Flashdance Perusal Libvb PDF

B ook b y Tom Hed le y & Rober t C a r y
Mu sic b y Robbie Rot h

Ly r ics b y Rober t C a r y & Robbie Rot h
B a s e d on t h e Pa r a m o u n t Pic t u r e s f il m
S c r e e n pl a y b y Tom He d l e y a n d Joe E s z t e r h a s
S t o r y b y Tom He d l e y
Josef Weinberger
12 - 14 Mortimer Street
London W1T 3JJ
Tel: +44 (0)20-7580 2827
general.info@jwmail.co.uk
w w w.josef-weinberger.com
FLASHDANCE
Th e Musical
Flashdance Copyright 2012 by Paramount Pictures Corp.
Edition Copyright 2012 by Josef Weinberger Ltd., London
All Rights Reserved
Originally produced in the West End by Christopher Malcolm, David Ian,
Steven Baruch, Tom Viertel, Marc Routh, Richard Frankel and Transamerica
with Executive Producer Tom Hedley in association with Paramount Pictures
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
Applications to perform this work must be made,

BEFORE REHEARSALS COMMENCE, to:
JOSEF WEINBERGER LIMITED
London W1T 3JJ
United Kingdom
Tel: +44 (0)20 7580 2827
Fax: +44 (0)20 7436 9616
www.josef-weinberger.com
March 2012
FLASHDANCE
The Musical
Set in Pittsburgh USA, FLASHDANCE tells the story of 19-year-old Alex, a welder
by day and flashdancer by night, whose dream is to obtain a place at the prestigious
Shipley Dance Academy. Based on the Paramount Pictures fi lm (Screenplay by Tom
Hedley and Joe Eszterhas, story by Tom Hedley) FLASHDANCE is an unmistakably
unique musical about holding onto your dreams and love against all the odds. The
show features an iconic score including the smash hit Maniac, along with Manhunt,
Gloria and the Academy Award winning title track Flashdance What a Feeling as
well as 10 original songs created for the musical.
Cast (in order of appearance)

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Alex Owens (19, Steel mill worker by day, dancer by night)

Joe (Steel mill worker, 50s, an old-salt foreman)
Sammy (Steel mill worker, 30s, family man)
Abe (Steel mill worker., 20s, none too bright)
Nick Hurley (Late 20s, nephew of the owner of Hurley Steel)
Keisha (Dancer at the Steel Bar, African-American, powerful)
Jazmin (Dancer at the Steel Bar, latina, kittenish)
Gloria (Dancer at the Steel Bar, platinum hair, edgy waif)
Jimmy Kaminsky (Early 20s, gangly with nervous energy)
Hannah Owens (Alexs mother, barely 40, looks ten years older)
Harry Green (Proprietor of the Steel Bar, short, middle-aged)
Dr. Kool (Proprietor of the Skin Deep club)
C.C. La Drue (Kool's business partner, pale, nattily dressed, sexually ambiguous)
Steel Mill workers / Street Dancers / Street Kids /

Shipley Academy Students / Steel Bar Customers /
Skin Deep Customers / Pole Dancers
Synopsis of Scenes
ACT ONE
Scene One: Hurley Steel Mill / Mill Canteen
Scene Two: Carson Street Cleaners (exterior)
Scene Three: Interior Carson St. Cleaners
Scene Four: Dressing room at the Steel Bar
Scene Five: The Shipley Academy
Scene Six: Alexs Flashdance / Steel Bar Interior
Scene Seven: Steel Bar Interior
Scene Eight: The factory floor at Hurley Steel / Nicks office / factory gate
Scene Nine: Alley outside the back entrance to the Steel Bar
Scene Ten: Jazmins Flashdance
Scene Eleven: Alexs loft
Scene Twelve: The street
Scene Thirteen: Alexs bedroom / The street
ACT TWO
Scene One: Glorias Flashdance / Skin Deep club
Scene Two: Outside the mill gates
Scene Three: Hannahs studio at Carson Street Cleaners / Keishas Flashdance
Scene Four: Split stage: Dressing room at the Steel Bar / Dressing room at Skin Deep
Scene Five: Nicks office
Scene Six: Alexs loft
Scene Seven: Nightmare Sequence
Scene Eight: Alexs loft
Scene Nine: The Shipley Academy
Musical Numbers
ACT ONE
1.
Overture / Dance Crossover No. 1 (Instrumental)
2.
Steeltown Sky (Alex, Joe, Sammy, Abe, Nick, Gloria, Keisha, Jazmin, Ensemble)
3.
Dance Crossover No. 2 (Instrumental)
4.
One in a Million (Hannah, Alex)
5.
Manhunt (Underscore) (Instrumental)
6.
In Touch with the Beat (Keisha, Jazmin, Gloria, Alex)
6a.
In Touch with the Beat (Coda) (Alex)
7.
High Art (Shipley Academy Students, Alex)
8.
Maniac (Keisha, Jazmin, Gloria, Ensemble)
9.
Kool Underscore (Instrumental)
10. Twenty One (Gloria, Jimmy)

11. Scene Change to Steel Mill (Instrumental)
12. Totally Different People (Alex, Sammy, Joe, Abe)
13. Steeltown Crossover (Instrumental)
14. Manhunt (Gloria, Keisha, Jazmin)
15. Dont Stop (Intro) (Nick)
16. Dont Stop (Nick, Alex)
16a. Kool Underscore (Instrumental)
16b. Dont Stop (Coda) (Alex)
17. My Next Step (Alex, Street Dancers, Gloria, Ensemble)
ACT TWO
18. I Love Rock n Roll (Jazmin, Keisha, Gloria, Ensemble)

19. Experience (Skin Deep Dancers & Patrons, Jimmy, C.C., Kool, Gloria)
19a. One in a Million (Reprise) (Alex)
20. You Cant Keep Me Down (Jimmy, Ensemble)
20a. Scene Change (Dance Crossover No. 6) (Instrumental)
21. Youre Not Done (Hannah, Alex)
22. Keishas Flashdance (Instrumental)
22a. I Love Rock n Roll (Reprise) (Instrumental)
23. Gloria Intro (Alex, Gloria)
23a. Gloria (Alex, Jazmin, Keisha, Gloria, Pole Dancers)
23b. Scene Change to Nicks Office (Instrumental)
24. Wake Up (Nick)
24a. Scene Change (Optional) (Instrumental)
25. Dont Stop (Reprise 2) (Alex)
26. Nightmare Ballet (Instrumental)
27. One in a Million (Underscore) (Instrumental)
28. In Touch with the Beat (Reprise) (Keisha, Jazmin, Gloria)
29. Flashdance (What a Feeling) (Keisha, Jazmin, Gloria)
30. Finale (Instrumental)
31. Megamix (Company)
31a. Playout (Instrumental)
Flashdance
FLASHDANCE
PROLOGUE
LIGHTS UP on a huge, closed iron gate. The words Hurley Steel, est. 1918 are
emblazoned across the front. A lone Dancer appears in front of the gate.
Music No. 1:
OVERTURE / DANCE CROSSOVER No. 1
A projection of the times the Reagan era passes over the vast gates. Th e Dancer
moves to the words and sounds of the images on the gates.
Now FACTORY SOUNDS are added. Th e projection fades and we hear:
SCRIM OUT to reveal the factory fl oor of Hurley Steel operating at full tilt. To the
familiar opening strains of the FLASHDANCE THEME, one of the workers takes
off his helmet but in this case, he is a she: Alex Owens, 19, beautiful, guarded,
strong, with fire in her eyes. She steps slowly forward,takes off her goggles, and at the
height of the musical phrase she takes off her helmet and shakes her gorgeous hair.
The SHIFT WHISTLE BLOWS and the workers begin to scatter as a light, steady
rhythm continues under:
Music No. 2:
STEELTOWN SKY
SCENE ONE
Alex and her three male colleagues, Sammy (30s, family man), Abe (20s, none too
bright) and Joe (50s, an old-salt foreman) stand in front of the gates. Behind them,
Mill Workers cross and one shift ends and a new one begins.
Joe
Did that shift feel like it was twenty hours long, or am I just
getting old?
Sammy
Both.
Abe
Hang in there, Joe, that pensionll kick in any minute.
Act One
Sammy
Hey, Alex, you doin your act at Harrys place tonight?
Alex
You bet!
Sammy
Maybe we oughta come take a look.
Alex
Just check your wife and kids at the door, Sammy.
Sammy
My wife doesnt understand me.
Alex
Th ats probably why youre still together.
Abe
Come on, teach me some moves.
Alex
Just as soon as you learn to weld a straight seam, Abe.
Joe
Eight hours on the mill floor, and you still got the energy to
dance. (Clutching his aching back.) How is that even possible?
Alex
Oh, Joe. Youre so sweet. And old.
Joe
Whatd she say? I cant hear.
Alex
I said . . . either you got the beat or you dont.
Alex
INSIDE THE MILL, THERES NOT A LOT TO SEE . . .
YOU PUNCH A CLOCK AND DO THE JOB THAT YOURE PAID FOR.
ITS NOT EXACTLY WHERE I WANNA BE,
BUT DAMNED IF IT AINT BETTER THAN THE PLACES IVE BEEN.
AND AS IT ROLLS BY
I FIND A BEAT,
AND AS THE SPARKS FLY
I START TO FEEL THE HEAT.
THE WHISTLE CUTS THROUGH THE MONOTONY.
THE DAY IS OVER; MY SHIFT IS COMPLETE.
AND AS THE SUN SETS IN THE STEELTOWN SKY
I GOT MY EYE ON THE STREET.
Flashdance
(Alex exits.)
Joe
OUTSIDE THE GATE THE WORLD IS GREY AND BLACK
Sammy
A BROKEN WINDOW IN A BRICK WALL; A SMOKESTACK.
Abe
SOMETIMES YOU THINK THE CITYS TALKIN BACK
Joe, Sammy, Abe
TELLING YOU TO GET OUT WHILE THE GETTING IS GOOD.
BUT IN THE DARKNESS,
JUST OUTTA SIGHT,
OUT IN THE DARKNESS
(Alex re-enters, quick-changed into her street clothes stylish,
alluring, and totally inventive.)
Alex
I START TO SEE THE LIGHT.
IM LIKE A TRAIN THATS SPEEDIN DOWN THE TRACK
IM GOING FASTER
IM RUNNIN EXPRESS
AND AS THE WIND BLOWS CROSS THE STEELTOWN SKY
IM ON MY WAY TO THE STREET
(Alex, Sammy, Abe and Joe exit as the SET SHIFTS to the
MILL CANTEEN, where Workers, some holding coff ee while
others zip up their coats to leave, are watching a small TV screen
facing upstage. We hear: )
William Hurley (V.O.) . . . and after three years overseas handling our top
accounts, my nephew Nick is going to be an excellent addition
to the front office. We want our workers and our shareholders to
know that 1983 is going to be the year that Hurley turned the
corner.
Act One
Steel Worker 1 Th at true, Hurley? What your uncle just said?

Steel Worker 2 We still got jobs?
(The crowds parts to reveal Nick Hurley, late twenties, goodlooking and take-charge energetic.)
Nick
I came back here to make sure we dont lose one more worker
and thats a commitment Im making to every single one of you.
(He starts to shake the workers hands as he sings:)
Nick
EYE TO EYE
I HEAR YOU
IM HERE FOR YOU
MAN TO MAN
ILL SHAKE EVRY HAND
(He turns to shake the hand of yet another worker and its Alex.)
Alex
(Re: the handshake.) Goin for the personal touch?
Nick
I try. Alex Owens, right?
Alex
A thousand people in the yard, and you already know my name?
Nick
I do my homework.
Alex
I think that counts as extra credit.
Nick
Im
Alex
Nick Hurley. The big guys nephew comin to whip us into

shape.
Nick
I dont think you need any help in that department.
Alex
You better be referring to my work.
Flashdance
Nick
Dont worry. Ive had women on the floor before
Alex
Oh, I bet you have. Goodnight, Mr. Hurley. (Then, more

fl irtatious.) And hey dont stay up too late studying.
(She goes.)
Nick
Maybe tomorrow Ill bring an apple.

(Nick exits as the gates fl y out to reveal the streets of Pittsburgh,
citizens rushing home from work. Alex turns to watch a cop direct
traffic and playfully imitates his movements in dance terms.)
Alex
THE CITY PUTS A SHOW ON JUST FOR ME
THE TRAFFIC COP HAS GOT IMPECCABLE RHYTHM.
I SURE AS HELL DONT NEED NO M.T.V.
33RD AND SYDNEY, RIDING INTO THE NIGHT,
WHERE EVERY STOPLIGHT
SLOWING ME DOWN
BECOMES A SPOTLIGHT
THAT FOLLOWS ALL OVER TOWN.
DONT TALK TO ME ABOUT REALITY
DONT TRY TO STOP ME,
YOU CANT BRING ME DOWN
AND AS THE STARS LIGHT UP THE STEELTOWN SKY,
I FEEL THE RUSH OF THE STREET.
(Alex arrives at an industrial wasteland where she sees a group of
Street Dancers, pop-locking for tips.)
ITS JUST A SCENE FROM A PLAY,
A TWISTED TAKE ON BALLET,
THE FINAL ACT IN A STORY GONE ASTRAY.
IT MAY BE BENT OUT OF SHAPE,
BUT YOU CAN FIND AN ESCAPE,
THROUGH IMAGINATION.
Act One
Street Dancers
YOU FIGHT THE FIGHT EVERY DAY
THROUGH ALL THE DIRT AND DECAY,
THROUGH EVERY PART OF A CITY
TURNING GRAY.
THIS TOWN IS FALLING APART,
Alex
BUT YOU CAN LOOK FOR THE ART
Street Dancers + Alex
AND SURVIVE IT
(Three young women Keisha (African-American, powerful),
Jazmin (Latina, kittenish), and Gloria (platinum hair, an edgy
waif) enter.)
Gloria, Keisha,
Jazmin
Hey, girl! Hi! Hola! (etc.)
Alex
YOU TAKE THE WORLD AND TURN IT INSIDE-OUT . . .
Gloria, Keisha, Jazmin
THE TIRED LIFE THAT YOU CAN TAKE AND MAKE OVER
Alex
WE KNOW WHAT INSIDE-OUT IS ALL ABOUT
Keisha, Jazmin
THREAD A LITTLE NEEDLE AND THE DRAMA UNFOLDS
Gloria
YOURE WALKIN THIS WAY
(Alex and the Three Girls put on an impromptu runway
fashion show, showing off their signature looks.)
Flashdance
Jazmin
POSED AND PRISTINE
Keisha
AND THEN YOURE RISQU!
(Each of them shows a cheeky fl ash of skin a burlesque moment.)
Alex
RIGHT OUT OF MY MAGAZINE!
Gloria, Jazmin, Keisha
ITS SUCH A PERFECT LITTLE PHOTO OP,
A PLACE TO LOOK AT; A PLACE TO BE SEEN.
AND AS THE STARS LIGHT UP THE STEELTOWN SKY
Alex
I HEAD ON BACK TO THE STREET
See you at the bar, ladies!
Jazmin
Dont be late!
Keisha
Shes always late!
Gloria
Our fans are waiting!

