STRICTLY BALLROOM THE MUSICAL

BOOK BY

BAZ LUHRMANN & CRAIG PEARCE

ADAPTED BY

TERRY JOHNSON

WEST YORKSHIRE PLAYHOUSE SCRIPT JANUARY 2017

1

ACT ONE

BARRY V/O Ladies and Gentlemen the National Australian Federation of Dance, NAFOD strictly prohibits the use of cameras and recording devices. These dancers are caked in lead based makeup and highly flammable hairspray. One tiny flash from the camera could cause a terrible explosion. And remember folks – keep things strictly ballroom.

The curtain rises to reveal Scott appears with 100 on his back.

JJ SILVERS V/O Welcome to Woongabbie Town Hall for the 1985 inter-regional Ballroom Dance Championships!

WOONGABBIE TOWN HALL

MUSIC: WHEN YOU’RE STRICTLY BALLROOM

CHORUS SEE THE ANGLE OF MY ARM THE TILT OF MY CHIN THE BLISTERING PRECISION OF MY TELEMARK AND WING CHASSE, PROMENADE DOUBLE REVERSE SPIN IT'S STRICTLY BALLROOM HERE COMES THE DRAG HESITATION THE FALLAWAY WHISK THE TEARS, SWEAT AND BLEEDING'S BEEN LEADING TO THIS PERFECTION! NIRVANA! I'M OWNING THIS SHIT IT'S STRICTLY BALLROOM WHEN YOU'RE STRICTLY BALLROOM LIFE IS PERFECT ALL THE TIME OBEY THE REGULATIONS AND YOU'LL CLIMB PRAISE THE FEDERATION YOUR SALAVATION'S GUARANTEED STRICTLY BALLROOM IS ALL YOU NEED JJ SILVERS

Hello Ladies and Gentlemen! You’re gorgeous! I’m your host for this evening JJ Silvers. Do you like my jacket? Just something I picked up from a carboot sale. Now before the competition starts I have to tell you I'm excited because we are in the presence of greatness, the man behind the legendary video series Dance to Win – is here with us tonight, our beloved Federation President; Barry Fife

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MUSIC: BARRY FIFE BARRY THANK YOU ONE AND ALL LOOKING AT THIS SEA OF TANNED FACES IT MAKES ME WARM AND HAPPY DANCERS IT'S A PLEASURE, PRESIDENT FIFE BARRY THE PLEASURE IS ALL MINE GLAD TO TAKE THE TIME TO COME DOWN HERE TO... WHERE THE HELL ARE WE? YES, WOONGABBI

I CAN HARDLY WAIT TO ADJUDICATE SURE I’M TOUGH BUT I’M FAIR, FOLKS BEFORE WE ALL BEGIN PURCHASE ‘DANCE TO WIN’ I’VE GOT PLENTY TO SPARE FOLKS I'M CHOKKAS WITH WISDOM ON A MISSION FOR PRECISION AND IT'S MY DECISION WHO GOES HOME THE CHAMP THEY'RE TREMBLING WITH FEAR COS THEIR PRESIDENT'S HERE SO LET'S DANCE DANCE! DANCE! JJ SILVERS

Thank you, Barry. And as our couples take to the floor for the first round of the competition – the old Viennese Waltz- let’s hear it for our dance studio entries! First, representing the Worrarwee Studios; and she's cut like an emerald, its couple 176; Jonathan Drench and Emily Waters!

Couple 176 dance downstage JJ SILVERS

And sitting pretty in the pink for the Cumberland Studios, its couple number 69. The ever reliable Ken Railings and Pam Short!

Couple 69 dance downstage. JJ SILVERS

And a big fruity cheer for couple number 62, representing the Shilalee's; its Muriel Shunt and Tommy Arbunt.

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Couple 62 dance downstage. JJ SILVERS

And over here in the orange, it's the Bo Peeps. Now, don't be sheepish, - how about it for couple number 58 - Stephanie Shanks and Liam Lamb!

Couple 58 dance down stage.

But I tell you what; I'd like to stay impartial but there's one little studio here that's trembling with excitement and that's the Kendall Studio, ladies and gentlemen; here, in blistering form their faces bright with hope, that tonight they’ll be bringing home the trophy…. Scott Hastings and Elizabeth Holt!

SCOTT/LIZ Gotta get it right, gotta keep it tight That cup is ours tonight We’re going to be ballroom stars.

SHIRLEY C'mon, number 100!

JJ SILVERS And may the best couple win!!!!

CHORUS NATURAL HESITATION CHANGE CHASSE TO THE RIGHT MY PARTNER, MY COSTUME EACH MOVE IT COMPLIES I'M DOTTING MY T'S AND I'M CROSSING MY EYES I'M STRICTLY BALLROOM SINCE I FIRST HELD A GLUE GUN AND SEQUINNED THESE SHOES I'VE KEPT MY MOUTH SHUT AND I'VE STUCK TO THE RULES YOU SHOULD SEE MY TROPHIES MY MANTLE IS FULL I'M STRICTLY BALLROOM EVERY LIMB I MOVE IS PRE-APPROVED BY THE LAW THE FACT IS ALL THAT MATTERS IS THE SCORE PRAISE THE FEDERATION OUR SALVATION LIES WITHIN NO-ONE STEPS OUT OF LINE NO ONE STEPS OUT OF LINE NO ONE DARES DISAGREE NO ONE DARES DISAGREE STRICTLY BALLROOM IS ALL YOU NEED.

4

Big finish with Scott and Liz now the centre of all our attention! As the applause fades... JJ SILVERS

That's marvellous; marvellous. Now of course we don't do favourites here at Woongabbie, but the Kendall Studio is having such a tremendous year I thought we might have a word with them.

Les; you're the man in charge!

Shirley Hastings steps forward and pulls the mic towards her. SHIRLEY

I'm Shirley Hastings, I’m Scott's mother... LES

Yes, I'm the proprietor . SHIRLEY

And I'm Scott’s mother. LES

Shirley and I are partners – not romantically. I’m what you might call wedded to the dance.

SHIRLEY

And Scott's my son. JJ SILVERS

And this is your husband Doug. SHIRLEY

Well, Doug plays the records… JJ SILVERS (to Doug) And are you proud of your son Doug? SHIRLEY

Oh, we couldn't be prouder. LES

We've coached Scott since he was a little tacker, and we all know this year is his year.

JJ SILVERS

And Wayne; Wayne Burns; what's it like being trounced by your best mate season after season?

WAYNE (Awkward) Well, I try to give him a run for his money. SHIRLEY

Scott's on track to be the next Pan Pacific Gran Prix Open Amateur Five Dance Latin American Champion!

5

JJ SILVERS Well; we're all rooting for him and now, yes; I think it's time...

SHIRLEY Oh, this is where my boy excels!

The Kendalls family sit at a table down stage left.

JJ SILVERS Ladies and Gentlemen back to the floor. Take your places please for the Open Latin Final!

MUSIC: SAMBA (TEQUILA) To a distinctly 80's take on "Tequila", the stage explodes into the dazzling spectacle of a dance festival! Ballroom costumes are shed to reveal lurid lurex and shimmering sequins as couples prance and sashay across the floor in a Samba.

Scott and Liz and Wayne and Vanessa are among the competing couples. Shirley, Les and the other Kendall's studio members cheer them on.

Doug films with his ancient Super 8 camera.

JJ SILVERS (CONT’D) Let's hear it for our Champions Ken Railings and Pam Short!

Tanned, fake blonde and tragically waning star Ken Railings and partner Pam Short make a big entrance and release a welter of showy but trite steps as the music kicks back in.

JJ SILVERS (CONT’D) Ken's always been a wonderful ambassador for ballroom dancing. Oh, it's an El Alamein Fountain, The judges are going to love that!

As the number builds, we see that Scott and Liz are out dancing Ken and Pam by a mile.

JJ SILVERS (CONT’D) Well, Scott and Liz are giving them a run for their money. A Rio Shuffle! Classic Fife.

SHIRLEY C'mon Scott!

6

Scott and Liz dance another spectacular variation. Fran, Shirley, Les, Kylie, Luke and others cheer excitedly.

KENDALLS C'mon number 100!

Suddenly Ken spins Pam into open position, trapping Scott and Liz and usurping the judges' focus.

KYLIE That's not fair. Ken and Pam are blocking them.

LUKE He's got them boxed in, the sweaty bastard!

LES Language.

SHIRLEY It's a bloody disgrace!

KEN Sorry mate, but we need the floor space.

PAM I've got a very wide cucaracha.

LIZ Piss off

SCOTT Don't get upset.

LIZ I want to win this!

KEN You've no chance.

SCOTT Right! Meet me on the other side.

7

MUSIC CHANGES TO: ON THE EDGE

Scott dances his own steps

MUSIC: SNAPS BACK TO TEQUILA

LIZ What the hell was that?

Scott's on a roll. He leads Liz around the floor in a pretty unorthodox way. The crowd seem to like it. Ken and Pam are marginalised. The music ends and the crowd applauds wildly. Even some of the competitors acknowledge Scott’s efforts.

KYLIE/LUKE Yahoo...etc !

SHIRLEY Stop that, you two!

LES What on earth was that?

SHIRLEY Well, don't look at me.

LES Flashy, crowd-pleasing nonsense.

LIZ I've never been so humiliated.

SCOTT We were boxed in. I improvised.

LIZ I need to know what we're dancing!

SHIRLEY You can't just make it up as you go along.

SCOTT I'm sorry if I confused you Liz, but I thought they were good steps.

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LES Good steps?

SCOTT Well, they felt good. What's wrong with that?

LES Dammit Scott; there wasn't enough that was right with 'em to say what was wrong with 'em.

SHIRLEY Why Scott? Les, why? Did I do something wrong? Did I fail him as a mother?

J.J. Silvers comes to the microphone.

JJ SILVERS Ladies and Gentlemen the judges have made their deliberations, so without further ado; Federation President, Barry Fife.

BARRY (A charming smile) What a wonderful evening. As you know; the Federation salutes all levels of ability and aspiration. However on occasion we have to draw the line. So I have to announce that during the Latin open final, competitors Scott Hasting and Elizabeth Holt... were sadly disqualified.

There's a mumble of disappointment about this.

BARRY (CONT’D) Rules are rules, Ladies and gentlemen. Of course Scott; it's a free country; you can dance any steps you like, but that doesn't mean you'll win. Envelope.

SHIRLEY This is the worst day of my life.

LES How could you, Scott? How could you do that to your mother?

LIZ I'm never dancing with you again.

BARRY And so... the winners of the Waratah Inter-Regional Championship are... Ken Railings and Pam Short!!

All-conquering Ken receives the trophy. There is celebration, but it's a bit muted.

9

MUSIC: WHEN YOU’RE STRICTLY BALLROOM (REPRISE)

BARRY (CONT’D) KEEP THINGS STRICTLY BALLROOM AND YOU'LL NEVER GO ASTRAY KEEP IT STRICTLY BALLROOM COME WHAT MAY! CHORUS STRICTLY STRICTLY BALLROOM THAT WILL ALWAYS BE OUR WAY STRICTLY BALLROOM WILL WIN THE DAY! KENDALL'S STUDIO

It's late afternoon and Fran, a pimple-faced, fuzzy-haired beginner is dancing with a mop. She dreamily practices a daggy version of Scott's steps in the studio mirror.

Eventually she is interrupted by Shirley.

SHIRLEY Day dreaming again, Fran?

FRAN No Mrs Hastings.

SHIRLEY Have you finished waxing this floor?

FRAN Nearly, Mrs Hastings.

SHIRLEY Then wash the coffee mugs, would you?

FRAN Right. Sorry.

SHIRLEY I'm surprised you can see through those glasses, Franny.

FRAN It's the kitchen spray; it blows back.

SHIRLEY Oh that’s what it is. You do have a bit of a disinfectant whiff about you.

10

FRAN Sorry Mrs Hastings.

SHIRLEY And look at those frown lines. Have you run out of the Newtra-face Apricot Scrub. I’ll bring you some more in with your toner. It's a dollar dazzler special this week.

FRAN Thank you very much. Mrs Hastings, can I just say? I thought what Scott and Liz danced on Saturday was wonderful.

SHIRLEY Well what would you know about it, dear. You've only been dancing two years. You haven't even got a partner.

FRAN Well, I thought they should have won.

SHIRLEY Well, they didn't. I've poured my life and soul into that boy.

FRAN I know you have.

SHIRLEY But I'm not going to let that worry me Franny; I’ve got my Happy Face on today.

Enter Les with a gloomy look on his face.

SHIRLEYY (CONT’D) Well?

LES I spoke to Barry Fife.

SHIRLEY And?

LES ... He will lift the disqualification.

SHIRLEY Oh, Lessie!

LES And Kendall’s will not be banned from future competitions!

SHIRLEY Oh, thank heavens! Scott!

11

LES When Les Kendall speaks; Barry Fife listens.

SHIRLEY Did you make a donation?

LES Three hundred dollars. I'm opening up.

SHIRLEY Scott!

Les opens the door and dancers file in. Wayne is second through the door. They get changed ready for class. Scott appears from another direction.

SCOTT Yes?

SHIRLEY Les has fixed it; you're going to dance in the Pan Pacifics!

FRAN Hi Scott!

SHIRLEY As soon as Liz arrives I want you to sit her down and apologise. The Pan Pacifics!

WAYNE Hey, twinkle-toes.

SCOTT Don't you start?

WAYNE No; seriously mate. That was quite a display.

SCOTT Did you like the steps?

WAYNE Well... You didn't win did you?

SCOTT But did you like it?

WAYNE Mate, doesn't matter what I like. I'm not a judge.

SCOTT So the Federation's always right?

12

WAYNE Well, they get to say what's right, you dipstick.

SCOTT

I know it's wrong. I know I'm dancing it wrong. But it feels right. It feels good.

WAYNE

Mate If I were you I'd focus. I'd quit all the fancy stuff and go back to winning.

Vanessa has arrived and joins them. VANESSA

And are you going to help us with the Bogo Pogo or not? Hey hun. WAYNE

Hey, chook. And that's right; what she said. SCOTT

Of course I am. I'll have you Bogo Pogoing with the best of them. Doug puts the needle on a record and the class leaps into action. MUSIC: HAPPY FEET LES

So; let’s get started. SHIRLEY

Take that miserable look off your face. LES

And put on your happy feet! SHIRLEY

Oh lovely, Les. Quick step everyone here we go SHIRLEY (CONT’D) HAPPY FEET, I'VE GOT THOSE HAPPYFEET, GIVE ME A LOW DOWN BEAT AND THEY BEGIN DANCIN'. LES

Everybody! I GOT THOSE, TEN LITTLE TAPPIN' TOES, AND WHEN THEY HEAR A TUNE I CAN'T CONTROL MY DANCIN' HEELS TO SAVE MY SOUL.

