SPECIALLY ADAPTED FOR BILLY YOUTH THEATRE
Book and Lyrics by Lee Hall
© 2009 Billy London Limited. All Rights Reserved. Book and Lyrics by Lee Hall. THIS MATERIAL IS THE PROPERTY OF BILLY LONDON LIMITED AND IS INTENDED AND RESTRICTED SOLELY FOR USE BY BILLY LONDON LIMITED AND THOSE INDIVIDUALS WHO HAVE REGISTERED TO BECOME PARTICIPANTS IN THE BILLY YOUTH THEATRE PROJECT PROJECT WITH BILLY BILLY LONDON LONDON LIMITED LIMITED IN ACCORDANCE ACCORDANCE WITH THE TERMS AND AND CONDITIONS CONDITIONS OF THE BILLY YOUTH THEATRE PROJECT. THE DISTRIBUTION, DISCLOSURE, PUBLIC PERFORMANCE OR RECORDING (OTHER THAN IN THE COURSE OF THE BILLY YOUTH THEATRE PROJECT) BROADCASTING OR TRANSMISSION OF THE MATERIAL IN ANY WAY TO UNAUTHORIZED PERSONS, OR FOR PURPOSES OTHER THAN PARTICIPATION IN THE BILLY YOUTH THEATRE PROJECT, SUCH AS THE UNAUTHORISED SALE, COPYING OR REPRODUCTION OF THIS MATERIAL IN ANY FORM WHETHER IN WHOLE OR IN PART IS STRICTLY PROHIBITED.
BILLY ELLIOT CAST LIST Billy Elliot Mrs Wilkinson Dad Tony Grandma Michael
Miner’s son. Miner’s Billy’ss dance teacher. Billy’ Billy’ss dad, Jackie Elliot. Miner and widower. Billy’ Billy’s olde olderr brot brother. her. Miner. Billy’ss grandmoth Billy’ grandmother er who lives with the family. Billy’ss best friend. Billy’
George Big Davey Dead Mum Mr. Braithwa Braithwaite ite Debbie Clipboard Woman Posh Dad Posh Boy Stage Manager ‘Scab’ Lesley Tall boy Small boy Pit Supervisor Eric
Boxing teacher and miner miner.. Miner. Active in strike. Billy’ss mother who he imagines and converses with. Billy’ Miner and sometimes piano player. Mrs Wilkinson’ Wilkinson’ss daughter and student in her ballet class. Snooty woman running the Royal Ballet School auditions. Father of young boy auditioning for the Royal Ballet School. Young boy auditioning for the Royal Ballet School. Stage Manager at the Royal Ballet School auditions. Local strike breaker. Local woman, active in strike. One of the local kids. One of the local kids. Supervisor of the local coal pit during the strike. Local strike deputy.
Panellists Ballet girls
Panellists at the Royal Ballet School auditions. Girls in Mrs Wilkinson’ Wilkinson’ss ballet class (Named in script – Keely Gibson, Susan Parkes, Sharon Percy, Angela Hobson, Tracey Atkinson, Karen Davidson, Julie Hope, Alison Summers. Additional names if required, Tina Harmer, Margaret Gormley). Group/chorus of miners. Group/choruss of policemen Group/choru policemen.. Group/chorus of women.
Miners Policemen Women W omen
AC A CT 1 SCENE 1: THE STARS LOOK LOOK DOWN As the play starts the cast of miners are all all sat in the village village hall waiting for news news of the strike alongside other members of the community. community. ey start to sing: THROUGH THE DARK AND THROUGH THE HUNGER THROUGH THE NIGHT, AND THROUGH THE FEAR THROUGH THE FIGHT AND YEARS OF HARDSHIP THROUGH THE STORMS AND THROUGH THE TEARS AND ALTHOUGH YOUR FEET ARE AR E WEARY AND ALTHOUGH YOUR SOUL IS WORN AND ALTHOUGH THEY’LL TRY TO BREAK YOU AND ALTHOUGH YOU’LL FEEL ALONE WE WILL ALW ALWAYS STAND STAND TOGETHER IN THE DARK, RIGHT THROUGH THE STORM WE WILL STAND, SHOULDER SHOULDE R TO SHOULDER TO KEEP US U S WARM. WARM.
A late comer arrives: arrives: WO W OMAN Any news? TONY Still waiting.
She sits down – they carry on singing: AND THE STARS LOOK DOWN ON THE MEAN AND HUNGRY HUNG RY AND THE STARS LOOK DOWN AND SHOW THE WAY WAY AND THE STARS LOOK DOWN AND WE’LL STAND TOGETHE TOGETHER R TO SEE A DAY D AY WHEN THE STARS LOOK DOWN AND KNOW OUR HISTORY WHEN THE STARS LOOK DOWN UPON OUR PAST AND THE STARS LOOK DOWN AND SEE A FUTURE FU TURE BRIGHT B RIGHT AT LAST WHEN WE’LL STAND AS ONE, BENEATH B ENEATH THE SUN.
BIG DAVEY leads the singing of the next verse – keeping their spirits up: BIG DAVEY AND THOUGH OUR HANDS H ANDS ARE BRUISED AND A ND BLEEDING BLEE DING AND WER LUNGS CHORUS AND WER LUNGS
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BIG DAVEY ARE FULL FUL L WITH DUST CHORUS ARE FULL FUL L WITH DUST BIG DAVEY AND WER HEARTS HEA RTS CHORUS AND WER HEARTS HEA RTS BIG DAVEY ARE NEAR NEA R TO TO BREAKING BREAK ING CHORUS ARE NEAR NEA R TO TO BREAKING BREAK ING BIG DAVEY WE WILL NEVER CHORUS WE WILL NEVER BIG DAVEY FORGO THE TRUST CHORUS FORGO THE TRUST WE WILL FIGHT FIG HT THROUGH PAIN AND HUNGER HUNGE R EVERY ARROW, EVERY KNIFE WE WILL NEVER GIVE THE HOPE UP UP OF A PROUD AND HONEST LIFE SO WE WILL ALWAYS STAND TOGETHER (I’m warnin’ you) THROUGH THE FROST F ROST,, THE HAIL, HAI L, THE SNOW THE STARS ARE OUR REDEMPTION AND SO WE KNOW. KNOW.
Suddenly GEORGE appears. Everyone stops and looks at him. GEORGE We’ W e’re re out.
ey are all worried about what this will mean. en DAVEY DAVEY sings to them: DAVEY THE STARS LOOK DOWN WHEN WE’RE ABANDONED, LOOK DOWN IN THE HEART OF NIGHT AND THE STARS LOOK DOWN AND GIVE US VISION VI SION (Come on sunshine) TO SEE THE LIGHT LIGHT.. 2
Everyone joins in. ey stand and walk forward as if on a march or picket line. ey have placards. ey ey face the audience. CHORUS THE STARS LOOK DOWN UPON OUR STRUGGLE THE STARS LOOK DOWN AND SEE THE PAST THE STARS LOOK DOWN AND SEE A FUTURE BRIGHT AT LAST WHEN WE’LL STAND AS ONE, BENEATH B ENEATH THE SUN CHORUS ALL OUT TOGETHER ALL OUT AS ONE ALL OUT FOR FO R VICTORY TILL WE’VE WON. ALL OUT TOGETHER ALL OUT AS ONE ALL OUT FOR FO R VICTORY ALL OUT TILL WE’VE WON BILLY TAKE ME UP AND HOLD ME GENTLY RAISE ME UP AND HOLD ME HIGH THROUGH THE NIGHTS, UNDER DARKNESS WILL COME A DAY D AY WHEN WE WILL FLY FLY AND ALTHOUGH WE’VE BEEN REJECT R EJECTED ED AND ALTHOUGH WE’VE BEEN OUTCAST O UTCAST WE WILL FIND A NEW TOMORROW TOMORROW WHEN WE COME TO REST AT LAST AND WE WILL STAND THERE PROUDLY AND WE WILL NEVER NEVE R WALK WALK ALONE AND WE WILL BE RETURN RETURNED ED BACK TO OUR HOME CHORUS WHEN WE STAND AS ONE ALL OUT TOGETHER WHEN WE STAND AS ONE ALL OUT AS ONE WHEN WE STAND AS ONE ALL OUT FOR VICTORY WHEN WE STAND AS ONE TILL WE’VE WON CHORUS WHEN WE STAND AS ONE ALL OUT TOGETHER WHEN WE STAND AS ONE ALL OUT AS ONE 3
WHEN WE STAND AS ONE ALL OUT FOR VICTORY WHEN WE STAND AS ONE TILL WE’VE WON WHEN WE STAND AS ONE ALL OUT TOGETHER WHEN WE STAND AS ONE ALL OUT AS ONE WHEN WE STAND AS ONE ALL OUT FOR VICTORY ALL OUT TILL WE’VE WON
SCENE 2: BREAKFAST MUSIC CUE 1a. STARS STARS LOOK LOOK DOWN DOWN u/s DAD is cooking breakfast – he has a frying pan in his hand throughout the scene. GRANDMA is looking for her pasty. TONY has his feet up on the table and his boots are where breakfast breakfast should be. BILLY is (off stage) presumably upstairs. DAD Billy! Billy! Billy, get downstairs now! Your breakfast’s ready! Tony, what the hell are you doing? TONY Nothing. DAD We’ W e’re re supposed be on on the picket line in five minutes! TONY Get off me back, Dad. DAD As soon as you you get off your fat fat arse.
(Setting the table) BILLY!! You’ You’re re gonna gonn a be late, son. TONY Leave the bairn alone, will ya? DAD Billy, I’m warning ya!
(Notices GRANDMA by the stove) Grandma – what you doin’? GRANDMA I’m looking for me pasty. 4
DAD Forget about yer pasty. I’m making you a nice cooked breakfast.
(to Tony) Boots off the table.
DAD takes TONY’S TONY’S boots off the table. GRANDMA (to Tony) Have you seen me pasty? DAD Billy! Get down here now or I’ll tan yer hide for ya. BILLY Coming! GRANDMA What he lacks is a mother’s mother’s touch. DAD What he lacks is a kick up the arse. Sit Sit down!
(He takes her to the table) Look, I’ve got yer breakfast. GRANDMA I don’t want a cooked breakfast. DAD Billy! GRANDMA Not your cooked breakfast. e food in this house has been inedible since yer mam died.
Enter BIG B IG DAVEY D AVEY.. BIG DAVEY Morning, Jackie. Ah, breakfast. GRANDMA Oh no. DEPUTY (ERIC) Oi lads, breakfast!
e miners enter and scavenge for breakfast. 5
MINERS (at separate times, as they enter) Good morning, Edna. (etc.) DAD
(to BIG DAVEY DAVEY,, as he eats something from DAD DA D’S pan) Oi. I paid for that. BIG DAVEY All property is theft, Comrade. Comrade. MINER 1 (DAVID L.) Good morning, Edna! GRANDMA What’ss good about What’ about it? ey’ve ey’ve purloined me bloody pasty. pasty.