(INSTRUMENTAL, including a fragment of MANIAC, as
Alex continues to conduct her own choreographic symphony. Th e
Street Dancers exit dramatically as Alex and the ensemble
sing:)
Alex
LIFE IS A DANCE:
IT HAPPENS WITHOUT WARNING
Ensemble
TOMORROW MORNING SEEMS SO FAR AWAY
GOT THROUGH TODAY,
ANOTHER DAY,
Act One
Alex, Ensemble
TO TAKE THE NIGHT
Alex
BECAUSE THE BAR IS WHERE I WANNA BE
THEYLL SEE ME MOVING, THEY WILL SEE ME IN ACTION
ILL DISAPPEAR INSIDE ANOTHER ME
TURNING INTO FIRE WHEN THE RHYTHM IGNITES
AND THEN ITS MY CHANCE
TURNING ME ON
A KIND OF FLASHDANCE
ONE MOMENT HERE, THEN ITS GONE
(Now Alex MOUNTS HER BIKE and finds herself threading
through a throng. Nick appears in the crowd as well, as if he and
Alex are making parallel journeys home through the city streets.)
Ensemble
WE ALL JUST WANT A LITTLE FANTASY,
SOMEWHERE TO RUN TO
SOMEWHERE WE CAN GO.
Alex, Ensemble
AND AS THE STARS LIGHT UP THE STEELTOWN SKY,
Nick
STARS LIGHT UP WHENEVER I LOOK AT HER
Alex
I DONT ASK THE REASONS WHY
Nick
HAVE TO ASK THE REASON WHY
Alex
LIFE OUT HERE IS DANCE, OR DIE
Ensemble
SOMEWHERE TO RUN TO, SOMEWHERE WE CAN GO
Flashdance
Nick
I GOTTA SEE HER AGAIN . . .
Ensemble
SOMEWHERE TO RUN TO, SOMEWHERE WE CAN GO
LIFE IS A DANCE, ONLY A DANCE
Alex, Ensemble
UNDERNEATH THE STEELTOWN SKY
Alex, Ensemble, Nick
UNDERNEATH THE STEELTOWN SKY
(Button.)
SCENE TWO
Alex is standing in front of the Carson Street Cleaners, a run-down establishment with
faded 1950s signage. Night is falling. Jimmy (early 20s, gangly with nervous energy)
hangs out with two Street Kids near a lamp post.
Alex
Jimmy? Jimmy Kaminsky?
Jimmy
Alex! Hey! (Moving away from the Street Kids.) I didnt know
you still lived down here.
Alex
I dont, I got my own place now. Im just checkin on Ma.
Jimmy
Guess its been a while?
Alex
Well, that happens when you do a year in the county pen for
stealin a car and runnin away from a service station without
payin! . . . Jesus, what were you thinking?
Jimmy
I was thinkin I should have stolen a car with better mileage.
Alex
Funny.
Jimmy
Im a comic, remember?
10
Act One
Alex
Only when you remind me.
Jimmy
Listen, you still dancin at Harrys? Cause I was thinkin maybe

you could see if hes got some work I could do at the Steel Bar.
Alex
(Shaking head.) The last time you worked for Harry you walked
outin the middle of grillin burgers and announced you were
going to LA to become the king of stand-up.
Jimmy
Yeah, but my jokes were no good back then.
Alex
Neither were your burgers.
Jimmy
Ba-dum chhhh! Shes here all week!
Alex
Dont you think you should be askin your cousin, Gloria?
Jimmy
Nah, shes sick of me. Her dad has been letting me stay on their
couch for a week. Come on, talk to Harry. For old times sake.
You know, you were my fi rst kiss? Seventh grade, in the dark at
Mary dAbruzzos party.
Alex
(Dry.) Yeah. I leave the lights on now. Gnight, Jimmy.
Jimmy
(Rushes up to head her off.) Wait, wait! Look, I made some bad
calls. Th ats all. I just need one decent shot, okay? Ill be a
busboy, Ill hose the crap off the frickin sidewalk, I just need
the cash to get to L.A. Im gonna make it for real this time.
Alex
(Softening.) Ill see what I can do.
Jimmy
Th anks. I appreciate it, I really do. (Starts to run off, turns back.)
And hey . . . lights or no lights, you were a great fi rst kiss.
SCENE THREE
Music No. 3:
DANCE CROSSOVER No. 2
Flashdance
11
Lights shift to reveal the interiorof the Carson Street Cleaners. Alexs mother Hannah
stands at the counter. Hannah is barely forty, but looks ten years older. Alex enters.
Alex
Alright. No fast moves. Give me everything in the register and

Ill get out of here.
Hannah
(Putting the paper away.) Just do me one favour.
Alex
What?
Hannah
Take me with you.
Alex
Okay, kid, its you and me.
Hannah
Rain or shine, to the end of the line. Partners in crime.

(Touching her hair.) You need conditioner.
Alex
Man, crime aint what it used to be.
Hannah
Is that what Jimmy Kaminsky says?
Alex
Ah, so the walls have eyes.
Hannah
(Taking out a cigarette.) Yes! We call them windows.
Alex
I thought you were quitting, Ma.
Hannah
Two minutes outside in this town and everything smells like

smoke anyway.
(Alex takes the cigarette, crushes it.)
Hannah
Hey! Th at was a perfectly good cigarette!
Alex
Those were perfectly good lungs!
Hannah
Nazi!
Alex
Addict!
12
Act One
Hannah
I am not an addict!
Alex
Yeah? Then how come theres a carton of Camels under the

register? Not to mention fi fty lottery tickets.
Hannah
Youll never win if you never play!
Alex
Oh my God.
Hannah
Okay! I get it. Im clearly a terrible disappointment. Its a

wonder you have the patience to visit me when Im such a
burden.
Alex
Oh. Ma . . . I had no idea.
Hannah
Th at you could hurt me like this?
Alex
No, that you were Jewish.
Hannah
You know, youre very tough. In fact, I dont think I want you
to have this.
(She pulls a mended costume from the rack.)
Alex
(Ecstatic, grabbing it.) Oh man, You already fi xed it!
Hannah
(Grabbing it back.) I still got one seam.

(Hannah takes the dress to a work station with sewing machine
and tailoring supplies. A dressmakers dummy, covered in a sheet,
stands nearby.)
Alex
I take it back! I take it back! Youre the patron saint of mothers!
Hannah
From Jewish to Catholic in one dress.
Alex
I can use it in the act tonight.
Hannah
On one condition.
Flashdance
13
Alex
Anything!
Hannah
Fill out your application to Shipley.
Alex
Oh, no
Hannah
The deadline is this week!
Alex
Deadline or not, if you shove that application in my face one

more time . . .
Hannah
The Shipley Academy has one of the best dance programs in the
country! God knows why its in Pittsburgh.
Alex
And God knows why you think those uptown rich bitches
would give me the time of day.
Hannah
(Ignoring this.) It says you need a high school diploma, but I bet
if you tell them youre an apprentice at Hurley theyll make an
exception, and then . . .
(Alex walks to the dummy, reaches to pull the sheet away.)
Hey. Hands off. Its not fi nished.
Alex
You know how long youve been working on that?
Hannah
Its gotta be perfect. And it will be.
Alex
Ma, Im not going to Shipley. A dress for the night I graduate

will not be necessary.
Hannah
Listen. Do you know what the difference is between you and

Jimmy Kaminsky?
Alex
Hmmm. Isnt this a talk we should have had when I was like 12.
Hannah
Youve got talent. Which Jimmy, God bless him, doesnt.
14
Act One
Alex
Its never gonna happen.
Hannah
People say that about the lottery, but every week someone wins.
Alex
Someone else wins.
Hannah
So its a long shot! But honey, long shots pay. (Sings.)
Music No. 4:
ONE IN A MILLION
Hannah
I CAME TO WORK HERE ONE DAY WHEN I WAS SEVENTEEN
IT WASNT CUZ OF THE PAY, OR CUZ I LOVED TO CLEAN.
ITS THE AMERICAN WAY, YOU GET A STEADY JOB
AND SETTLE INTO A ROUTINE.
IVE DONE IT YEAR AFTER YEAR, THE SEWING AND THE SOAP
BUT THROUGH MY BRILLIANT CAREER IVE FOUND A WAY TO COPE
WERE ALL THE SAME AROUND HERE WE JUST KEEP HANGING ON
CAUSE WE GOT THIS THING THEY CALL HOPE
(The washing machines become roulette wheels.)
Hannah (Cont d.)
SOME SET THEIR SIGHTS ON THE VEGAS LIGHTS
THEY TRY THEIR LUCK FOR DAYS.
BEYOND THEIR MEANS, FEEDING SLOT MACHINES
AND WAITING FOR THAT MOMENT WHEN THE LONG SHOT PAYS.
A MILLION TO ONE MEANS ANYTHING IS POSSIBLE.
A MILLION TO ONE YOU STILL GOT A CHANCE.
MY LIFE IS CLOROX AND CHEER, MY LIFE IS TIDE AND ALL
BUT I DONT WORRY OR FEAR, BECAUSE I HEAR THE CALL
IT SAYS WELL GET OUTTA HERE, AS LONG AS ONE OF US IS KEEPING
HER EYE ON THE BALL.
(The washing machines are suddenly filled with lottery ping-pong balls.)
Flashdance
15
Hannah (Cont d.)

AND SO FOR ME ITS THE LOTTERY
THAT GETS ME THROUGH MY DAYS
WITH JUST A BUCK AND A LITTLE LUCK, WELL NEVER HAVE TO
WORRY, CUZ THE LONG SHOT PAYS.
A MILLION TO ONE MEANS ANYTHING IS POSSIBLE
YOU MISS ALL THE FUN IF YOU NEVER PLAY, A HEY HEY!
A MILLION TO ONE MEAN NOTHING IS IMPOSSIBLE
AND I WONT BE DONE TIL MY ONE IN A MILLION DAY.
THE LOTTERY RESULTS ARE IN,
AND THOUGH MY RECORDS KINDA THIN,
I THINK TODAYS THE DAY ILL WIN . . .
(Handing Alex the newspaper.)
READ THE NUMBERS OFFA THERE WHILE I ATTEMPT TO SAY A PRAYER
Alex
SIX
Hannah
I KNEEL BEFORE YOU LOTTO GODS,
Alex
ELEVEN
Hannah
WERE JUST A COUPLE STEELTOWN BROADS,
Alex
SIXTEEN
Hannah
WHO BOTH DESERVE TO BEAT THE ODDS.
Alex
TWENTY-NINE
16
Act One
Hannah
YOU CAN TAKE THAT TWENTY-NINE
AND STICK IT WHERE THE SUN DONT SHINE.
(Spoken.) Good thing you dont need to play the lotto. Youre
your own ticket out.
(Sings.)
IF YOU APPLY, THEN BY GOD ILL TRY
TO END MY NAGGING WAYS
IT MIGHT BE TOUGH, BUT ENOUGHS ENOUGH . . .
Alex
WELL NOW IM FINALLY SEEIN HOW THE LONG SHOT PAYS!
Hannah
A MILLION TO ONE MEANS ANYTHINGS POSSIBLE
YOURE SECOND TO NONE WHY NOT GIVE IT A WHIRL?
A MILLION TO ONE MEANS EVERYTHING IS POSSIBLE
AND IM TELLING YOU HON YOURE A ONE IN A MILLION GIRL
ONE IN A MILLION GIRL.
(Button.)
Hannah
(Cont d.) So? Whaddaya think?
Alex
Ma, I love you with all my heart. But I think all these cleaning
fumes have fi nally gotten to ya. I gotta to get to the club.
(Alex starts to exit.)
Hannah
So stubborn! Just like your father
Alex
Yeah, except Im coming back.

(That hurts more than Alex expected. She goes back and kisses
Hannah on the cheek.)
Flashdance
Alex
Sorry. Ill See you later.
Hannah
Hey.
Alex
What?
Hannah
(Softly.) Take your damn costume.
17
(Alex smiles and takes the costume from her mother. Hannah
turns upstage toward her little studio. Alex pauses a moment,
takes the application, and puts it in her jacket. She exits. Hannah
sees the application gone.)
Yes!
SCENE FOUR
Music No. 5:
MANHUNT SCENE CHANGE (Underscore)
ROCK MUSIC IN. As the SET SHIFTS to the dressing room of the Steel Bar, Harry
Green a short, middle-aged man in shirtsleeves enters and through the audience:
Harry
Okay, guys, grab another round now because the shows gonna
start real soon. (To a guy in the audience.) Hey, Hank, no dollar
bills on the stage this time, got it? Th at kinda disrespect is
for the sleaze-joint down the street. And theres no talking or
hollering because it . . . (From memory.) Confl icts with the
dancers artistic statement. Or some sort of crap like that.
(He enters the dressing room, where Keisha, Gloria and Jazmin
are in bras, G-strings, partial costumes, getting ready for their
acts.)
Harry
(Cont d.) I need someones derriere on that stage in five minutes.
Jazmin
Jesus, Harry, cant you see were nearly naked? Why cant you
use the intercom?
Keisha
Cause then he cant see were nearly naked. Stay outta here!
18
Act One
Jazmin
Yeah, the only man who sees me naked is my boyfriend Eddie.

Im old-fashioned.
Gloria
I thought Mikey was your boyfriend.
Jazmin
No, we broke up.
Gloria
How come?
Jazmin
He found out about Eddie.
Keisha
Alex opens and she aint here yet.
Harry
Someones gotta dance, now!
Jazmin
Dont look at me. I never go on fi rst.
Keisha
Suddenly Miss Puerto Rico here expects an opening act.
Jazmin
No seas estupida! You know my family is Cuban and we live in

Beechwood two miles from you.
Keisha
Damn, there goes the neighborhood.
Harry
Gloria?
Gloria
(Fiddling with an eight-track player.) Im having a little technical

difficulty.
Keisha
Baby, your act oughta come with a warrantee.
Harry
Just figure it out.
Keisha
Dont worry Harry, no ones going anywhere till I start dancing.

I got the body.
Jazmin
But I got the moves.
Harry
(To Jazmin.) Great! So move it. Youre on fi rst.
Flashdance
19
(He exits.)
Gloria
(Still working with the tape deck.) Sonnofabitch!
Keisha
Gloria, for Chrissakes, just put on one song and dance.
Gloria
It needs multiple elements, it has to build. Its part of my antiwar message.
Jazmin
Yeah, Give Her Piece a Chance!
Gloria
Dont worry. Ill be fi ne.

(Music in.)
Music No. 6:
IN TOUCH WITH THE BEAT
Keisha
Oh, I dont worry about nobody, child. No need to worry when

you got what it takes . . .
Keisha
YOU WANT SOME SOUL? SO TURN UP THE BASS.
ILL SHOW YOU WHAT THIS BODY IS FOR.
IM IN CONTROL; IM UP IN YOUR FACE,
UNTIL YOU JUST CANT TAKE ANYMORE.
MY MOVES ARE PROVEN; IM QUEEN OF THIS STAGE . . .
Jazmin
CHANGE IT UP, YOUR ROYAL HIGHNESS
CUZ YOURE SHOWING YOUR AGE.
Keisha
I LOOK FINE.
Jazmin
NOT TO ME.
Keisha
IM DIVINE.
20
Act One
Jazmin
DISAGREE!
Keisha
CUZ WHEN THE BASS STARTS COOKING,
EVERY FACE IS LOOKING AT ME.
Jazmin
I GOT SOME TIPS
I THINK YOU SHOULD TAKE,
SOME FREE ADVICE FROM JAZMIN TO YOU.
YOU SEE THOSE HIPS?
TRY MAKING EM SHAKE,
AND THAT WILL SPICE UP ALL THAT YOU DO.
THESE LATIN RHYTHMS ARE MAKING ME SWEAT . . .
Gloria
YOU COULD FIND SOME OTHER RHYTHMS, SO WE STOP GETTING WET.
Jazmin
SHOW SOME SKIN.
Keisha
HOW DISCREET.
Jazmin
DRAW EM IN . . .
Keisha
THEN RETREAT!
Keisha, Jazmin
CUZ WHEN THE MUSICS PUMPING,
ITS JUST YOU IN TOUCH WITH THE BEAT
Keisha, Jazmin, Gloria
WE KEEP DANCIN AND DANCIN,
NEVER THINKING BOUT THE MEN IN THE CROWD.
ITS FOR US, THAT WERE DANCING AND DANCING
Flashdance
WE ONLY WANT A WAY TO MAKE OURSELVES PROUD.

Gloria
YOU TALK YOUR TALK.
IM RAISING THE BAR.
ILL SPIN AND KICK ON TOP OF THE BEAT. I BRING THE ROCK,
THE BLAZING GUITAR,
AND EVERY LICK I LEARNED ON THE STREET.
DRESSED UP IN LEATHER, IN BOOTS, AND A BELT . . .
Keisha
BETTER STEP OUT OF THE SPOTLIGHT,
CUZ YOURE LIABLE TO MELT.
Gloria
I LOOK TOUGH.
Keisha
YOURE A SIGHT.
Gloria
DANCE IS ROUGH.
Keisha
GOT THAT RIGHT!
Jazmin, Keisha
WHEN THE GUITAR GETS HEAVY,
THERES A STAR BORN EVERY NIGHT.
Keisha, Gloria, Jazmin
WE KEEP ON DANCING AND DANCING,
TIL THE STAGE BEGINS TO BUCKLE AND CRACK.
YEAH, TONIGHT, WELL KEEP DANCIN AND DANCIN,
TIL ALL THE LIGHTS INSIDE THE CLUB FADE TO BLACK
(Alex enters.)
Alex
No applause, please.
21
22
Act One
Gloria
Youre late. Harrys pissed.
Alex
If the customers want the real show, they should come in here.
Keisha
Hey, Im just teachin a little lesson in basic anatomy . . .
Jazmin
Well, those who can, do. Those who cant, teach.
Gloria
Oh God. Youre all so yesterday!
Alex
Oh no, not me, ladies. Im all about tonight.

(She pulls off her coat to reveal the costume Hannah repaired for
her.)
Alex (As the girls react to her costume.)