Keep the weight up in the chest, Natalie. Strong arms, Clarrie. That's splendid. Ad lib

13

I KEEP CHEERFUL WITH AN EARFUL OF MUSIC SWEET COS I'VE GOT THOSE HAP HAP HAPPY FEET

LES (To the class) And spin the girl out...!

Liz has arrived for class. Shirley has filled her in.

SHIRLEY Liz! Les has sorted everything. And Scott's VERY contrite; aren't you, Scott.

FRAN Hi Liz; I thought what you and Scott danced was wonderful.

LIZ I'm giving you one last chance, Scott Hastings.

SHIRLEY Scott would like to apologise. He will never dance his own steps again. And look; I've done some brand new costume designs for the Pan Pacific. So why don't you both trot off to the kitchen and look through them.

SCOTT Right.

LIZ I mean it.

Scott and Liz disappear to the kitchen.

ALL HAPPY FACE, SHE'S GOT HER HAPPY FACE EVERYTHING WILL BE JUST ACE AS LONG AS WE'RE DANCING. JUST KEEP SMILIN' ALL THE WHILE AND LIFE WILL BE GREAT! SHE'S GOT HER HAP- HAP-HAPPY FACE!

SHIRLEY Oh, Les; it was like a bad dream.

Suddenly Liz bursts screaming from the kitchen.

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LIZ Ahhhhgh! No!

All heads snap towards Liz. Scott follows sheepishly.

LES Oh bugger!

LIZ I am sorry, Mrs. Hastings, I've tried. God knows I've tried, but he won't even discuss the pear drop sequins. All he wants to talk about is his stupid steps. I don't think your son's even interested in winning the Pan Pacifics.

SCOTT What’s the big deal in talking about new steps?

A sharp intake of breath at this heresy.

SHIRLEY Oh, Scott. Don’t be disgusting

LIZ You've got ten minutes to get him to pull his head out of his arse.

She turns on her heel.

FRAN I thought what you and Scott danced was wonderful

LIZ And what would you know about it, Ms Frangipannidelasqueegymop?

LIZ (to Shirley) If you don't make Scott see sense the reputation of this studio is gonna go right down the dunny.

Having won a reluctant consensus, she leaves.

LES Tango please! (a harsh whisper) Doug; put the bloody record on.

Doug drops the needle.

15

MUSIC: LA CUPARSITA Dramatic Argentinian strings as Shirley and Les lead the dance.

LES (CONT’D) (As they dance) Oh my God, Shirley.

SHIRLEY

Stay calm Les, stay calm. She motions Doug towards Scott.

SHIRLEY 1,2,3,4 Doug; 1,2,3,4 Doug will you talk to your son?

She motions Doug towards Scott.

DOUG Alright, Scott?

SCOTT Never better.

DOUG Do you mind if I bend your ear for a tick...?

SCOTT Not now Dad, please.

SHIRLEY Don't you speak to your father like that? He’s trying to talk to you. Talk to him Doug. Les, do something!

Les arrests Scott mid-stride and pulls him savagely into dance position. They tango.

LES Have you lost your bloody mind?

SCOTT I'm just sick of dancing somebody else's steps all the time.

LES Arms Clarry! You're getting above yourself lad. The people who passed on those steps know a lot more about dancing than you do.

SCOTT Well, the people there on Saturday night seemed to like it.

16

LES (A dismissive laugh)

Ah, what do they know? Forward on the heel Fran! Sure, you can please the crowd with your flashy choreography but where was your floor-craft? Arms Clarry!

Shirley dances with Clarry

LES (CONT’D) Untidy hands and your feet all over the place. No energy directed into the floor. You could have driven a truck between your left elbow - feet Clarry! - and your right hand. You think that's going to win you the Grand Prix?

Shirley instructs the beginner Clarry.

CLARRY So are Liz and Scott breaking up Mrs. H?

SHIRLEY I'm not going to let that worry me Clarry. I've got my happy face on today. Fran; go and fetch Liz from the changing room, there's a dear.

FRAN Yes Mrs Hastings.

LES (Intense, sweating)

And you can't win without a partner. So I want you to go to that little girl, man up and beg forgiveness. A man is nothing without his partner, Scott. It takes two to tango.

FRAN Liz, are you decent? Mrs Hastings would like a w...

Liz bursts from the changing room slamming Fran against the wall. She confronts Scott.

LIZ Well, have you made up your mind?

LES You've got a light in you boy; let it shine.

To a powerful orchestral flourish, Scott snaps both arms into El Guapo position.

A lock, a whisk, Liz and Scott sweep onto the floor.

The studio breathes a sigh of relief as they dance. They applaud.

17

SHIRLEY I knew you'd come to your senses.

LIZ That's better. But from now on; you behave yourself.

But that pushes Scott's button; he stops, then suddenly throws in a combination of his own steps! The studio gasps. The music crescendos and he stops in a dynamic pose.

LIZ I'm sorry Mrs Hastings. But I’m done. I don't want this!

SCOTT Then what do you want, Liz?

LIZ I'll tell you what I want. I want Ken Railings to walk in here right now and say "Pam Short's broken both her legs and I wanna dance with you."

Ken Railings comes in.

KEN Pam Short's broken both her legs and I want to dance with you.

KYLIE Well, that was unexpected!

LIZ Do you mean it, Ken?

KEN Yes I do, Liz.

SHIRLEY I wasn't aware you two were acquainted.

LIZ Well not on the floor, no. But I visited the showroom.

KEN Best hot tubs for fifty miles. Spa-o-rama.

LIZ He's got two back at his place.

KEN I could do you all a very good deal. Or you could just come over and use mine.

CLARRY Thank you Mr Railings.

18

LIZ (A smile and a warning) Ken.

KEN You and I Liz; we're going to burn up the championship.

LES Alright people; I think class is over for the evening.

KEN Why don't we all go and celebrate. I'll open up the showroom.

This is greeted with enthusiasm by the studio.

LIZ Oh; you terrible man!

To the strains of STRICTLY BALLROOM the entire cast pick up their things and depart in a celebratory mood.

SHIRLEY Liz; you can't just walk out on us. Liz! We're family. Look; one big happy... Where are you going? Wayne?

WAYNE Hot tub!

More cheers and they've gone.

LES There, there, now. Where's that happy face? See what you've done? You've broken your poor mother’s heart.

SCOTT I'm sorry.

LES Don't worry, Shirl; we've got three weeks to the competition - we'll find Scott a new partner.

SCOTT What?

LES We'll start tryouts tomorrow.

SCOTT No; but, Les...

LES No buts. You're going to win this thing if it kills us. Doug; drive her home will you.

19

DOUG I would Les, but the car's crook.

LES Tyre still flat?

SHIRLEY Oh, he's useless.

LES Come on then; I'll drop you all home. Lock up when you leave, Scott. Happy face, Shirley; happy face!

For a moment, a determined smile breaks through Shirley's tears, and then she is gone. Doug is last out.

DOUG Listen, son...

SHIRLEY (Off) Doug!

DOUG I want you to know, Scott...

SHIRLEY (Off) Douglas!

DOUG We'll talk soon.

SCOTT Thanks, Dad.

Scott is left alone. We hear the voices that are in Scott's head:

SHIRLEY What the hell was that, Scott? There's no excuse for that!

LES Flashy crowd-pleasing nonsense.

SHIRLEY It just won't do, Scott. Where's your discipline?

LIZ

I've never been so humiliated.

LES Where was your floor-craft? Untidy hands and your feet all over the place. You think that's going to win you the Grand Prix?

20

…and a soundscape of reverberating shoes...

MUSIC: ON THE EDGE

Scott experiments with steps.

SCOTT THERE’S SO MUCH I NEED TO THINK ABOUT I’M FEELING SO LOST WHY SHOULD I LISTEN TO EVERYONE? THEY JUST NEED TO STOP NOW I’M STANDING IN ONE PLACE I’M FADING AWAY GOTTA FIGHT UNTIL I BREAK THESE CHAINS

Scott's dance explodes into a dance solo of mind-blowing intensity. Multiple images of him are reflected in the studio mirrors.

He finishes with a great flourish and comes face to face with FRAN

FRAN That's looking good.

Scott stops, embarrassed.

SCOTT How long have you been here?

FRAN Two years……I mean I’m just looking for someone.

SCOTT Everyone's gone home.

FRAN Yeah I know. It's just that... well, I've got this idea. I mean it's, well it's... um... I want to dance with you. I want to dance with you; your way.

SCOTT Well you can't dance my way; you won't win.

FRAN But, that's only because you've been overdoing it. But if you kept it simple, if you danced from the heart.

SCOTT What?

FRAN And if you had the right partner.

21

SCOTT And that's you is it?

FRAN Well; I haven't got a partner.

SCOTT You've never had a partner. You've been dancing with other girls for two years.

FRAN I know that. And now I want to dance with you, your way, at the Pan Pacifics.

SCOTT The Pan Pacifics?

FRAN Yeah.

SCOTT I've been dancing since I was six years old and you come up to me, and say you want to dance non-Federation steps at the Pan Pacific Grand Prix? We'd only have 3 weeks to train.

FRAN Better get started then.

SCOTT I don't think so.

FRAN Please.

SCOTT No.

FRAN Just one hour...

SCOTT This is just embarrassing.

FRAN All I want is a tryout!

SCOTT You're going to wake up tomorrow and feel like an idiot.

22

FRAN I don't care how I feel; but I understand how you feel. SCOTT Do you? How?

FRAN Because...

SCOTT How could you possibly?

FRAN Well, because I make up my own steps, too.

SCOTT You make up your own steps?

FRAN Yeah...

Scott just stares at her... then turns to go.

SCOTT Lock up on your way out.

Fran blocks his exit.

FRAN Do you want to dance your own steps or not?

SCOTT A beginner has no right to approach an Open Amateur.

FRAN Yeah; well an Open Amateur has no right to dance non-Federation steps, but it doesn't stop you, does it?

SCOTT That's different...

FRAN Is it? You might think you're different, but you're not. You're just like the rest of them; you're scared. You're frightened to give someone new a go because you think, you know, they might just be better than you are. Well, I think you're pathetic. And you're gutless. You're a gutless wonder. Vivir con miedo, es como vivir a medias!

Fran cries. Scott doesn't know what to do.

23

SCOTT OK, don't cry...

Fran cries louder, Scott is embarrassed.

SCOTT Look, please don’t cry.

Fran wails

SCOTT (CONT’D) Look, um... What did you say your name was?

FRAN (Sobs rapidly diminishing) Fran...

SCOTT Fran what?

FRAN Just Fran...

A moment between them.

SCOTT Alright then, just Fran; One hour.

FRAN One hour?

SCOTT Rhumba.

FRAN Rhumba.

Fran runs and puts a record on.

MUSIC: RHUMBA

FRAN (CONT’D) I promise you won't regret it.

SCOTT I'm regretting it already.

Scott spins Fran into dance position. She stumbles.

SCOTT (CONT’D) One, two, three, four... You can't even do a basic!

24

FRAN You said one hour...!

SCOTT (Sighs) Back on the right leg, hold on the two... One, hold two, three four... One, two, three four... One, two, three, four...

Fran is still nervous and myopic and she bumps into Scott. FRAN

Sorry

SCOTT Never mind. Open to the mirror, One, two, three, four... That's it, Now just your hips,

One, two, three four... Alright... 1234

Scene intercut for Scott’s tryout’s with new partner.

LES Try outs Scott. Candidate number one Suzanne Bush

SCOTT

No. 1234 1234 (To Fran) Good dancers tell a story. A Rhumba's the dance of love; so look at me as if we're in love... Yeah, that’s... good. Now look at your feet

LES

Candidate number twelve Sandra Snake

SCOTT (CONT’D) No! 1234(To Fran) Ok spin out. Now let’s try a lunge.

FRAN

A lunge?

SCOTT Yeah, a lunge. Keep your body tight and really close. That’s it. Keep this strong. Alright hold firm. Again, don’t worry I’ll catch you.

FRAN

Right. SCOTT

You alright? FRAN

Yeah fine SCOTT

We’ll come back to that. 1234 1234

25

LES Number eighteen, Matilda Sands

SCOTT (CONT’D)

No. 1234 1234 (To Fran) Hold on; I've got an idea.

SCOTT (CONT’D) Maybe if we drag, lift and... um. Wait. Drag, lift and... no.

FRAN

(Offers a suggestion) I know; what if we... SCOTT

Shhh... Wait. We'll go one and two, drag and... um...

FRAN Yeah, but what if...

SCOTT Quiet; I'm working...

Suddenly Fran launches into a complicated Spanish-inspired step.

SCOTT (CONT’D) That was...

FRAN What?

SCOTT Well, that was... Where did that come from?

FRAN (Suddenly tentative) It's a thing I've... I've been working on at home.

SCOTT Show me.

FRAN Nah.

SCOTT Please. Show me.

FRAN I'm a bit embarrassed now.

SCOTT Why?

26

FRAN That won't do; what I just did. I don't know the proper way to dance. I'm just... I shouldn't have asked. I've got to get home. Thanks for the lesson.

She runs away. Scott is thoughtful. Scott dances the angry step that Fran improvised. He dances it again, and adds a brilliant flourish. Which gives him an idea. SCOTT

Fran! Scott exits HASTING’S KITCHEN KYLIE/LUKE

123,123

SHIRLEY That's lovely; you're really getting the hang of it. Lead, Luke. Lead her. Kylie will you please let Luke lead you! Marvellous. Well done. Kylie; your hem's coming down sweetie; let me pin it up.

Shirley pins the dress while Luke stands watching. SHIRLEY (CONT’D)

It was supposed to be Scott’s year. And now he’s gone and thrown it all away. You wouldn’t do that would you Luke?

LUKE

No. DOUG

Les’ll find him a new partner. SHIRLEY

There’s no time, Doug. She’d have to be a champion. You think someone like….Tina Sparkle’s traipsing around two weeks before the Pan Pacifics saying “I wonder who I will dance with”

LUKE Why don't you and Mrs. Hastings go in the over 45s, Mr. Hastings?