THE MINERS grab the pan and eat the breakfast DAD was cooking. DAD Get lost, the lot of yous - You’re eating us out of house and home.
LESLEY enters. LESLEY Oi! e police are bussing the scabs in early. Come on!
Beat. en MINERS shout “Maggie Maggie Maggie, Out, Out,Out” Out,Out” as they run out with TONY. DAD Billy, yer fifty pee for boxing is on the side there.
Only GRANDMA is left. BILLY comes downstairs. downstairs. BILLY Hello, Grandma. GRANDMA Hello, Son. BILLY (putting a pasty in front of her) h er) Grandma, I found this in the laundry basket. GRANDMA What the hell is that? that? 6
BILLY It’s yer pasty. GRANDMA Oh, thank the Lord, I thought they’d eaten it. BILLY Nobody’d eat that, Grandma – it’s mank. GRANDMA (as she seasons the pasty) You Y ou lot have itit too bloody bloody easy. easy. I can remember the General General Strike. BILLY Grandma! GRANDMA What? BILLY You Y ou’ll ’ll make yourself yourself ill.
(He takes it away from her) Look, it’s got mould on it. You Y ou’’re driving me mental. mental. Anyway, Anyway, how come you you can remember the the General Strike, but you can’ can’t remember where you put yer pasty? GRANDMA
(having tasted the pasty) Ugh! that is absolutely disgusting.
GRANDMA sets off across the stage. BILLY Where you going going now? GRANDMA I’vee got a nice sausage roll on the landing. I’v
GRANDMA leaves. BILLY BILL Y clears the table and picks up the milk. DEAD MUM enters. MUSIC CUE 1b. 1b. THE THE LETTER u/s AND TRANSITION TO BOXING BOXING DEAD MUM Oi, little un. What have I told you about drinking out of the bottle?
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BILLY Hello, Mam. DEAD MUM Will you look at the state of of this kitchen.You kitchen.You’’re gonna be late. Have you got yer fifty pee? BILLY Dad gave us it. DEAD MUM Have you got yer trainers? BILLY No!
(He runs to get them) DEAD MUM ey’ll be in your bedroom. BILLY No, they’re not... found them!
BILLY comes back. MUM has gone. BILLY Mam? Mam?
SCENE 3: BOXING Suddenly MICHAEL, TALL BOY and SMALL BOY run on – followed by GEORGE. ey are training for boxing. GEORGE Come on get them knees up you lazy little buggers. Right drop down there and give us twenty. twenty. MICHAEL Ow! GEORGE
(to BILLY� What bloody time time do you call call this? Come on on get changed. Now Now.. BILLY Do I have to?
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GEORGE Course you have. You haven’t even done any boxing yet. BILLY But it’s nearly finished. GEORGE Get changed or I’ll knock yer block off. He clips Billy along the head. BILLY Ow.. Ow
e small boy struggles with his press ups. SMALL BOY Jesus! Jesus! Jesus! Jesus! Jesus! GEORGE D’ya call them press ups you lazy little git? Right yous lot piss off. Michael follows but George stops him.
(to MICHAEL� Oi, where do you think you’re going? MICHAEL I’m pissing off. GEORGE You Y ou’’re not going anywhere. anywhere. You You can stop here here and fight Joe Joe Bugner, Bugner, there. MICHAEL Ow! But I need the toilet, sir. BILLY It’s not my fault I’m late; I had to see to me Nana. GEORGE What’ss the matter? Anyone would What’ would think you didn didn’’t like boxing. boxing. BILLY I don’t GEORGE Fifty pee. You bonny lad are getting your fifty pee’s worth whether you like it or not. Right. Hit him. MICHAEL Do I have to?
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GEORGE Of course you have to! TALL BOY Please, sir, can I have a word? GEORGE Yes, Y es, you can have have two – bugger and off. Ding ding! ding! Seconds out; round one. one. Come on; let’ let’s do a bit of boxing. Come on!
BILLY prances round. Whoa! Whoa! Whoa! What the hell are you doing? doing? BILLY I’m just trying to put him off. GEORGE Put him off? It’ It’ss not a tea dance, man. Hit him in the heed. BILLY Are you sure? GEORGE Of course, I’m bloody sure.
He hits Billy who falls to the ground. MICHAEL Sorry, Billy. GEORGE ‘Sorry Billy?’ ‘Sorry Billy’? He’s supposed to hit you, you’re supposed to hit him, it’s boxing. Oh for Christ’s sake.
(to MICHAEL� Out now!
(to BILLY� You can stop here You here and practise with the bag bag by yerself. yerself. Oh aye, and make sure Mrs Wilkinson gets gets these keys before you leave.
GEORGE exits BILLY Who?
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SCENE 4: SHINE e BALLET GIRLS run in – excitedly. GIRLS She’ss coming. She’ comin g. She’s coming.
Mrs Wilkinson arrives. Silence as BALL BALLET ET GIRLS see MRS WILKIN WILKINSON. SON.
.
MRS WILKINSON CHAIRS!
Music starts. BALLE T GIRLS BALLET GIR LS set chairs down. MRS WILKINSON walks down stage through line of chairs. Oi, Rocky, bugger off. Arms! GIRLS ARMS 2 3 4
MRS WILKINSON Alison Summers Summers get that coat off. off.
MRS WILKINSON Full plié GIRLS FULL PLIE 2 3 4
MRS WILKINSO N Get rid of the pie Tracey Atkinson.
MRS WILKIN SON Up. GIRLS UP 2 3 4
MRS WILKINSON I’m I’ m telling you Tracey, you’ll end up like your mother.
MRS WILKINSON AND SECOND SECON D GIRLS SECOND 2 3 4
BILLY Miss... Keys.
MRS WILKINSON Who the hell are you? you? BILLY Billy. Billy Elliot.
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MRS WILKINSON Pleased to meet you I’m Margot, Margot Fonteyn; it was a rhetorical question, now piss off over there.
KEELY exits TRY TO KEEP YOUR ARMS IN LINE COME ON AT LEAST PRETEND YOU’RE DOING FINE Don’t forget the golden rule, never hide your light under a bushel. No matter how big the bushel, Tracey Atkinson. YOU CAN WOW ’EM EVERY TIME Even you, Susan Parkes! ALL YOU HAVE TO DO IS SHINE Jetés! at’ at’ss it girls, so our tawdry little lives lives are transformed by the power of art FORGET ABOUT CONTENT Oi you! FOCUS ON STYLE STEAL AN INCH ON THEM AND THEY’LL GIVE GI VE YOU A MILE... Chair! Everybody ready for the big number. And smile, smile, smile, SMI--ILE! Showtime. Right, we’ve only got another seven and a half months to rehearse so for Christ’s sake concentrate! IT DOESN’T MATTER IF YOU’RE LARGE OR SMALL TRAPEZOID, OR O R SHORT OR TALL EVEN IF YOU CAN’T DANCE AT ALL ALL YOU REALLY HAVE HAVE TO DO IS SHINE. IT DOESN’T MATTER IF YOUR LIFE’S A MESS THE WHOLE PROCESS WILL COALESCE GIRLS, JUST TRY TO EFFERVESCE ALL YOU REALLY HAVE HAVE TO DO IS SHINE. GIVE EM THAT THAT OLD RAZZLE DAZZLE TURN ON THE OLD PIZZAZZ THERE WON’T BE TIME TO SHILLY SHALLY GIVE IT BACKBONE, GIVE IT WELLY BOWL EM OVER, KNOCK ‘EM OUT SHOW EM WHAT LIFE IS ALL ABOUT GIVE EM THAT THAT OLD RAZZLE DAZZLE AND SHINE Oi you join in or bugger off! off!
BILLY: Miss, the keys!
IT DOESN’T MATTER IF YOU’RE UNEMPLOYED ONLY PARTIALLY PARTIALLY HUMANOID HU MANOID AN OCTOPOID WHOSE WHOS E MIND’S A VOID ALL YOU REALLY HAVE HAVE TO DO IS SHINE Come on Debbie it’s your big moment! IT DOESN’T MATTER IF YOU’RE SPECIAL NEEDS MAIMED OR LAME, OR BORN IN LEEDS 12
DEBBIE: Mam, Mam
THEY LOVE TO SEE A HEART THAT BLEEDS ALL YOU REALLY HAVE HAVE TO DO IS SHINE. GIVE EM THAT THAT OLD RAZZLE DAZZLE TURN ON THE OLD PIZZAZZ THERE WON’T BE TIME TO SHILLY SHALLY GIVE IT BACKBONE, GIVE IT WELLY BOWL EM OVER, KNOCK ‘EM OUT SHOW EM WHAT LIFE IS ALL ABOUT GIVE EM THAT THAT OLD RAZZLE DAZZLE AND SHINE! SHINE ! Where the bloody bloody hell do you think you’ you’re going? BILLY I’m going home. MRS WILKINSON No you’re not, you haven’t done any dancing yet. BILLY What do you mean mean dancing? MRS WILKINSON You Y ou have to stay stay and do the show show. BILLY Oh no. It’s gonna be rubbish. MRS WILKINSON I COULDN’T GIVE A MONKEY’S CUSS I COULDN’T GIVE A FIG COME ON SON GET OVER IT IT’S ALL PART OF THE GIG
Ballet Girls re-enter GIVE EM THE OLD RINKLE TINKLE out in SHOW EM THE OLD KABAM line! KNOCK EM SIDEWAYS BLOW THEIR MINDS OUT THERE’S NO TIME FOR HALF TIME FROLICS GRAB THE BUGGERS BY THE BOLLOCKS SHOW EM WHAT CLASS IS ALL ABOUT GIVE EM THE OLD RAZZLE DAZZLE AND SHINE! SHINE ! IT DOESN’T MATTER IF YOU’RE SHORT OR SQUAT CEREBRALLY CHALLENGED, COMPLETELY SHOT YOU MIGHT HAVE IT OR MIGHT MIG HT NOT ALL YOU REALLY HAVE HAVE TO DO IS ALL YOU REALLY HAVE HAVE TO DO IS SHINE 13
GIVE EM THAT THAT OLD RAZZLE DAZZLE AND SHINE GIVE EM THAT THAT OLD RAZZLE DAZZLE AND SHINE AND SHINE AND SHINE
Girls start to leave MRS WILKINSON Fifty pees. Come on fifty pees. You Y ou owe me fifty fifty pee. BILLY What for? WII L K I N S O N W Your Y our lesson. BILLY What you on about? about? at wasn’ wasn’t a lesson. WII L K I N S O N W Of course it was a lesson. Fifty pee. BILLY I haven’t got fifty pee. I spent it on boxing. WII L K I N S O N W Well, W ell, you can bring bring it next week. BILLY What do you mean mean “next “next week’? week’? WII L K I N S O N W Well, W ell, you’ you’re coming again again aren’ aren’t you. BILLY You Y ou’v ’vee got to be joking. joking. To To this crap? WII L K I N S O N W Please yer Bessie. Debbie bring me stuff. Debbie!