THIS IS A REVOLUTION
IN THE EVOLUTION OF DANCE!
WATCH ME DANCIN AND DANCIN
NOTHIN ELSE ON EARTH THAT ID RATHER DO
EVERY NIGHT BUT KEEP DANCIN AND DANCIN
I KNOW THAT ALL YOU GIRLS ARE FEELING IT TOO
(Dance break.)
Alex (Cont d.)
THIS IS A REVOLUTION IN THE EVOLUTION OF DANCE
Alex, Keisha, Jazmin, Gloria
WE KEEP DANCING
WE KEEP DANCING
WE KEEP DANCING
WE KEEP DANCING
WE KEEP DANCING
WE KEEP DANCING
YEAH WE DANCE!
Flashdance
23
(Button. After the number ends, Alex takes the Shipley

Application out of her bag and throws it in the trash.)
Alex
I do not need this aggravation.
Gloria
What is it?
Alex
Just Ma trying to shove that dance Academy down my throat

again.
Keisha
If it isnt one thing
Jazmin
Its your mother!
Harry
That you, Owens?
Alex
Th at you, warden?
Harry
(Entering.) Cute. Also cute the way you come in the back door
like that makes it so you aint late.
Alex
I punch a clock at the mill. You want time-cards? Get another

dancer.
Jazmin, Keisha,
Gloria
U-nion! U-nion! U-nion!
Harry
Come on, you know I been good to you girls. But you gotta
meet me halfway. Times are tough. Keishas boyfriend down the
street is stealing my customers with those topless broads. The
guys a crook who calls himself a businessman.
Keisha
Oh no, baby, Dr. Kool calls himself an entrepreneur . . . And I

call him an asshole. I havent talked to him in six months.
Harry
Well, if any of you ever do, tell him to set up shop in someone
elses neighborhood. Least here you dont gotta show your hooha to halfa Pittsburgh.
24
Act One
Keisha
Half of Pittsburgh already seen Jazmins.
Harry
Just get out there, okay?

(Jazmin stands with a huff y attitude as Alex moves next to
Gloria and starts to change clothes.)
Gloria
You know some jerk in the bar called me a pole dancer. What
an insult! My familys Irish.
Alex
Sounds like youre gettin your one-liners from your cousin Jimmy.
Gloria
Then well he oughta be good for something. Hes been sleeping

on our couch for a week.
Alex
Why doesnt your Dad kick him out?
Gloria
Cause Jimmy keeps bringing home shoplifted vodka. But hey, I

guess thats what familys for.
Alex
Oh sweetie. Im gonna have to keep an eye on you.
Gloria
(Warmly.) Im countin on it.
Jazmin
(Exiting in fabulous costume.) Make way, ladies, its Latin style

by the mile.
Keisha
Okay, lets see what Miss Puerto Rico got tonight.
Jazmin
Im Cuban!!!
(Gloria starts to go, then turns back to Alex:)
Gloria
Hey. You think Harrys really gonna have to shut down cause of
Kools place?
Alex
Harrys all drama. Th is aint the only stage in town.
Gloria
But you always say we do live videos. Where else do they do that?
Flashdance
Alex
We can fi nd another place.
Gloria
Yeah? Where exactly?
Music No. 6a:
IN TOUCH WITH THE BEAT (Coda)
25
(Music in. Glorias asked an innocent question, but it hits Alex

hard to realize she doesnt have an answer.)
Keisha
You two comin to watch Jazmin?
Gloria
Yeah. You gonna watch, Alex?
Alex
In a minute.
(Alex looks around her, as if noticing for the first time how rundown the dressing room really is.)
Alex
AND WE MIGHT KEEP ON DANCING AND DANCING,
TIL THE STAGE BEGINS TO BUCKLE AND CRACK . . .
(She takes in the peeling paint, the stained sinks, the burnt-out
lightbulb. She looks at herself in the mirror.)
TIL ALL THE LIGHTS INSIDE THE CLUB FADE TO
(Alex reaches into the waste paper basket, pulls out the Shipley
application, and smooths it out on her dressing table.)
Alex
(Cont d.) You better be right about this, Ma.

(She looks at the application intently as the set transitions to:)
SCENE FIVE
The Shipley Academy. The dressing room set breaks away and rolls off as mirrors, barres
and chandeliers move in.
26
Music No. 7:
Act One
HIGH ART
Male and Female Shipley Students

HIGH ART.
IT TAKES AMBITION TO AUDITION AND WIN YOUR PLACE,
THE COMPETITION IS THE TOUGHEST YOU WILL FACE.
WITH EVERY CLASS ANOTHER FACET YOU MUST EMBRACE
YOUR FORM PRISTINE, EACH MOVEMENT CLEAN ENOUGH TO TRACE.
HIGH ART.
IF YOURE ACCEPTED, DONT EXPECT TO IMPRESS WITH HEART,
YOULL BE DISSECTED FROM THE MOMENT THAT YOU START.
WITH EVERY PIROUETTE, IN HERE YOU GET PICKED APART,
YOU MOLD YOURSELF TO WHATS BEEN DONE BEFORE YOU.
THE MAJESTY OF THE CLASSICAL FORM.
WERE IN PURSUIT OF THE PERFECT LINE.
YOU TRAIN THROUGH THE PAIN OF IT ALL,
AGAIN AND AGAIN, AS YOU FOLLOW CENTURY-OLD DESIGN.
(Alex enters, clothed from a day of work at Hurley, and feels
immediately ill-at-ease in the halls of Shipley. She peers in at the
dancers as they take class, wondering how she could ever fit in at a
place like this.)
Alex
I DONT KNOW WHY I THINK THAT I STAND A HALF A CHANCE
AM I A FOOL TO THINK THEYD GIVE ME A SECOND GLANCE?
IN EVRY PREP, IN EVRY STEP AND IN EVRY STANCE,
THEY SEEM TO STAND SO MUCH TALLER THAN I CAN
ONE LOOK AT ME, IN MY STEELTOWN DRAG
THEY TURN ASIDE, THEY TURN UP THEIR NOSE
BUT MAYBE IF I WORK WITH EM,
THEYLL LET ME CHANGE UP THE RHYTHM
AND STRIKE A BIT OF A DOWNTOWN POSE . . .
JUST IMAGINE ALL THE POSSIBILITIES,
Flashdance
27
THERES SO MUCH TO EXPLORE.

I COULD SHOW THEM THINGS THAT THEY HAVE NEVER SEEN BEFORE.
(DANCE INSTRUMENTAL as Alex imagines herself
choreographing and dancing among the Shipley students.)
Ms. Wilde
Can I help you?

(Alex faces front and comes to the edge of the stage to speak to
the (unseen) Ms. Wilde, the imposing headmistress of Shipley
Academy. Alex looks back at the students only to find that
theyve returned to their classes, as if shes been wakened from a
dream.)
Alex
No, I uh . . . I have an application here . . . (She rifl es through

her bag nervously.)
Ms. Wilde
You couldve mailed it in.
Alex
Well thats the thing, see (As she gets out the application.) I just
had a question about the secondary education part, because I
work at Hurley . . .
Ms. Wilde
Hurley Steel?
Alex
Th ats the one. See, um I didnt complete high school,

technically
Ms. Wilde
Technically?
Alex
Meaning at all. But Im completing an apprenticeship at the

mill.
Ms. Wilde
And where do you study now?
Alex
(Feeling judged; growing fl ustered.) Study? Uh . . . Im selftrained, mostly, and I perform
Ms. Wilde
(Skeptical.) In addition to your work at the steel plant?
28
Act One
Alex
Yes. Yes, in addition. And you think Im frickin nuts, right?

Look, Look, I only did this for my mom anyway, so just give me
that and Ill throw it away.
Ms. Wilde
Well review your application and let you know. We audition

the last week of May.
Alex
Oh. Wait, no, thats not good for me.
Ms. Wilde
Excuse me?
Alex
I mean, thats the week I take my union exams at Hurley.
Ms. Wilde
Well then, I guess you have a decision to make.

(Alex looks back at the dancers.)
Ms. Wilde
(Cont d.) Have a good day.

(Alex walks back out into the hallway as the dancers continue
their work.)
Male and Female Shipley Students

HIGH ART.
THERES STILL TRADITION IN THE VISION OF MODERN DANCE,
AND YOUR AUDITION WILL DEPEND UPON IT . . .
Alex
GOTTA FACE IT.
THIS IS NOT A PLACE FOR ME,
WAKE UP, GET WISE, BE SMART.
WHAT I GOT IS MINE,
BUT IT IS NOT HIGH ART.
(The music continues seamlessly into the vamp of MANIAC as
Alex steps out onto the street.)
Music No. 8:
MANIAC
Flashdance
SCENE SIX
Alex, angered, intimidated by her experience at Shipley makes her way through the
gray streets. A distant police siren. Th e rumble of thunder. Its going to rain. Picks up
her pace. Gloria, Jazmin and Keisha appear in individual backlit BOXES, black
silhouettes against bright white, singing as Alex walks. (Crossover 3).
FLASHDANCE SEQUENCE ONE: A LEX MANIAC
Keisha
JUST A STEEL TOWN GIRL ON A SATURDAY NIGHT
LOOKING FOR THE FIGHT OF HER LIFE
IN THE REAL TIME WORLD NO ONE SEES HER AT ALL
THEY ALL SAY SHES CRAZY
Jazmin
LOCKING RHYTHMS TO THE BEAT OF HER HEART
CHANGING MOVEMENT INTO LIGHT
Gloria
SHE HAS DANCED INTO THE DANGER ZONE
WHEN THE DANCER BECOMES THE DANCE.
IT CAN CUT YOU LIKE A KNIFE
IF THE GIFT BECOMES THE FIRE
ON THE WIRE BETWEEN WILL AND WHAT WILL BE
(Alex enters her loft, a former industrial space which shes
transformed into a home with her own hands.)
SHES A MANIAC, MANIAC ON THE FLOOR
AND SHES DANCING LIKE SHES NEVER DANCED BEFORE
Gloria & Jazmin
CRAZY CRAZY CRAZY CRAZY
29
30
Act One
Keisha
ON THE ICE BLUE LINE OF INSANITY
IS A PLACE MOST NEVER SEE
Jazmin
ITS A HARD WON PLACE OF MYSTERY
Gloria
TOUCH IT BUT CANT HOLD IT
Keisha
YOU WORK ALL YOUR LIFE FOR THAT MOMENT IN TIME
Gloria
IT CAN COME OR PASS YOU BY
Jazmin
ITS A PUSH, SHOVE WORLD BUT THERES ALWAYS A CHANCE
IF THE HUNGER STAYS ALIVE
THERES A COLD KINETIC HEAT
STRUGGLING, STRETCHING FOR THE PEAK
NEVER STOPPING WITH HER HEAD AGAINST THE WIND
(Alex changes from her street clothes to a black leotard and bare
legs, dancing away her frustrations like a boxer getting ready for a
prizefight.)
SHES A MANIAC, MANIAC I SURE KNOW
SHES A MANIAC, MANIAC I SURE KNOW
Full Company
Flashdance
31

Harry
And now here she is! The Queen of the Steel Bar Dancers lets
make some noise for Alex!
(Without moving, Alex falls into silhouette as the set shifts from
her loft to the interior of the Steel Bar. Its show night and the joint
is jumping. Neighbors and regular customers sit at tables on both
sides of the stage. Harry, playing host, moves from table to table.
Nick sits alone to one side. Harry avoids a back table where two
shady characters, nattily dressed, look like theyre from another
universe.
In darkness the sounds of an angelic female choir singing or
humming a cappella.
LIGHTS UP to reveal the stage. In a distant pool of amber light
we see an exquisite female figure in long, white robes, her head
lifted to the heavens, as if inside a snow globe; her eyes peer out
from a swaddling white headdress that covers her face as the robes
cover her body. The mysterious figure appears to fl oat out of the
dome of snowfl akes toward the audience like shes sailing, fl oating,
not walking. Suddenly, the robes fl y up to the heavens in some
kind of religious ascent. Alex is revealed in provocative snowwhite lingerie, riding a skateboard. She kicks the skateboard into
darkness. And now Alex takes off dancing through snow that has
suddenly become a curtain of mill-sparks, leading dramatically
to the final chorus. Th e eff ect on the Steel Bar crowd is outright
worship. And above all, Nick is mesmerized.)
(Button.)

IT CAN CUT YOU LIKE A KNIFE
IF THE GIFT BECOMES THE FIRE
ON THE WIRE BETWEEN WILL AND WHAT WILL BE
Full Company
32
Act One

AND SHES DANCING LIKE SHES NEVER DANCED
DANCING LIKE SHES NEVER DANCED
DANCING LIKE SHES NEVER DANCED . . . BEFORE
SCENE SEVEN
Keisha, Jazmin, and Gloria are watching from the side of the club. As the applause
dies down, LIGHTS SHIFT to Nicks table.
Music No. 9:
KOOL UNDERSCORE
(Dr. Kool owner of the Skin Deep Club and his business partner, C.C. La Drue
pale, dark haired, nattily dressed, aff ected and sexually ambiguous sit. Harry
approaches them.)
Harry
(Gesturing to alley door.) Okay, Kool, you guys seen the show,
now you can see yourselves out. That exit there is the one we use
to take out the trash.
Dr. Kool
I think youre playing this all wrong, my friend.
Harry
Im the proprietor here.
Dr. Kool
Which means you got the right to sell this place.
Harry
You think Im gonna let you make this into another clip-joint?
Dr. Kool
Welcome to the new economy. Youre a nice man, Harry Green,

but you dont know how to make money.
Male Customer Hey, Harry!

Harry
(As he goes to talk to the other customer.) Get moving, Kool.

(Kool shoots a knowing look to C.C. They stand and begin to
leave when Gloria enters.)
Flashdance
33
Dr. Kool
Hey, now, where you headed so fast?
Gloria
Dr. Kool. You here to see Keisha?
Dr. Kool
No, no Im here for you.
Gloria
Me?
C.C.
Mais oui.
Dr. Kool
Gloria, have you met my business partner C.C. La Drue?
C.C.
Enchant, mademoiselle.
Dr. Kool
(Irritated with C.C.) Hes been takin French lessons.

Comment allez-vous ?
Gloria
Oh . . . uh . . . chateau.
Dr. Kool
You know now my man C.C. here is partnering with me on

some new venues. Skin Deep down the street, thats just the
beginning, girl. Why dont you come on down and well talk
about which videos you right for.
Gloria
(This stops her.) Like, MTV?
Dr. Kool
Babygirl, I know all the managers in New York and L.A.
Alex
(Entering.) Then whatre you doing in Pittsburgh?
Dr. Kool
Th ats some attitude you be puttin on.
Alex
And thats some bullshit you be puttin on.
Keisha
(Stepping into doorway.) Alex, dont mess with this man, hes not
worth it.
Dr. Kool
You thought I was worth it when you were snorting lines faster
than John Belushi.
34
Act One
Alex
Just keep away from my girls.
Dr. Kool
You got some anger there, baby.
Alex
You think, baby?
Dr. Kool
Okay, this aint the time or place. But you watch your back.
Keisha
Id say go to Hell, Kool, but you there already.
Dr. Kool
I miss you, too. (Looking at Gloria.) I know well be seein you

again.
C.C.
Oh, re-voir ladies.

(C.C. and Kool exit. Alex pulls Gloria aside.)
Alex
You crazy? Why you talkin to them? You lookin for a job in
porno?
Gloria
No. Th at C.C. guy said he could get me on MTV. You never

know.
(She notices Jimmy entering; he gets Harrys attention and crosses
to talk to him.)
Alex
Jimmys here.
Gloria
Uch.
Alex
I told him hes not going to get anywhere.
Gloria
Hey, that never stopped him before. Hes, what do they call it?
. . . Delusional.
Alex
Th ats what Im sayin, Glo. You gotta live real. Especially at your
age.
Gloria
Huh?
Flashdance
Alex
Its after midnight. Happy Birthday, honey! The big two-one!

Lets go to my place and celebrate.
Gloria
Nah, thats okay, we can do all that tomorrow. Im gonna help

Harry clean up. Besides, Ive got my shift drink to fi nish.
Legally.
Alex
Alright, but get home safe, ok? (Starts to go; stops, turns back to
say:) And hey 21! Th ats a lucky number.
Music No. 10:
TWENTY ONE
(Gloria watches Alex exit. Sings:)
Gloria
THERE SHE GOES
WITH HER HEAD HELD HIGH
SHELL GET BY WHEN SHES ON HER OWN
CAUSE ALTHOUGH SHE MIGHT BE ALONE,
THATS DIFFERENT THAN LONELY.
AND HERE I GO
WISHIN I COULD BE
LIKE THE WOMAN I SEE IN HER.
BE A WOMAN WHOS ALWAYS SURE
SHELL STAND ON HER OWN
THIS SHOULD BE THE DAY THAT IM GROWN
TIME TO FIND SOME DIRECTION
TIME TO LIVE THE LIFE I SHOULD.
BUT IVE SEEN ENOUGH NOW TO KNOW
THAT THE GOING IS NEVER THAT GOOD . . .
AT TWENTY ONE
LIFES A FUNNY GAME
CUZ YOU WAIT FOR A WINNING HAND
AND ITS NEVER THE WAY YOU PLANNED
BUT STILL, YOU KEEP PLAYING
AT TWENTY ONE
TAKE ANOTHER CARD
BUT ITS HARD WHEN YOU START TO FEEL
THAT NO MATTER THE CARDS THEY DEAL
35
36
Act One
THE HOUSE IS AHEAD

LOOKING FOR A FACE IN THE DARK
SOMEONE GOOD WITH THE NUMBERS
WHO CAN SHOW ME HOW TO WIN.
SOMEONE WHO CAN SHOW ME A WORLD
WHERE A GIRL WITH A HEART CAN GET IN.
WHOS BEHIND ME? WHO IS READY TO TAKE MY HAND?
WHO WILL FIND ME, SO I WONT LOSE AGAIN AT TWENTY-ONE?
(The focus shifts to Jimmys attempt to get a job from Harry.)
Jimmy
Gimme a break, man. I screwed up but Im worth a second shot,

right?
Harry
I dont have time for a second anything right now. Im barely

holding on.
Jimmy
But Ive changed! Im a stand-up guy! Get it?
Harry
Im sorry! The answer is no.