SHIRLEY Watch it.

DOUG I don't like the competitions, son.

SHIRLEY

(Exploding) Doug will you stop that! Stop that shuffling, you stupid man.

(Wracked by tears) I can't bear it. I just can't bear it.

27

Doug leaves. KYLIE

Don't cry Mum, Scott'll find a new partner.

SHIRLEY Where have you been? We had two lovely girls turn up.

SCOTT Like the last twenty? Could they dance?

SHIRLEY Well, one of them was... she was a very tall girl. Les is bending over backwards to find you a decent partner.

KYLIE I'll be your partner, Scott.

SCOTT Will you Kylie? Excellent. Problem solved.

He spins her.

LUKE I liked it when you did this.

Luke does a wild step.

SHIRLEY Luke; behave.

SCOTT What about this?

KYLIE & LUKE

Cool!

He demonstrates. Luke and Kylie copy.

SHIRLEY Stop it both of you. You see what a terrible influence you're having?

He leaves. Les enters

SHIRLEY Oh Les, I am at my wits end.

LES Get a load of this. Barry’s heard a rumour that Nathan Starkey's got knee trouble.

28

SHIRLEY You mean...

LES

Right. Barry hinted that Tina Sparkle might be looking. SHIRLEY

Tina Sparkle. LES

No harm in making an enquiry. SHIRLEY

Tina Sparkle, Les. LES

Well hang on Shirl, let’s not get ahead of ourselves SHIRLEY

But Tina Sparkle! LES

It’s far from a done deal. SHIRLEY

Right of course. Yes (ad lib) LES/SHIRLEY

Tina Sparkle! MUSIC: WHAT WAS IT ALL FOR? THE ROOF It's quite late at night. Doug is on the roof with a small projector. He is watching a film projected onto a sheet hanging on the line. It is his super 8 film of Scott's dance at the Waratah Festival. DOUG LOOK AT MY SON HOW HE MOVES LIKE A VISION THE HEART OF AN ARTIST, A DANCER’S PRECISION SCOTT IS THE OPPOSITE OF COMPETITION, HE’S FREE WE PIN OUR DREAMS ON OUR KIDS GET PUSHED 'ROUND AND BATTERED PRETEND THAT THE TROPHIES AND ACCOLADES MATTER HOW CAN I TELL HIM THAT NONE OF THAT MATTERS TO ME BUT WHEN THE MOVIE PLAYS ITS 123 123 I LET THE WHOLE WORLD SLIP AWAY AFTER THE MOVIE'S PLAYED ITS 123 ALL THAT'S LEFT IS DOUG SILLY OLD DOUG JUST LOCKING UP WE GAVE SO MUCH TO DANCE COULDN'T HAVE GIVEN MORE WHAT WAS IT ALL FOR?

29

Fran and Scott enter

FRAN (CONT’D) Oh; hello Mr Hastings.

DOUG Hello, Fran. Scott.

SCOTT Dad.

DOUG I was just... I got me film back. You find it difficult to get the film these days - it's all video, video, video.

FRAN Did you like what Scott did at the Championships?

DOUG Oh, I leave that sort of thing to Shirley. Shirley and Les know what's what.

It's all very awkward. Scott and Doug have no way of talking to each other. DOUG

I'll leave you to it. G'night.

FRAN Goodnight.

Doug disappears down stairs. FRAN (CONT’D)

Not much for a conversation is he, your Dad?

SCOTT He had a bit of a breakdown before I was born. They don't talk about it. I only know 'cos Les told me.

FRAN

Vivir con miedo es como vivir a medias.

SCOTT What?

FRAN

Oh, nothing.

SCOTT Vivir con miedo...

FRAN

...Es como vivir a medias. To live with fear is a life half - lived. It's just a proverb.

30

SCOTT Just about sums up my old man. FRAN Then why do we have to dance on the roof?

SCOTT Because downstairs it's suffocating. Up here I feel free to dance what I like.

FRAN Until you fall off.

SCOTT Shall we carry on then?

FRAN Sure SCOTT Right

He switches on tape player MUSIC: TIME AFTER TIME (ORIGINAL) SCOTT (CONT’D)

So; try this; no, if you get lost just look at me. That's it. And a strong turn. That's right; just find me.

FRAN Right

SCOTT And again, one more time.

FRAN Time after time. See what I did there?

SCOTT Very clever. Now... If you're lost - turn - you can look - back - and you will find me - that's it.

BOTH Time after time.

SCOTT That's it! That's good.

He flips off the tape deck, pausing it.

SCOTT (CONT’D) So after the spins, let's try the lunge...

31

FRAN (A little worried) The lunge...

SCOTT That’s right; the lunge...

He takes her by the hand, drawing her across his body. He lays her into the lunge, pulling her tight against him. SCOTT (CONT’D) IF YOU FALL I WILL CATCH YOU

FRAN You'd better be waiting.

SCOTT Concentrate! Ready?

Scott pulls her upright and they attempt the step at speed.

FRAN Eek.

Fran baulks.

SCOTT (Frustrated) No, no, no... Just relax.

Scott spins Fran into the lunge but Fran is too nervous to commit and she stumbles. Scott and Fran are still in dance position their faces very close.

FRAN Sorry, it's... I'm just not used to... Y'know. SCOTT What? FRAN Well... y'know.

Too embarrassed to finish the thought, Fran's words hang. SCOTT

You mean you've never been in such close proximity to an Open Amateur Champion?

FRAN

... disqualified Open Amateur Champion They break. Fran removes her glasses to clean them.

32

SCOTT You want to call it quits?

FRAN No! We’ve only just started.

SCOTT From the beginning then...

He rewinds the tape, turns and sees her.

SCOTT (CONT’D) Can you dance without those?

FRAN Yes. If you keep me away from the edge.

Scott gently takes the glasses.

SCOTT I won't let you fall. Now trust me.

Scott holds Fran very close in his arms. It is very intimate.

SCOTT (CONT’D) That feel OK...?

FRAN (A little overwhelmed) Yeah.

SCOTT You feel comfortable...?

FRAN Yeah.

SCOTT I won't let you fall. Now let's do it.

FRAN (A little discombobulated) Do it?

SCOTT The lunge.

FRAN Oh, the lunge, yeah.

Scott guides Fran into the step...

33

SCOTT (a capella)

IF YOU'RE LOST YOU CAN LOOK AND YOU WILL FIND ME. TIME AFTER TIME IF YOU FALL, I WILL CATCH YOU. I WILL BE WAITING

Fran gets the lunge!

SCOTT (CONT’D) (Encouraging her) That's it. Well done.

FRAN What now?

SCOTT Well, we could... I don't know. Let me think. Give me a minute.

He turns on the tape deck and lost in creation moves to the Hills Hoist and uses it as a prop. Gracefully balletic, he creates some new steps.

MUSIC: TIME AFTER TIME

FRAN LYING IN MY BED I HEAR THE CLOCK TICK, AND THINK OF YOU CAUGHT UP IN CIRCLES CONFUSION IS NOTHING NEW FLASHBACK - WARM NIGHTS ALMOST LEFT BEHIND... SUITCASE OF MEMORIES, TIME AFTER... SOMETIMES I PICTURE YOU YOU'RE WALKING TOO FAR AHEAD I'M CALLING TO YOU, YOU CAN'T HEAR WHAT I'VE SAID... THEN YOU SAY - GO SLOW, I FALL BEHIND. THE SECOND HAND UNWINDS

Scott has worked out the steps. He grabs Fran and they dance.

34

FRAN / SCOTT IF YOU'RE LOST YOU CAN LOOK AND YOU WILL FIND ME TIME AFTER TIME, IF YOU FALL I WILL CATCH YOU... I'LL BE WAITING TIME AFTER TIME...

Chorus appear. We see Doug through Kendall's Studio window dancing with a chair. CHORUS SECRETS STOLEN

FROM DEEP INSIDE THE DRUM BEATS OUT OF TIME

SECRETS STOLEN

FROM DEEP INSIDE THE DRUM BEATS OUT OF TIME

TIME AFTER TIME TIME AFTER TIME

SCOTT / FRAN / CHORUS IF YOU'RE LOST YOU CAN LOOK AND YOU WILL FIND ME, TIME AFTER TIME IF YOU FALL I WILL CATCH YOU I'LL BE WAITING TIME AFTER TIME... IF YOU'RE LOST YOU CAN LOOK AND YOU WILL FIND ME, TIME AFTER TIME IF YOU FALL I WILL CATCH YOU I WILL BE WAITING... TIME AFTER TIME! TIME AFTER TIME TIME AFTER TIME OUTSIDE THE MILK-BAR

SCOTT Well, I think you're ready...

FRAN What for?

35

SCOTT I want you and me to try out for Les tomorrow night

FRAN

At the State Championships? Really?

SCOTT Yep.

She kisses him compulsively. He pushes her away in surprise.

FRAN Sorry.

SCOTT Fran, remember what I said about the rumba being... y'know - the dance of love.

FRAN (Expectantly) Yeah.

SCOTT It's pretend. You just pretend to be in love. It's not real.

FRAN Oh no, I didn't... that's not what I... I know that.

SCOTT Just so's we're straight.

FRAN Of course.

SCOTT

Are you ok? Suddenly, a light clicks on. We hear: RICO (O.S.)

Francisca...? FRAN

(Worried by the voice) You'd better go. I'll see you tomorrow. Bye!

SCOTT Okay, I'll... FRAN

(Desperate that he leave) Yeah see ya... See ya... (Firmly)

SCOTT

36

Goodnight then.

FRAN Goodnight.

Scott leaves her.

RICO Francisca...?

RICO (CONT’D) Francisca! Como vienes tan tarde? [Why are you so late?]

He confronts her. Behind him, in the shadows, a worried ABUELA - Fran's grandmother.

FRAN I've been dancing.

RICO Dancing?

FRAN Practising. With Natalie.

RICO (Spanish) Tú sales demasiao. Mañana te quedas aquí. [You are out too much; tomorrow I need you here... ]

FRAN Tomorrow?

RICO (Spanish)

Mañana.

FRAN But I can't; not tomorrow.

RICO Manyanan es la fiesta dela espanide...

FRAN (Overriding) The Spanish Festival, I know. But it's the State Championships. I have to go.

RICO Ya está bien! I'm your father; you will stay home!

Rico storms inside, leaving a devastated Fran.

37

FRAN But I'm dancing. I was going to...

ABUELA Shh. Hush now.

FRAN I was going to dance.

Abuela comforts Fran with a warning and an embrace.

ABUELA Tomorrow everyone is coming for dinner. You must not shame your father.

FRAN But I have to go. Abuela, my life depends on it!

ABUELA Ah... still so young. OK. We give you one more day of childhood. I shall make up some annoyance.

FRAN You mean an excuse?

ABUELA Si... excuse

RICO (O.S. Spanish) Abuela...!

ABUELA Tomorrow I shall think of some story. But make sure you are home before ten.

FRAN Gracias Abuela.

ABUELA Now go to bed.

FRAN Si. Si.

The red curtain drops and JJ addresses the audience.

38

STATE CHAMPIONSHIPS MAIN AUDITORIUM MUSIC: NATHAN AND TINA'S INTRODUCTION

JJ SILVERS Ladies and Gentlemen, welcome to The State Championships! Brought to you by the National Australian Federation Of Dance in association with The Doonville Dingos Rugby Leagues Club and featuring the wonderful Mr. Nathan Starkey and the magical Miss Tina Sparkle!

Oh isn’t she gorgeous ladies and gentlemen?

Oh a Honeymoon Lunge, it gives me a hernia just looking at it. Sadly, tonight Nathan and Tina will be dancing together for the very last time, as Nathan is retiring to concentrate on his landscape-gardening business.

NATHAN It needs attention JJ.

TINA Whilst he can still kneel.

JJ SILVERS Nathan and Tina will be giving us a little bit of an exhibition dance later on. Let’s hear it for a great pair of ambassadors...

STATE CHAMPIONSHIPS. THE CLUB BAR

Ken walks across a bit unsteadily with a double scotch. Liz follows with a sandwich.

LIZ Would you please eat this?

KEN I'm on a diet.

LIZ A whisky diet?

KEN It works. Last week I lost three days.

LIZ I left Scott Hastings for you.

KEN You did, sweetie. And I'm a legend.

Barry sweeps in followed by JJ SILVER in minion mode, Les and Merv. BARRY

39

With Nathan retiring, Scott and Tina are both without partners and I think it would be advantageous for all concerned if they were seen together.

MERV

But why reward Scott's shenanigans? The steps he danced caused a lot of distracting chat down our way...

BARRY That's why it’s important Scott's seen to be dancing the right steps with the right partner Merv.

JJ SILVERS

Young dancers need to see their champions dancing by the book, Merv.

BARRY

JJ’s hit the head right on the nail there, Merv. LES

I'm a hundred percent behind it Barry; Scott can try out with Tina tonight.

BARRY

Gentlemen - let's make this a bloody good festival. Barry and Les shake hands. BARRY

Merv, you tell Tina we've got it all worked out. MERV

Thank you Barry. LES

This is wonderful Barry, wonderful! Barry takes Les aside: BARRY

He doesn't deserve her; I've been fielding phone calls all week about the steps Scott danced at that Festival. I love Dancesport Les, and I'm not about to let what we've fought for all these years be destroyed.

LES

Scott's learnt his lesson Barry he's changed. BARRY

We both know exactly where that young man was heading. Don't we? Foolish boy. But with Tina Sparkle available, Scott's got a second chance. Let's not forget, Les, a Pan Pacific Champion becomes a hero, a guiding light to all dancers. Someone who'll set the right example.

Scott enters.

40

SCOTT You wanted to see me, Mr Fife?

LES There you are son. Yes; Mr Fife would like a word.