MRS WILKINSON and DEBBIE DEB BIE leave. BILLY looks round round to see GRANDMA looking in a shoe box she is carrying.
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SCENE 5: GRANDMA SCENE BILLY Grandma! What are you doing? doing? GRANDMA I know it’s in here somewhere. You’ve hidden it. BILLY Grandma. at’s my private stuff! GRANDMA What’ss that? What’ BILLY Nothing. It’s private. Mam left it for me. GRANDMA Where’ss she gone? Where’ BILLY She’ss dead Grandma. You were at the funeral. She’ GRANDMA Was W as I? BILLY Course you were. She was buried next to Grandad. GRANDMA Not him, ‘un ‘un all. Christ, Billy, they’re they’re dropping like flies. BILLY Come off it, do you really not remember about Grandad? GRANDMA Of course I do. How could I forget your Grandad, Billy. We were married thirty three year. BILLY So what was he like, like? GRANDMA He was a complete bastard.
GRANDMA’S Song I HATED THE SOD � FOR THIRTY THREE YEAR WE SHOULD NEVER HAVE MARRIED OF THAT THAT I’M QUITE CLEAR 15
HE SPENT THE HOUSEKEEPING MONEY ON WHISKY AND BEER AND NEVER LIFTED A FINGER FINGE R TIMES WERE HARD, BUT THE SWINE ROLLED BACK PISSED SO WE’D FIGHT AND HE’D SWING AND HE RARELY MISSED SO I’D CLOBBER THE SOD WHEN HE COULDN’T RESIST ASLEEP,, YOU CAN’T LIFT A FINGER. ASLEEP BUT WE’D GO DANCING... AND HE’D HOLD ME TIGHT HE WAS AIR, HE WAS WATER, WATER, HE WAS BREA BRE ATH, HE WAS LIGHT LI GHT AND HE WOULD HOLD HO LD ME THERE, WITH ALL A LL HIS MIGHT MIGH T. IT WAS BLISS FOR AN HOUR OR SO BUT THEN THEY CALLED TIME TO GO AND IN THE MORNING MORNIN G WE WERE SOBER. SOB ER.
(Optional verse) O HE’D DRINK AND HE’D TALK JUST LIKE A FOOL LIE LIKE A BAIRN AND SNORE LIKE A MULE RARELY WAS SOBER, PRETTY MUCH WAS THE RULE AND HE NEVER NEVE R LIFTED LIFTE D A FINGER FINGE R I SUPPOSE TIMES WERE HARD, THINGS WERE DIFFERENT D IFFERENT THEN WOMEN WERE WOMEN AND MEN THEY WERE MEN SEVENTEEN, SEVENTE EN, THAT WAS WAS IT, IT, YOUR LIFE ENDED WHEN WH EN YOU HAD A RING AROUND YOUR FINGER. FING ER. BUT WE’D GO DANCING, HE WAS ME OWN BRANDO AND FOR A MOMENT MO MENT THERE MY HEART HE ART WAS WAS A�GLOW A� GLOW WE HAD DUST DU ST IN OUR HAIR H AIR AND NOWHERE TO GO BUT WE WERE FREE FOR AN HOUR OR THREE FROM THE PEOPLE WE HAD TO BE BUT IN THE MORNING WE WERE SOBER BUT IF I WENT THROUGH THROUGH MY TIME AGAIN, OH I’D DO IT WITHOUT THE HELP OF MEN OR AT LEAST YOUR GRANDAD BUT THEN AGAIN, YOU KNOW BEST NOT TO LINGER WHAT IS THE USE OF DREAMING DREA MING NOW? I HAD MY CHANCE, WELL WE LL ANYHOW, ANYHOW, IF I’D ONLY KNOWN KNOWN THEN WHAT I KNOW KN OW NOW NOW I’D’VE GIVEN THEM ALL THE FINGER AND GONE DANCING, D ANCING, AND NOT GIVE A SHIT SHI T AND SPIN AROUND AND REEL REE L AND LOVE EVERY BIT AND I’D DANCE ALONE ALON E AND ENJOY ENJ OY IT AND I’D BE ME FOR AN ENTIRE E NTIRE LIFE. LI FE. INSTEAD OF SOMEBODY’S WIFE AND I NEVER NEVE R WOULD BE SOBER. SOB ER. AND I NEVER NEVE R WOULD BE SOBER. SOB ER.
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SCENE 6: SOLIDARITY A line of POLICEMEN come on stage. BILLY looks at them. BILLY What are yous doing? doing? POLICEMAN Keeping the peace. BILLY What for, for, like? ere’ ere’s nowt going on. POLICEMAN Well, W ell, we’re we’re doing a good good job aren’ aren’t we? Now Now sod off.
BALLET GIRLS run past on their way to class DEBBIE So are you going to go back then? BILLY What, to ballet? DEBBIE Plenty of lads do ballet. BILLY Aye, puffs. DEBBIE Not necessarily. BILLY Who like? DEBBIE What about Wayne Wayne Sleep. He’ He’ss not a puff. BILLY Anyway,, I don’ Anyway don’t know why you bother going. You ou’’re crap at it. DEBBIE No I’m not. Anyway, I don’t have much choice do I? MRS WILKINSON Oi Debbie, get a move on. BILLY How do you put up with her? 17
DEBBIE Hey, how would you like it if I slagged off your mam. BILLY My mam’s dead. DEBBIE Oh. See you then.
DEBBIE runs into class. MRS WILKINSON Everybody, positions, please. Girls to the front and 5 6 7 8 turn! And rocking the baby stretch... Pie Tracey Atkinson. Debbie, you’re late girl. And washing the windows windows 5 6 7 8 Hello. BILLY Hello. MRS WILKINSON Shoes. BILLY But I haven’t got any. MRS WILKINSON Well, W ell, you have now now.. Put them on. As two groups. BILLY I can’t wear them. I’ll look like a right sissy. WII L K I N S O N W You Y ou should have have thought about about that before you you came in. Again, 6, 7, 8. Arms Susan Parkes. Crossing! Well, W ell, are you joining joining in or what? Debbie count girl, count for Christ’s sake. Oi, Billy Elliot! Airing the sheets, c’mon, and hang them on the other line. BILLY What am I supposed to do? WII L K I N S O N W Travelling back (that’s lovely). 18
BILLY What do I do? WII L K I N S O N W Follow the others. Marching forward to Socialism and Arms Sharon Percy Percy.. Floor barre. BILLY What barre?
WILKINSON blows whistle WII L K I N S O N W PLIE TENDU SECOND PLIE TENDU CLOSE DEVELOPE DEVANT LEFT LEG POLICE OI GEORDIE WANNA W ANNA SEE SOMETHING S OMETHING YOU’VE NEVER SEEN S EEN BEFORE BEF ORE AND THAT’S THAT’S JUST JU ST OFF THE OVERTIME WANNA W ANNA SEE SOME S OME MORE? MINERS GO BACK HOME TO LONDON TOWN WE’RE NOT SCARED SCAR ED OF YOUR NOISE NOIS E YOU MIGHT THINK YOU’RE BIG BI G AND HARD HAR D BUT YOU’RE MAGGIE THATCHER’S TOYS MINERS AND POLICE SOLIDARITY SOLIDARITY SOLIDARITY FOREVER ALL FOR ONE AND ONE FOR F OR ALL SOLIDARITY FOREVER SOLIDARITY SOLIDARITY SOLIDARITY FOREVER ALL FOR ONE AND ONE FOR F OR ALL SOLIDARITY FOREVER
WILKINSON blows whistle
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MRS WILKINSON AND RIGHT RIG HT LEG LEFT LEG LE G TWO LINES
WII L K I N S O N W Girls to the centre. Right, the lesson you’ve all been gagging for, pirouettes. I want you all to find a spot on that wall and focus on a spot. Do not take your eyes off that spot, then you turn your bodies round and your head follows follows but your head is the last thing to leave and the first thing to come back, understand? GIRLS Yes Y es Miss WII L K I N S O N W Why the hell do I bother? OK, into the middle, and thank you Mr Braithwaite and here we go and 1 2 3 Billy 5 6 7 8 9 WII L K I N S O N W Absolutely bloody bloody hopeless, hopeless, all of yous. yous. And you’ you’re the worst of the bleeding bleeding lot Billy Billy Elliot. Elliot. OK forget it, everybody into the corner please. And chaînés, and 5 6 7 8 go go go, beautiful arms Susan Susan Parkes, lovely lovely,, much better Angela Hobson, gold star Keely Gibson, lovely lovely, try not to kill yourself Tracey Atkinson. Oi, Rudolph Nureyev, over here.
(BILLY chaînés) OK, class dismissed. POLICE KEEP IT UP TILL CHRISTMAS LADS, IT MEANS A LOT TO US WE SEND OUR O UR KIDS TO PRIVATE PRIVATE SCHOOL ON A PRIV PRI VATE BUS WE’VE GOT A LOT TO THANK YOU FOR GEORDIE YOU’RE A CORKER A NICE EXTENSION EX TENSION ON O N THE HOUSE AND A FORTNIGHT FORTNIGH T IN MAJORCA MINERS AND POLICE SOLIDARITY,, SOLIDARITY SOLIDARITY SOLIDARITY FOREVER MINERS DON’T WORRY LADS WE’RE ON YOUR SIDE SOLIDARITY FOREVER. SOLIDARITY,, SOLIDARITY SOLIDARITY SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING CLASS, CL ASS, SOLIDARITY FOREVER. WII L K I N S O N W You Y ou’’re late.
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GEORGE Look Jackie, I wanted to have a word. I mean, if this is all a bit difficult for you, we could sort something out, you know.
GIRLS 12345678
DAD What you on about? about? 12345678 GEORGE I mean if things are a bit tight, you know. With the fifty pees. DAD Fifty pees?
12345678
GEORGE I mean your Billy. He hasn’t been at boxing for at least four weeks now. DAD What do you mean mean he hasn’ hasn’t been goin’ goin’ to boxing? If he hasn’t been goin’ to boxing where the bloody hell has he been going?
GIRLS 12345678
GIRLS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER. WE’RE PROUD TO BE WORKING CLASS CL ASS SOLIDARITY FOREVER. MINERS Scab, scab!
WILKINSON blows whistle WII L K I N S O N W Quiet in my lesson. DAD Oi Billy. Where the bloody hell you been going Saturday mornings? BILLY Boxing, where’d you think? TONY Dad. DAD Boxing?