(Harry exits.)
Jimmy
WHEN I TRY TO GET ME A BREAK
ALL I GET IS REJECTION
ITS A SHRUG; A SIGH; A SLAM.
GROWING UP WAS GO IT ALONE,
YOURE THE ONLY ONE GIVIN A DAMN.
WHOS BEHIND ME? WHO CAN GIVE ME MY CHANCE AT LAST?
Gloria
WHO WILL FIND ME AND TAKE THIS ACHE AWAY FOREVER?
Gloria, Jimmy
WHOLL REMIND ME
THAT YOUR FUTURE IS NOT YOUR PAST
WHEN THEY FIND ME
Flashdance
37
Gloria
AND TAKE MY HEART
Jimmy
AND SHOW ME SOME HEART
Gloria, Jimmy
SO I CAN START AGAIN AT TWENTY ONE . . . TWENTY ONE.
Jimmy
(Exiting.) Happy Birthday, Glo.
Gloria
Th anks.
(Jimmy goes. Gloria looks down at a cafe candle. She closes her
eyes; makes a brief silent wish . . . and blows the candle out.)
(Button.)
Music No. 11:
SCENE CHANGE TO STEEL MILL

SCENE EIGHT
The factory fl oor at Hurley Steel. From the bridge, Nick addresses the audience as if we
are the mill workers.
Nick
. . . Heres my point: the only way we can stay in the game is if

we streamline operations and focus on rolling-steel for the auto
industry. We can out-produce Korea and Canada and every
other country on the planet as long as we work together. Every
man needs a job, and I want to keep our jobs safe. Th anks for
hearing me out.
(Lights up on Alex and three male co-workers Joe, Abe and
Sammy.)
Alex
Every man needs a job? What about me?
Joe
Were already less than sixty percent capacity with two furnaces
phased out.
38
Act One
Sammy
Bet hes just another outsource guy.
Joe
Who knows? It aint up to him, its up to the real Hurley. And

that guys making the money out of the plant in Korea.
Sammy
Look, even if the Hurley kid is messin with us, sooner or later
they gotta take care of their own.
(Nick enters, unseen.)
Alex
They already have. How do you think he got the job? Id Bet
he goes back upstairs to the big office and sits on his uncles big
leather couch and tells him about what a hard day he had.
Nick
Trouble is, my uncles never in his office.
Alex
(Taken aback.) How long you been standing there?
Nick
Not long enough to come up with a better line than last time.
Alex
Well maybe you need to outsource your lines, too.
Nick
Maybe you need to help me work on my approach.
Alex
Over drinks, you mean? Maybe dinner?
Nick
Now that sounds civilized.
Alex
Great. Ill have a drink and some dinner, come up with some
ideas, and send em to you.
Nick
Cmon, Alex
Alex
I dont date the guy who signs my paychecks.
Nick
Well thats my uncle!
Alex
Then I wont date him, either.
Flashdance
Nick
39
Whew. You know I should be the one wearing a helmet.

(Nick exits, shaking his head.)
Alex
He thinks just because hes up with the suits he can get

whatever he wants. Dont know his ass from a blast furnace.
(Off their looks.) What?
Sammy
Is it my imagination
Joe
Or is someone gettin a little hot under the overalls?
Alex
Whatre you (Getting their drift.) Oh, no. Unh-uh. Dont start
thinkin that just cause I know the score it means I, uh, got
some sort of, uh, thing for the guy.
Joe
(Imitating.) Some uh, uh, thing, uh?

(Music in.)
Music No. 12:
TOTALLY DIFFERENT PEOPLE
Alex
You guys are dead wrong. Not that its any of your goddamn
business, but when I want a man, Ill get a real one.
Sammy
(Flirting.) Oh yeah?
Alex
Which leaves you out, Mr. Two-Kids-at-Home-and-aTh ird-onthe-Way. Nah, I know exactly what Nick Hurleys about. Hes
the kind of guy who checks his reflection in the hood of his
Porsche. The kind of guy who . . . listen:
Alex
HES PROBABLY GOT HIMSELF A MAID,
A BIG JACUZZI AND A VIDEO ARCADE,
BUT, LEMME TELL YA, THAT WONT GET A FELLA LAID
ITS GOT TO BE HOT ENOUGH FOR THE SPARK.
HE THINKS HES GOT IT GOING ON,
WITH ALL HIS MONEY AND HIS BIG SUBURBAN LAWN
40
Act One
BUT HURLEY HASNT GOT THE GOODS TO TURN ME ON,

IT TAKES A REAL MAN TO RATTLE MY CHAIN.
IT TAKES A REAL MAN TO DRIVE ME INSANE.
IT TAKES A REAL MAN TO BUCKLE MY KNEES.
HE MAY BE SLICK, BUT NICK COULD NEVER PLEASE ME.
WERE TOTALLY DIFFERENT PEOPLE
IM IN A WAREHOUSE AND HES IN HIS ESTATE
TWO TOTALLY DIFFERENT PEOPLE
IT SOUNDS LIKE WED REALLY RELATE.
(LIGHTS UP on Nicks office, where hes on the phone with his
uncle.)
Nick
You cant keep shifting business overseas while I stand on the

floor and tell these people their jobs are secure! We need to retool our business model and service the auto industries. Theyre
solid, Uncle Bill. They always have a future . . . (A click.) Hello?
(Hangs up.) Damn!
Alex
HES NEVER HAD TO LEARN A SKILL,
HES JUST A RICH KID WITH A HOUSE UP ON THE HILL,
I DOUBT HE KNOWS A SINGLE THING ABOUT THE MILL,
Boys
IT TAKES A REAL MAN TO GET IN HER HEAD.
Alex
IT TAKES A REAL MAN TO GET ME IN BED.
Boys
IT TAKES A REAL MAN TO GET HER TO PURR.
Sammy
SHE WANTS HIM ROUGH!
Flashdance
41
Joe
AND TOUGH!
Boys
SHE WANTS NICK HURLEY!
Alex
HES NOT MY TYPE, AND IM NOT HIS CUP OF TEA.
WE COULDNT BE LESS MEANT TO BE.
Boys
PLEASE SEND A POSTCARD WHEN YOURE DOWN IN SAINT TROPEZ
Alex
TWO TOTALLY DIFFERENT TIME ZONES!
Boys
DO TIP THE CHAUFFEUR WHEN CHRISTMAS IS NEAR
Alex
THE LIMOUSINE IS HIS, THE TEN-SPEED IS MINE
Boys
REMEMBER NOT TO WEAR WHITE AFTER LABOR DAY
Alex
REMARKABLY DIFFERENT PEOPLE
Boys
SHELL SIP HER CHAMPAGNE IN PAR-EE
Alex
Not on your life, boys!
Boys
THE BEST THINGS IN LIFE SURE AINT FREE!
42
Act One
Alex
FORGET THE HYPE
AND FORGET THE FANTASY
All
Alex
WHO COULDNT BE LESS
Boys
WILL YA WATCH HER OBSESS
Alex
What?
WE COULDNT BE LESS MEANT TO BE

(Button. We transition to the MILL GATE as Alex picks up
another mended costume from Hannah.)
Hannah
Hey here you go. Tell Gloria hers will be fi xed tomorrow.
Alex
Th anks.
Hannah
Go easier on your costumes, okay? And maybe go easier on Nick

Hurley.
Alex
Meaning?
Hannah
You oughta give the guy a chance. Sometimes he drops his

cleaning off on the way to work and I gotta say, I kinda like him.
Alex
Why? Because hes tall-dark-and-handsome?
Hannah
Oh please, you think Im that shallow? I like him because hes

rich. Plus I bet he could get the people at Shipley to take your
application seriously . . .
Flashdance
Alex
43
Dont start, Ma, I swear. If I get that audition its gonna be

because Shipley wants me, not because they want more money
outta Hurley Steel.
(Alex starts to go, then stops.)
(Exasperated, but sincere.) I Love you.
(Alex exits. The music slows:)
Hannah (Looking after Alex; tenderly:)

TWO TOTALLY DIFFERENT PEOPLE,
WERE LUCKY WHEN WE AGREE TO DISAGREE.
TWO TOTALLY DIFFERENT PEOPLE,
BUT NOBODY KNOWS HER LIKE ME.
AND NOBODY LOVES HER LIKE ME.
SCENE NINE
Music No. 13:
STEELTOWN CROSSOVER (DANCE CROSSOVER No. 4)
The alley outside the back entrance to the Steel Bar: Gloria is talking to Kool; C.C.
stands to the side, smoking.
Dr. Kool
Ah, now, come on, girl. You come over to my place Im gonna
give you a real stage and a feature any night you want it.
Harry
Gloria, you goin on tonight or not?
Gloria
In a minute, Harry! (Back to Kool.) And you can connect me

with the MTV people?
Dr. Kool
Honey-girl, you sittin on a gold mine. C.C. here can set up

a video shoot for you right on the Skin Deep stage, totally
professional.
Alex
(Entering in a dressing gown.) Come on, Glo, we got fi fteen

minutes.
44
Act One
Dr. Kool
Your friend really knows how to time an entrance.
Alex
And you need to work on your exit.

(C.C. steps in front of the door.)
C.C.
We got business. Comprenez-vous?

(Kool grabs Alexs arm.)
Dr. Kool
I think its time you showed a little respect, dont you?
Alex
Dont touch me!
Gloria
Dont, Kool, shes just lookin out for me . . .
Dr. Kool
Youre big enough to look out for yourself. (To Alex.) Bout
time you got the picture.
Nick
(Entering.) Get your hands off her.

(Kool sees Nick, takes a beat, and lets Alex go.)
Dr. Kool
Hurley. Just havin a little discussion.
Nick
Discussions over. Unless you want the cops to come visit your
so-called club on a regular basis.
Dr. Kool
I got no trouble with the cops.
Nick
Not yet.
Dr. Kool
Were good, okay. Were cool. I got no problem with you Hurley.
(To Alex, icy:) Some other time. Lets go, C.C.
Nick
I was just coming to tell you to break a leg or whatever.
Alex
How do you know Kool?
Flashdance
45
Nick
Cause I grew up on the same streets he did. (Off Alexs

skeptical look:) Its true. My mom raised me on her own and she
didnt tell me I was a Hurley till I was fi fteen. And even then
the only reason she sent me to my uncle was because she got
sick of me stealing fast cars before I was old enough to have a
license.
Alex
Yeah well I guess if the cavalry had to come . . . Im glad it was

you.
Gloria
Im gonna head in
Alex
Wait. Im coming, too.
Nick
Can I see you after the show?
Alex
I got stuff to do.
Nick
Come on. Give the cavalry their due.
Alex
I told you I dont date the boss. Nothing personal.
Nick
In that case Miss Owens . . . youre fi red.
Alex
(Smiling.) Is this harassment?
Nick
Up to you.
Alex
(A beat, then:) Okay, Mr. Hurley. Sunday night. You got my

number on fi le, I suppose?
Nick
Memorized.
Alex
Dont scare me. Ill See you Sunday.

(Nick exits, smiling.)
Gloria
How do you do it?
46
Act One
Alex
What?
Gloria
Boss em around like that.
Alex
I take orders all day at the mill. What I do with my nights is my

call, not some guys.
Gloria
Whether he likes it or not.
Alex
Oh . . . I got a feeling hell like it.

SCENE TEN
FLASHDANCE SEQUENCE TWO: JAZMIN MANHUNT

Music No. 14:
MANHUNT
(As the scrim turns to red, we see the silhouette of a bullfighter
poised for battle. SPECIAL UP to reveal Jazmin, dressed as the
sexiest matador youve ever seen. As the lyric to Manhunt unfolds,
Jazmin uses her toreador cape to reveal Nick and Alex on a series
of dates: a movie, a restaurant, a boxing match, the ballet.)

IM GOIN ON A MANHUNT,
TURN IT AROUND
WOMEN HAVE BEEN HUNTED,
NOW WERE HUNTIN AROUND
YEAH, MANHUNT,
WE ALL GOT THE NEED
THE ONE THATS BEEN WAITIN
HAS TAKEN THE LEAD
Jazmin
I SEE HIM EVERY DAY IN THE OFFICE
HES SEXY
AND HES SMOOTH
HES GOOD TO LOOK ME OVER,
BUT SLOW TO MAKE HIS MOVE
Flashdance

IVE BEEN SITTIN AT HOME BY THE TELEPHONE,
HOPIN IM IN HIS PLANS
THIS WAITING GAME IS GETTIN OLD,
ITS TIME TO TAKE MATTERS INTO MY HANDS
IM GOIN ON A MANHUNT,
TURN IT AROUND
NOW WERE HUNTIN AROUND
MANHUNT,
WE ALL GOT THE NEED
HAS TAKEN THE LEAD . . .
Jazmin
RUBY LIPS IN THE MIRROR
BLACK HEELS ON THE FLOOR
PERFUME TO DRAW HIM NEARER,
A DRESS HE CANT IGNORE
I KNOW HELL BE AT THE PARTY
TONIGHT, HELL BE LOOKIN SO FINE
HELL BE SURPRISED WHEN I WALK UP TO SAY
MAN I WANNA MAKE YOU GLAD YOURE ALIVE
IM GOIN ON A MANHUNT
TURN IT AROUND
NOW THEYRE HUNTIN AROUND
MANHUNT,
WE ALL GOT THE NEED
HAS TAKEN THE LEAD
MANHUNT, IM OUT FOR A MANHUNT
IM OUT FOR A MANHUNT
IM OUT FOR A KILL
(Button.)
47
48
Act One
SCENE ELEVEN
Inside Alexs loft, the Pittsburgh cityscape still visible through the tall windows.
Alex
. . . As you can see, my humble abode isnt quite fi nished.
Nick
You sure you want me up here? I mean its only our ninth date.
Alex
Guess nine must be your lucky number. How about a drink?
Nick
(Looking at a pile of magazines.) Im okay. You know if you need

money you could always sell your Vogue collection. Wow.
Alex
(O.S.) I get ideas from the pictures. The way the models pose . . .
hot poses that I make move. Ma helps with costumes.
Nick
Your folks still together?
Alex
(O.S.) Oh God, no. But dont tell Ma. Dads been gone ten
years and she acts like he just went out for cigarettes.
Nick
Ever try to fi nd him?
Alex
(O.S.) Why, I dont need anything from him.
Nick
Is that the only reason to want to know someone?
Alex
I dont know. Maybe I oughta thank him. (Re-entering in cut-off

sweatshirt.) When he left is when I fell in love with dancing.
Nick
How do you mean?
Alex
Well Ma wanted to do something to get my mind off him,

so she saved up and got tickets to Pittsburgh Ballet Theater.
(She starts to take off her bra under her sweatshirt.) I remember
we sat way up top, and this lady in front of us was wearing this
big red hat, and Ma asked her to take it off, and the lady said
she wouldnt, and Ma quietly said, Okay, then if you dont
Im gonna rip the hat off and take your head with it. I was so
embarrassed I wanted to die.
Flashdance
49
(She throws the bra on the fl oor. Nick is transfi xed.)