BARRY I would indeed. Now you listen, son:

MUSIC: DANCE TO WIN I'VE SEEN GREAT POTENTIAL RUINED AND THAT'S EXACTLY WHAT YOU’RE DOIN' I’M TAKING THE TIME TO QUIETLY REMIND YOU YOU’RE PISSING IN THE WIND AND WE’RE STANDING RIGHT BEHIND YOU WE'VE WORKED TOO HARD TO LET YOU SPOIL IT FLUSH OUR DREAMS DOWN THE TOILET YOU NEED TO KNOW THE HAND THAT HOLDS THE TROPHIES THAT HAND CONTROLS THE WORLD LIFE'S LIKE BALLROOM, SEE? WITHOUT THE RULES IT'S ANARCHY BUT PUT YOUR FAITH IN THE FEDERATION YOU'LL BE REWARDED BEYOND IMAGINATION PERSONAL EXPRESSION'S A DANGEROUS OBSESSION SELFISHNESS IS A SIN SIMPLY OBEY, SON THE FEDERATION AND THEN SASHAY PAST THE DISCOUNT BIN THE KEY TO SUCCESS IS ON THIS VHS MY OPUS ON TAPE DANCE TO WIN I'VE PUT UP WITH POSERS WHO PHONE IN ROUTINES AND BLOKES WHO JUST PONCE THROUGH THE POLKA LIKE QUEENS BUT MESSING WITH NEW STEPS, SCOTT SHOWS UTTER DISRESPECT, SCOTT SO PROVE YOUR ALLEGIANCE TO ME! I LOVE THIS SPORT, SCOTT I DANCE HOW I WAS TAUGHT, SCOTT IF YOU WANT MY SUPPORT, SCOTT YOU’LL KEEP YOURSELF IN CHECK THERE'LL BE NO NEW STEPS ONLY FEAR AND RESPECT I WEAR THE PANTS AND I SAY "DANCE TO WIN!"

41

BARRY (CONT’D) So; do we have an understanding?

SCOTT You want me to toe the line. I get it.

BARRY I'm going to be frank with you Scott; if you don't toe the line; the future of Kendall’s is at stake. I mean it ok? Alright Les; shall we tell him the good news?

LES Yes Barry, thank you Barry.

BARRY Ah, Lessie; heavy is the crown that wears the head of the; y’know?

LES I'm sure.

BARRY So yes. Scott; tonight you try out with Tina Sparkle!

SCOTT Tina? But...

LES Thank you, Barry.

SCOTT Yeah, but...

LES We're very grateful, Barry. It's a visionary idea.

JJ SILVERS Visionary!

Tina enter with Merv. LES

Oh Tina! What a sight!

TINA Well hello Scott.

MERV Tina's got one last exhibition dance with Nathan, then she's all yours. That's right, Tina?

TINA All yours.

42

LES We'll leave you to it. You've got about 45 minutes til tryout. Keep it simple. Bring it home.

BARRY Yeah, well. Best of luck to you both.

Barry leads everyone but Scott and Tina out. TINA

Well here we are. SCOTT

Tina look I’m not interested TINA

What charm school did you go to? SCOTT

I just wanted you to know that. TINA

Well when Barry told me you were available I didn’t think it was a very good idea, I just wanted you to know that. I know what you did at the Waratahs’ – it was disgusting.

SCOTT Disgusting? I was just doing my own thing.

TINA

Yes I noticed. It was an insult to all of us who have spent our whole lives working hard to be perfect; you’re up yourself big time.

SCOTT

Its fine, Tina. You don’t have to dance with me.

TINA No Scott it’s not fine! Nathan’s knees are stuffed, it’s two weeks to the Pan Pacifics and I need a partner.

SCOTT Sorry – I’m not your man.

TINA Wait Scott… ( Doing your own thing’s not going to get you anywhere in life. You know I saw you at the Wondilly, Five Dance, Latin American Round Robin, Taco Time Fiesta you were just 16 and you burnt that floor up- but you’re so used to winning that you think you won’t miss it when you start losing - let me tell you something.

MUSIC: NO LIFE AFTER DANCE

TINA I KNOW YOU BET YOU'VE BEEN TRAINING SINCE THE AGE OF 2

43

BET YOU KEPT YOUR FIRST PAIR OF BALLROOM SHOES BET YOU'VE BROKEN EVERY HEART IN TOWN I KNOW YOUR TYPE A LITTLE ARROGANT AND OVER-HYPED WHEN THE CHAMPIONSHIP IS IN YOUR SIGHTS YOU'RE TOO SCARED TO TAKE THE CROWN BUT DANCE WITH ME YOU'LL GET YOUR MOMENT IN THE SUN AND FOREVER MORE YOU'LL BE A PAN PACIFIC CHAMPION YOU GOT A LOT OF FLOOR TO SCORCH BUT YOU’VE BEEN FLOGGING A DEAD HORSE AIN’T IT TIME TO DRIVE A PORSCHE?

THERE IS NO LIFE AFTER DANCE SCOTTY THIS IS ALL THERE IS LIFE WITHOUT A BALLROOM IS NO WAY TO LIVE YOU'LL BE FAT AND BORED WITH A MORTGAGE AND A BUNCH OF KIDS NO LIFE AFTER DANCE WE'VE PAID OUR DUES LET'S WIN THE GAME GIVE UP NOW AND SEE HOW FAST THEY FORGET YOUR NAME NO GLORY, NO MUSIC, NO SEX, NO ROMANCE THERE IS NO LIFE AFTER DANCE SCOTT I KNOW YOU YOU’RE TERRIFIED OF TRYING SOMETHING NEW TAKE AWAY THE RULES AND YOU DON’T KNOW WHAT TO DO YOU’RE TOO BUSY DANCING BY THE BOOK TINA I GOT WHAT IT TAKES TO TURN ‘EM UPSIDE DOWN OR SHOULD I LET THE FEDERATION BURN YOU TO THE GROUND DON’T YOU WANNA TASTE SUCCESS? A LITTLE KUDOS AND RESEPCT? BOTH I GUESS THAT I’M NOT READY YET TO FACE A LIFE AFTER DANCE WHILE WE’RE LIVING LETS PUT ON A SHOW TINA DO IT FOR ME, DO IT FOR YOU, FOR YOUR FAMILY AND YOUR STUDIO TAKE THE TROPHY, FLIP THEM THE BIRD AND THEN OFF YOU GO BOTH NO LIFE AFTER DANCE SCOTT WHAT IF HERE AND NOW IS ALL THERE IS TINA WHAT IF WE STOP DANCING AND WE DON’T EXIST BOTH NO LEGACY,HIST’RY, NO FUTURE, NO CHANCE THERE IS NO LIFE AFTER DANCE TINA

44

JUST ONE LAST DANCE BEFORE WE FADE INTO OBSCURITY A LITTLE REVERENCE AND SECURITY

BOTH NO TANTRUMS, NO ANTICS NO BULLSHIT ROMANTICS JUST PERFECT AND SURE STRICTLY BALLROOM ONE NIGHT! THERE IS NO LIFE AFTER DANCE

TINA Either we win this thing, or our bloody hearts give out. Do we have a deal?

JJ SILVERS (Tannoy) Ladies and Gentlemen it's nearly time for our exhibition dance.

TINA Oh dear Christ, that's me. I'll see you later. It's time to step up, Scott Hastings.

She leaves as Les and Shirley enter, with Kylie and Luke.

SHIRLEY Tina Sparkle!

LES

Tina Sparkle! KYLIE & LUKE

Tina Sparkle! SHIRLEY

How did it go, Scott you two must have hit it off?

SCOTT Tina's an amazing dancer. She should have gone pro.

SHIRLEY You'll dance the try-out, yes?

SCOTT Just give me a moment to think, OK?

THE STATE CHAMPIONSHIPS BALLROOM -THE AUDITORIUM

MUSIC: NATHAN AND TINA'S FANFARE

JJ SILVERS Now we've all heard the terrible news about Nathan's untimely retirement. However in lighter news he wants you to know that the

45

Belle View Garden Centre in Woongabbie will now be open until seven o’clock, six days a week. Now as they take to the floor the question on everyone’s lips is... when Nathan takes his final bow, who will snaffle Tina?

As the dance continues the scene transforms to backstage.

STATE CHAMPIONSHIPS - BACKSTAGE

Scott is watching the exhibition dance through a curtain. He is trying to make his mind up about dancing with Tina. Fran arrives behind him.

FRAN Scott?

SCOTT Fran.

FRAN I got away. I've got to be back by ten.

SCOTT Right.

FRAN But we should be dancing at what about eight thirty?

SCOTT Right

FRAN Have you told Les?

SCOTT

Well...

FRAN Have you told your mother? I bet you haven't. Well, they'll find out soon enough. Who's dancing?

SCOTT Nathan and Tina

FRAN Oh she's so good. A bit technical. Not entirely from the heart, you know? But you can't fault her.

MUSIC: CHANGES TO "PERHAPS, PERHAPS, PERHAPS"

FRAN (CONT’D) Oh...!

SCOTT

46

What?

FRAN This song. My mother loved this song. We could dance this, eventually. Let's you and I dance this.

SCOTT Fran; there's something I need to...

But she's not listening; she's stepped away from him and dances, tentatively but beautifully.

FRAN I've been dancing on my own for two years. I have an amazing rapport with myself.

He smiles at her joke and watches her.

FRAN (CONT’D) SIEMPRE QUE TE PREGUNTO QUE, CUANDO, COMO T DONNDE TU SIEMPRE ME RESONDES QUIZAS, QUIZAS, QUIZAS.

FRAN (CONT’D) I don't want to dance on my own anymore.

Seduced, he moves towards her to dance. FRAN A MILLION TIMES I'VE ASKED YOU, AND THEN I ASK YOU OVER AGAIN YOU ONLY ANSWER

KYLIE Luke; come here.

FRAN PERHAPS, PERHAPS, PERHAPS

They dance beautifully. Kylie and Luke become witness to it, as do other dancers

LUKE What?

KYLIE It's the inconceivable sight of Scott dancing with Fran the Beginner.

FRAN AND SCOTT IF YOU WON'T MAKE YOUR MIND UP WE'LL NEVER GET STARTED AND I DON'T WANT TO WIND UP BEING PARTED BROKEN HEARTED

47

SO IF YOU REALLY WANT ME SAY YES, BUT IF YOU DON'T DEAR, CONFESS AND PLEASE DON'T TELL ME PERHAPS, PERHAPS, PERHAPS PERHAPS, PERHAPS, PERHAPS

LES

Scott! What the hell are you two up to?

SCOTT You Ok?

FRAN I'm fine.

WAYNE Crikey mate; you need some practice in the nets. SCOTT Sorry LIZ You're a beginner, Fran. What the hell do you think you’re doing?

FRAN We were just…..

SCOTT Les; I've made up my mind. I’m going to dance with

SHIRLEY Hello Franny; gee you look nice. You've been using that Newtra-face buff puff I gave you, haven't you?

FRAN Oh, just a bit.

SHIRLEY I'm so excited.

FRAN

Are you?

SHIRLEY I thought he'd never find a new partner.

SCOTT

Mum… SHIRLEY

And now everything's turned out wonderfully.

FRAN (Tentatively)

48

Do you really think so?

SHIRLEY Of course I do! Les and I are beside ourselves.

SCOTT Mum, please!

FRAN Really? Well, I'm very happy, too.

SHIRLEY Of course you are, sweetie. Who would have thought it, eh? Our Scott dancing with Tina Sparkle It's the answer to our prayers. Isn't it, Doug?

DOUG Hm.

SCOTT Fran...

SHIRLEY Straight after the exhibition Tina's hopping into the social with Scott for a tryout. Isn't she, Scott?

SCOTT

Listen, Fran….

LES If he doesn't shape up I might just jump in there and steal her from him. I've still got it in me, you know.

SCOTT I never

FRAN It's wonderful news. Congratulations.

SCOTT Yeah, but you don’t understand.

There's a huge burst of applause and Nathan and Tina sweep backstage. As soon as he's off, Nathan hobbles on his bad knee. As the assembled greet Tina.

SHIRLEY (In Fran's direction) Here she is; isn't she gorgeous!

LES

Oh Tina. SHIRLEY

I think it’s best for everyone, especially Scott if you run along home

49

now. Don’t you Franny? FRAN

Yes Mrs Hastings. SHIRLEY

Good girl.

LIZ

Watch it, Frangipani!

TINA Well Scott; what say we turn this blind date into a hot one?

Barry comes through the curtain from the scrutineers table onstage.

BARRY I see you two are getting acquainted.

LES Scott's bucking up and buckling down, Barry. Pan Pacifics and beyond.

SCOTT Where's Fran?

SHIRLEY She had to go. Gee she’s a funny girl.

TINA Foxtrot or bosa-nova Scott? For the rest of the evening you’re all mine.

BARRY And don't blow it, son. You start listening to your superiors or there won't be a mark on the scorecard low enough for you at the Pan Pacifics. I mean where would we all be if everyone went around making up their own steps?

SCOTT Well; you'd be out of a job for a start.

A sharp intake of breath from all around.

SHIRLEY Scott.

LES Take that back at once.

BARRY What did you say to me?

SCOTT

50

I'm sorry Tina. But I can't dance with you. I'm going to dance my way, or not at all.

Scott strides away.

WAYNE It's Tina Bloody Sparkle mate! What is wrong with you?

SCOTT

That's what I've been trying to find out for the last three weeks, Wayne. What is wrong with me! What's so wrong with the way I dance?

SCOTT I'm sorry.

SHIRLEY

No!

He runs out.

TINA Can someone please explain to me what the bloody hell just happened?

BARRY I told you; that boy's a loose cannon.

BARRY Get the rest of your people out front. I'm wiping my hands of the lot of you!

TINA

Scott!

LES Barry!

SHIRLEY Mr Fife!

LES Oh Lord.

SHIRLEY

Oh, Les.

OUTSIDE THE MILK-BAR

Fran arrives outside the Toledo. She stops... devastated, alone...

MUSIC: FRAN'S EPIPHANY

FRAN STANDING HERE ON MY OWN NOW....

51

I CAN FINALLY SEE EXACTLY WHAT THEY'RE THINKING WHEN THEY'RE LOOKING AT ME NOW I REALISE, MY REFLECTION IN THEIR EYES IS JUST THIS NOBODY, SOME CATASTROPHE, WHO HAS NO RIGHT TO TRY, AND KNOWING HIM, WHAT WAS I THINKING, I GUESS IT'S NO SURPRISE... FOOLS HOPE, FOOLS DREAM WHAT WAS I THINKING? I TRUSTED HIM A BOY LIKE HIM AND I DON'T CARE WHAT THE OTHERS SAY I COULD NEVER LIVE MY LIFE THAT WAY BUT I THOUGHT HE WAS DIFFERENT I THOUGHT HE COULD SEE NOW I REALISE MY REFLECTION IN THEIR EYES MY REFLECTION IN THEIR EYES

Scott appears. SCOTT

Fran. FRAN

What are you doing here? SCOTT

I want to dance with you. FRAN

Go away. I'll get in trouble. SCOTT

I’m so sorry. I didn’t mean for all that to happen back there. FRAN

I get it. You’ve been working towards the Pan Pacifics since you were six years old. And they’re right, I'm just a beginner. I'm never gonna be like them.