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TONY Dad! Howay man BILLY Tony’s waiting. DAD I’ll see you later. WII L K I N S O N W Right calm down girls try to concentrate. Do some subra sous, 5 6 7 8, shoulders down, pointed feet, pretty arms Sharon, that’s that’s both arms Keely Gibson. Feet in fifth, tendu second, thank you Debbie, plié fifth, retiré, and 5,6,7,8. GIRLS 12345678 DEBBIE You Y ou’’re crap at this. BILLY No I’m not. WII L K I N S O N W Lovely legs, Tina. Arms, Debbie. ARMS! Ton Ton levé! Susan Parkes you look like a spastic starfish. BILLY You Y ou’’re crap at that. DEBBIE Oh piss off, will you. WII L K I N S O N W Oi! Attitude promenade. Prepare and... What’ss the time? No, What’ No, on the wall. Pick Pick up the biscuit. biscuit. And that’s that’s much better Sharon, Sharon, very good. Arms up Billy. Billy. Debbie get your your bum in for Christ’ Christ’ss sake. Other way round Susan Parkes. Lovely little fairies on top of your music boxes.
MRS WILKINSON manipulates manipulates BILLY’S BILLY’S arabesque. WII L K I N S O N W Elbow… Wrist… Tummy BILLY Chin. DEBBIE Please Mam, can we have a go? 22
WII L K I N S O N W Baskets of pansies ladies. Yes thank you, Mr. Braithwaite, 5678 POLICE YOU LITTLE LITTL E WORMS YOU LITTLE LITTL E MOLES YOU LITTLE LITTL E GEORDIE GEORD IE SHITS WE’RE HERE HER E TO KICK YOUR GEORDIE ARSE A RSE YOU LITTLE LITTL E GEORDIE GEORD IE GITS MINERS WE’RE TERRIFIED, TERRIF IED, WE’RE PETRIFIED PET RIFIED,, THOSE WORDS ARE SO OBSCENE WE’LL BOOT YOUR BLOOMIN’ COCKNEY C OCKNEY SKULLS, SKULL S, RIGHT BACK TO BETHNAL GREEN MINERS & GIRLS AND ONE �TWO � TWO THREE� AND TWO �TWO �T WO THREE� AND THREE �TWO �T WO THREE� AND FOUR F OUR �TWO THREE� THREE � AND FIVE FIV E �TWO THREE� AND SIX �TWO � TWO THREE� AND SMILE, SMILE, SMILE , SMILE, SMILE. SMIL E. MINERS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING� CLASS SOLIDARIT SOL IDARITY Y FOREVER. FOREVER . SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING� CLASS SOLIDARIT SOL IDARITY Y FOREVER. FOREVER . GIRLS 12345678 Etc MINERS COME ON LADS GET AT THEM REALLY GET STUCK IN IT’S NOT A BLEEDING TEA DANCE. DO THE BUGGERS IN. MINERS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING� CLASS SOLIDARIT SOL IDARITY Y FOREVER. FOREVER . SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING� CLASS SOLIDARIT SOL IDARITY Y FOREVER. FOREVER .
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WII L K I N S O N W SHINE, JUST SHINE SHINE, JUST SHINE ALL YOU HAVE TO DO IS SHINE Etc WII L K I N S O N W Prepare fourth pirouette, finish! MINERS SOLIDARITY, SOLIDARITY, SOLIDARITY FOREVER WE’RE PROUD TO BE WORKING� CLASS SOLIDARITY FOREVER... A L L � C O N T ’ D � EVER EVER EVER EVER EVER EVER EVER EVER FOREVER FOREVER FOREVER FOREVER
SCENE 7: DAD DISCOVERS BILLY DAD What the bloody hell’ hell’ss going on here? here? I thought you were were at boxing. boxing. BILLY It’s healthy, man, Dad. It’s just like sport. DAD You Y ou’v ’vee got to be joking joking son. Ballet. Ballet. BILLY It’s not just puffs that do ballet, you know. Look at that Wayne Sleep. DAD Wayne W ayne Sleep? He’ He’ss as bent as a nine nine bob note, son. son. WII L K I N S O N W Mr Elliot, I’ve never heard anything so bigoted and ridiculous in my life. DAD Don’t you call me bigoted, you ignorant cow. at’s it. Out now. You’re banned. Full stop. No more bloody boxing, no more bloody ballet. From now on, you’re staying home to look after your Nana. BILLY is is ridiculous. You’re supposed to be encouraging me to do things. 24
DEBBIE I don’t see why he shouldn’t do ballet. TRACEY Fred Warmsley used to do it. KAREN But he was crap. DAD I don’t give a sod about Fred Warmsley, or any of yous. You’re banned. Full stop. BILLY I hate you. You’re a bastard. Oh Shit!
BILLY exits. WII L K I N S O N W Well, W ell, that was a very mature mature and intelligent way way to handle the situation. situation. DAD Don’t you ever go near our Billy again.
MR BRAITHWAITE BRAIT HWAITE exits as DAD exits after him. MR. BRAITHWAITE reappears. WII L K I N S O N W OK girls. Class dismissed.
MUSIC CUE 4a. TO TOILETS u/s
SCENE 8: TOILETS SCENE BILLY What did you have to do that for? Now Now I’m I’m banned. I don’ don’t want to come to your stupid ballet ballet anyway. I’m not even any good at it. WII L K I N S O N W Listen, I know this might sound a bit weird, but I’ve been thinking about the Royal Ballet School. BILLY Aren’’t you a bit old, Aren old, miss? WII L K I N S O N W Not for me you stupid idiot. For you. Look, they have regional auditions soon in Newcastle. BILLY But what about me Dad? 25
WII L K I N S O N W Look, it’d take a lot of work but I thought... well, if you had some proper lessons with me on yer own, you might have a chance of getting in. BILLY But I’m banned, Miss. WII L K I N S O N W Look, just come after school. Nobody else need know. BILLY You Y ou don’ don’t fancy uz, do you, miss? WII L K I N S O N W No, funnily enough I don’t. Look, I’ll be here on Monday night. Just bring some things with you and we’ll make up a special dance for the audition. See you Monday.
MRS WILKINSON exits. MUSIC CUE 4b. 4b. ELECTRICITY u/s
SCENE 9: EXPRESSING YOURSELF BILLY Michael! Michael! Bloody hell! Michael What? BILLY You Y ou’’re wearing a dress. dress. MICHAEL I know. Do you want a go? BILLY What you doing? doing? MICHAEL I’m just trying it on you. Oh dear! at’s hideous. BILLY Won W on’’t we get in trouble? trouble?
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MICHAEL ’Course not – me Dad does it all the time. Hold it. BILLY Michael. You know that week after I had to stay behind at boxing. When I gave the wife the key. I did some ballet. MICHAEL You Y ou did ballet?! ballet?! BILLY Just a few steps and that. MICHAEL It’s bloody weird, if you ask me. BILLY e wife says I’m good at it. She’s asked us to do an audition for the Royal Ballet School. MICHAEL Do you get to wear a tutu? BILLY I’m serious, do you think I should go back and do the audition? MICHAEL I wouldn’t if I were you. People’ll think yer mental. BILLY But you dress up in women’s clothing. MICHAEL at’s different. BILLY Is it? MICHAEL ’Course, there’s nowt wrong with dressing up in women’s clothing. IS IT SINFUL IF YOU’RE BLUE? TO CHEER UP THE PLACE? WHAT IS WRONG WITH DRESSING UP IN SATIN AND LACE? LACE ? GET SOME EARRINGS, SOME MASCARA, HEELS AND A FAN. PRETTY SOON YOU WILL START TO FEEL A DIFFERENT MAN. WHAT THE HELL HEL L’S WRONG WITH EXPRESSING EXPRE SSING YOURSELF? YOURSE LF? BEING WHO YOU WANT TO BE? WILL ANYBODY ANYBO DY DIE IF YOU PUT P UT ON A DRESS? DRE SS? WHO THE HELL CARES CARE S IF YOUR BLUSHER’S BLUSHE R’S A MESS? 27
BILLY START A NEW FASHION, BUCK ALL THE TRENDS. MICHAEL EMPHASISE IN�TEG�RIT�EEEEE. TOGETHER COS WHAT THE HELL’S WRONG WITH EXPRESSING YOURSELF FOR WANTING TO BE ME? ME ? Um cha! BILLY WHAT THE HELL HEL L IS WRONG WITH WEARING WEARIN G A DRESS? DRES S? BEING WHO YOU WANNA BE? MICHAEL WHO THE HELL IS IT YOU TRY TO TO IMPRESS TOGETHER ALL YOU HAVE TO DO IS LEARN LEAR N TO TO CARE LESS LE SS MICHAEL START A NEW FASHION BUCK ALL THE TRENDS BILLY,, SING SOMETHIN BILLY SOMETHING G TO ME TOGETHER WHAT THE HELL HEL L IS WRONG WITH EXPRESSING EXPR ESSING YOURSELF? YOUR SELF? FOR TRYING TO BE FREE. IF YOU WANNA BE A DANCER, DANCE IF YOU WANNA BE A MINER, MINE IF YOU WANT TO DRESS LIKE SOMEBODY ELSE FINE. FINE, FINE. TOGETHER IT’S NOT A BIG STATEMENT, IT’S NOT A WEIRD ACT JUST A GOOD GO OD IDEA AT THE TIME WE’LL NOT COMPLAIN COMPLA IN ABOUT YOUR BORING LIFE L IFE IF YOU’LL JUST LEAVE ME TO MINE. IF YOU WANNA BE A DANCER, DANCE IF YOU WANNA BE A MINER, MINE
(Dance break) EVERYONE IS DIFFERENT EVERYONE IT’S THE NATURAL STATE STATE IT’S A FACT, IT’S PLAIN TO SEE, THE WORLD’S GREY ENOUGH WITHOUT MAKING IT WORSE WHAT WE NEED IS INDIVIDUALIT INDI VIDUALITY Y.
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SCENE 10: BILLY’S FIRST PRIVATE LESSON. MICHAEL MICHAE L goes off one way, way, MRS WILKINSON comes on and surprises BILLY. BILLY. WII L K I N S O N W Well, W ell, Have you you brought your your special things for for the dance? BILLY I’ve brought a few bits of stuff and that, but I didn’t really know what you meant. WII L K I N S O N W Well, W ell, let’s let’s see then.
