPENS IN A NIGHT BUT THE REAL SURPRIZE WAS WAITING FOR ME NINE MONTHS DOWN THAT ROAD WHEN THEY BROUGHT YOU IN FOR ME TO SEE AND I FELT MY FUTURE UNFOLD AS I WRAPPED MY ARMS AROUND YOU TO SOOTHE YOUR GENTLE CRIES AND THEN YOU LOOKED STRAIGHT UP AT ME, YOU HAD YOUR DADDY’S EYES. YOU’VE GOT YOUR DADDY’S EYES, I’M NOT LIKELY TO FORGET AND EVERYTIME YOU LOOK AT ME THAT NIGHT COMES BACK AND YET I CANNOT HELP BUT LOVE YOU CAN’T HELP BUT BE SURPRIZED BY ALL THE PAIN THAT BROUGHT YOU HERE YOU’VE GOT YOUR DADDY’S EYES… THO DAYS HAVE TURNED THE WEEKS TO YEARS THERE’S PAIN TIME WILL NOT HEAL AND SOMETIMES WHEN YOU’D LOOK AT ME I’D KNOW I CAN’T CONCEAL THE MEMORY OF THAT BRUTAL NIGHT BUT NOW I NEVER TRY WHAT MATTERS IS THE LOVE WE SHARE AND YOU’VE GOT YOUR DADDY’S EYES YOU’VE GOT YOUR DADDY’S EYES, I’M NOT LIKELY TO FORGET AND EVERYTIME YOU LOOK AT ME THAT NIGHT COMES BACK AND YET I CANNOT HELP BUT LOVE YOU CAN’T HELP BUT BE SURPRIZED BY ALL THE PAIN THAT BROUGHT YOU HERE YOU’VE GOT YOUR DADDY’S EYES… THE LORD WORKS IN MYSTERIOUS WAYS NO MAN CAN UNDERSTAND WE MUST HAVE FAITH IN THE SEEDS THAT GROW FROM THE FRUIT OF THE MASTERS PLAN THERE IS A PLAN, THERE IS A GOD THERE IS A REASON TOO FOR EVERY LIFE, FOR EVERY PAIN FOR EVERY ONE OF YOU WHO WONDER WHAT WE’RE DOING HERE WHO SIFT FOR TRUTH THRU LIES LOOK CAREFULLY AND YOU WILL FIND… WE’VE ALL GOT DADDY’S EYES. Louden is stunned. He takes her hands tenderly in his and asks, “This is unbelieveable. Did Chris know?” Pamela smiles, “She does now. We don’t know if it’s true or not, but it certainly could be. We just spent the day talking about the possibility. I’ve been truthful with her about everything. And no matter what, I will never stopped showing her how much I love her and how glad I am that she is in my life. Whatever the outcome, we will both have come to terms with what happened. However, she and I both believe that God doesn’t make any mistakes. Everything happens for a reason. Louden smiles, “Well all I know is that I am so glad that you and Chris are here and that she made you go to the party and that I went to the party. Whether or not she is your daughter? That doesn’t alter anything for me. It only makes everything even more wonderful. No, all that has happened has happened for a reason. It brought you out of your shell. It brought me out of my shell. We can actually move forward from here…if you would like to try?” The music swells and then as the last strains of music die away, Pamela and James kiss, the stage goes down to a spotlight on them. Louden tells her… “I know that my not telling you what I knew when I knew it was wrong and that it hurt you. And I know that this evening has been a roller coaster, but I want you to know that no matter what, I’ll always be here for you” and then Louden sings. TWO WRONGS I HURT YOU, YOU HURT ME, BUT SOMEHOW WE SURVIVE I FOOL YOU, YOU FOOL ME BUT SOMETHING KEEPS THE LOVE ALIVE WE COULD BE HAPPY, YOU AND ME I DON'T WANT TO GET EVEN, I WANT TO GET US FREE TWO WRONGS WON'T MAKE IT RIGHT MEET ME HALF WAY TONIGHT AND WE'LL WORK IT OUT. TWO WRONGS WON'T MAKE IT RIGHT MEET ME HALF WAY TONIGHT AND WE'LL WORK IT OUT. IF THERE'S NO GIVING, JUST TAKING AND NO WANT WANTS TO COMPROMISE THERE'LL BE NO WINNERS, JUST LOSERS AND NOTHING LEFT BUT THE "GOODBYES" WE COULD BE HAPPY, YOU AND ME I DON'T WANT TO GET EVEN, I WANT TO GET US FREE TWO WRONGS WON'T MAKE IT RIGHT MEET ME HALF WAY TONIGHT AND WE'LL WORK IT OUT. TWO WRONGS WON'T MAKE IT RIGHT MEET ME HALF WAY TONIGHT AND WE'LL WORK IT OUT. I CAN STILL REMEMBER THE DAY WE MET EVERYTHING JUST FELL INTO PLACE ARE WE GONNA LET IT SLIP AWAY? TWO WRONGS WON'T MAKE IT RIGHT MEET ME HALF WAY TONIGHT AND WE'LL WORK IT OUT. TWO WRONGS WON'T MAKE IT RIGHT MEET ME HALF WAY TONIGHT AND WE'LL WORK IT OUT. Pamela looks at Louden, shakes her head and then opens her arms. The tentatively embrace and, as they look into each other’s arms they sing, “Straight From the Heart” STRAIGHT FROM THE HEART WHERE DO WE GO NOW? ONE NIGHT AND SOMEHOW WE'VE COME SO FAR, SO FAST, SO BLINDING BRIGHT LOOK INTO MY EYES, NOW LOOK AT THE NIGHT SKIES LOOK AT US, STRANDED IN THE MOONLIGHT TELL ME WHAT YOU'RE FEELING, COULD THIS BE THE REAL THING OR JUST A FALLING STAR THAT WE WASTE ONE MORE WISH UPON IS IT ONLY LAUGHTER THAT WE'RE REALLY AFTER OR DO YOU WANT A LOVE THAT COMES STRAIGHT FROM THE HEART WAITING FOR DAYBREAK, HEALING YOUR HEARTACHE HOLDING YOU CLOSE, I'LL NEVER LET YOU GO WATCHING THE SUNRISE, EMPTY THE NIGHT SKIES STILL WE LAY, STRANDED IN THE MOONLIGHT TELL ME WHAT YOU'RE FEELING, COULD THIS BE THE REAL THING OR JUST A FALLING STAR THAT WE WASTE ONE MORE WISH UPON IS IT ONLY LAUGHTER THAT WE'RE REALLY AFTER OR DO YOU WANT A LOVE THAT COMES STRAIGHT FROM THE HEART STRAIGHT FROM THE HEART OF A PERFECT DREAM STRAIGHT FROM THE HEART LOVE IS WHAT IT SEEMS TO BE TELL ME WHAT YOU'RE FEELING, COULD THIS BE THE REAL THING OR JUST A FALLING STAR THAT WE WASTE ONE MORE WISH UPON IS IT ONLY LAUGHTER THAT WE'RE REALLY AFTER OR DO YOU WANT A LOVE THAT COMES STRAIGHT FROM THE HEART Off stage the ensemble joins in on the last chorus, which gets bigger and is repeated and ends. THE END