SCOTT

No, I don't want you to be like them - you're better than all of them. (A moment) Fran, I want to dance with you. I want to dance with you. Our way at the Pan Pacifics.

FRAN

We won't win.

52

SCOTT I don't care, I just want to dance our steps; I want people to see what we've made.

FRAN

I fell... you didn't catch me. SCOTT

I'll never let that happen again...

Rico enters, Abuela behind him.

RICO Francisca... Quien es este? [Who is this?]

Fran looks from Rico to Scott and back to Rico.

FRAN This is my dancing partner.

RICO This is Natalie? You; you go now.

SCOTT I'm pleased to m...

RICO Vete! Vete! Go!

Rico pushes Scott, he falls.

SCOTT We just dance together, that's all.

Drawn by the disturbance, revellers from the party gather.

RICO What dance do you dance with my daughter so late at night?

Scott looks to the crowd and then back to Rico.

SCOTT The Paso Doble?

ABUELA steps in to defuse things.

ABUELA El Paso Doble? Tú bailas pasodoble?

FRAN (Translating) She's asking if you dance the Paso Doble.

53

SCOTT Yeah. Sure. Yes, I do.

ABUELA

(She claps her hands) Show! Show!

Rico looks to ABUELA confused, then a smile passes his lips.

INSIDE THE MILK BAR – THE VERANDA

RICO (A public announcement) Sí, Venga, a ver ese pasodoble!

A murmur goes through the crowd: "The pas doble, the paso doble."

A ring of hostile faces. Rico's challenge is punctuated by a flourish of strings. Scott, a confident smile as he accepts the challenge. Fran is reluctant, but Scott spins her onto the veranda. The night is still with expectation.

SCOTT It's alright, just try and keep up. (To the guitarist) Four count intro.

MUSIC: SCOTT'S PASO

He stamps the floor, striking a dramatic pose. He and Fran dash across the floor in their paso, Scott clicking his fingers and stamping his feet. There is a moment of stunned silence and then the spectators begin to chuckle. ABUELA's expression is bewildered. Scott, fighting the reaction, drives the dance stronger and stronger, but the laughter increases to a raucous howling. Scott breaks off into a temper.

SCOTT (CONT’D) What's so bloody funny?

The laughter dies to a still tension. Rico slowly rises and walks to Scott.

RICO (Into Scott's face) Paso Doble? Paso Doble!

Rico's slouching body snaps into the taut frame of a matador. His black eyes fix on the bull. To the rhythmic clapping of the onlookers, he dances with explosive power. MUSIC: RICO'S PASO A final stamp to 'Ole's', everyone claps and cheers. Scott is awe-struck. Rico gestures toward Scott.

RICO (CONT’D) (To Fran)

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Así pierdes tú el tiempo? [This is what you waste your time on?]

ABUELA El Cachondo podrá mover el culo, pero lo que es de ritmo, no tiene ni punetera idea.

SCOTT What did she say?

FRAN Um...

SCOTT Tell me the truth.

FRAN She said: 'Hot stuff, might be able to shake his tail feather, but he knows chicken shit about rhythm'.

ABUELA begins to unbutton Scott's shirt, exposing his bare chest and stomach.

ABUELA Bonito cuerpo...

People laugh, Scott looks questioningly to Fran.

FRAN She said you've got a.... (Embarrassed) Never mind.

ABUELA Vamos a ver, donde sientes tu el ritmo?

FRAN Where do you feel the rhythm?

Scott stamps his feet.

ABUELA No, No!

She plants her hands on Scott's stomach and heart.

ABUELA (CONT’D) No lo piense. Metelor en el corazon. Siente el compas aqui a dentro. Levanta aqui baja los hombros sube esto. [No, don't think it. Put it in your heart. Feel the rhythm inside. Lift up here; lower your shoulders, lift this].

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She nods to the guitarist. He claps a rhythm. Abuela beats a counter rhythm on Scott's heart and chest.

ABUELA (CONT’D) Listen to the rhythm, don't be scared. Acompename!

FRAN Follow.

RICO Stick to baby steps.

ABUELA Don't listen to him. Listen to yourself.

Scott does so, strengthening the sound with his own hands.

MUSIC: MAGNIFICO

ABUELA (CONT’D) YOU CAN BECOME ANYTHING YOU WANNA BE MAGIC LIVES WHERE COURAGE DANCES FREE JUST SHUT OUT ALL THE VOICES AND MAKE UP YOUR MIND QUIEN BAILA CONTU CORAZON CON MIGO

FRAN

LIFE IS NEVER REALLY LIVED HIDING IN THE DARK NEVER LISTENING TO WHAT YOU HEAR INSIDE THERE’S A HUNGER, THERE’S A MAGIC THERE’S A MYSTERY AND ALL IT EVER WANTS TO DO IS COME ALIVE

BOTH

MAGNIFICO FEEL THE RHYTHM OF YOUR HEART THERE’S NO STOPPING WHEN YOU START IT’S THE MUSIC OF YOUR SOUL MAGNIFICO YOU GOT THAT FIRE IN YOUR EYES AND ALL THAT PASSION DOWN INSIDE IS WAITING TO EXPLODE MAGNIFICO

Scott claps and leads the group. Rico sets a rhythm. Scott copies. He is learning. They do a flamenco dance sequence.

ALL LET IT GO MAGNIFICO IT’S IN YOUR SOUL IT OVERFLOWS, MAGNIFICO FEEL THE RHYTHM OF YOUR HEART THERE’S NO STOPPING WHEN YOU START IT’S THE MUSIC OF YOUR SOUL MAGNIFICO YOU GOT THAT FIRE IN YOUR EYES AND ALL THAT PASSION DOWN INSIDE

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IS WAITING TO EXPLODE MAGNIFICO MAGNIFICO MAGNIFICO

RICO Siete ocho! ALL

MAGNIFICO MAGNIFICO

RICO And now it begins!

END OF ACT ONE

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ACT TWO

THE FORESTAGE

JJ SILVERS Welcome back folks. You catch me reminiscing here at the Braxton Hills bowling club, remembering all the greats who've played here: Frank Sinatra, Liza Minelli, David Hasselhoff. I myself have been dancing for 20 years now, since I was 5 years old, and I've never been lucky enough to win any kind of trophy, but I keep doing the steps just like I was taught because dance brings its own rewards. And whenever I dance; I'm beautiful. And so are you. Rodney release those fabulous beasts

MUSIC: BEAUTIFUL WHEN YOU DANCE

CHORUS BEAUTIFUL BEAUTIFUL BEAUTIFUL WHEN YOU'RE DANCING

JJ YOUR DAY JOB'S DEMEANING YOU GET NO RESPECT YOUR PATIENCE AND SANITY HANG BY A THREAD A LIFE SPENT IN TRAFFIC TILL ONE DAY YOU'RE DEAD I'VE BEEN THERE YOU KNOW THAT I'VE BEEN THERE THE DAYS DRAG FOREVER YOUR HOPES TURN TO DUST YOU'VE TRADED YOUR SOUL FOR A HANDFUL OF BUCKS YOUR CAR AND YOUR LOVE LIFE ARE STARTING TO RUST I KNOW IT'S NOT FAIR BUT SUDDENLY WHEN YOU'RE DANCING EVERYTHING TURNS OUT WONDERFUL SOON AS YOU GROOVE THROUGH THOSE BALLROOM DOORS EVERYTHING REEKS OF ROMANCE YES WHEN YOU'RE DANCING SUDDENLY YOU ARE BEAUTIFUL FROM YOUR HEAD TO YOUR MANICURED CUTICLES YOU'RE BEAUTIFUL WHEN YOU DANCE

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GLITTERED AND GLAMAND YES DIPPED IN FAKE TAN WITH A HANDSOME YOUNG MAN ON YOUR ARM! YOU'RE ELEGANT, STYLISH YOUR SMILE IS BEGUILE-ISH AND JUST FOR A WHILE YOU'RE A STAR! OH YES YOU ARE!

CHORUS YES YOU ARE! BEAUTIFUL BEAUTIFUL BEAUTIFUL CHORUS OH WHEN YOU'RE DANCING EVERYTHING TURNS OUT WONDERFUL DOING THINGS YOU'VE NEVER DONE BEFORE SHAKING AND TAKING A CHANCE YES WHEN YOU’RE DANCING SUDDENLY YOU ARE BEAUTIFUL LIFE’S A BALLROOM DANCING MUSICAL ITS BEAUTIFUL WHEN YOU DANCE OH YOU’RE BEAUTIFUL BEAUTIFUL WHEN YOU DANCE

HASTING’S KITCHEN

Shirley and Doug are waiting up late at night.

MUSIC: WHAT WAS IT ALL FOR

SHIRLEY

AFTER SCHOOL CLASSES, SEQUINS AND SEWING THE COLOURFUL CHAOS OF COMING AND GOING IN DANCE STUDIOS WHERE HEROES AND TROPHIES ALL LINED THE WALLS AND EVERY WEEKEND WE WOULD SPRING INTO ACTION ME WITH A MAP AND DOUG DRIVING THE DATSUN SCOTT STUFFED IN THE BACK AS WE RACED OFF TO DANCE IN SOME DUSTY COUNTRY HALL OH WE GAVE SO MUCH TO DANCE I USED TO BE SO SURE WHAT WAS IT ALL FOR? BUT WHEN MY BOY IS DANCING 1-2-3 1-2-3 1-2 HE CAN’T LET HIS HEART OVERCOME HIS HEAD

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BECAUSE IF WE LOST OURSELVES IN 1-2-3 1-2-3 DANCING OUR OWN STEPS WHAT WOULD YOU GET? ONLY REGRET

SHIRLEY (Brittle) Have you eaten? If you haven't, there's some chops in the fridge. SCOTT No, I'm fine. SHIRLEY How could you? How could you do that to Tina? She's a Pan Pacific champion.

SCOTT Mum... SHIRLEY First thing tomorrow morning, you'll get on that telephone and apologise. SCOTT I won't be dancing with Tina. SHIRLEY What!

She looks to Doug, he doesn't react. SHIRLEY (CONT’D) Doug, he said he won't be dancing with Tina. DOUG I heard. SHIRLEY Well do something about it, you stupid man! SCOTT Why do you always pick on dad all the time? SHIRLEY How dare you speak to me like that! The sacrifices we’ve made for you, the money, the time, The effort and what about Les? He's taught you everything you know, and you're just going to throw it all back in his face. SCOTT Shut up! SHIRLEY What did you say?

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SCOTT I'm bored with all this! SHIRLEY Bored? Oooohhh! I don't believe I'm Hearing this...I've been with your father for twenty-five years. Do you think I don’t get bored? Of course I do. We have to keep our concentration now Scott. SCOTT We? You just don’t get it

SHIRLEY DANCE DEMANDS SACRIFICE AND DISCIPLINE TO WIN IT SURE YOU TAKE RISKS BUT YOU MUST KNOW YOUR LIMITS YOU’RE PART OF SYSTEM, YOU MUST WORK WITHIN IT NOBODY DANCES ALONE SCOTT YOU’RE STILL SO YOUNG, YOU’RE IMPULSIVE, IMPATIENT KIDS THESE DAYS WANT INSTANT GRATIFICATION IN MY DAY WE WORKED, WE OBEYED AND WE WAITED WE BUILT OURSELVES A HOME YES WE GAVE SO MUCH TO DANCE LEFT OUR HEARTS OUT ON THE FLOOR AND THAT’S WHAT IT WAS FOR

But you stick to your goals and eventually they bring their own rewards. SCOTT What rewards? SHIRLEY Winning the Pan Pacific Grand Prix Open Amateur Five Dance Latin American Championships! SCOTT Mum! I don't care about winning

Shirley slaps Scott. He exits SHIRLEY Scott!

INSIDE THE MILKBAR -VERANDA

ABUELA Estáte quieta. Esto se arregla.

FRAN This dress is stupid, the whole thing is stupid. What if people laugh at me? I'll fall over like before...

ABUELA Acuérdate: 'Vivir con miedo'...

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FRAN ...is a life half lived; I know Abuela.

ABUELA Your mother could wear a potato-sack on the floor and no-one would dare laugh at her.

FRAN Well, she was beautiful.

ABUELA No, hijita, you are beautiful. And strong. You remind me of your mother. I'm very proud of you and if your mother was here, she would be very proud of you too.

Abuela looks into her granddaughter's eye. Abuela effortlessly sings to the guitarist's melody.

MUSIC: LEAP OF FAITH

ABUELA (CONT’D) LISTEN TO ME PRECIOUS ONE EVERY WOMAN ONCE WAS YOUNG THEY DIDN'T KNOW THEY HAD THE STRENGTH TO DO THE THINGS THAT MUST BE DONE THIS IS WHAT ABUELA KNOWS A WOMAN SHE IS NOT HER CLOTHES EVERY PART OF YOU IS STRONG BOTH THE THORNS AND FLOWER MAKE THE ROSE LIFE SHE PULLS YOU INTO HER SONG LET THE RHYTHM TAKE YOU ALONG WHEN YOU FEEL IT TAKE YOUR BREATH AWAY JUST KEEP WALKING TOWARDS IT ANYWAY COS LIFE IS A LEAP OF FAITH FRAN

I can’t. WHEN YOU SEE IT AND IT TERRIFIES JUST STAND UP, WRITE YOUR NAME ACROSS THE SKY COS LIFE IS A LEAP OF FAITH

FRAN But you don’t understand. The things that they say to me, the way that they look at me. I’ll always be different to them.

ABUELA LIFE IS NOT AN EASY PATH YOU CAN BLOSSOM IF YOU TRUST TAKE YOUR DREAMS AND SHARE YOUR HEART GO SHINE A LIGHT FOR ALL OF US LISTEN TO YOUR MAMA’S VOICE INSIDE

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GUIDING YOU TO BE TRUE TO YOURSELF WITH PRIDE WHEN YOU FEEL IT TAKE YOUR BREATH AWAY JUST KEEP WALKING TOWARDS IT ANYWAY LIFE IS A LEAP OF FAITH YOUR FAMILY ARE WITH YOU WE HOLD YOU AND WE LIFT YOU YOU CARRY US INSIDE IL CORAZON DON'T LET FEAR DIVIDE YOU FRANCESCA WE'RE BESIDE YOU THERE'S SO MUCH LIGHT INSIDE YOU JUST GO ON YOU NEVER DANCE ALONE!