Are you listenin?
Nick
Yeah, you took it off. I mean, she took it off. The hat. Right?
Alex
Oh, you bet. (Soft music in, as Alex remembers the ballet.)
Music No. 15:
DONT STOP (Intro)

And, then the performance started, and the music came up,
and I just . . . I felt this weight lifting off me, like I had been
holding my breath all along and I hadnt even known it. Th ats
how I felt tonight.
(On the last words of her reminiscence she stands and dances
gracefully, almost balletically, in a way Nick has never seen her
move before.)
Sorry.
Nick
Dont be.
Nick (Sings.)
DONT STOP DOING WHAT YOURE DOING.
DONT STOP I DIDNT MEAN TO STARE
Alex
Th at kind of dancing belong at Shipley.
Nick
So do you. If youre willing to say you want it.
Music No. 16:
DONT STOP
I NEVER KNEW THAT YOU COULD MOVE LIKE THAT

HOW COME YOU NEVER SHOW ANOTHER SIDE?
INSTEAD OF RUNNING WITH A GIFT LIKE THAT
YOU GO AND HIDE
I KNOW IVE MADE YOU MAD BUT DONT STOP
50
Act One
Alex
I USED TO DREAM ABOUT A LIFE IN DANCE
IT TOOK A WHILE FOR ME TO REALIZE
THAT WHERE IM FROM YOU HAVENT GOT A CHANCE;
YOU COMPROMISE.
I DONT NEED THEM TO TELL ME WHAT I HAVENT GOT.
WHAT IM NOT.
Nick
I BET THAT YOU COULD CHANGE THEIR POINT OF VIEW
JUST LET THEM SEE THE STRENGTH I SEE IN YOU
YOU OWE IT TO YOURSELF TO SEE THIS THROUGH
AND SHOW THAT YOU BELONG . . .
Alex
(Still not convinced.) Nick . . .
Nick
LIFE IS IN THE CHASE,
GOTTA JOIN THE RACE,
THATS THE ONLY WAY YOURE GONNA GROW
NO MATTER WHO YOU ARE,
YOU CAN REACH AS FAR AS YOUR DREAMS DARE TO GO.
I KNOW YOUVE BEEN BURNED
BUT FORGET WHAT YOUVE LEARNED
STOP KEEPING SCORE
YOURE ONLY AS GREAT
AS THE WORLD YOU CREATE
YOURE MEANT FOR MORE.
YOUVE GOT TO LEARN TO LET THE FEAR SUBSIDE
Alex
DONT START
Nick
YOU NEED SOME COURAGE IF YOU WANT TO WIN
Alex
DONT START
Flashdance
Nick:
CUZ FROM THE MOMENT YOU BEGIN TO GLIDE,
THEYLL LET YOU IN
Alex:
I NEVER REALLY THOUGHT THAT THEY WOULD LOOK AT ME . . .
LOOK AT ME.
Nick
I SEE A LITTLE GIRL WHOS SCARED TO TRY
WHOS GONNA LET HER MOMENT PASS HER BY
ID NEVER WANT TO SIT AND WONDER WHY
Nick, Alex
I LET IT SLIP AWAY . . .
CUZ LIFE IS IN THE CHASE,
GOTTA JOIN THE RACE,
THATS THE ONLY WAY YOURE GONNA GROW
NO MATTER WHO YOU ARE,
YOU CAN REACH AS FAR
AS YOUR DREAMS DARE TO GO.
Nick
I KNOW YOUVE BEEN BURNED
BUT FORGET WHAT YOUVE LEARNED
STOP KEEPING SCORE
YOURE ONLY AS GREAT
AS THE WORLD YOU CREATE THERES ROOM TO SOAR . . .
Alex
ILL SOAR
Nick
ID NEVER WANT TO SIT AND WONDER WHY
Nick, Alex
I LET IT SLIP AWAY . . .
51
52
Act One
Alex
DONT STOP SAYING WHAT YOURE SAYING
DONT STOP,
IM HEARING EVERY WORD.
Nick, Alex
LOOKING IN YOUR EYES
MAKES ME REALIZE THERE ARE BETTER DAYS IN FRONT OF ME
NO MATTER WHERE IM FROM
I CAN STILL BECOME
ALL I SET OUT TO BE . . .
THE BARRIERS FALL,
BREAKING DOWN EVERY WALL LEFT IN THE WAY.
Nick
GO ANSWER THE CALL AND YOULL
PROVE TO THEM ALL
YOURE THERE TO STAY . . .
Nick, Alex
DONT STOP DOING WHAT YOURE DOING.
(Alex kisses Nick, tenderly, then passionately in front of the bed as
the lights fade. Button.)
SCENE TWELVE
Music No. 16a:
KOOL UNDERSCORE
LIGHTS UP on Jimmy and Kool beneath a single streetlight. Kool has a panicked
Jimmy pinned against the lamp post.
Jimmy
Please! I can get you the money, I can!
Dr. Kool
Th at was expensive stuff. Im not a charity.
Jimmy
Look, I can work. Let me work it off.
Dr. Kool
I think you need something to remember me by.
Flashdance
Jimmy
53
How could I forget a guy who wants to murder me? Actually,

there have been others. But they were usually in the audience.
(Kool tightens his grip.)
Jimmy
Oh, man, come on, dont do this to me. I can help, I can I can
get girls. I can get Harrys girls to work for you.
Dr. Kool
(Suddenly interested.) What girls?
Jimmy
I know em since we was kids. Alex . . .
Dr. Kool
I dont care for her.
Jimmy
Then my cousin Gloria . . .
Dr. Kool
Shes your cousin?
Jimmy
Sure. What, you dont see the resemblance? Shes got my eyes.
Which is probably why I keep pumping into shit. Ba-dum
Chhh . . .
Dr. Kool
You aint funny. But I think your cousin has a future.
Jimmy
Put me in your club and Ill have her there in no time.
Dr. Kool
Yeah?
Jimmy
Sure. I mean she dont like me, but were still family. Th ats
gotta count for somethin. Right?
SCENE THIRTEEN
Music No. 16B:
DONT STOP (Coda)
Music up as lights shift to Alexs bedroom, the next morning. Alex is still in bed, sound
asleep with no clothes on; Nick enters dressed for work. He leans over, kisses her gently on
54
Act One
the small of her back. As he exits she sits up to watch him go. Then, on the floor below the
mail slot, she sees a single envelope. Alex looks at the address and the music builds:
Alex
COULD ALL THE THINGS HE SAID
MAKE ME LOOK AHEAD?
IS THERE SOMETHING WAITING THERE FOR ME?
NO MATTER WHERE IM FROM
CAN I STILL BECOME
ALL I HOPE I CAN BE?
JUST SEE WHATS INSIDE, ALEX
NO TIME TO HIDE,
THAT MOMENTS HERE . . .
(Music continues under as Alex takes a deep breath and opens it. Begins to read.)
Ms. Wilde
(V.O.) After considering your application, the Shipley Academy

is pleased to offer you an audition for the upcoming academic
year. Please come to the Academy rehearsal hall, May 29th,
10am, having prepared a three-minute solo which you feel
best represents your abilities. Yours, Rebecca Wilde, Head
Administrator.
(A beat as Alex lets it sink in; then:)
Alex
Yes!
(Sings.)
I NEVER THOUGHT
WHO COULDA THOUGHT?
DOORS COULD OPEN HERE
GUESS I WAS WRONG
YES, I WAS WRONG,
NOW I KNOW!
Music No. 17:
MY NEXT STEP
ALL OF MY LIFE ITS BEEN

LOOK AT THE SOUTH SIDE GIRL,
Flashdance
55
THATS ALL I THOUGHT THEY COULD SEE.

BUT THEY WONT BE
LOOKING DOWN AT ME NOW
STANDING PROUD, ILL BE BESIDE THEM.
ALL OF MY LIFE ITS BEEN
WHO DO YOU THINK YOU ARE?
THATS ALL THEY WANTED TO KNOW
BUT ILL SHOW THEM
WHAT IM MEANT TO BE NOW
GOT MY DREAMS, NO NEED TO HIDE THEM
TO THINK OF ALL THE TIME I SPENT IN THE DARK,
I GUESS THAT ALL IT REALLY TOOK WAS A SPARK OF SPIRIT,
COMING NEAR IT,
LET EM HEAR IT:
I AM READY NOW!
I KNOW WHERE MY NEXT STEP IS TAKIN ME
IM HEADIN FOR THE FINISH LINE
CANT WAIT TO START ANOTHER DAY
CAUSE, NOTHINGS IN MY WAY
IM GONNA BE THE PERSON THAT I WANNA BE
(Alex makes her way through the streets, running into the Street
Dancers whom she joins, following their moves instinctively.
Passers by watch and start to applaud.)
NOW WHEN THE SHIFT WHISTLE BLOWS
ITLL CALL MY NAME
EVEN THE SHIFT WHISTLE KNOWS
WHERE IM GOING
SOME MAY CALL IT HIGH
ART BUT IM GONNA MAKE IT MY ART
IM JUST A GIRL FROM THE STREET
BUT THE STREETS IN ME
AND EVERYBODY I MEETS
56
Act One
GONNA KNOW IT
FEEL THAT SOUTHSIDE RHYTHM
EVEN UPTOWN, ILL BE WITH EM!
I THOUGHT I HAD NO SHOT AT RUNNIN THE RACE
THOUGHT I WAS ONLY GOOD FOR RUNNIN IN PLACE
IM IN IT
WATCH ME WIN IT
IN ONE MINUTE
LIFES SO DIFFERENT NOW
Ensemble
IM RUNNING FOR THE MORNING NOW.
CAUSE, NOTHINGS IN MY WAY
IM GONNA BE THE PERSON THAT I WANNA BE
(Lights down on Alex and up on Nick and Hannah.)
Nick
Okay shes got the audition, but I cant promise theyll take her.
Hannah
How big a donation did you have to make?
Nick
Lets just say you owe me dry cleaning for life.
Ensemble (under dialogue)

Hannah
You got it!

(LIGHTS UP on Jimmy and Gloria, mid-conversation. Jimmy is
sharply dressed and considerably cleaned up since we last saw him.)
Jimmy
Im tellin you, Gloria, you gotta see this place. Theyll give you
the VIP treatment the whole way.
Flashdance
Gloria
Cant be that great. They hired you.
Jimmy
Hey, they got video directors down there . . .
Gloria
Are you serious?
57
(Jimmy holds up his hand in an oath.)

Gloria
(Cont d.) (Thinks a beat; then:) I only got a few minutes.
Jimmy
Hey . . . thats all it takes.
Gloria
IM GONNA BE THE PERSON THAT I WANT TO BE!
(Gloria and Jimmy head inside. Bar stage moves on.)
Ensemble
SO LET THE STARS LIGHT UP THE STEELTOWN SKY
(DONT STOP KNOW TO WONDER WHY) (Call response.)
LIFE OUT HERE IS DANCE OR DIE . . .
(OUT HERE IS DANCE OR DIE . . . )
Harry
Alright, folks. Lets kick it up, put your hands together for your
very own: Alex!
(Alex dances amongst the customers and with Jazmin and
Keisha before taking the stage. A curtain of rain descends around
her which she reaches and kicks through.)
Ensemble Girls
LA LA LA LA LA (etc.)
Full Company
SHES A MANIAC MANIAC ON THE FLOOR
58
Act One
(Alex pulls a chain that sends gallons of water cascading onto her
body. The water hits once. Th en twice . . . like a crashing waterfall.
A hall of mirrors on the stage capture one crash of water after
another as the lights CUT TO BLACK. End of Act One.)
Flashdance
59
ACT TWO
SCENE ONE
Music No. 18:
I LOVE ROCK N ROLL
A faint drumbeat; but as it grows louder it sounds more like the distant pounding of
artillery. We hear the sound of a chopper approaching. In a shaft of light, a rope ladder
falls to the stage. The unseen chopper-blades kick up a wind. A female figure descends
the rope. Gloria appears literally dressed to kill in a skimpy heavy-metal war costume
all camoufl age and muscle. Her helmet, painted the colors of a rainbow, features a
peace-symbol.
FLASHDANCE SEQUENCE THREE: GLORIA - I LOVE ROCK N ROLL
Stepping onto the stage, Gloria throws off a fl ack-jacket stencilled with the name-tag
Private Pussy-Kat. Unhooks a holstered service pistol; kicks it down the fl oor. In
distant half-light we see Keisha and Jazmin, who sing:
Jazmin
I SAW HIM DANCIN THERE BY THE RECORD MACHINE
I KNEW HE MUST A BEEN ABOUT SEVENTEEN
Keisha
THE BEAT WAS GOIN STRONG
PLAYIN MY FAVORITE SONG
Keisha, Jazmin
AN I COULD TELL IT WOULDNT BE LONG
TILL HE WAS WITH ME, YEAH ME,
AN I COULD TELL IT WOULDNT BE LONG
TILL HE WAS WITH ME, YEAH ME, SINGIN
I LOVE ROCK N ROLL
SO PUT ANOTHER DIME IN THE JUKEBOX, BABY
I LOVE ROCK N ROLL
SO COME AN TAKE YOUR TIME AN DANCE WITH ME
60
Act Two
Keisha
HE SMILED SO I GOT UP AND ASKED FOR HIS NAME
THAT DONT MATTER, HE SAID,
CAUSE ITS ALL THE SAME
Jazmin
I SAID CAN I TAKE YOU HOME WHERE WE CAN BE ALONE
AN NEXT WE WERE MOVIN ON
Keisha, Jazmin
AND HE WAS WITH ME, YEAH ME
AN NEXT WE WERE MOVIN ON
AND HE WAS WITH ME, YEAH ME, SINGIN
I LOVE ROCK N ROLL
I LOVE ROCK N ROLL
(Gloria conjures tall red silks from the fl oor as if creating a bloodred jungle. Then, with a fl ash and a blast of sound, her battle
attire breaks away to reveal a skimpy cocktail dress beneath. The
MUSIC does not end but continues seamlessly into a thumping
groove. The moment this transformation happens, LIGHTS UP
on SKIN DEEP, Kools new happening club; its all red velvet
and high-roller, luxury surfaces the opposite of the Steel Bar.
There are poles to each side, but they seem (for now) to blend
into the architecture; in the center of the space, ringed by tables,
is a dancefl oor where men in work attire dance with barely-clad
women. And we realize that Glorias FLASHDANCE has been a
fantasy. Holding on to what shes just imagined, she rushes over to
Dr. Kool, who stands near C.C. fraternizing with customers.)
Ensemble
I LOVE ROCK N ROLL
SO PUT ANOTHER DIME IN THE JUKEBOX BABY
Flashdance
61
I LOVE ROCK N ROLL

I LOVE ROCK N ROLL
SO PUT ANOTHER DIME IN THE JUKEBOX BABY
I LOVE ROCK N ROLL
Gloria
Kool, I got it! I got it figured out! My debuts gonna be this

amazing rock n roll moment . . .
Dr. Kool
Rock n roll is dead, girl. Havent you heard?
Gloria
But its what I do. Rock n roll is what I do.
Dr. Kool
No, no, baby, thats what you used to do. Its a whole new world
now. And youre at the center of it. You gonna be a star.
Gloria
Really?
Dr. Kool
Damn right. Just think how youre gonna look up there on a

stage Im building just for you.
Gloria
But what about Harrys place? I havent even told him Im not
gonna be workin there . . . plus Alex and the girls theyre
gonna be pissed off.
Dr. Kool
Trust me, theyll all be comin here to cheer you on. I had my
eye on you for a long time, you know that. You deserve the best,
baby. Th is is your world now . . . experience the best!
Music No. 19:
EXPERIENCE
(Gloria turns to see the club through Dr. Kools eyes as specials
light up the Pole Dancers:)
Skin Deep Dancer

IM A COME-ON, SHOWING UP AT MIDNIGHT,
EVERY ANGLE HOTTER THAN THE SPOTLIGHT.
62
Act Two
JUST A BAD GIRL, DOING EVERYTHING RIGHT,

I GOT ALL THE GOODS YOU WANNA SEE.
Skin Deep Dancers, C.C. Dr. Kool
EVERYTHING GOES, WALK IT LIKE WE TALK IT,
OPEN MARKET, THIS IS HOW WE HAWK IT.
COUGH IT UP, BOYS; DIG INTO YOUR POCKET,
YOURE PART OF THE NEW ECONOMY.
Skin Deep Patrons, Jimmy
WE GOT THE DOUGH
Skin Deep Dancers
THINK YOU CAN HANDLE US?
Skin Deep Patrons, Jimmy
GO NICE AND SLOW . . .
C.C., Skin Deep Dancers
YOU BOYS ARE SCANDALOUS.
Skin Deep Dancers, C.C., Patrons
THATS HOW WE ROLL IN THE NEW AGE
TAKE A SPIN, COMMIT THE SIN,
YOUR INNOCENCE IS GONE
EXPERIENCE THE VERY BEST THAT MONEY CAN BUY
Skin Deep Dancers, Dr. Kool, C.C.
IN HERE YOU KNOW WHATEVER YOU DEMAND, WE SUPPLY
ALL WE WANT IS ACTION, AN ATTRACTION BEYOND ALL MEASURE
PLEASURES PRINCIPAL AT SKIN DEEP.
Gloria
THIS IS HIGH-CLASS LIVING IN THE EIGHTIES,
FANCY WINE AND ENTERPRISING LADIES.
DOING LINES IN BACK OF A MERCEDES.
I THINK THIS IS WHERE I OUGHTA BE.
Flashdance
Dr. Kool
ILL TAKE CONTROL?
Gloria
I NEED A NIGHT OR TWO
Dr. Kool
MY MIND, YOUR SOUL
Gloria
I THINK A LINELL DO.
Gloria, Dr. Kool
THATS ROCK N ROLL IN THE NEW AGE.
TAKE A SPIN, COMMIT THE SIN,
YOUR INNOCENCE IS GONE
Gloria, Dr. Kool, C.C., Skin Deep Dancers & Patrons
EXPERIENCE . . .
Dr. Kool
THE VERY BEST THAT MONEY CAN BUY
All
IN HERE
Dr. Kool
YOU KNOW THAT ANYTHING YOU LIKE . . .
Dr. Kool, C.C.
WE CAN TRY.
ALL THEY WANT IS ACTION,
All
A DISTRACTION BEYOND ALL MEASURE
Dr. Kool
PLEASURES . . .
63
64
Act Two
All
PRINCIPAL AT SKIN DEEP.
(DANCE BREAK as the Pole Dancers step forward and dance
in unison for the customers.)
Dr. Kool
(To Gloria.) Now you got the picture?
Gloria
Yeah, yeah.
Dr. Kool
(To Jimmy.) You. Hey I aint got you on no payroll to party.
Gloria
Kool, he was just having a little fun.
Dr. Kool
Did I ask for your opinion? Maybe you should wait for me in
the office.
Gloria
No I want to be out here
Dr. Kool
(Quiet, but threatening.) Fine. But if you want what Im offering,

then you do what I say. Just do what Kool says and everything
gonna be cool. (Turning to Jimmy.) Its like I told you. Youre
fi red.
Jimmy
Hold on now, man. Im good for this place.
Jimmy (Sings.)
I UNDERSTAND THE BUY AND SELL,
ILL HELP YOU LAND THE CLIENTELE
C.C.
YOU AINT WORTH A DIME, BOY.
YOURE WASTIN OUR TIME, BOY.
Jimmy
WELL, MAYBE YOURE TOO DUMB TO SEE
IM GONNA BE A SOMEBODY
Dr. Kool
YOURE NOBODY HERE.
Flashdance
65
Dr. Kool, C.C.