BILLY takes stuff out of his bag. Rubik’s cube. TV theme tunes? BILLY Yeah. Y eah. WII L K I N S O N W Baked beans.... What’s that? BILLY It’s a packet of soup Miss. WII L K I N S O N W What the bloody hell’ hell’ss that for? BILLY I dunno. WII L K I N S O N W Billy I asked you to bring things that mean something to you. How are we going to make a dance about baked beans and a cup-a-soup? BILLY I don’t know. WII L K I N S O N W Look it’s not just about the steps. It’s all about you. BILLY Why does it have have to be about me? WII L K I N S O N W Jesus Christ. Christ. Cos I say say so. What’ss this? What’
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BILLY It’s a letter. WII L K I N S O N W I can see it’s a letter. BILLY You Y ou can open it ifif you want. WII L K I N S O N W ank god for that. e suspense was killing me. BILLY It’s from me Mam. WII L K I N S O N W Your Y our Mam? BILLY She wrote it for us for when I was eighteen but I opened it a few years early. You can read it if you want. WII L K I N S O N W Dear Billy I must seem a distant memory … BILLY Which is... WII L K I N S O N W Which is probably probably a good thing... thing... And it will have have been a long... BILLY ...long time. AND I WILL HAVE MISSED YOU GROWING, AND I’LL HAVE MISSED YOU CRYING... AND I’LL HAVE MISSED YOU LAUGH. LAUG H. MISSED YOUR STOMPING AND YOUR SHOUTING, I’LL HAVE MISSED TELLING TE LLING YOU OFF OFF,, BUT PLEASE BILLY, KNOW THAT I WAS ALWAYS THERE. I WAS WITH YOU THROUGH EVERYTHING. AND PLEASE, PLEA SE, BILLY... BILLY... WII L K I N S O N W KNOW THAT I WILL ALWAYS BE. PROUD TO HAVE KNOWN YOU. PROUD THAT YOU WERE MINE PROUD IN EVERYTHING 30
AND YOU MUST PROMISE ME THIS, BILLY DEAD MUM AND WILKINSON IN EVERYTHING YOU DO DEAD MUM ALW AL WAYS BE YOURSELF, YOURSELF, BILLY AND YOU ALW ALWAYS WILL BE TRUE AND I’LL HAVE MISSED YOU GROWING, I’LL HAVE MISSED YOU CRYING... AND I’LL HAVE MISSED YOU LAUGH. LAUG H. DEAD MUM AND WILKINSON MISSED YOUR STOMPING AND YOUR SHOUTING, I’LL HAVE MISSED TELLING TE LLING YOU OFF OFF,, BUT PLEASE, P LEASE, BILLY BILLY,, KNOW THAT I WAS ALWAYS THERE. I WAS WITH YOU THROUGH EVERYTHING. AND PLEASE, PLEA SE, BILLY, BILLY, KNOW THAT I WILL ALWAYS BE. PROUD TO HAVE KNOWN YOU. DEAD MUM LOVE YOU FOREVER. BILLY LOVE YOU FOREVER. WII L K I N S O N W Mam. She must have been a very special woman. BILLY No. She was just me Mam. WII L K I N S O N W Right, let’s get started...
Suddenly Debbie appears – perhaps with all the ballet girls. BILLY I thought you said this was gonna be private. WII L K I N S O N W You Y ou’’re gonna need some some help if you’ you’re gonna be ready ready for the audition. audition. BILLY But they’re rubbish.
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WII L K I N S O N W Maybe at ballet. But we all have to unleash our natural rhythm. BILLY What do you mean? mean? WII L K I N S O N W WE WEREN’T BORN B ORN TO STAND STAND STILL STIL L AIN’T A QUESTION QUES TION OF WILL GOTTA MOVE � IT’S A FACT YOU WERE BORN TO REACT YOU WEREN’T MADE MAD E TO BEHAVE BEHAVE LIKE YOU WILL IN THE GRAVE WHEN THE MU� SIC SI C IS PLAYED OH THE SOUL � WILL BE SW SWAYED AYED AND YOUR FEET FEE T � THEY WILL MOVE AS IF ON � LY TO TO PROVE THAT IT WAS � N’T BY CHANCE WE WERE DES DE S � TINED TO DANCE. WE WERE BORN BO RN TO BOOGIE, WE WERE BORN BO RN TO BOOGIE IT AIN’T A PUZZLE, COS WE’RE BLOOD AND MUSCLE FROM THE DAY OF CREATION WE WERE THE DANCE DAN CE SENSATION. COME ON SHAKE YER BOOTIE COS WE WERE BORN TO BOOGIE ANYONE CAN GET GE T IT COS WE’RE BORN KINETIC COME ON AND “MASH POTAT�A” THE WAY WAY GOD MADE MA DE YA. YOUR FEET AND YOUR HANDS OH YOUR TOES AND YOUR GLANDS YOUR EYES AND YOUR CHIN YOUR FACE AND YOUR SKIN OH YOUR BRAWN AND YOUR BRAINS YOUR BALLS AND A ND YOUR CHAINS WE WERE BORN BO RN TO BOOGIE, WE WERE BORN BO RN TO BOOGIE IT AIN’T A PUZZLE, COS WE’RE BLOOD AND MUSCLE FROM THE DAY OF CREATION WE WERE THE DANCE DAN CE SENSATION.
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BRAITHWAITE COME ON AND SHAKE YER BOOTIE COS WE WERE BORN TO BOOGIE ANYONE CAN GET GE T IT COS WE’RE BORN KINETIC COME ON AND “MASH POTAT�A” THE WAY WAY GOD MADE MA DE YA. WE WERE BORN BO RN TO BOOGIE WE’RE ALL BORN B ORN TO A L L WE WERE BORN BO RN TO BOOGIE WE WERE BORN BO RN TO BOOGIE WE WERE BORN BO RN TO BOOGIE WE’RE ALL BORN B ORN TO BOOGIE!
During the number BILLY has learned to dance. At the end of the number the ballet girls run out, leaving BILLY on his own with MRS WILKINSON. WII L K I N S O N W Here’s the tape. I’ll be outside here eight tomorrow morning. Alright? Listen, you can do this Billy. You Y ou’v ’vee worked so hard, hard, and I know know you can do it. You You just have to forget about everything everything else. Are you alright, Billy? BILLY I’m just a bit scared, Miss.
Mrs Wilkinson hugs Billy WII L K I N S O N W You Y ou’ll ’ll be fine. See See you in the morning. morning.
Mrs Wilkinson exits.
SCENE 11: MRS WILKINSON’S VISIT DAD comes on stage. DAD Where the bloody bloody hell do you think you’ you’re going? BILLY Nowhere DAD You Y ou’’re not going anywhere anywhere today. today. It’s all kicking off off out there.
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TONY and GEORGE come on. GEORGE Look, Tony got hit in the face with a truncheon. BILLY But Dad I have to go and see Michael. DAD Don’t be ridiculous – there are a thousand policemen out there. ey’ve surrounded the village. BILLY But Dad….
Suddenly there is a knock on the door. ey all look. Mrs Wilkinson comes in. MRS WILKINSON Hello.
ey look in amazement. DAD Hello. BILLY Oh no. MRS WILKINSON I couldn’t get to the hall, Billy, so I had to come here. BILLY Please, Miss, go away. TONY What’ss going on here? What’ here? Billy Please, Miss. No. MRS WILKINSON No, Billy. We’re going to have to sort this one out once and for all. Look Billy has an audition this morning for the Royal Ballet School. TONY What? GEORGE e Royal Ballet School?
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DAD You Y ou’v ’vee got to be joking... joking... MRS WILKINSON Billy has been coming to class and I have been giving him private lessons for the last two months. DAD What..! TONY Who gave you you permission to teach him ballet? MRS WILKINSON Look, Mr. Elliot we’re missing the audition as we speak. TONY Hang on a minute. Have you any idea what we’re we’re going through in this village? Ballet!? Are you trying to make him a scab for the rest of his life? Get out of our house or I’ll belt you one you stupid middle class cow. MRS WILKINSON You Y ou don’ don’t know anything about me you sanctimonious sanctimonious little twit. I’ve I’ve been teaching him every night for three three months now and none of you have even noticed.
Suddenly LESLEY rushes in. LESLEY Come on everybody out the back. e police are running through the houses.
Everybody leaves, except BILLY and MRS WILKINSON. MRS WILKINSON I’m sorry, son. You haven’t got a hope in hell.
She leaves. BILLY is on his own. He starts his Angry Dance. As he dances the police come on at the back of the dance. of the stage, beating a rhythm on their shields. BILLY might attack them as part of Alternatively Alternative ly,, the the whole whole cast can form form a semi-cir semi-circle cle at the back back of of the stage stage and and beat out time as BILLY BI LLY dances himself into a state of collapse. BILLY B ILLY falls to the floor.
END OF ACT ONE
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AC A C T T WO SCENE 1: CHRISTMAS GEORGE comes on stage dressed as Santa, maybe with some elves. GEORGE Ho, ho, ho! And a very big welcome back to the second half. e second half of… e Easington Miners’ Annual Christmas Party! We might have been on strike for nearly a year, we might have been beaten up, half starved starved but are we downhearted? downhearted?
e audience react. I can’t hear you. Are we down hearted?
e audience react. at’s better. No we’re not downhearted cos we’re going to have the best Xmas Party we’ve ever had. Can you hear it - in the distance?
He listens. GEORGE and/or ELF Can you sense it far away? GEORGE and/or ELF Is it old Rudolph the Reindeer? Is it Santa on his sleigh? IT’S HEADING UP TO EASINGTON IT’S COMING DOWN THE TYNE IT’S BLOODY MAGGIE THATCHER AND MICHAEL MICHAE L HESELTINE
At this point the whole cast cast is revealed revealed – perhaps with Maggie Maggie atcher masks, perhaps perhaps policemen hats, or just dressed for the picket picket line. Everyone Everyone sings the song – but but you might choose to split it up, individuals or groups (e.g. e Ballet Girls) might sing certain lines, but everyone should join in the chorus. You might also illustrate the song but acting it i t out in a home-made pantomime fashion, as if the people of Easington had invented it themselves.
EVERYONE SO MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE CELEBRATE TODA TODAY Y COS IT’S ONE DAY CLOSER TO YOUR DEATH.
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THEY’VE COME TO RAID YOUR STOCKINGS AND TO TO STEAL YOUR YOUR CHRISTMAS PUD BUT DON’T BE TOO DOWNHEARTED IT’S ALL FOR YOUR OWN GOOD THE ECONOMIC INFRASTRUC INFRASTRUCTURE TURE MUST BE SWEPT AWAY TO MAKE WAY FOR BUSINESS PARKS AND LOWER LOWER RATES RATES OF PAY PAY, SO... MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE CELEBRATE TODA TODAY Y COS IT’S ONE DAY CLOSER TO YOUR DEATH
BALLET G IRLS Oi! Oi!
(Optional verse – in the London show we have puppets here) AND THEY’VE THEY’VE BROUGHT THEIR FASCIST FASCIST BOOTBOYS BOOTBOYS AND THEY’VE THEY’VE BROUGHT THE BOYS IN BLUE AND THE THE WHOLE TRADE UNION CONGRESS CONGRESS WILL BE AT AT THE PAR PARTY TY TOO TOO AND THEY’LL THEY’LL ALL HOLD HANDS TOGETHER ALL STANDING STANDING IN A LINE LINE COS THEY’RE PRIVATIZING SANTA THIS MERRY CHRISTMAS TIME SO MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE CELEBRATE TODA TODAY Y COS IT’S ONE DAY CLOSER TO YOUR DEATH. MERRY CHRISTMAS, MAGGIE THATCHER MAY GOD’S LOVE BE WITH YOU WE ALL SING TOGETHER IN ONE BREATH BREATH MERRY CHRISTMAS, MAGGIE THATCHER WE ALL CELEBRATE CELEBRATE TODA TODAY Y COS IT’S ONE DAY CLOSER TO YOUR DEATH.