FRAN/ABUELA WHEN YOU FEEL IT TAKE YOUR BREATH AWAY JUST KEEP WALKING TOWARDS IT ANYWAY COS LIFE IS A LEAP OF FAITH WHEN YOU SEE IT AND IT TERRIFIES JUST STAND UP, WRITE YOUR NAME ACROSS THE SKY LIFE IS A LEAP OF FAITH LIFE IS A LEAP OF FAITH LA VIDA ES UN ACTO DE FE

FRAN I miss her. ABUELA I miss her too. BOTH

LIFE IF A LEAP OF FAITH. KENDALL'S STUDIO

Barry joins Shirley, Doug, and Les at the head of a cheap laminex table. Barry has called a conference.

BARRY So has the boy changed his tune? What has he said?

LES He's still saying he doesn't care about winning.

BARRY A man who doesn't care about winning is a very dangerous individual.

SHIRLEY I'm his mother. I thought it had to be a woman, and it turns out it’s not even a woman. It's Fran. He wants to dance his silly steps with Fran.

BARRY If a man dances an unknown step then there's no decent criteria to

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judge him by!

LES And I can't teach a step if I can't bloody well dance it!

BARRY One bad egg'll rot the whole barrel. If this attitude infects the Federation, we might as well all pack up and go home! It's imperative you put him in his place and get your status quo vadis back, so to speak.

SHIRLEY We've tried everything we can to convince him.

BARRY Except the truth.

SHIRLEY (Tentatively) What do you mean?

BARRY Look, we all go back too far to beat around the bush. I know we agreed that the past should be left in the past, but it's about time that young lad learnt some home truths about where this kind of thing can lead.

They all look at Doug. There is an uncomfortable silence broken only by the sound of Doug using his breath freshener.

BARRY (CONT’D) You got anything to contribute Doug? No, I thought not. I tell you Les; this is ruining my health. I can't sleep and if I do sleep I have nightmares. You sort this out mate, or The Kendall Studio is going to find its very lean pickings in the years to come!

Barry pulls his jacket off the back of the chair and leaves.

LES Maybe he's right Doug. Maybe you should have a word with Scott.

SHIRLEY And what word would that be? You've never had a heart to heart with that boy. We never know what you're thinking. Do you have an opinion?

DOUG I'd better fill the drinks machine SHIRLEY He is completely useless

Doug leaves.

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LES He means well. Go easy on him.

SHIRLEY I've gone easy on him for twenty years.

TRANSITION

CHORUS NEW STEPS, CHA CHA CHA NEW STEPS CHA CHA CHA NEW STEPS, NEW STEPS NEW STEPS

FEDERATION HEADQUARTERS TROPHY ROOM

Barry Fife sits behind his desk surrounded by past glory. Wayne stands in front of him with a letter. Tommy Arbunt and Muriel Shunt are also paying court.

BARRY (CONT’D) You want me to what?

MURIEL It's no big thing, Mr Fife.

RORY It's a petition.

STEPHANIE We were hoping you might...

TOMMY Read it. We think you should read it.

BARRY What’s your name?

WAYNE Wayne Burns, Mr Fife. From Kendalls.

BARRY Are you part of this, Wayne?

WAYNE No, well, yes and no. It’s just that some of us were hoping that the forthcoming AGM might include a short discussion in favour of...

TOMMY New steps. MURIEL That's right. New steps.

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BARRY Et tu, Muriel?

MURIEL It's in no way an ultimatum.

TOMMY It's not a demand, Mr Fife. But folk are discussing it. It’s all over the Federation.

BARRY Well let me put my two cents in. There will be NO NEW STEPS. Now get out of here.

ALL Yes, Mr Fife.

MURIEL Thank you Mr Fife.

TOMMY We'll make your feelings known.

BARRY They're already known, thank you.

Tommy and Muriel leave; Wayne is following them but is stopped by Barry.

BARRY (CONT’D) Wayne! You hang on a mo.

WAYNE Yes, Mr Fife.

BARRY You're a close pal of Scott’s, right?

WAYNE Well, I suppose. We were a lot closer before well, he got that much better than me.

BARRY I admire loyalty Wayne. But I don’t want to see a promising dancer like you get mixed up in bad practice. I've been watching your work closely, Wayne.

WAYNE Really?

BARRY Jeez, you dance impressively.

WAYNE (Taken aback)

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You think so, Mr Fife?

BARRY Oh God, yes. With the right instruction and guidance you could go all the way. There’s just one thing... BARRY (SINGS) (CONT’D)

YOU SHOULD ADD THE BOGO POGO TO YOUR OEUVRE IT TRULY IS A DAZZLING MANOEUVRE YOU'LL PICK IT UP FINE IT'S ON "DANCE TO WIN 9"

BARRY (SPOKEN) You got a copy? WAYNE Ah, not yet, but I watched 7 and 8 last night Mr. Fife... BARRY

YOU CAN HAVE ONE OF MINE SCOTT'S NOT THE ONLY DANCER WITH A FUTURE BALLROOM DANCING SEEMS TO SUIT YA I KNOW HOW THIS ENDS, WAYNE SO LET'S NOT PRETEND, HEY? ONE BAD EGG ROTS THE WHOLE BARREL, COMPREHENDE? WAYNE, IT'S A WELL KNOW FACT YOU SCRATCH BARRY'S BACK HE'LL SCRATCH YOUR BACK... BACK

BARRY So why don’t you and I have a bit of a chinwag.

OUTSIDE THE MILKBAR

WAYNE So this is where you've been hanging out?

SCOTT Hey, Wayne.

WAYNE I know this place. Used to come here at smoko for a pie and a Fanta. I can't believe you'd turn your back on us for this.

SCOTT We're still mates, mate.

WAYNE Really? How long have I been asking you to help me with that Bogo Pogo?

SCOTT

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What?

WAYNE Two frigging months. The Pan Pacifics are tomorrow, mate! But oh no; you're too busy.

SCOTT Mate, I'll help. I'm sorry.

WAYNE Right then. I need you to be at Kendalls, in about half an hour or so.

SCOTT No problem.

Fran enters.

FRAN Hi Wayne.

WAYNE Fran. So, you'll be there?

SCOTT I'll be there.

WAYNE (Guilty) Thanks, mate. You're a good pal.

SCOTT and FRAN both start to speak FRAN After you!

SCOTT Are you nervous about tomorrow? FRAN Yeah. Are you? SCOTT I never thought we’d make it.

FRAN Me neither.

SCOTT Fran?

FRAN Yeah?

SCOTT

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You know what I said about the Rhumba? About it being pretend?

FRAN Yes

SCOTT About pretending to be in love? FRAN Yeah SCOTT Well…..

SCOTT (CONT’D) I DON'T KNOW IF I'M BEING FOOLISH I DON'T KNOW IF I'M BEING WISE

FRAN BUT IT'S SOMETHING THAT I MUST BELIEVE IN

SCOTT AND IT'S THERE WHEN I LOOK IN YOUR EYES.

CHORUS

OOH, OOH, OOH, OOH.

FRAN

AND I DON’T KNOW IF I’M JUST DREAMING. I DON’T KNOW IF I FEEL SAFE

SCOTT

BUT IT’S SOMETHING THAT I MUST BELIEVE IN

FRAN AND SCOTT AND IT’S THERE WHEN YOU CALL OUT MY NAME Fran and Scott kiss CHORUS (CONT’D)

LOVE IS IN THE AIR, LOVE IS IN THE AIR, LOVE IS IN THE AIR!

SCOTT Oh. Oh no...

FRAN What?

SCOTT I promised I'd meet Wayne and help him with his...

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FRAN/SCOTT (Laughing) Bogo Pogo!

FRAN (Smiling) You’d better not keep him waiting.

SCOTT (Smiling back) Vivir con miedo es como vivir a medias.

They kiss again CHORUS LOVE IS IN THE AIR!

KENDALL'S STUDIO.

The empty studio is flooded with afternoon light. Scott enters and calls.

SCOTT Hey Wayne! Wayne? Where are you mate?

Barry Fife emerges from the kitchen, smiling. Scott is startled.

BARRY Wayne's not here, I asked him to organize a little catch up for us.

SCOTT I see.

BARRY He's got your best interests at heart, Scott.

SCOTT Look, we know we can't win, but Fran and I are going to dance anyway, so let's not waste each other's time.

Scott turns to go.

BARRY He was the most beautiful dancer I've ever seen. SCOTT What?

Barry's eyes are moist.

BARRY He could have been the greatest champion of them all; but he was like you. He threw it all away. SCOTT

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Who? Barry looks to the old black and white photograph on the wall.

BARRY The man in this photograph. SCOTT What are you talking about? BARRY (Shaking his head) I'm talking about the man who potentially was the greatest ballroom dancer this country's ever seen. I'm talking about your father; Doug Hastings. SCOTT (Laughs) Oh come on, dad doesn't even dance.

Barry cracks, his eyes fill with tears and we see a rare moment of true emotion from the man.

BARRY You think it's funny? You think it's funny do you? Flipping heck... I worshipped that man, we all did. Doug Hastings was an inspiration to us all. SCOTT (Referring to the photo) But that's Les. Les was mum's partner. BARRY No, Scott, that's Doug.

MUSIC: FLASHBACK

BARRY (CONT’D) I know, I know to look at him today it's hard to believe,

BARRY (CONT’D) Once apon a time, Scott...

MUSIC: WHEN YOU’RE STRICTLY BALLROOM (ORCHESTRAL)

Barry waves his hand and the curtain opens to reveal a stylised re-enactment of the past. This is the past imagined by Scott as Barry tells it. Barry remains narrating downstage while Scott is free to wander around within the action as he observes it.

YOUNG DOUG Shall we dance...? BARRY (CONT’D) Y'know Scott, your Dad...he had it all, looks, charm, confidence, he was the brightest bulb in the ballroom filament. My God, he was magnificent!

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Doug dances while Barry sings. Doug is very hip.

MUSIC: THE LOOKS, THE CHARM

BARRY (CONT’D) HE HAD THE LOOKS THE CHARM, EVERYTHING DOUG HASTINGS CAN DANCE ANYTHING A GIFT FROM THE GODS AND FREE OF SIN CAUSE HE KNOW EXACTLY HOW TO FIT IN.

BARRY (CONT’D) Samba, cha-cha, rumba, jive, he could do anything! Brilliant. All the girls loved him...

Doug is joined by five giggling, beehive coiffed girls.

GIRLS HE'S GOT THE LOOKS THE CHARM, EVERYTHING DOUG HASTINGS COULD DO ANYTHING YOU KNOW THAT WE ALL WORSHIP HIM 'CAUSE HE KNOWS EXACTLY HOW TO FIT IN.

During the next speech Barry is donning his young hair and costume and enters the past.

BARRY I was your Dad's best mate in those days. We used to scruff it together, y'know, swing it around. Oh we got up to some tricks. We were on the pulse, let me tell ya!

Young Les joins Barry and Doug.

BARRY (CONT’D) Lessie'd come along of course. The old gang, the three of us together. We were a right bunch of funsters.

All three dance.

BARRY / LES / DOUG WE'VE GOT THE LOOKS THE CHARM, EVERYTHING WE KNOW WE CAN DO ANYTHING,

WE'LL STICK LIKE GLUE THROUGH THICK AND THIN 'CAUSE THE THREE OF US WE FIT RIGHT IN.

Young Shirley emerges from behind a closed curtain.

BARRY We all wanted to win of course,

Saxaphone intro reveals Shirley. Doug and Shirley, couple 100 dance.

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BARRY (CONT’D) But with your Mum as your Dad's partner, we had no chance. They were magnificent. BARRY (CONT’D) Doug and Shirley Hastings were the best bloody couple this country had ever seen... Couple number 100...

MUSIC: YESTERDAYS HERO DANCE BREAK

Doug and Shirley jive.

BARRY (CONT’D) They had it all in front of them; a perfect career together. And then came the big night, the Grand Prix!

Doug and Shirley waltz.

BARRY (CONT’D) All was going swimmingly until your father was betrayed... by his own feet. It was like something out of a B movie; the man was possessed from the knees down.

Interpretive dance solo.

DOUG I'M SICK OF STRICTLY BALLROOM, IT'S JUST THE SAME OLD BEAT WHO SAYS LIFE'S COMPLETE? SICK OF STRICTLY BALLROOM WE'VE GOT THE STUPID FACES, BORING FEET!

Doug does wild, crazy choreography

The dance steps grow odder, until Shirley is barely hanging on.

BARRY (CONT’D) Your Dad started improvising; throwing in crazy, crowd pleasing steps. He became, I dunno, self-obsessed.

BARRY A bit like yourself, Scott, funnily enough. Not always Strictly Ballroom.

SCOTT This all seems...

BARRY Oddly coincidental?

SCOTT Well, yes.

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BARRY You can't buck history, Scott; deep inside there one of your vital genes... is an idiot.

SCOTT But my steps are new steps.

BARRY That's what I'm saying son. Your dad’s new steps lost ‘em the Pan Pacifics

A dance climax demonstrates this. Judges on with score cards all low.

BARRY (CONT’D) I won the title that year funnily enough.

He waves to an adoring crowd

A tableaux of despair.

BARRY (CONT’D) That was the last straw for your mother...

BARRY (CONT’D) She found a new dance partner.

SHIRLEY Oh Les!

DOUG TAKE A LOOK AT ME I'M YESTERDAYS HERO I'M YESTERDAYS.

Doug exits

SCOTT Are you serious?

BARRY I don't want you to get the wrong idea, Scott. This is the world of Ballroom. Stealing a man's partner is as good as stealing his wife. It was a terrible shock for Doug...

SCOTT I never knew.

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BARRY He never did walk into that garage door. It was losing the competition and losing Shirley to a new dance partner that sent him downhill. I remember looking into his eyes once and it was like looking into the void of a thousand empty car parks. Slowly, little by little, day by day, he managed to crawl back from the dark pit of despair, and tack together some semblance of a life. But he was never the same. He vowed he'd never dance again. You alright?