GET OUT.
(Jimmy runs out. Gloria starts after him but a wall of dancers
and patrons stops Gloria from following. Key change.)
Dr. Kool, C.C., Skin Deep Dancers & Patrons
EXPERIENCE THE CHERRY ON YOUR PIECE OF THE PIE.
ALL WE WANTS CONNECTION, A SELECTION BEYOND ALL MEASURE
PLEASURES PRINCIPAL AT SKIN
(Now Gloria is drawn back to the action on the fl oor. Key change.)
C.C., Skin Deep Dancers & Patrons, Gloria
EXPERIENCE A FEELING THATS TOO GOOD TO DENY
JUST A LITTLE CASH AND YOU GET PASSION BEYOND ALL MEASURE
TREASURE, PLEASURE, ALL YOU NEED IS SKIN DEEP
Dr. Kool (Spliced into above lyrics.)
. . . ILL TAKE CONTROL
. . . MY MIND YOU SOUL
. . . THATS ROCK AND ROLL
(Button.)
SCENE TWO
Outside the mill gates.
Music No. 19a:
ONE IN A MILLION (Reprise)
Alex
MY LIFE WAS WRITTEN IN STONE,
MY LIFE WAS SET IN STEEL,
I SAID ID GO IT ALONE,
I SAID ID KEEP IT REAL.
AND NOW IM SUDDENLY THROWN,
66
Act Two
AND ITS A FEELING THAT I NEVER BELIEVED I COULD FEEL

IM GONNA DANCE LIKE I NEVER DANCED,
ILL SHOW THEM, ILL AMAZE.
AND THEN ILL RUN OUT INTO HIS ARMS,
YEAH, NOW IM FINALLY SEEIN HOW THE LONG SHOT PAYS.
A MILLION TO ONE
MEANS ANYTHING IS POSSIBLE
A MILLION TO ONE
YOU GIVE IT A TRY
IM DANCIN FOR LIFE,
CAUSE EVERYTHING IS POSSIBLE.
AND ON TOP OF IT ALL, I GOT A ONE IN A MILLION
(Nick enters.)
Alex
Hey, you. Ive been waiting. Like a fan.
Nick
Hasnt your shift started?
Alex
I got some good news. I thought maybe you and I could play a
little hookey.
Nick
Its not a great day for me.
Alex
Whats going on?
Nick
My uncles telling me to . . . look I really cant talk about it.
Alex
(Backs off.) Okay. Whatever. Ill catch you later.

(She starts to head in.)
Nick
Alex. Wait. (A beat.) Come over to my place tonight. Ill open

a bottle of champagne and well toast to the 29th. (Caught.) I
mean, thats your good news, right? You got the audition?
Alex
(Coolly) How would you know that?
Nick
Youve been checking your mail like a hawk . . .
Flashdance
67
Alex
I dont mean the audition, I mean the date.
Nick
Alex, come on, give me a break . . .
Alex
(Now in a rage.) You set this up. Hurley pull. Right?
Nick
(After a beat.) I made one phone call.
Alex
What, are you gonna give em. A scholarship fund? A million

pairs of tights?
Nick
I just wanted them to make sure they took your application

seriously.
Alex
I needed to get this on my own, Nick. You promised me youd

never do this.
Nick
Sorry, but thats not how the real world works.
Alex
No, this is what doesnt work! I was a fool to ever think it could.
Nick
Its not always about you, Alex! You say youre in charge, and
then you say youre getting screwed! You cant have it both ways.
Alex
Oh, yeah? Well, screw you, Nick! Im not for sale.

(Nick exits as Jimmy enters from the opposite direction.)
Jimmy
Alex, hey, you gotta help me out for a minute. Please listen . . .
Alex
Not now, Jimmy.
Jimmy
Look, I met this guy at Kools place whos drivin to L.A. and
says I can ride with him for two hundred bucks. Th ats all I
need! Two hundred bucks!
Alex
I got my own problems right now
Jimmy
Th is is my chance, Alex! Hes leaving tomorrow.
68
Alex
Act Two
Dont you get it?! I cant help you.

(Alex exits, beside herself. Jimmy runs after her, grabs her.)
Jimmy
I can pay you back!

(Alex pushes him away violently and rushes off.)
Alex
You never pay anyone back! Now go away!
Jimmy
Nobody listens!
Music No. 20:
YOU CANT KEEP ME DOWN
Jimmy
RED LIGHT! STOP SIGN!
GET A BETTER PUNCH LINE!
CANT YOU SEE IM DYIN HERE?
THEY PUT ME DOWN LIKE IM JUST A CLOWN WITH NO HOPE
SOME FOOL THEY SCOFF AT WHO CANT LAY OFF OF THE DOPE.
Ensemble
TIMES RUNNING OUT, JIMMY
Jimmy
NO, THEYRE WRONG NOW
BAD LUCK IS COMING TO AN END.
IVE GOT IDEAS ON HOW TO BE A SUCCESS.
BUT ITS DO-OR-DIE, IF YOU WANNA TRY AND IMPRESS.
I GOT AN URGE IN ME
DONT BELONG NOW
BUT MY BREAK IS COMIN ROUND THE BEND.
SEE, IM A FIGHTER WHO JUST WONT QUIT
NO MATTER HOW MANY TIMES IM HIT
CUZ YOU CANT KEEP ME DOWN.
Flashdance
69
IM TAKIN HOLD OF MY DESTINY

ITS TIME TO DO WHAT IS BEST FOR ME
AND YOU CANT KEEP ME
DOWN THE ROAD, THEY SAY THINGS ARE GONNA STAY SLOW
BUT IVE RAISED THE STAKES AND NOW ALL IT TAKES IS THE BLOW
YEAH, I FEEL IT SURGE IN ME
Jimmy, Ensemble
WONT BE LONG NOW
Jimmy
THEYLL KNOW WHOS REALLY COOL BY THEN
SEE, IM A FIGHTER YOU CANT IGNORE
YOU KNOCK ME OVER IM UP FOR MORE
CUZ YOU CANT KEEP ME DOWN.
ILL GET MY SIGHTS SET ON SOMETHING NEW
ILL DO WHATEVER I GOTTA DO
AND YOU CANT KEEP ME DOWN.
Ensemble
NO, YOU CANT KEEP ME DOWN
THEYLL KNOCK YOU BACK WITH EVERY STRIDE.
THERES NOWHERE ELSE FOR YOU TO HIDE.
YOURE UP AGAINST THE ROPES,
BRUISED AND BEATEN UP INSIDE.
Jimmy, Ensemble
YOULL NEVER GET TO COUNT ME OUT,
CUZ I KNOW YOU CANT KEEP ME DOWN.
Ensemble
FIRST ROUND
KNOCKOUT!
GET UP FOR THE NEXT BOUT!
DONT YOU KNOW THE JOKES ON YOU?
70
Act Two
Jimmy
THIS IS THE NEW JIMMY!
Jimmy, Ensemble
GROWIN STRONG NOW
Jimmy
THEYRE GONNA SAY THEY KNEW ME WHEN
CUZ, IM A FIGHTER WHO CANT BE BEAT
ILL STAND ALONE ON MY OWN TWO FEET
Jimmy, Ensemble
Jimmy
ILL GET THE CASH AND GET OUT OF HERE
MY PAST BEHIND ME, THE FUTURE CLEAR
Jimmy, Ensemble
Jimmy, Ensemble
YES, I WILL RISE UP . . .
Ensemble
(SOMETHINGS COMING AROUND THE BEND)
Jimmy
I WILL RISE UP . . .
Ensemble
(GONNA SAY THAT WE KNEW HIM THEN)
Jimmy
YES, I WILL RISE . . .
Ensemble
(GOT HIS SIGHTS SET ON SOMETHING NEW)
Flashdance
71
Jimmy
I WILL RISE . . .
Ensemble
(DO WHATEVER HES GOTTA DO)
Jimmy, Ensemble
(Button.)
SCENE THREE
Music No. 20a:
SCENE CHANGE (DANCE CROSSOVER No. 6)
That night. The set has shifted to reveal Hannahs little studio in the Carson Street
cleaners. She is working intently on the dress for Alex the unfinished masterpiece.
Hannah sits back; exhausted. Its finally finished. A feeling of deep satisfaction sweeps
over her. The bell of the store-door tinkles loudly. Taken out of her reverie, Hannah
puts the sheet back over the dummy and goes to the register. Alex is there, waiting.
Hannah
Whatre you doing here? I thought you were on till nine.
Alex
I spent the whole day walking around, trying to figure out why
you told Nick Hurley to get me into Shipley.
Hannah
I think you need to eat. Ill take you home, make you
meatloaf . . .
Alex
I dont want your meatloaf, Ma! Just tell me the truth.
Hannah
So we talked. So? Its only an audition.
Alex
You mean its gonna cost extra for them to say Yes?
Hannah
He wanted to help.
Alex
And now Ill never know if Im good enough.
Hannah
Of course youre good enough!
72
Act Two
Alex
But not good enough to get in alone.
Hannah
No! Not educated enough. Not connected enough.
Alex
Then what the hell do I want with that place?
Hannah
A fighting chance. Any way you can get it. The long shot,
remember?
Alex
STOP! Im not gonna be some kinda winning ticket, Ma. And

Im not gonna have someone pay my way.
Hannah
Alex, be realistic!
Alex
Th ats supposed to be your job, Ma! Realistic? Th at really takes

the cake.
Hannah
Whats that supposed to mean?
Alex
I could go up to the house right now and open your dresser

drawer and there in back Id still fi nd Dads shirts and pants,
pressed and waitin for him. How realistic is that?
Hannah
You have no right
Alex
Cause let me tell you, me getting into that school is not gonna
make your mistakes go away.
Hannah
What mistakes?
Alex
Falling in love with a bastard who left you with a kid for one.
And then staying in love with him, like hell come back as if he
even thinks about us! If thats your idea of realistic, I dont want
it! Any of it!
Hannah
So then what the hell do you want?
Alex
I want you to leave me alone! I am done.
Hannah
NO! Dont you say that!
Flashdance
Music No. 21:
YOURE NOT DONE
Hannah (Sings.)
YOUVE JUST BEEN HANDED A SHOT,
THE ONLY ONE THAT YOUVE GOT
WHO GIVES A SHIT WHY THEY OFFERED YOU A SLOT?
Alex
THE SHOT IVE GOT ISNT MINE
CAUSE YOU WERE WAY OUT OF LINE
THIS IS MY LIFE. MY LIFE . . .
Hannah
WHAT KIND OF LIFE?
THIS AINT A LIFE,
LIFE IS A CHANCE YOU TAKE.
YES, YOU CAN FALL.
RUN TIL YOU FALL,
YOURE NOT DONE.
I DONT PRETEND EVERY DREAM COMES TRUE
BUT BETTER TO STUMBLE IN SEARCH OF SOMETHING NEW
THERES NO GUARANTEE
YOU THINK THAT STEEL MILLS A STABLE LIFE?
WHAT IF IT CLOSES? YOULL END UP A HOUSEWIFE!
END UP LIKE ME
Alex
NEVER LIKE YOU, MAMA
IM NOT LIKE YOU, CAUSE YOU SEE
IVE GOT A PLAN
WORKING IN STEEL,
ILL BE TOUGHER THAN STEEL
AND NO MAN WILL HURT ME
Hannah
AND IF YOU HURT?
LIVE WITH THE HURT,
THATS JUST THE PRICE YOU PAY
73
74
Act Two
GO THROUGH THE FEARS

GROW THROUGH THE TEARS
YOURE NOT DONE.
Alex
WAKE UP AND TAKE A LOOK
LIFES NOT SOME STORYBOOK
WASNT FOR YOU
WONT BE FOR ME.
YOU HOPE YOUR HOPES UNTIL
THEY SHATTER, AND THEY WILL,
AND I WONT DO IT AGAIN.
I PRAYED THAT DAD WOULD COME BACK
BUT HELL NEVER COME BACK MAMA!
Hannah
MAYBE YOURE RIGHT!
MAYBE I MIGHT
NEVER LOVE AGAIN!
THATS UP TO ME,
LEAVE THAT FOR ME.
YOURE NOT DONE.
TAKE ONE LAST LOOK AT THIS PLACE
THIS IS THE FUTURE YOU FACE
IF YOU DONT REALIZE LIFE IS IN THE CHASE
TAKE ALL THAT PASSION INSIDE
AND LET YOUR GUT BE YOUR GUIDE
THIS SHOULD BE YOUR MOMENT
I FIGHT THE FIGHT EVERY DAY
Alex
(I CANT LIVE A FANTASY)
Hannah
THROUGH ALL THE DIRT AND DECAY
Alex
(GOTTA KEEP IT REAL)
Flashdance
Hannah
AND HERES A CHANCE FOR MY GIRL TO GET AWAY
Alex
(KEEP ON LOOKIN OUT FOR ME)
Hannah
THOUGH IT MAY DRIVE US APART
Alex
(IM NOT WAITING FOR THE PRINCE)
Hannah
YOUVE GOT TO FOLLOW YOUR HEART
Alex
(AND I AM NEVER LIVIN)
Hannah
GOTTA TRY LIFE
Alex
(THE HIGH LIFE)
Hannah
DONT END IT HERE DONT DISAPPEAR
Alex
(LIFES NOT SOME FAIRY-TALE)
Hannah
THERES SO MUCH MORE TO LEARN
Alex
(ACT LIKE A MOTHER FOR ONCE)
Hannah
THOUGH YOU CAN FAIL DONT END THE TALE
75
76
Act Two
Alex
(DONT SET ME UP TO FAIL)
Hannah
YOURE NOT DONE
Alex
(THIS TALK IS DONE)
Alex
I cant do this anymore, Ma.
Hannah
Wait Alex wait!

(Alex runs out. Hannah watches her go; after a moment:)
(Sings.)
RUN TILL YOU FALL
RUN TILL YOU FLY
NO MORE STANDING STILL.
MY LITTLE GIRL.
MY LITTLE ONE.
YOURE NOT DONE.
YOURE NOT DONE
YOURE NOT
(The bell on the door opening interrupts Hannah; Jimmy enters.)
Hannah
Sorry, were closed, Jimmy.
Jimmy
Get back behind the counter.

(Hannah nervously moves back.)
Now. Open the register.
Hannah
Youll go back to jail, son.
Jimmy
This has nothing to do with you. Just do it, Mrs. Owens! DO IT!
Flashdance
Hannah
(Stepping forward again.) Dont do this to yourself.
Jimmy
(Pulling a gun.) I said open the goddamn register! (Losing it.)

DOESNT ANYBODY LISTEN?!
77
(Blackout.)
FLASHDANCE FOUR: K EISHA - FLASHDANCE
Music No. 22:
KEISHAS FLASHDANCE
(LIGHTS UP on what looks like the man, back turned to us,
with long overcoat, hat and cigar; it looks to be Kool. Then,
turning, we see its Keisha, who throws off the male drag to reveal
a metallic dress beneath. She wears a feathered headdress like a
Watusi. She dances in front of a mirrored drop before taking center
stage for her primal, electric dance. On applause we transition to:)
SCENE FOUR
Jazmin is putting her look together in front of the dressing room mirror as Keisha
enters.
Keisha
Its dead out there.
Jazmin
All the live ones gone to Kools place.
Keisha
You better go on before Harry has another one of his fits.

(Harry enters.)
Harry
Too late! Jazmin, get out there.
Jazmin
Cant you see I aint made up yet? I gotta look good.
Keisha
Baby, thats as good as its gonna get.
Jazmin
Ill go on after Alex.
78
Act Two
Harry
(Exits.) If she ever shows up. You tell me if she gets here.
Keisha
All Alex thinks about now is that rich kids school.
Jazmin
Chica, you dont have to go to no school to learn how to dance.