(Another option is to try and get the audience to join in, in the long-honoured panto tradition – this might be harder than you think!) At the end of the song, song, everybody erupts in cheers. GEORGE GEORGE takes the mic. GEORGE Who’’s next? Jackie, Who Jackie, Jackie Jackie Elliot. A M I N E R No, he’s he’s drunk. drun k.
But Dad insists. 37
DAD It’s OK. I want to sing this for our Sarah. It’s an old folk song.
is changes the mood – Dad is clearly melancholy. O ONCE I WAS A YOUNG MAN I LOOKED OVER VALES AND HILLS... AND I SAW SAW MYSELF A FUTURE FUTURE OF RICHES AND OF THRILLS BUT ON ME FIFTEENTH BIRTHDAY I PAID MY UNION DUES AND THEY SENT ME DEEP INTO THE GROUND GROUND O THE WINTER WIND CAN BLOW ME COLDER O THE SUMMER’S HEAT CAN PARCH ME DRY BUT I’D NOT LEAVE HERE FOR A FORTUNE I SHALL NEVER LEAVE HERE ‘TIL I DIE
e party mood has been broken and everyone apart from BILLY B ILLY leaves as DAD sings the next verse. O ONCE I LOVED A WOMAN SHE MEANT ALL THE WORLD TO ME AND I SAW SAW OURSELVES OURSELVES A FUTURE AS FAR AS I COULD SEE BUT I WAS ONLY THIRTY-SEVEN THIRTY-SEVEN WHEN THEY TOOK HER DOWN DOWN FROM FROM ME AND THEY BURIED HER (DEEP INTO THE GROUND) GROUND)
DAD stops, but BILLY carries on. BILLY O THE WINTER WIND CAN BLOW ME COLDER O THE SUMMER’S HEAT CAN PARCH ME DRY BUT I’LL LOVE THESE DARK, DARK HILLS FOREVER AND I WON’T WON’T LEAVE LEAVE THEM THEM UNTIL I DIE Merry Christmas, Dad. DAD Merry Christmas, Son. Get yer stuff. Let’s go home.
SCENE 2: BILLY AND MICHAEL IN THE HALL DAD leaves. BILLY is on his own. Suddenly MICHAEL MIC HAEL appears. MICHAEL A bloody great great Christmas this has been.
38
BILLY I know - it’ it’ss been a right load of shite. All I got was an atlas from the university support group. MICHAEL Count yerself lucky. I got a stupid football strip. But it’s alright cos I swapped it for a brand new Cindy the Nurse.
He gives BILLY the doll. Did you ever go back and see that wife? BILLY What wife? MICHAEL Debbie’s mam. e ballet wife. BILLY No. I packed it in. MICHAEL Really? Well, maybe it’s for the best. At least you won’t be running away to that ballet school, will ya. BILLY What’ss good about What’ about that, like? MICHAEL Wey W ey,, I’d I’d miss ya. BILLY Look, we’d better go. It’s freezing in here. MICHAEL Wait! W ait!
MUSIC CUE 10a. OUT OF CHRISTMAS u/s BILLY What? MICHAEL Come here.
MICHAEL takes BILL BILLY’S hands under his jumper. jumper. BILLY What are you doing? doing?
39
MICHAEL I’m just warming your hands. BILLY Yer Y er not a puff or anything? anything? MICHAEL What gave you that impression? BILLY Aren’’t me hands cold? Aren cold? MICHAEL I quite like it.
MICHAEL tries to kiss BILL BILLY. BILLY Just ’cause ’cause I like ballet ballet doesn’ doesn’t mean I’m I’m a puff, you know know. MICHAEL You Y ou won’ won’t tell anyone, will will ya?
BILLY BILL Y starts to back away from MICHAEL. BILLY Here. Put this on.
BILLY tosses MICHAEL a tutu. MICHAEL Can I? Cush!
(Takes off trackys – he has red shorts underneath) It’s freezing in here!
(Putting on tutu) Aw,, I’m Aw I’m not sure this red will go with with me tutu. BILLY Shut up, man. MICHAEL It’s a bit small. Come on - Show us some ballet then. BILLY No. I told ya. I’ve packed it in. MICHAEL Howay - just a little bit. 40
(Turns (T urns this into a little dance) JUST A LITTLE BIT. BIT. HUH. JUST A LITTLE LITTLE BIT. BIT. HUH. JUST A LITTLE LITTLE BIT. BIT.
(Attempts a split, but it ends painfully) OW! No wonder they call it the Nutcracker! MICHAEL Go on, show uz some dancing. BILLY We’ W e’d d best be going; going; me dad’ll dad’ll be after us. MICHAEL Well, W ell, a right barrel of of laughs you are. BILLY If you like, you can keep the tutu. MICHAEL Can I? Cush! BILLY Yer Y er not gonna go home home in it, are ya? MICHAEL ‘Course I am. No one will notice.
MICHAEL exits upstage. upstage. BILLY BILL Y takes tape player, turns on the music, and sets it on the windowsill. e music from Swan Lakes plays and BILLY does some ballet. Either this can be a full dance or could just be some exercises – but either way BILLY should get engrossed in what he’s’s doing and not see DAD arrive. DAD watches BILLY he B ILLY as the music plays and when it reaches a high point. He turns the tape recorder off. BILLY turns and looks at him, hi m, fearful of his reaction. ey stare at one another, BILLY terrified. DAD Go home, Billy. Go home!
BILLY runs off. DAD DA D is alone. He mimes walking up a path and ringing a doorbell. e sound of a bell rings. Eventually MRS WILKINSON comes to the door.
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SCENE 3: DAD DAD’S ’S DEBA DEB ATE MRS. WILKINSON Oh. Hello. DAD So how much is this gonna cost then? MRS. WILKINSON And a very Merry Christmas Christmas to you, too. too. DAD I’ve just been doing a lot of thinking. MRS. WILKINSON at must have come as a shock to the system. DAD I knew I shouldn’t have come. MRS. WILKINSON Not at all. It’s Christmas time. Good will to all men and all that. Would you like to come in? DAD No. I just need to know – is he good enough? MRS. WILKIN SON For what? DAD For the school. For the audition. MRS. WILKINSON Well, W ell, we’ll we’ll never know know, will we? Maybe Maybe he’d’ve d’ve gotten in. Maybe Maybe he’d’ve d’ve joined the Ballet Ballet Rambert, or maybe he’d end up on the scrapheap, like everybody else. How the hell should I know? DAD So there’s nowt we can do then. MRS. WILKINSON Actually,, if we move Actually move fast, I could probably still get him an audition audition in London. London. DAD So how much is it gonna cost, this ballet school lark? MRS. WILKINSON Oh, maybe five grand a year. DAD Five grand! I was talking about the audition. 42
MRS. WILKINSON Oh, that’s nothing It’s twenty quid or something. DAD Five grand! We haven’t even got enough money for the bus fare to London. MRS. WILKINSON Look, if it’s just a question of the bus fare, then... DEBBIE Mam! MRS. WILKINSON Piss off, Debbie, I’m busy. DAD I don’t want your money. I didn’t come here for charity. I just needed to know. I’ll look after my own business. He’s my son, isn’t he?
(DAD turns to go) MRS. WILKINSON Oh, this is ridiculous. Why don’t you come inside. We’ll talk this over. DAD No, thanks for what you’ve done for Billy. But he’s my responsibility.
DAD walks off. MRS WILKINSON goes back inside. DAD tries to warm himself up. e tune for “he could be a star” underscores the next section – but the song is not sung.
SCENE 4: DAD RETURNS RETURN S TO TO WORK PIT SUPERVISOR appears. As he takes roll call, call, SCABS slowly slowly emerge from the darkness. darkness. PIT SUPERVISOR OK then. Let’s be having ya.
(Consulting his clipboard) Gormley. SCAB Here. PIT SUPERVISOR Atkinson.
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SCAB Here. PIT SUPERVISOR Summers. Summers!
(notices DAD) I haven’t seen you here before. SCAB (DONNIE) Jackie.
(to PIT SUPERVISOR) Jackie Elliot. Elliot.
(approaches DAD) I didn’t expect to see you here. DAD Aye, well things change, don’ don’t they? SCAB Yeah, Y eah, well, who’ who’s the big man now? now? DAD Piss off, will ya?
DAD is humiliated. PIT SUPERVISOR Right then, all aboard the skylark!
DAD and SCABS gather together – now the rest of the cast come on and scream at them from either side – shouting Scab! Scab! Maybe Maybe throwing things. It It’s as if the Scabs are in a mini bus and there are two lines of pickets on either side. e scabs get out of the mini bus and start to walk to the pit. Maybe a POLICEMAN or two leads the way or protects them. Abuse is hurled as the men walk. Finally DAD walks out from his position. e crowd recognize him, calls of Jackie! Jackie! Suddenly, Suddenly, TONY sees DAD. TONY Dad!!! Dad, what ya doin’? Dad!
DAD stops. Tony Tony runs towards him but is stopped by a policeman. TONY breaks through, the policeman lets him go as he has to stop everyone else. TONY runs to DAD and grabs him, stopping him continuing to work. TONY What you doing doing Dad. You You can’ can’t do this. 44
DAD pushes against him. DAD It’s for the bairn.
TONY grabs him. DAD is upset. He falls to the ground, weeping. TONY TONY tries to comfort him. Finally, Finally, the other miners break past the police and crowd round him. DAD But what are we going to do about the kid?
A WOMAN goes into her pocket pocket and takes some coins. SHE hands them to DAD. WO W OMAN TAKE THIS AND THIS.
Everyone looks stunned. en, finally, MINER 2 joins in. MINER 2 AND THIS THIS AND THIS. MINER 3 TAKE THIS AND THIS. MINER 4 AND THIS THIS AND THIS. MINER 5 TAKE THIS AND THIS MINER 6 AND THIS THIS AND THIS MINER 1 AND THIS THIS AND THIS. BIG DAVEY DON’T WORRY, LAD, WE’LL NEVER LET YOU FALL.
Everybody leaves and comes back with chairs. ey arrange a meeting as if in the village hall. Members of the community give money to BILLY. ENSEMBLE WE WILL GO AND WE WILL WILL SHINE WE WILL GO AND SEIZE THE TIME TIME WE WILL ALL ALL HAVE HAVE PRIDE IN HOW HOW WE LIVE, 45
WE WILL ALL ALL HAVE HAVE PRIDE IN HOW HOW WE LIVE, WE WILL ALL ALL HAVE HAVE PRIDE IN HOW HOW WE LIVE, YES, WE WILL WILL ALL HAVE HAVE PRIDE IN HOW HOW WE LIVE. BIG DAVEY (singing over the Ensembl Ensemble) e) WE WILL ALW ALWAYS STAND STAND TOGETHER IN THE DARK, RIGHT THROUGH THE STORM. WE WILL STAND STAND SHOULDER TO SHOULER SHOULER TO KEEP US WARM.