SCOTT It feels like my whole life suddenly makes sense. Or no sense at all.

BARRY It was you being born that brought Doug back from the brink. He dreamt that one day you’d win the trophy that he could never win. That's why I've been so hard on you, Scott, I mean for Doug to see you get so close and then go the same way he went, it’d be too much for him to bear. I think it'd kill him. SCOTT Why didn't anyone tell me? BARRY Doug destroyed your mother's career. We had to keep it from you. Your father's a proud man, Scott. He wouldn't want me doing this, but I'm begging you - dance with Tina and win the Pan Pacifics once, just once, for Doug. He's suffered enough, Scott. Don't you think he deserves a little bit of happiness?

He pauses and wipes the tears from his eyes. He pats Scott on the shoulder and walks to the door, he turns.

BARRY (CONT’D) Ultimately, that's up to you.

MUSIC: WHEN YOU’RE STRICTLY BALLROOM

Forming out of a dense, un-wordly reverb; the sound of the STRICTLY waltz. Ghostly figures swirl towards and around SCOTT.

ALL (SING) WHEN YOU'RE STRICTLY BALLROOM LIFE IS PERFECT ALL THE TIME CHORUS OBEY THE REGULATIONS AND YOU'LL CLIMB!

BARRY

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I know you'll make the right decision.

TINA WITH ME AS YOUR SALVATION OUR SUCCESS IS GUARANTEED CHORUS STRICTLY BALLROOM IS ALL YOU NEED!

Scott is alone with Fran. He has just broken the news to her.

FRAN With Tina?

SCOTT Yes.

FRAN After all you said?

SCOTT Yes.

FRAN Can I ask why?

SCOTT I can't really say why.

FRAN Some big secret is it?

SCOTT It's someone else's secret.

FRAN Well, that's alright then...So long as it's not that you're full of shit.

SCOTT Fran...

FRAN You gutless wonder.

SCOTT Fran; this is really hard for me.

FRAN Hard? HARD? And you think it’s been easy for me? Two years to get you to dance with me in the first place. "Frangipannidelasqueegymop! Wash the coffee cups, Fran. How's your skin, Fran? Hard!

SCOTT

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It's complicated. But I love you.

FRAN Yeah right.

SCOTT I know we can work this out. We've got the rest of our lives together.

FRAN We've what?

SCOTT Well; haven't we?

FRAN Well no Scott; we haven't. You can't do something like this to a person. Twice; you can't do this twice to a person and pretend you love them. Because quite obviously you don't.

SCOTT It's just one night.

FRAN No Scott. It's the whole thing.

SCOTT Fran...

FRAN Don't touch me. I mean it. It's finished. FRAN (CONT’D) I suppose I've got one thing to thank you for. You made me stronger. You gave me the strength to stand with you. And look

MUSIC: BEAUTIFUL SURPRISE

FRAN (CONT’D) I CAN STAND HERE ON MY OWN NOW, 'COS YOU DID THAT FOR ME, AND THE LOST GIRL IS FOUND NOW, THIS IS COLD CLARITY.

IT WAS A WONDERFUL TORTURE, TO BE KISSED WIDE AWAKE, BUT WHEN I'M DONE HURTING, YEAH I'LL BE OK IT WAS A BEAUTIFUL SURPRISE,

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MY REFLECTION IN YOUR EYES, BUT THE THINGS WE FEAR WHEN THEY DISAPPEAR ARE THE WINGS THAT MAKE US FLY

I SAW PERFECTION IN MY REFLECTION IN YOUR EYES. WHAT A BEAUTIFUL SURPRISE.

SCOTT

NOW I KNOW WHAT YOU’RE THINKING BUT IT'S NOT ABOUT ME I'M SO GRATEFUL THAT YOU'VE SHOWN ME, A GLIMPSE OF WHAT MY LIFE COULD BE WHAT A BEAUTIFUL SURPRISE, MY REFLECTION IN YOUR EYES, IF YOU COULD ONLY SEE, WHAT YOU'VE GIVEN ME,

ARE THE WINGS TO LET ME FLY, I SAW PERFECTION IN MY REFLECTION YOUR EYES.

FRAN

THIS HURTS BUT I'M TOLD FIRE MAKES GOLD, SO MELT ME DOWN, MELT ME DOWN, I AM LETTING GO, I AM BREAKING FREE, SURRENDERING TO THE BRAND NEW ME MY HEARTS BREAKING, SOMETHING'S CHANGING NOTHING'S STOPPING ME NOW

SCOTT (SINGING COUNTER)

I'VE STUMBLED DOWN THIS PATH, IT'S TEARING ME APART, BUT BELIEVE ME, I DON'T WANT TO GO, IT'S NOT WHAT I PLANNED, IT'S NOT WHO I AM I'M A BETTER MAN, PLEASE BECAUSE YOU TAUGHT ME HOW

FRAN

SUCH A BEAUTIFUL SURPRISE, MY REFLECTION IN YOUR EYES, THE THINGS WE FEAR WHEN THEY DISAPPEAR, ARE THE WINGS THAT MAKE US FLY, I SAW PERFECTION IN MY REFLECTION IN YOUR EYES.

SCOTT (SINGING COUNTER)

IT'S NOT WHAT YOU THINK IF YOU ONLY KNEW I'M ACHING TOO

FRAN AND SCOTT

WHAT A BEAUTIFUL SURPRISE, WHAT A BEAUTIFUL SURPRISE, WHAT A BEAUTIFUL SURPRISE WHAT A BEAUTIFUL SURPRISE

He takes a step towards her.

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FRAN No.

FRAN (CONT’D) JUST A BEAUTIFUL SURPRISE.

She runs away. The chorus sweep around Scott; they are dancing awkwardly, in a disjointed fashion. OUR SALVATION'S GUARANTEED PAN PACIFIC GRAND PRIX. THE EMPTY BALLROOM FLOOR

JJ is testing the P.A.

JJ SILVER Testing, testing. One - two- three. Welcome to Melbourne! Welcome to The Pan Pacifics!!! The Pan Pacifics KYLIE/LUKE The Pan Pacifics!

Loaded down with luggage, Shirley, Doug, Scott and the kids cross the floor.

SHIRLEY Oh, they've given it a lovely shine. That's Melbourne for you. Luke! Don't you dare! No knee slides in those trousers. Where do you want us?

JJ SILVER Down the corridor there; turn right.

The family head off. Luke knee-slides. He and Kylie dawdle.

LUKE It'll be you and me, one day.

KYLIE Dream on.

MUSIC: LET'S DANCE (LIKE EVERYONE'S WATCHING)

LUKE/KYLIE THIS HAS TO BE OUR FAVOURITE PART BEFORE THE COMPETITION STARTS THE DANCERS ARE OFF GETTING READY IT'S AGES TILL THEY'LL TAKE THEIR PLACE THEY'RE PUTTING MAKE-UP ON THEIR FACE SO THE FLOOR IS EMPTY

LUKE CLOSE YOUR EYES AND THEN TAKE MY HAND

KYLIE

SO YOU BE SCOTT AND THEN I'LL BE FRAN

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KYLIE/LUKE

EVERYONE FROM OUR STUDIO IS HERE FOR US SO COME ON, LET'S GO

LET'S DANCE- LET THE RHYTHM JUST FREE US DANCE - LIKE EVERYONE SEES US NO MORE HIDING ON THE SIDELINES NOTHING COUNTS BUT YOU AND I SO LET'S DANCE - OH WE'RE BURNING THE FLOOR NOW DANCE - YEAH THEY'RE SCREAMING FOR MORE NOW TIME TO TAKE THE MOMENT IN OUR HANDS

Their fantasy starts to become real. IF I BELIEVE AND YOU BELIEVE THEN WE CAN SHARE A DREAM IF WE BELIEVE IT HARD ENOUGH THE AUDIENCE WILL SCREAM Dance break. LET'S DANCE! LIKE EVERYONE'S WATCHING LET'S DANCE! COS NOBODY'S STOPPING US DANCE! LIKE EVERY MOVE MATTERS DANCE! LIKE THEY'RE ALL LOOKING' AT US LET'S MAKE IT COUNT BEFORE WE LOSE OUR CHANCE YEAH! LET'S DANCE! PAN PACIFIC GRAND PRIX. BACKSTAGE CORRIDOR OR ANTE-ROOM

We are in a room between the ballroom and the dressing rooms. It is maybe a partitioned room. Or there are interior windows through which we can see DANCERS and OFFICIALS running up and down a corridor. Or maybe it's a basement room with some kind of high light-trap window and we can occasionally see dancer’s feet sweeping past. It needs two doors to the corridor and one to the changing rooms.

The room looks like a bomb hit it. Bits of dance costume, bags, shoes, discarded energy drinks and coffee. As the waltz section of the contest ends it briefly becomes a thoroughfare, as the contestants hurry through, pulling off shoes and accessories, and disappearing towards the dressing rooms.

JJ SILVERS (Tannoy off) So before we get down to the competition proper, let’s whisk you all away to old Vienna.

A waltz plays off stage. Ken is sitting in the middle of the room, drinking from

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a flask. He's on a bit of a bender. Liz rushes in. She's been looking for him.

LIZ Ken! We're missing the demonstration waltz!

KEN I needed a hair of the dog.

LIZ You've drunk the bloody dog bald.

KEN It's not the drink; it's the beta blockers. They've not reacted well to the benzedrine.

Barry comes in wondering why Ken isn't on the floor.

BARRY Where the hell is he?

Ken rises, very unsteady.

LIZ He can barely walk let alone waltz.

BARRY Get him some water.

Liz leaves to do so.

BARRY (CONT’D) For Christ's sake man, sober up.

KEN No point, mate. Me crown's rolling towards Scott bloody Hastings.

BARRY Not if I can help it.

KEN Tina's gonna pick it up and put it on his head.

BARRY No. He's too dangerous. The boy's gotta dance right but then the boy's gotta lose. Then his credibility's shot! This is a fight for the Federation itself!

JJ SILVERS (Tannoy) Thank you, our Viennese couples. We're going to take a two minute break so's you can get to the bar and steel yourselves for the All Girls Beginners Final.

BARRY

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So don't you worry. I've set it all up. It's in the bag, me old son.

Liz has overheard the end of it.

LIZ It's in the bloody toilet.

BARRY Ken's a pro. He'll pull it off.

LIZ My skirt or my arm?

BARRY You just keep him upright.

Barry exits out of one door as the Kendall studio family enter through another. Scott and Tina pursued by Shirley and Les. Liz helps Ken dress.

SHIRLEY (Handing Scott a drink) That was marvellous, Scott. Very good indeed.

SCOTT Thank you.

SHIRLEY Tina, how can we ever thank you enough?

TINA Once would be nice.

LES Straight down the line, mate. Couldn't fault it. KEN Tina Sparkle

Scott wipes the perspiration from his brow, sits down and removes his shoes.

TINA Liz. There's a sink at the back of the locker room. I’d hold him under if I were you.

LIZ Thanks Tina.

KEN Care for a dance, Tins?

TINA No. You’re alright Ken.

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KEN Ha Tina LIZ Ken!

Wayne and Vanessa pass as Tina helps Liz off with Ken.

WAYNE You made the right decision, mate.

VANESSA Not for us he didn't. We've no chance now.

DOUG You need your spares?

SCOTT NO! I'm fine. Thank you.

JJ SILVERS (Tannoy) So; could we have the ladies on the floor, please?

LES You've done the right thing, Scott. And the big one's yet to come!

SHIRLEY The Pan Pacific Gran Prix Open Amateur Five Dance Latin American Final.

SHIRLEY I thought Tina might like this. It's her colour...

FRAN Don't look so surprised. I'm entitled to be here. I’m back in beginners where I belong. I'm dancing with Natalie.

NATALIE Yeah she's dancing with me. We've got chemistry. Come on.

SCOTT Fran...

They leave

CLARRY Your girlfriend stole my bloody partner.

Scott takes a wire brush to his soles.

Shirley hurries in with Tina.

SHIRLEY

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Scott; Tina's worried about keeping up with you at the top of the arpel.

SCOTT It was standard. I didn't add a thing.

TINA But you were pushing the tempo.

SCOTT It's there to be pushed!

SHIRLEY Don't you worry Tina; my boy'll bring the best out in you. TINA Well thanks, I'm sure. SHIRLEY Tempo Tempo Tempo SCOTT I know.

DOUG (Out of the blue) Mind you; it's good to stay at the top of the beat.

SHIRLEY And what would you know about it? DOUG Not as much as you, dear. SHIRLEY Well then. TINA And the samba, Scott. SHIRLEY Oh yes, and the samba; drop between the beats, not on the one, not on the two... SCOTT Oh for Christ’s sake will you leave me alone. I'm doing what you want me to do. I'm being just who you want me to be. SHIRLEY You're not doing it for me Scott; you're doing it for yourself. SCOTT You know what? I'm sick of all the pretence. I'm not doing it for me. Or her. If you must know; I'm doing it for him. TINA

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Well this just got interesting SCOTT I'm going to win tonight for my father. And then I'm done. I'm finished with it. DOUG Son, can I bend your ear for a tick? SCOTT It's alright, Dad, really. (To Tina) I think we should practice that pony hop. TINA Well that’s more like it. Giddy up, Cowboy. SCOTT Come on; we're going to win this.

Scott takes Tina away.

SHIRLEY Now look what you've done. You've upset the boy right before the Latin.

DOUG I'm a terrible person.

SHIRLEY Are you trying to be funny?

DOUG I don't know Shirl. I don't think I've ever had to try very hard.

SHIRLEY You can say that again.

DOUG I don't know Shirl. I don't think I've ever had to try very hard.

SHIRLEY You are being funny. DOUG Shirley... SHIRLEY Don't Shirley me!

Shirley leaves. Rico bursts in another door followed by Abuela.

RICO Where is he!

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ABUELA Rico, Rico...

RICO Where is the little bastardo?

ABUELA Come back to the floor Rico; she looks so beautiful.

RICO Que? She looks like a child at a wedding. ABUELA Ad lib Spanish RICO I'm going to find him and I'm going to kill him.

ABUELA No, no no, no... she wouldn't want that. Rico...

They disappear through the other door.

GRAND PRIX PAN PACIFICS - BACKSTAGE

Lights, sounds, noise, confusion. Drapes and tabs delineate a backstage corner. (We are on a diagonal). Upstage right we can glimpse the judge’s podium, also on the diagonal, facing upstage left. Upstage left we can see dancers.