My Aunt Fabiola knew Flamenco because it was in her blood.
She taught me to use the back (Pose.) . . . the neck (Pose.) . . .
Paso Doble pride (Pose.) . . . The Estrella Moreno stamp.
(Stomps her heels to a staccato beat.)
Keisha
(Cant stand her airs.) Really! Well my Aunt Rose taught ME

The Low Down (Pose.) . . . The Black Bottom (Pose.) . . . The
Pimp Walk (Pose.) . . . and The Food Stamp! (Comically stomps
her heels imitating Jazmin.)
(Jazmin and Keisha, now almost nose-to nose, turn to see Alex
standing by door.)
Alex
Th ank God I dont have an aunt.
Jazmin
Youre late again. Harry is not happy.
Alex
Let him fi re me. (Looking around.) Okay, wheres Gloria? She

never answers her phone any more.
(Jazmin and Keisha turn away nervously.)
Alright, where the hell is she?
Jazmin
(Defensive.) Word is shes been hangin with Kool over at Skin

Deep.
Alex
(Furious.) Why didnt you tell me? Somebody shoulda told me!
Keisha
We got to tell you where your best friend is? Guess you really
been busy. Plus you think Im gonna mess with that shit again?
Two black eyes and a fractured rib aint enough?
Flashdance
Music No. 22a:
79
I LOVE ROCK N ROLL (Reprise - Glorias Boom box - SFX)

(SPLIT STAGE: LIGHTS UP on Gloria, dancing to the sounds
of a boom box in her Skin Deep dressing room. A half-empty bottle
of champagne is beside her.)
Alex
I gotta go get her.
Jazmin
You serious? Theyll kill you!

(Alex thinks about this as Kool enters Glorias dressing room
and rips the plug out of her boom box.)
Dr. Kool
Theres no accountin for taste.
Gloria
I need a line . . . You got a line?
Dr. Kool
Just do what I told you to do. You get up there, you get it on,
and you take it off. Th is is your real debut, girl. Not some
bullshit you been dreamin of. You got that?
Gloria
Yeah. I got it.
Music No. 23:
GLORIA INTRO
Dr. Kool
And youll get your very own gram . . . Pure Columbian. I want
you out there now. You hear?
(He exits. Gloria looks at herself in the dressing room mirror; in
a parallel moment, Alex is looking at herself in her own mirror,
making a decision.)
Alex
GLORIA, YOURE ALWAYS ON THE RUN NOW . . .
Gloria
RUNNING AFTER SOMEBODY . . .
YOU GOTTA GET HIM SOMEHOW . . .
80
Act Two
Alex
I THINK YOUVE GOT TO SLOW DOWN
BEFORE YOU START TO BLOW IT
I THINK YOURE HEADED FOR A BREAKDOWN
Gloria
SO BE CAREFUL NOT TO SHOW IT
Alex, Gloria
YOU REALLY DONT REMEMBER
WAS IT SOMETHING THAT HE SAID
ARE THE VOICES IN YOUR HEAD
CALLING GLORIA . . .
(Gloria snorts a final line of cocaine and exits to make her
dubious Skin Deep debut. In the Steel Bar dressing room:)
Alex
I gotta a real bad feeling about this. Look, Im going to Skin

Deep. She needs me.
Jazmin
(After a beat.) No she dont. She needs us.

(Harry enters.)
Harry
Okay, Owens. Ive had just about enough.
Alex
Makes the two of us.
Harry
Where the hell you goin now, you just got here!
Alex
Me and Jazmin are gonna get Gloria.
Harry
Are you nuts? Up against Kool, just the two of you?
Keisha
Nope. (A beat.) Just the three of us. Lets go.

(The three women start to exit.)
Harry
Wait a goddamn minute, all of you!
Flashdance
81
(They stop.)
Harry
Ill come too.
Alex
Th anks, Harry. But weve gotta do this ourselves.
Harry
(Sincerely.) Look, just dont get yourself killed. Cause when you
get back here, Im gonna murder you.
(Alex realizes how much this family means to Harry.)
Alex
(Warmly.) Its a date.
Music No. 23a:
GLORIA
(TEMPO UP and DRESSING ROOM OFF as the three women
make their way through the streets to find and rescue Gloria.)
Alex, Jazmin, Keisha

GLORIA,
Alex
DONT YOU THINK YOURE FALLIN
Jazmin
IF EVERYBODY WANTS YOU
Keisha
WHY ISNT ANYBODY CALLIN
Jazmin
YOU DONT HAVE THE ANSWER
Alex, Keisha
LEAVE HER HANGIN ON THE LINE
Jazmin, Keisha, Alex
OH-OH-OH, CALLING GLORIA
82
Act Two
Pole Dancers
GLORIA
(GLORIA) I THINK THEY GOT YOUR NUMBER
(GLORIA) I THINK THEY GOT THE ALIAS
(GLORIA) THAT YOUVE BEEN LIVING UNDER
(GLORIA) BUT YOU REALLY DONT REMEMBER
WAS IT SOMETHING THAT THEY SAID
CALLING, GLORIA
YOU DONT HAVE THE ANSWER
LEAVE THEM HANGIN ON THE LINE
OH-OH-OH, CALLING
(Alex, Jazmin and Keisha enter Skin Deep and push through the
crowd of raunchy customers whistling and screaming at Gloria to
take her clothes off.)
Alex
Gloria!
(The sound of Alexs voice snaps Gloria back into reality. Alex
climbs on the stage. Jazmin and Keisha follow.)
Gloria
What are you . . . ?
Alex
Im not going to let you spend the rest of your life on your back.
Jazmin
Lets go, girlfriend.

(Kool emerges from the crowd.)
Dr. Kool
Th is is my club, bitch! You in dangerous territory here!
Keisha
Shes coming with us, you bastard.
Dr. Kool
Man, you just keep coming back for more, dont you Keisha?
(Kool moves to strike Keisha. Alex blind-sides him with a kick
to the gut. C.C. steps in but Jazmin shoves him back into the
crowd. Kool, infuriated, gasping for air, steps toward her, murder
in his eyes. Alex steps right up to meet him:)
Flashdance
Alex
83
Go ahead. Give me your best shot! In front of all these people!

Show them what a man you are. (Beat.) Itll be just the kinda
press your place needs.
(Kool almost reaches for her but thinks better of it.)
Dr. Kool
(Confident smile.) Shes mine now. Mine. Shell be back.
Alex
For what?
Dr. Kool
For the life. (To Gloria.) Isnt that right?

(Alex pulls Gloria away from Kool as he yells after her:)
Dr. Kool
Youll all be back here one day! All you bitches be workin for
me one day! Its just a matter of time . . . Youll see. Its just a
matter of time!
Pole Dancers
BUT YOU REALLY DONT REMEMBER
WAS IT SOMETHING THAT THEY SAID
CALLING GLORIA
Music No. 23b:
SCENE CHANGE TO NICKS OFFICE (INDUSTRIAL)

SCENE FIVE
Nicks office. An angry Joe stands in front of him holding a pink slip.
Joe
You have any idea how deeply lousy it is that people like you
can take forty years of a persons life and just throw it away?
Nick
How do you think it makes me feel? Th ats the tenth lay-off Ive
had in the past three hours.
Joe
Now my wife and I gotta move in with our kid up in Detroit.
Nick
Im sorry, Joe. Trust me. You have no idea.
84
Act Two
Joe
(Softening.) How old are you, anyway?
Nick
Im twenty-seven. Next August.
Joe
Your uncle used you, son. At least you got Alex.
Nick
The truth is. I dont.
Joe
Oh. I didnt know. Sorry.

(Nick nods.)
You know, things were simpler when I was your age. Back then,
you knew what this country stood for. And women . . .
Nick
Th at part was simple, too?
Joe
No. Th at part was always impossible. (He starts out.) Im just

lucky Im not startin out now.
Music No. 24:
WAKE UP
Good thing Detroits a city that still matters. You know what
they say: As General Motors goes, so goes the nation. (Stops;
turns back.) God, did you hear that? Im already talkin like Im
lucky. (Shakes Nicks hand.) Take care, kid.
(Nick watches him go.)
Nick
GOD BLESS THE WORKING MAN,
GOD BLESS THE MEN OUT ON THE FLOOR.
THE ONES WHO LEND A HAND, THE ONES WHO HOPE FOR MORE
IVE SEEN THE PROMISED LAND,
I KNOW THE LIFE YOURE REACHING FOR,
I AM A WORKING MAN, I FOUGHT FOR MY PIECE OF THE DREAM.
BUT YOU WONT GET YOUR SHARE, THERES NOTHIN THERE
YOU GIVE AND YOU GIVE AND THEY STILL DONT CARE
Flashdance
85
IT ISNT WORTH THE CHASE, THEY FIXED THE RACE

THERES NO WINNING WHEN YOURE OUT IN THE REAL WORLD
WAKE UP, TIME TO MAKE YOUR MIND UP
TO LEAVE THIS TIRED TOWN BEHIND.
BREAK ALL TIES, COLLECT YOUR LIFE AND GO
I GOTTA GET OUTTA HERE!
GOD BLESS THE STARRY-EYED,
GOD BLESS THE PROMISE OF ROMANCE . . .
THE FIRE YOU CANNOT HIDE, THE SPARK IN EVERY GLANCE
I SIGNED ON FOR THE RIDE, THE MOMENT I FIRST SAW HER DANCE,
SHE LEFT ME STARRY-EYED; I FOUGHT FOR MY PIECE OF THE DREAM
BUT ITS A BIG CHARADE, YOUVE JUST BEEN PLAYED
YOU GIVE AND YOU GIVE AND YOURE STILL BETRAYED
THERE AINT NO DESTINY, NO MEANT-TO-BE
EVER AFTER IS A JOKE IN THE REAL WORLD
TO LEAVE THIS BROKEN TOWN BEHIND.
AND IM NEVER GONNA LOOK BACK
AND I NEVER WILL LOVE AGAIN
YOU CAN TRY BUT YOU AINT NEVER GONNA SEE ME THEN
AND IM CUTTING OFF THE PHONE LINE
AND IM SHUTTIN DOWN THE LIFE IVE KNOWN
NOW IM FOLLOWIN MY OWN LINE
ALL ALONE
TO LEAVE THIS BULLSHIT TOWN BEHIND.
I KNOW I GOTTA GET AWAY
I GOTTA LEAVE IT ALL TODAY
TIME TO GO
86
Act Two

GO, I GOTTA GET OUTTA HERE.
GO, I GOTTA GET OUTTA HERE.
(Button.)
Music No. 24a:
SCENE CHANGE (Optional)

SCENE SIX
(LIGHTS UP on Alexs loft. Its dark inside, and as Alex and a
shivering Gloria enter Alex fl ips on the light.)
Gloria
Kools gonna come after us. Im tellin you . . .

(Alexs phone rings.)
Dont pick up, its him!
Alex
Im not picking up for anyone . . .
Gloria
Im so cold.
Alex
Honey . . . (Holding her.) Why wouldnt you listen to me?
Gloria
I guess I knew it wasnt real. But it was a nice dream, ya know?

And Im so stupid. (Starts to cry.) Im so stupid.
Music No. 25:
DONT STOP (Reprise 2)
Alex
Shh . . . Its okay . . .
I KNOW YOUVE BEEN USED

AND ITS GOT YOU CONFUSED
YOURE ON THE RUN
BUT LONG AS IM HERE
YOUVE GOT NOTHING TO FEAR
CAUSE YOURE NOT DONE . . .
THERES SO MUCH MORE THAT YOU WERE MEANT TO DO;
Flashdance
87
DONT LET IT SLIP AWAY.

DONT STOP DREAMING WHAT YOURE DREAMING
DONT STOP,
THAT DREAM CAN TAKE YOU THERE . . .
(A loud knock at the door.)
Gloria
Oh, God. Its him!
Nick
(O.S.) Alex. If youre there, Ive got to talk to you!
Alex
(Anger.) I dont want to talk, Nick.
Nick
Please, its important. Its about your mother!

(Alex quickly moves to the door and opens it.)
Alex
Is Ma okay? Nick. (Stares into Nick.) Tell me shes okay!
Nick
Alex, when I left the mill the police were there looking for you.
There was a hold-up at the cleaners. He had a gun, and . . . I
guess he panicked.
(Alex backs away slowly.)
It was the kid . . . The kid we saw . . .
Alex
Jimmy.
(Alex looks to Gloria for a moment, who covers her mouth in
shock. Alex turns back to Nick. Alex knows the worst. Her chest
suddenly collapses as if the wind has been sucked out of her.)
Gloria
Oh, God, Alex . . .
Nick
Im so sorry. Look . . .
(Alex starts to shake her head, trembles.)
88
Act Two
Alex
No. Its not true. Its not true, its not true (Beating at Nick
now, until she breaks away from him, turns.) God. Oh, God! (A
painful cry:) Mama!
Music No. 26:
NIGHTMARE BALLET
(Music in. The lights black out on the loft, Nick and Gloria; a
lone special hits Alex and she rushes downstage into:)
SCENE SEVEN NIGHTMARE SEQUENCE
Alex runs out rushes out into a darkened streetscape, populated with ghostly versions of
the people she sees in the streets every day.
Then she sees her mother among the throng. Th ere are a few plaintive and sweet bars of
Youre Not Done as Alex sees Hannah (behind a scrim, or in silhouette like a faroff dream). But Hannahs image disappears just as Alex nears; Alex rushes about for
a few moments trying to get to her, then finds herself alone on the stage.
Jazmin, Gloria, Keisha enter to an energetic but modified, more elegant version of
In Touch with the Beat, Alex watches each of them dancing in her own unique way,
in shafts of white, Pantheon-like light, a bit celestial. Alex goes toward them as three
Skin Deep poles descend ominously.
When Alex is finally about to touch or embrace them, the poles SLAM into place with
the sound of prison-doors locking. Th e shafts of white light on the dancers change to a
kind of prison-like darkness. All Alex can see when she reaches are the frantic hands of
the three friends trying to touch her through the bars. And then even the hands are gone.
Alex turns and sees the image of Hannah again; this leads her away from the poles
and the three girls, but, once more, Hannah vanishes, this time revealing Nick in her
place.
Nick approaches Alex and they dance together to a variation on Dont Stop,
tenderly. We hear wedding bells, with a ceremonial feel; but then, again, the music
grows more agitated and dissonant, the bell sounds darken, and the street dancers enter,
separating Nick and Alex; when Alex rushes to where she thinks Nick is, she sees
Jimmy standing in his place an electric, alarming moment.
Flashdance
89
The nightmare builds to a frenzied conclusion as Alex rushes toward the image of
her mother one last time, only to see Hannah disappear into darkness for good. Alex
collapses alone on the stage. The last beat of the music is a gun-shot.
SCENE EIGHT
LIGHTS UP on Alexs loft. The place is a mess, the bedding rumpled and takeout containers on the counter. A few large cardboard boxes, taped shut, are stacked
conspicuously to one side. Th e boxes are marked: Hannah Owens. Carson Street
Cleaners. Alex sits in bed, staring at the boxes. Rises finally. Takes a pair of scissors
and crosses to the first box, using the blade of the scissors to cut it open.
Music No. 27:
ONE IN A MILLION (Underscore)
She pulls plastic-wrap away until it reveals the designer-dummy revealing the finished
dress her mother had been making for her. Touches the dress as if it were precious.
Realizes the dress is finished. Its magnificent. The dress shimmers in the light. Alex is
so moved, she stumbles back. Sits, shaken.
Alex
You did it, Ma. God, did you ever.

(A KNOCKING at the loft door.)
Gloria
(O.S.) Alex? Alex?

(Alex crosses and opens the door. Gloria, looking much better
than when last we saw her, steps in. She holds a grocery bag.)
Gloria
Alex thank God youre okay. You know how many weeks you
been in here? Here, I brought you that soup you like.
Alex
I dont want anything, Gloria.
Gloria
So humor me. (Pulling soup and other groceries from the bag.) Hey,
guess what? I went to an A.A. Meeting. You know, it wasnt as
bad as I thought . . . Guess you heard about the mill. They say
Nick was fired but Joe said he actually resigned. Made his uncle
look like the shit he is. Have you talked to Nick since . . .
90
Act Two
(Alex shakes her head no.)

Alex
So youre doing better. Th ats great.
Gloria
Im doing okay.
Alex
And youre gonna stay clean and start takin good care of
yourself, right? You promise?
Gloria
No. Im gonna try. But I cant promise anything. (Sincerely.) I

wish I could.
(Keisha and Jazmin appear in the doorway.)
Keisha
Avon calling.
Jazmin
Hola.
Alex
(Warily.) Im not up for visitors. You know that.
Gloria
Do you even know what day it is?
Alex
Yeah, its . . . Monday.
Jazmin
May 29th.
Keisha
And youve got an audition to get to.
Alex
Oh, no. No. In your dreams.
Jazmin
ndale, were already late.
Alex
Listen, I get what youre doing and I know you mean well, but
Im not dancing ever again.
Keisha
Six weeks eating Chinese take-out in the dark and I wouldnt

wanna dance neither. How come your ass aint big as mine by
now?
Flashdance
Jazmin
Th at would take years.
Gloria
Come on. The auditions are already starting.
91
(But Alex doesnt move.)

Alex
Im not goin anywhere. Now you guys gotta go, I got stuff to do.
Keisha
(Now more confrontational.) Like what? What you got to do? Sit
on your butt till you end up on welfare? You got no job at the
mill. There is no mill. Soon there wont be no Steel Bar either.
Jazmin
(Soft.) Its the only shot you got. And youre the only shot we
got. If its over for you its sure as hell over for us.
Keisha
Baby, you the great white hope.