SMALL BOY puts small coins in BILLY’s hat.
SCENE 5: SCAB SCENE BILLY counts the money as the scene starts. BILLY at makes nineteen pound, seventeen and a half pence, and twelve pesos. TONY It’s not even enough for the bus fare. GEORGE Don’t forget about the money from the fifty pees. BIG DAVEY You Y ou can’ can’t do that, man. I thought thought that was for for the new punch bag. GEORGE We’ll W e’ll be be supporting the arts. Just Just because we’ we’re a boxing club doesn’ doesn’t mean we’re we’re a bunch of Palestines.
SCAB enters. TONY What the hell do you you want? SCAB I don’t want any trouble. TONY Yeah, Y eah, well, get out then. then. We We don’ don’t have scabs in in here.
SCAB crosses around to BILLY and hands him a stack of bills. SCAB Here, Son. 46
TONY What’ss that? What’ SCAB It’s for the bairn. TONY Yeah? Y eah? I don’ don’t bloody well think so. We’ e’re re not taking anything anything off you. Scab! Scab! BILLY Hang on a minute! TONY Billy, we don’t have dirty money in here. BILLY But it would pay for everything. SCAB For Christ’s sake, give the bairn a chance. TONY We’ W e’re re not taking it… it… Scab!
TONY throws the money at the SCAB. SCAB leaves. BILLY (Picking up the money) ere must be hundreds here. Can we use it, Dad?
Everybody looks at DAD. TONY looks at him. DAD DA D is thinking. Finally he stands up. He’s’s made his decision – they will go. Everyone leaves. TONY slopes off dejected. BILLY He and DAD step forward for ward – they are now in London waiting for the audition.
SCENE 6: LONDON BILLY So this is it, then. DAD ey said “wait here”.
A WOMAN with a clipboard clipboard enters. Shortly behind her are POSH BOY and POSH DAD.
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CLIPBOARD WOMAN Name? Name? DAD Elliot. Billy Elliot. CLIPBOARD WOMAN And your son’ son’s name, Mr Elliot? Elliot? DAD I beg your pardon? CLIPBOARD WOMAN You Y ou are here for for the auditions? DAD No. He’s He’s Billy Elliot. CLIPBOARD WOMAN Occupation? DAD Well, W ell, he’s he’s still at school, school, like. CLIPBOARD WOMAN No. Your Your occupation. occ upation. DAD Oh, I’m a pitman, a miner. CLIPBOARD WOMAN You Y ou mean you actually actually work underground? underground? DAD Not at the moment, we’re on strike. CLIPBOARD WOMAN Right this way please. Just the children. We’re doing the auditions on stage today.
She leads BILLY to the side of the stage. Away from DAD and POSH DAD. CLIPBOARD WOMAN (to BILLY� Stand here.
She goes off with POSH BOY BOY.. e audition panel come on or are already there. ey look at BILLY. LADY PANELLIST And you would happen to be? 48
BILLY Billy. LADY PANELLIST Sorry? BILLY Billy Elliot. From County Durham. LADY PANELLIST Stand on the spot please William. LADY PANELLIST William Elliot. Elliot. HEAD OF PANEL William, what is that you’ you’re holding? BILLY It’s me money. PANELLIST Your Y our money? BILLY For the audition. Some of it’s in fifty pees, but the rest is from the scab. HEAD OF PANEL Would W ould you like like to put it down down now? BILLY Sorry. PANELLIST Now the piece that you’ve prepared. You Y ou do have some some music for for us? BILLY Er no... I’ve got a cassette I made with Mrs Wilkinson.
BILLY takes out the tape, it is all unspooled. He panics, but tries to make light of it. BILLY Sorry. It’s alright. It’s always doing this. I can get it back. Have you got a pencil?
Fixes tape and hands it to STAGE MANAGER MA NAGER who exits to put the tape on. Beat. Wrong Wrong music plays. STAGE MANAGER re-enters. BILLY It’s the next bit, you’ll have to wind it on. 49
STAGE MANAGER exits. Rewinds tape. Music plays but is distorted. BILLY stands, not knowing what to do. HEAD OF PANEL Maybe we should go straight to your exercises.
Either BILLY and the panel freeze, or the curtain comes down and the next little scene is in front of it. But basically we cut back to DAD waiting with the POSH DAD. POSH DAD Frightfully nerve-wracking, isn’t it. DAD I beg your pardon POSH DAD I think I get more nervous ner vous about these things than omas. DAD Well W ell it’s it’s wor first time like like yer knar. knar. POSH DAD I’m sorry? DAD It’s wor first time like yer knar. POSH DAD Oh I see. Have you come far? DAD Easington, County Durham POSH DAD Oh Durham. Absolutely beautiful cathedral isn’t it? DAD I dunno. I’ve never been.
Suddenly the CLIPBOARD WOMAN appears. CLIPBOARD WOMAN is way gentlemen, the auditions are nearly over.
She leads the DADS off. We We go to the audition. BILLY frozen – the comes back to life. HEAD OF PANEL ank you. at’s all, William.
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BILLY is quite upset and runs across the stage, as the panel leave. It’s as if he’s run into a changing room. e POSH BOY is there. BILLY is very upset. POSH BOY Are you alright? BILLY It was a complete waste of bloody time. ey didn’t even see me dance. POSH BOY For goodness sake, they get all they need to know from the exercises. BILLY But I’ve been practising for months. POSH BOY (approaches BILLY) Look, it was only a stupid audition. BILLY (pushes him) Get off! POSH BOY Hey!
(approaches BILLY again) Look, it’s alright. BILLY Piss off, you bent bastard.
BILLY punches POSH BOY. POSH BOY Ow!
CLIPBOARD WOMAN comes in with as POSH BOY runs off. CLIPBOARD WOMAN What on earth is going going on here? BILLY Shit.
Everybody leaves apart from BILLY. BILLY. DAD enters they sit down centre stage on two chairs and stare out to the audience the voices of the panel come from off stage, perhaps in the auditorium. BILLY and DAD look out whilst being interrogated.
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PANELIST (V.O.) Please take a seat, Mr. Elliot. HEAD OF PANEL ( V.O.) I’m I’ m afraid, Mr. Elliot, that mutual respect and self-discipline are absolute pre-requisites of any pupil at this school. Such displays of violence cannot be tolerated under any circumstances. Do you understand? DAD Billy’s very sorry. He’s been under a lot of pressure lately. PANELIST 1 ( V.O.) Just a few questions to finish with. Could Could you tell us why you first became became interested in the the ballet? BILLY I dunno. I just was. HEAD OF PANEL Well, W ell, was there any specific specific aspect of the the ballet that caught your your imagination? imagination? BILLY e dancing. DAD He dances all the time like. Every night after school. PANELIST 2 ( V.O.) Yes, Y es, we have a very very enthusiastic letter from from a Mrs. Wilkinson. Wilkinson. She She has also explained explained your personal circumstances. PANELIST 3 ( V.O.) Are you a balletomane, balletomane, Mr. Mr. Elliot? DAD I beg your pardon? PANE LIST 3 Are you a fan of of the ballet? DAD Well, W ell, I wouldn’ wouldn’t exactly say I was an expert or anything. HEAD OF PANEL You Y ou do realize realize that pupils are expected to attain the highest standards standards not only in ballet but also in their ordinary academic work. A child can only succeed with 100% support of his family. You are completely behind Billy, are you not? DAD Yes... Y es... yes.
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PANE LIST 1 Would W ould you like like to ask us any questions? questions? DAD No.. No HEAD OF PANEL Are you sure there’ there’ss nothing else you you’’d like to say? Well, W ell, in that case, we we will let you know know in due course. course.
BILLY and DAD go to leave. PANELIST 4 ( V.O.) Just one one more thing. Can Can I just ask you, you, Billy, Billy, what does it feel like when you’ you’re dancing?
BILLY BILL Y stands still, thinking about the question. BILLY I CAN’T REALLY EXPLAIN IT, I HAVEN’T GOT THE WORDS IT’S A FEELING THAT YOU CAN’T CONTROL I SUPPOSE IT’S IT ’S LIKE FORGETTING, LOSING WHO YOU YOU ARE AND AT AT THE SAME SAME TIME TIME SOMETHING MAKES MAKES YOU YOU WHOLE IT’S LIKE THAT THERE’S A MUSIC PLAYING IN YOUR EAR AND I’M LISTENING, LISTENING, AND I’M LISTENING LISTENING AND THEN THEN I DISAPPEAR AND THEN THEN I FEEL A CHANGE CHANGE LIKE A FIRE DEEP INSIDE SOMETHING BURSTING ME WIDE OPEN, IMPOSSIBLE TO HIDE AND SUDDENLY SUDDENLY I’M FLYING, FLYING, FLYING FLYING LIKE A BIRD LIKE ELECTRICITY E LECTRICITY,, ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE, I’M FREE
BILLY makes as if to leave. He then turns back around and sings again. IT’S A BIT LIKE BEING ANGRY IT’S A BIT LIKE BEING SCARED CONFUSED AND ALL MIXED UP AND MAD AS HELL IT’S LIKE WHEN YOU’VE BEEN CRYING AND YOU’RE YOU’RE EMPTY AND YOU’RE YOU’RE FULL I DON’T KNOW WHAT IT IS; IT’S HARD TO TELL IT’S LIKE THAT THERE’S SOME MUSIC PLAYING IN YOUR EAR BUT THE MUSIC IS IMPOSSIBLE, IMPOSSIBLE TO HEAR BUT THEN I FEEL IT MOVE ME LIKE A BURNING DEEP INSIDE 53
SOMETHING BURSTING ME WIDE OPEN IMPOSSIBLE TO HIDE AND SUDDENLY SUDDENLY I’M FLYING, FLYING, FLYING FLYING LIKE A BIRD LIKE ELECTRICITY, ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE, I’M FREE
BILLY breaks into his “Electricity” dance. Toward the end of the dance, BILLY sings again: ELECTRICITY SPARKS INSIDE OF ME AND I’M FREE, I’M FREE FREE...I’M FREE.
DAD approaches BILLY, who grabs his coat and bag and runs off. PANE LIST 4 Have a safe journey home.
(DAD starts to leave) And Mr. Mr. Elliot, good good luck with the strike. strike.
SCENE 7: SOUP KITCHEN MUSIC CUE 13a. ELECTRICITY u/s DAD is left on stage. e hall comes on and is quickly populated by the striking MINERS eating soup. LESLEY is dishing out the last of the soup to the remaining MINERS. GEORGE comes over to DAD and gives him a plate. DAD hands the plate to SMALL BOY. BILLY and MICHAEL enter, pushing through the line. MINER (JEFF) Hey, have you heard anything yet? BILLY No. Why’s it so cold in here? MICHAEL ey haven’t got the money for the heating. How was your audition? BILLY Shite. MICHAEL Did you really hit one of the dancers? 54
BILLY I didn’t actually hit him; I just pushed him over. GEORGE Come on, we best be getting down there. BIG DAVEY What’ss the word, Billy? What’ Billy? BILLY Nothing. GEORGE Maggie, Maggie, Maggie! MINERS (unenthusiastically) Out, out, out. LESLEY (STEPHANIE) Yaa alright, Billy? Y Billy? How’ How’d you do at your audition? audition? BILLY Fine. LESLEY Fingers crossed, eh? BILLY Yeah. Y eah. anks, Lesley Lesley.. MICHAEL Howay, let’s get out of here.