As the scene changes Wayne and Vanessa are practising the Bogo Pogo on the apron.

VANESSA No! I’ve told you; it's not quick two three two three; it's quick two three, three two.

Wayne grabs her and takes Vanessa through the step again.

WAYNE Yeah, but you ball-changed on the one!

Barry walks past

WAYNE (CONT’D) Excuse me, Mr. Fife. The Bogo Pogo...

Barry is disturbed to be accosted by a mere peasant.

BARRY What is it, son?

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WAYNE It’s the bogo pogo, Mr Fife. You know, that step you suggested? BARRY Did I? WAYNE Yeah, you said you’d show it to us if I arranged that other thing for you with Scott, remember?

BARRY I’ve got too many leftovers on my plate now, son.

WAYNE You know my partner, Vanessa Cronin.

Barry takes in Vanessa’s good looks

BARRY Well, hello, sweetie. Having a bit of trouble with the old Bogo Pogo are we?

Seizing the opportunity to impress, Barry takes Vanessa in dance position, and presses his body against her.

BARRY (CONT’D) The trick to that is to go down on one heel ball. Then pull the weight up onto the chest, puffing it out proud like a peacock!

Barry writhes with Vanessa in the syncopated step.

BARRY (CONT’D) Then syncopating a quick two three three two. Comprende?

WAYNE Thanks Mr. Fife.

BARRY (to Vanessa) Come see me for a private lesson sometime. Best of luck for today kids. Run along now.

Wayne and Vanessa move away as Ken and Liz come past.

BARRY (CONT’D) Is he ready? LIZ Well I’m trying… KEN I can’t go out there. I’ve lost the old magic. BARRY (A hoarse whisper) Pull yourself together Railings

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Barry slaps Ken. Wayne has left his dance bag behind Barry and unseen, returns to retrieve it. He overhears...

BARRY This is your year, Ken. I’ve set it up for you to win no matter how you dance. You'll be polishing that trophy in no time. LIZ Thank you Mr. Fife.

They depart in different directions; Barry to the judges podium, Liz and Ken to the floor. Wayne stares after Barry.

VANESSA Wayne! WAYNE Where’s Les?

Scott appears. Doug approaches him.

DOUG Son, I need to bend your ear.

SCOTT Not now, Dad.

DOUG Scott...there’s something you need to know about the past.

SCOTT Not now.

DOUG Yes, now!

To Scott’s surprise Doug takes him by the arm and drags him downstage.

DOUG You don't understand, I've always regretted... SCOTT (Exasperated) Dancing your own steps at the Pan Pacifics, Dad, I know, I'm not going to make that same mistake. DOUG What are you talking about son? I never danced at the Pan Pacific Grand Prix. SCOTT Yes you did, Barry told me you lost the Pan Pacs dancing your own steps.

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DOUG My own steps? Barry's full of it.

Shirley enters at a lick with Tina. DOUG I never had the chance to dance my Steps. Barry convinced your mother to dance with Les instead of me at the Pan Pacifics.

MUSIC: WHAT WAS IT ALL FOR (REPRISE)

SHIRLEY LEAVE HIM ALONE, DOUG GIVE HIM SOME SPACE HE'S WORKED TOO HARD AND TOO LONG TO LET IT ALL WASTE HOW CAN HE FOCUS WITH YOU IN HIS FACE? NOW OFF YOU GO; RUN!

DOUG Let me talk to my son!

SCOTT It's OK, Dad...

DOUG NO SCOTT, YOU DON'T UNDERSTAND HOW A MOMENT CAN SLIP FROM THE PALM OF YOUR HAND

SHIRLEY SHUT UP, DOUG THIS IS NO TIME TO GET SURLY.

DOUG No, you shut up. You should have danced with me, Shirley. SHIRLEY Don't listen to him Scott, it's got nothing to do with this. SCOTT Why didn't you dance with Dad? SHIRLEY He wanted to dance his silly steps. We would have lost. DOUG You lost anyway, Shirley. You should have stuck by me for better or for worse.

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SHIRLEY I did it for you! DOUG It cost us our dream, Shirley.

Shirley starts to cry.

SHIRLEY I couldn't throw all that away on a dream. We had to survive! Our career was on the line. We made a life for ourselves, didn’t we? DOUG

LOOK AT US, SHIRL IS THIS WHAT YOU WERE AFTER TO SPIN THROUGH THOSE YEARS EACH ALONE WITH NO PARTNER? TIME AFTER TIME EVERY DAY PASSES FASTER AND WHAT WAS IT FOR?

SHIRLEY I WANTED MORE.

DOUG IS THIS WHAT YOU WANTED? THE RANTING AND PREACHING? WAS IT ALL FOR THE TROPHIES?

SHIRLEY NO DOUG; FOR THE TEACHING

DOUG SHIRLEY, YOU LEFT ME AND SINCE THEN IT CAME SCREECHING DOWN TO A HALT.

SHIRLEY THAT WASN'T MY FAULT.

DOUG THE MUSIC SHIRLEY YOU AND ME ONE TWO THREE THAT'S ALL THAT MATTERED THE MUSIC WE LIVED EVERY DAY FOR IT YOU LEFT ME SHIRLEY BUT BOTH OF US PAY FOR IT YEAR ON YEAR ON YEAR WE LIVED OUR LIVES IN FEAR.

JJ SILVERS (OFF) And now, ladies and gentlemen, the main event of the evening, the one we've all been waiting for the Pan Pacific Grand Prix Amateur

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Five Dance Latin Final. TINA Come on Scott. SHIRLEY Keep your concentration now Scott. DOUG Do what you must son! SHIRLEY No, Scott. No! TINA SCOTTTTTTT

MUSIC: ON THE EDGE

SCOTT TAKE IT TO THE EDGE OF A FEELING DON'T SLOW IT DOWN (DOWN) NOW I'VE GOT NOTHING LEFT AND I'M BREAKING OUT OF THIS CROWD (CROWD) NOW I'M ON THE EDGE IT'S AMAZING AND I'M TERRIFIED NO MORE REGRETS CUZ I FINALLY FEEL ELECTRIFIED I'M ON THE EDGE IT'S AMAZING AND I'M TERRIFI..IE..IED I'M ON THE EDGE IT'S AMAZING AND I'M TERRIFIED NO MORE REGRETS CUZ I FINALLY FEEL ELECTRIFIED Rico appears. Followed by Fran and Abuela

SCOTT Fran!

RICO So; there you are. The boy who calls himself a man.

SCOTT Mr. Vargas FRAN Scott.

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RICO You think you have cohones? You think women are yours to pick up and throw down.

FRAN Papa, please. SCOTT Fran; there’s no time, will you dance with me? FRAN What? SCOTT I don't deserve it, but it's all I want. FRAN What if I don’t? SCOTT Then I won’t dance either

FRAN I don't have the dress.

ABUELA I have your dress. I bought it just in case

SCOTT Say yes Fran, please.

FRAN Yes, then. YES!

ABUELA. Come quick; we get you ready.

Fran and Abuela dash out.

Barry enters. Les appears with Wayne.

LES I want a word with you.

BARRY Not now, Les. LES Is it true?

BARRY Is what true?

WAYNE It doesn’t matter how well Scott dances tonight; I’ve overheard you,

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you’ve fixed the jury.

BARRY Wha... That is slander!

WAYNE I'm sorry Mr Fife. I thought you had Scott’s best interests at heart.

BARRY How dare you!

LES You've betrayed the boy!

BARRY Well, you betrayed his bloody father! LES But Doug wanted me to dance with Shirley - you told me that. BARRY Yeah, but it's easy to believe what you want to hear, isn't it Lesley?

LES You son of a bitch. WAYNE You’re nothing but liar and a cheat.

BARRY You Judas. This is the future of dance sport we're talking about, and no-one's gonna mess with it! JJ SILVERS (off) So here we go! From Worrawee studio, couple number 176: Jonathon Drench and Emily Waters. And from the Harmon studio, couple number 69: Ken Railings and Elizabeth Holt!

Drunk Ken, Liz in tow, pushes past couple 176 and claiming their applause, takes the floor.

BARRY Off you go Ken; I'll break open the Bollinger sweet chops. Any of you lot breath a word of these spurious allegations and Kendall studios is kaput. Comprehende?

GRAND PRIX PAN PACIFICS - THE BALLROOM

The most splendid set so far. A mock regency hotel ballroom. In the middle or at the back is the scrutineers table or judges podium. On a smaller unit nearby is a large upright reel to reel tape deck. Barry regains the podium.

JJ SILVERS

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From the Shilalee studio: Couple number 62 Muriel Shunt & Tommy Arbunt! And from the Kendall studio, couple number 54 Wayne Burns and Vanessa Cronin. And also from the Kendall studio: Couple No. 100 Scott Hastings and Tina Sparkle! (Waits) Where are they?

BARRY Who cares? Play the music.

JJ SILVERS Ladies and Gentlemen; the Latin final!

MUSIC: THE LATIN FINAL

The COUPLES perform their opening routines but are soon dancing in precise unison, like robots. Barry picks up a hand mic.

BARRY I really shouldn't because I'm totally neutral, but I'd just like to say it's nice to see Ken back on form. (Ken stumbles) And really just standing out from the others that little bit. You see my friends; it's all about the skills handed down for generations, and no-one's going to beat TRADITION.

MUSIC: SCOTT'S ENTRY (LEAP OF FAITH) SUDDENLY Scott and Fran appear silhouetted beyond the red curtain. Barry, Feds and Les react. It whisks open to reveal them both; Fran in a pair of ruby red shoes framed by layers of Spanish tulle. She looks extraordinary. They take the floor.

BARRY (CONT’D) Now hang on there for just a bloody minute! You can't just change partners willy nilly. It’s not a bloody barn dance!

The other dancers scatter

BARRY (CONT’D) Listen. I have here in my hand a Rulebook, and the Rulebook is sacrosanct. Page 38... No, 48...

LUKE/ KYLIE Jesus Barry; let 'em dance.

BARRY Over my dead body.

RICO That could be arranged.

MUSIC: SCOTT AND FRAN'S DANCE

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Scott and Fran begin to dance their story. It's a truly great dance. It leaves the other couples standing, or competing fruitlessly. Time stands still as each kick and snap resounds throughout the audience - the crowd reacting as if at a bullfight.

The families watch from the edge of the floor. Awestruck and proud. Barry, when he's fully recovered from the shock, moves toward JJ Silvers.

Few people are hearing him above the music.

BARRY Cut the music!!!

The dancers stop in their tracks, halted mid-routine.

Heads turn, searching for the source of the interruption.

BARRY (CONT’D) Right then. We have a DISQUALIFICATION. That couple is not correctly registered. And there is no place in ballroom dancing for these deviant, degenerate, abominations – This is not some kind of perverted, gymkhana! Scott Hastings and partner are suspended until further notice!

During the alarming announcement the crowd fall silent.

BARRY (CONT’D) Will Scott Hastings and partner please leave the floor?

Scott and Fran hold their position.

BARRY (CONT’D) This is a final warning for Scott Hastings and partner to please leave the floor!

From the crowd there is no support, for Barry just a taut unfriendly silence. Slowly Scott looks to Fran - they turn to leave the floor.

Suddenly a single, loud, hard, clap shatters the stillness. Then another, and another, slow, even and strong. Barry's eyes are unsettled. The clapping becomes louder and louder.

The source of the disturbance is...Doug. He clashes his hands together in strong defiant beats as he walks towards the dance floor. He seems to grow in height with every step but still there is no support from the audience, until...Abuela and then Rico join.

Les joins Doug's clapping. Natalie joins the rhythm. Wayne and Vanessa follow. Now Clarry and even Liz join. Now more and more join...

ABUELA (Voice over) Listen to the rhythm. Don’t be afraid.

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In a final defiant act, Scott and Fran dance to the pure, exhilarating power of human rhythm. They dance a paso doble.

As the dance progresses Fran and Scott start recruiting other dancers to follow them, and they do. Gradually all the competitors are trying out the steps. The dance builds until the entire company are celebrating their new steps, and comes to a powerful climax.

SHIRLEY Come on number 100!

Barry emerges from the exhilarated crowd

BARRY (CONT’D) You are both still disqualified.

The crowd turn on Barry with cries of protest.

BARRY (CONT’D) Right! You're all bloody disqualified. That's a life-time ban for you. And you. Alright; the whole bloody lot of you.

Their outrage has turned to amusement.

LES Barry; I think you just made yourself the boss of no-one. The committee will be happy to accept your resignation. BARRY I am the bloody committee!

Barry is chased out

MUSIC: LOVE IS IN THE AIR Doug slowly walks to Shirley, looks her in the eye and asks the question she has waited twenty years to hear.

DOUG Shall we dance?

Shirley hesitates, tears stream from her eyes. She meets Doug's gaze and they take the floor. As they dance...

SCOTT LOVE IS IN THE AIR EVERYWHERE I LOOK AROUND

FRAN LOVE IS IN THE AIR EVERY SIGHT AND EVERY SOUND

DOUG

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AND I DON'T KNOW IF I'M BEING FOOLISH

SHIRLEY AND I DON'T KNOW IF I'M BEING WISE

DOUG

BUT IT’S SOMETHING THAT WE MUST BELEIVE IN

SHIRLEY AND IT'S THERE WHEN I LOOK IN YOU EYES.

ALL LOVE IS IN THE AIR

IN THE WHISPER OF THE TREES, LOVE IS IN THE AIR IN THE THUNDER OF THE SEA,

SCOTT AND I DON'T KNOW IF YOU’RE AN ILLUSION

FRAN I DON'T KNOW IF I SEE TRUE

SCOTT / FRAN BUT IT'S SOMETHING THAT I MUST BELIEVE IN, AND IT'S THERE WHEN I REACH OUT FOR YOU

ALL AH, AH, AH, AH, AH AH, AH, AH, AH, AH

Scott and Fran kiss...

ALL (CONT’D) LOVE IS IN THE AIR!

CURTAIN CALLS

Order of bows

Ensemble girls

Ensemble boys

Children

Pam and Merv

Vanessa and Wayne

Ken and Liz

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JJ and Tina

Rico and Abuela

Les and Barry

Doug and Shirley

Fran and Scott

ALL (SING) LOVE IS IN THE AIR ETC

Scott and Fran bow again

Dancing with audience

Scott and Fran kiss and lunge

The curtain drops.