MINERS start to leave leave for the picket line line and the soup kitchen is packed packed away. away. GEORGE Oi! Have you heard anything yet? BILLY No, not yet. GEORGE Don’t worry, wor ry, you’ll get in no bother. both er.
GEORGE claps BILLY on the ear. BILLY Ow! 55
BILLY and MICHAEL exit. BIG DAVEY D’ya reckon? GEORGE ’Course not, he’s got no chance.
SCENE 8: POST SCENE GRANDMA running on with a letter as GEORGE and BIG BI G DAVEY leaves. GRANDMA Post! Post! Post!
DAD and TONY TONY run in, i n, stopping when they see the letter. DAD Christ. TONY is is it! DAD Well, W ell, let’s let’s open it then. TONY What do you mean? mean? We We can’ can’t open it; it’ it’s for the bairn. DAD It doesn’t matter. TONY Of course it matters. How would you like it if someone opened your post? DAD When was the last time time I got a letter? GRANDMA Wee could steam itit open. W DAD Give it here. TONY Look, it isn’t fair. It’s for the bairn.
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GRANDMA Wee could take a knife W knife and slice it along the bottom. bottom. TONY Look, nobody’s gonna slice anybody along the bottom. Grandma, I’m warning you. Give it here. Gimme...
GRANDMA passes the letter off to DAD. DAD hides the letter between his legs. TONY takes the letter and walks to the table. TONY For Christ’s sake. Right, we’re gonna leave it… We’re gonna leave it… We’ W e’re re gonna leave leave it here for Billy Billy ‘til ‘til he gets home.
Suddenly GRANDMA runs at them with the knife in the air. GRANDMA Give it here! DAD AND TONY Woah!! W oah!!
ey stop her and take the knife MICHAEL (offstage) (offstage) See ya, Billy. BILLY (offstage) (offstage) Yeah, Y eah, see ya, Michael. Michael.
BILLY BILL Y comes in turns tur ns around to see the three staring at him, then sees the letter. letter. BILLY Shit. DAD Well, W ell, open it, Son. Son.
BILLY walks to the table and stops before he gets there to bend over and read it. BILLY William Elliot Elliot es-queer. es-queer. DAD Esquire! Open it, Son.
BILLY picks up the letter. He plays with the letter instead of opening it. 57
TONY Open it, for Christ’s sake!
BILLY opens it very slowly. He reads it. ey watch him anxiously. BILLY I didn’t get in.
BILLY BILL Y crumples the letter and throws it out. DAD Aw,, Billy. Aw Billy. TONY Nevermind, kidda.
TONY gets the letter and reads it, then walks over to BILLY You Y ou little bastard! bastard! He got got in, man! He got got in! DAD What?!
ey all rejoice and dance around the th e room. GEORGE and BIG DAVEY enter. DAD He got into school, man. Did you hear us? He got into school! GEORGE Have ya not heard the news, Jackie? DAD Heard what? GEORGE We’ W e’re re going back. back. Strike’ Strike’s over, over, Jackie. Jackie. I’ve I’ve just had a call call from the regional regional office. ey’v ey’vee caved in. BIG DAVEY We’ W e’ve ve lost the strike, strike, Jackie. Jackie. We’ We’ve ve lost everything. everything. TONY at’s it then – a whole year. BILLY It’ll be alright, Dad.
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TONY Alright? Billy, Billy, when you come back, back, everybody, everybody, everybody you know know will be out of of work. Here, Here, and in the next village, and the village - by the time you’re my age, there won’t be a pit left in the whole country. country. We’ We’re re finished. We’ e’re re dinosaurs. Quarter of a million million men. We We can’ can’t all be dancers.
TONY storms off. DAD Come on – Let’s get down the hall.
ey all go off leaving BILLY BILLY alone. Suddenly the ballet girls run in.
SCENE 9: THE LAST CLASS BILLY is left alone. BALLET GIRLS come in. JU J ULIE HOPE Billy, did you really get in? BILLY Uh huh. KEELEY GIB SON Will you sign this for us? us? BILLY If you want.
BILLY is inundated. MRS. WILKINSON comes in, sees BILLY BILLY. MRS. WILKINSON OK toilet break. DEBBIE But we haven’t started yet. MRS WILKINSON Debbie!
(the girls leave, BILLY BIL LY stands sheepishly) Can I help you? BILLY I just came to tell ya – I got in. Me dad thought you should know. 59
MRS. WILKINSON It’s alright. ey sent me a letter when they made the decision. You should have come before. BILLY I’m sorry, Miss. I just wanted to say: I’ll miss you, Miss! MRS. WILKIN SON No you won’t, Billy. You’ll get down there and you’ll realize just what a crap little dance school this was. What a complete second-rate training I gave you. And you’ll spend five years unlearning everything I taught you. It’s alright; that’s the way it is. BILLY No, you don’t understand - I’ll come and see you every time I come back, Miss. MRS. WILKINSON Here’s a piece of advice, Billy. Piss off out of here. Start everything afresh, and don’t look back – ere is sod all left for you here. You are very very special. Now get lost before I start to cry. BILLY Good luck, Miss. MRS. WILKINSON Yeah Y eah good luck, Billy Billy..
MRS. WILKINSON exits. BILLY BILLY watches her go off. DAD enters with chair, suitcase, and new coat for BILLY.
SCENE 10: ONCE WE WERE KINGS As BILLY and DAD pack – the rest rest of the community gather gather on either side to go back to work. ey sing: MINERS’ CHORUS ONCE WE BUILT VISIONS ON GROUND WE HEWED WE DREAMT OF JUSTICE JUSTICE AND OF MEN RENEWED RENEWED ALL PEOPLE EQUAL, EQUAL, IN ALL ALL THINGS THINGS WE ONCE WERE HEROES, ONCE WERE KINGS BUT ALL GREAT THINGS MUST COME TO PASS WE KNOW KNOW THE FIRST WILL SOON SOON BE LAST AND IN THE GROUND GROUND WE MAY MAY BE LAIN BUT A SEED IS SOWN TO RISE AGAIN SO WE WALK PROUDLY AND WE WALK WALK STRONG STRONG ALL TOGETHER WE WILL GO AS ONE 60
THE GROUND IS EMPTY AND COLD AS HELL HELL BUT WE ALL GO TOGETHER TOGETHER WHEN WE GO
TONY walks over with a miner’s lamp for BILLY. TONY Knock ’em dead, kidda. BILLY anks, ank s, Tony. TONY See ya, sunshine. MINERS’ CHORUS �AND WOMEN) WE SAW SAW A LAND WHERE WEAL WEALTH TH WAS WAS SHARED EACH PAIN RELIEVED, EACH HUNGER FED EACH MAN REVERED, EACH TYRANT KILLED EACH SOUL REDEEMED, EACH LIFE FULFILLED
DAD puts a new coat on BILLY. FROM EACH MAN’S MEANS TO EACH HIS NEED WE SAW SAW A TIME TIME MAN WOULD WOULD BE FREED WE FOUGHT FOR ALL THE THINGS THINGS WE SAW SAW THE BATTLE’S B ATTLE’S LOST, LOST, BUT NOT THE WAR WAR
MINERS all walk forward. MINERS’ CHORUS (cont’d) SO WE WALK PROUDLY AND WE WALK WALK STRONG STRONG ALL TOGETHER WE WILL GO AS ONE THE GROUND IS EMPTY AND COLD AS HELL HELL BUT WE ALL GO TOGETHER TOGETHER WHEN WE GO WE WILL GO DOW DOWN, N, BUT OUR HEADS ARE PROUD PROUD WE WILL GO DOW DOWN N WITH OUR VOICES LOUD WE WILL GO DOW DOWN N BUT COME AGAIN, AGAIN, AND WE ALL GO TOGETHER TOGETHER WHEN WE GO
MINERS start to move move toward toward the back. AH... AH...AH... AND WE ALL GO TOGETHER TOGETHER WHEN WE GO. WE WALK WALK PROUDL PROUDLY Y, AND WE WALK STRONG STRONG ALL TOGETHER WE WILL GO AS ONE 61
THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER TOGETHER WHEN WE GO.
If possible the MINERS would have miners hats with lamps. e stage would go dark. e only light coming from the helmets at the end of the song they would turn tur n them off. e stage would go to pitch black. ey’d ey’d leave and a spot light, or regular lights would come up on BILLY and DEAD MUM. WE WALK WALK PROUDL PROUDLY Y AND WE WALK STRONG STRONG ALL TOGETHER WE WILL GO AS ONE THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER TOGETHER WHEN WE GO. WE WALK WALK PROUDL PROUDLY Y AND WE WALK STRONG STRONG ALL TOGETHER WE WILL GO AS ONE THE GROUND IS EMPTY AND COLD AS HELL BUT WE ALL GO TOGETHER TOGETHER WHEN WE GO.
SCENE 11: DEAD MAM FAREWELL DEAD MUM You Y ou’’d forget yer head ifif it was loose.
She tosses him his hat, which he puts on. BILLY Bye, Mam. DEAD MUM Bye, Billy Bi lly.. BILLY See you soon. DEAD MUM No. I don’t think so - do you? BILLY No. Not really. I wrote you a letter. DEAD MUM A letter? BILLY Me reply. It’s a bit scrumpled. Dear Mam, AND PLEASE, MAMMY MAMMY.... .... KNOW THAT I WILL ALWAYS BE PROUD TO HAVE KNOWN YOU 62
PROUD THAT YOU WERE MINE PROUD IN EVERYTHING AND I PROMISE PROMISE YOU YOU THIS, THIS, MAMMY DEAD MUM IN EVERYTHING YOU DO ALW AL WAYS BE YOURSELF YOURSELF BILLY MAMMY AND I ALW ALWAYS WILL BE TRUE TRUE DEAD MUM LOVE YOU FOREVER BILLY LOVE YOU FOREVER DEAD MUM LOVE YOU FOREVER Billy. BILLY Mam.
DEAD MUM leaves. BILLY Bye, Mam.
BILLY BILL Y starts to leave through the auditorium. MICHAEL rides in on his bike. bike. MICHAEL Oi! Dancing boy.
BILLY BILL Y returns to the stage and kisses MICHAEL. BILLY BILL Y starts to exit. BILLY See ya, Michael. MICHAEL See ya, Billy.
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BILLY exits up the aisle. As the curtain descends, MICHAEL MICHAEL watches him go. go. en, at the last last moment, he rides off.
CURTAIN. FINALE. FINAL BOWS.
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