(Music in.)
Music No. 28:
IN TOUCH WITH THE BEAT (Reprise)
Gloria
Come on, you know were right.
Alex
I do? How?
Gloria
Because its what your mother wouldve wanted.

(Gloria walks over to Hannahs exquisite dress. Gradually,
Hannahs dress glows.)
Jazmin
And because its what you would want for us. Cept none of us
can dance like you.
Keisha
And because . . . youre our sister.
(Sings, tenderly.)
SO KEEP DANCING AND DANCING,
GO DO THE THING YOUR HEART IS ACHING TO DO.
92
Act Two
ON AND ON, JUST KEEP DANCING AND DANCING,

AND EVERY STEP YOU TAKE, WERE TAKING WITH YOU
YES, WELL BE DANCING, TOO . . .
(Alex slowly looks at all of them. Her expression unreadable, until:)
Alex
Th ank you.
Keisha
For what? I thought you didnt need our help.
Alex
Then . . . thank you for not listening.

(Alex reaches for the girls and they embrace her.)
Music No. 28a:
MAGICAL HIGH ART (DANCE CROSSOVER No. 8)

SCENE NINE
DANCE CROSSOVER No. 8 (STREET DANCERS) LIGHTS UP to reveal the interior

of the Shipley Academy. Alex enters, head high. Two Judges and Ms. Wilde stand to
one side.
Ms. Wilde
Judges, that concludes are auditions for today. Now, looking

at my notes, I think one of our applicants failed to show up, a
Miss . . . Alexandra Owens . . . but the truth is would have been
something of a courtesy audition anyway. I seriously doubt she
would have been appropriate for Shipley. So, shall we go to the
Carnegie Room and start conferring? Excellent.
(Suddenly Alex enters in black leotard, leg warmers and knee
pads.)
Alex
No applause . . . (Then, more intimidated:) Please.
Ms. Wilde
Im sorry, but the auditions are over now, Ms.
Alex
Owens. And I know Im late but you gotta see me.
Flashdance
93
Ms. Wilde
As I said . . . Not possible.
Alex
No, no! You have to see what I can do. Th is means everything
to me. Everything. I owe this to someone who loved me. Not to
mention myself.
Ms. Wilde
You have three minutes.

(Alex pulls an old-fashioned LP from her bag and puts it on a
turntable nearby. The opening strains of FLASHDANCE (What
a Feeling) are heard, and she takes the fl oor and begins a lyrical
combination but falters moments after shes begun. And falls.)
Hannah
(Appearing for a moment behind one of the mirrors.) Youre not

done, Alex. Get up.
Alex
Can I start again?
Ms. Wilde
(O.S.) Very well.
Alex
Th anks.
(Alex starts the record again, and begins her dance. Keisha,
Jazmin and Gloria appear above, watching her proudly as they
deliver the vocal:)
Music No. 29:
FLASHDANCE (WHAT A FEELING)
Keisha
FIRST, WHEN THERES NOTHING BUT A SLOW GLOWING DREAM
Jazmin
THAT YOUR FEAR SEEMS TO HIDE DEEP INSIDE YOUR MIND
Gloria
ALL ALONE I HAVE CRIED SILENT TEARS FULL OF PRIDE
IN A WORLD MADE OF STEEL, MADE OF STONE
94
Act Two
Keisha
WELL I HEAR THE MUSIC,
CLOSE MY EYES,
Keisha, Jazmin
FEEL THE RHYTHM
WRAP AROUND, TAKE A HOLD OF MY HEART
WHAT A FEELING,
BEINS BELIEVIN
I CAN HAVE IT ALL, NOW IM DANCIN FOR MY LIFE
TAKE YOUR PASSION,
AND MAKE IT HAPPEN
PICTURES COME ALIVE,
YOU CAN DANCE RIGHT THROUGH YOUR LIFE
Gloria
WHAT A FEELING
(Dance mirrors fl y in around the space; we see Alexs refl ection
refracted a thousand diff erent ways, with her figure seen from
many diff erent angles. As this happens, the wings and back wall fl y
out, to reveal our empty stage. Men in work boots and women in
steel workers helmets join Alex in a dance which transcends time
and space.)
Jazmin, Keisha, Gloria
WHAT A FEELING
Keisha, Gloria
I AM MUSIC NOW,
Jazmin
BEINS BELIEVIN
Keisha, Gloria
I AM RHYTHM NOW
Flashdance
95
Keisha, Jazmin, Gloria, Ensemble

WHAT A FEELING
I AM MUSIC NOW
BEINS BELIEVIN
I AM RHYTHM NOW
Keisha, Ensemble
WHAT A FEELING
Jazmin, Gloria
I CAN REALLY HAVE IT ALL
Keisha, Ensemble
WHAT A FEELING
Jazmin, Gloria
PLEASE BELIEVE IT
Keisha, Jazmin, Gloria, Ensemble
PICTURES COME ALIVE
WHAT A FEELING!
(A fl ash, and Alex is alone again onstage, arms outstretched in
triumph.)
Music No. 30:
FINALE
Ms. Wilde
Well Miss Owens . . . (A long beat.) We have never seen dancing

quite like that before. (Beat.) We look forward to having you
join us for the fall semester. Classes begin September 17th. Will
see you then.
(Nick enters, from the back of the theater holding a bouquet of red
roses.)
Nick
Congratulations!
96
Act Two
Alex
So you must be the big guys nephew, comin to whip us into

shape, right?
Nick
Im so proud of you.
Alex
(Taking the fl owers.) Not half as proud as I am of you.
Nick
At least I wont be the guy signing anyones checks anymore.
Alex
Figures. Just when I start my starving artist phase, my boyfriend

turns into a deadbeat.
Nick
Th at mean we can start over?

(Alex doesnt answer. Instead, still holding the fl owers, Alex
dances a few steps, making her way upstage as Nick stays behind,
looking on admiringly; her old strength has returned. Th en stops,
looks back at him . . . And off ers him a single rose. Nick goes to
her, takes the rose, and sweeps her into his arms. Th ey kiss as THE
CURTAIN FALLS.)
Music No. 31:
MEGAMIX
Ensemble
DANCING LIKE SHES NEVER DANCED . . . BEFORE
I LOVE ROCK N ROLL
I LOVE ROCK N ROLL
I LOVE ROCK N ROLL
I LOVE ROCK N ROLL
Flashdance
GLORIA, GLORIA
GLORIA, GLORIA
GLORIA, GLORIA
Jazmin, Keisha, Gloria
WHAT A FEELING
Keisha, Gloria
I AM MUSIC NOW,
Jazmin
BEINS BELIEVIN
Keisha, Gloria
I AM RHYTHM NOW
Ensemble
WHAT A FEELING
I AM MUSIC NOW,
BEINS BELIEVIN
I AM RHYTHM NOW
WHAT A FEELING
I CAN REALLY HAVE IT ALL
WHAT A FEELING
PLEASE BELIEVE IT
WHAT A FEELING
Music No. 31a:
PLAYOUT
(End of show.)
97
B ook b y Tom He d le y & Rober t C a r y

Mu sic b y Robbie Rot h
Ly r ics b y Rober t C a r y & Robbie Rot h
B a s e d on t h e Pa r a m o u n t Pic t u r e s f il m
S c r e e n pl a y b y Tom He d l e y a n d Joe E s z t e r h a s
S t o r y b y Tom He d l e y
VOC A L BOOK
Josef Weinberger
London W1T 3JJ
Tel: +44 (0)20-7580 2827
general.info@jwmail.co.uk
w w w.josef-weinberger.com
FLASHDANCE
Th e Musical
Flashdance Copyright 2012 by Paramount Pictures Corp.
Edition Copyright 2012 by Josef Weinberger Ltd., London
All Rights Reserved
Originally produced in the West End by Christopher Malcolm, David Ian,
Steven Baruch, Tom Viertel, Marc Routh, Richard Frankel and Transamerica
with Executive Producer Tom Hedley in association with Paramount Pictures
PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL
ADDITIONAL MUSIC CREDITS:
Manhunt
Music and Lyrics by Doug Cotler and Richard Gilbert
Maniac
Music and Lyrics by Michael Sembello and Dennis Matkosky
Kool Underscore
Music by Phil Edwards
I Love Rock n Roll

Music and Lyrics by Alan Merrill and Jake Hooker
Gloria
Music by Giancarlo Bigazzi and Umberto Tozzi. Lyrics by Trevor Veitch
Nightmare Ballet
Arranged by Phil Edwards
Flashdance... What A Feeling

Music by Giorgio Moroder. Lyrics by Keith Forsey and Irene Cara
March 2012
Musical Numbers
ACT ONE
1.
Overture / Dance Crossover No. 1 (Instrumental) . . . . . . . . . . . . . . . . . . . . 1
2.
Steeltown Sky (Alex, Joe, Sammy, Abe, Nick, Gloria, Keisha, Jazmin, Ens.) . . . 1
3.
Dance Crossover No. 2 (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
4.
One in a Million (Hannah, Alex) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
5.
Manhunt Scene Change (Underscore) (Instrumental) . . . . . . . . . . . . . . . . . 15
6.
In Touch with the Beat (Keisha, Jazmin, Gloria, Alex) . . . . . . . . . . . . . . . . . 15
6a.
In Touch with the Beat (Coda) (Alex) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
7.
High Art (Shipley Academy Students, Alex) . . . . . . . . . . . . . . . . . . . . . . . . . 22
8.
Maniac (Keisha, Jazmin, Gloria, Ensemble) . . . . . . . . . . . . . . . . . . . . . . . . . 29
9.
Kool Underscore (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
10. Twenty One (Gloria, Jimmy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

11. Scene Change to Steel Mill (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . 41
12. Totally Different People (Alex, Sammy, Joe, Abe) . . . . . . . . . . . . . . . . . . . . . 41
13. Steeltown Crossover (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
14. Manhunt (Gloria, Keisha, Jazmin) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
15. Dont Stop (Intro) (Nick) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
16. Dont Stop (Nick, Alex) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
16a. Kool Underscore (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
16b. Dont Stop (Coda) (Alex). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
17. My Next Step (Alex, Street Dancers, Gloria, Ensemble) . . . . . . . . . . . . . . . . 60
ACT TWO
18. I Love Rock n Roll (Jazmin, Keisha, Gloria, Ensemble) . . . . . . . . . . . . . . . 68

19. Experience (Skin Deep Dancers & Patrons, Jimmy, C.C., Kool, Gloria) . . . . . 70
19a. One in a Million (Reprise) (Alex) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
20. You Cant Keep Me Down (Jimmy, Ensemble) . . . . . . . . . . . . . . . . . . . . . . . 80
20a. Scene Change (Dance Crossover No. 6) (Instrumental). . . . . . . . . . . . . . . . 89
21. Youre Not Done (Hannah, Alex) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
22. Keishas Flashdance (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
22a. I Love Rock n Roll (Reprise) (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . 94
23. Gloria Intro (Alex, Gloria) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
23a. Gloria (Alex, Jazmin, Keisha, Gloria, Pole Dancers) . . . . . . . . . . . . . . . . . . . 97
23b. Scene Change to Nicks Office (Instrumental). . . . . . . . . . . . . . . . . . . . . . . 99
24. Wake Up (Nick) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
24a. Scene Change (Optional) (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . 103
25. Dont Stop (Reprise 2) (Alex). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
26. Nightmare Ballet (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
27. One in a Million (Underscore) (Instrumental) . . . . . . . . . . . . . . . . . . . . . 107
28. In Touch with the Beat (Reprise) (Keisha, Jazmin, Gloria) . . . . . . . . . . . . 108
28a. Magical High Art (Dance Crossover No. 8) (Instrumental) . . . . . . . . . . . . 108
29. Flashdance (What a Feeling) (Keisha, Jazmin, Gloria) . . . . . . . . . . . . . . . . 109
30. Finale (Instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
31. Megamix (Company) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
31a. Playout (Instrumental). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Lyrics by
ROBERT CARY
and ROBBIE ROTH
Music by
ROBBIE ROTH
ACT ONE
1. Overture / Dance Crossover No. 1 Tacet

(Segue)
2. Steeltown Sky
Play 4x Under dialogue
q = 156
READY: "Eight hours on the mill floor..."
CUE: "Oh Joe you're so sweet. And old"
Vamp
11
ALEX

job
that you're paid
In - side the mill there's not

14
lot
for
to
see
It's
not
ex - act - ly where I
if
it
ain't bett - er than the
pla - ces
Copyright 2012 by Paramount Pictures Corp.

PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL.
you punch a clock and do
17
I've beeen
wann - a
And as
it
the
be
but damned
rolls
by
20

find
beat and
as
the
sparks
fly
23
The whis - tle
shift
is
And
as
the
feel
The day
complete
sun
is
in
the
sets
Sky
ov - er
my
Steel - town
Out - side
the
gate
got
my
Some - times you think the
ci - ty's
38
is good
on
But
in
44
track
the
tal - kin' back
in
the world
brick wall,
is
smoke - stack
just
the light
go - ing fas - ter
ing you to
I'm
get out while the
out - ta
in
the
I'm like
I'm
Tell
dark - ness
see
JOE, SAMMY &ABE
start to
the street
bro - ken win - dow
ALEX
dark - ness
down the
eye
ABE
get - ting
grey and black

35
SAMMY
32
start
JOE
29
41
to
the heat
cuts through the mon - o - to - ny
26
sight Out
train that's spee - din'
runn - in'
ex - press
And as
the
47
wind
51
blows
cross
the
Steel - town
Sky
I'm
on
my way
the street
Half-Time Feel, under dialogue Voice Over: "and after three years overseas..."
to
Vamp Till Ready
59

Eye
64
NICK
to

Man
68
to
hear
I'll
shake
you
ev - ry
hand
just
for
here
for
you
NICK: "Maybe tomorrow I'll

bring an apple!"
ALEX
me
The traf - fic
91
I'm
The
88
ALEX: "Goin' for the personal touch?"
CUE - ALEX:
" And hey, don't stay
up too late studying!"
Vamp
man
Dialogue
Repeat Once
85
eye
73
Cue to continue:
NICK: "I came back here to make sure
we don't lose one more worker"
sure as hell don't need no
M.
T.
V.
cop
has
got
ci - ty
puts
im - pecc - a - ble

Thir -
show
on
rhy - thm

ty third and Syd - ney
ri - ding
4
94
in - to
97
the night
Where ev - 'ry
light
up
all
slow
to
o - ver town
the
Steel - town
stop me
ing me
Don't talk

It's just
118
gone
121
Sky
GIRLS
BOYS
Through
You
fight
the
fight
fight
the
fight
You
me
a - bout
re -
And
as
the
feel the rush of
the street
a twis - ted take on bal - let
a - stray
a scene from a play
ALEX
115
to
down be - comes
you can't bring me down
107
123
light
don't try
stars
stop
that foll - ows
a - li - ty
103
spot - light
100
It may be bent out
mag
ev - 'ry
ev - 'ry
day
day
The fi - nal act in
of shape
but you can find
na
an
es - cape
tion
through all
the
dirt
and
through all
the
dirt
a stor -
and
de - cay
de - cay

Through ev - ry part of a ci
125
Through ev - ry part of
128
ALEX
but
you
can look
ci
the
ty
tur
ning
ty
tur
ning
grey
art
and
This town is
fall - ing
a - part
sur
vive
it
vive
sur
world
it
it
vive
ALEX
You
134
a - part
sur
and
fall - ing
This town is
and
131
grey
for
take
the
and
turn
it
in - side out
GLORIA, KEISHA & JASMIN
137
The
140
dra - ma
un - folds
is
all
GLORIA
You're wal - kin'
ti - red life that you can
ALEX
We know what in - side out
a - bout
this
way
take and make
o - ver
KEISHA & JASMIN
Thread
JAZMIN
posed
litt - le
nee - dle and the
KEISHA
and pris - tine
and
then you're
143
ALEX
Right out
ris - qu
GLORIA, JAZMIN, KEISHA
It's such

pho - to
149
op.
stars
A place to look at
place to
light
up
the
Steel - town
be seen
And as

head on back
to
the street
Sky
ALEX: "Our fans are waiting!"
Dance Break (Instrumental)
Half-Time Feel

169
ALEX
Life
is
dance
GIRLS GROUP 2
BOYS GROUP 2
it
Hah
the
per - fect litt - le
ALEX
ALEX: "See you at the bar, ladies!"...etc
153
my mag - a - zine
146
157
of
Hah
happ - ens
with - out
172
warn
ing
GIRLS GROUP 1
To - morr - ow
BOYS GROUP 1
far
To - morr - ow
175
way
Got
GIRLS GROUP 2
Some where to
run
mor - ning
Got
BOYS GROUP 2
178
seems
so
far
no - ther
where we can
no - ther

where we can go.
day
day
to,
to,
some-
run
to,
some-
To
take
the
take
the
To
day
ALEX
some - where we can go
to,
day
Some - where to
run
go.
Some we can run
Some - where to
through to -
Some we can run
go.
go.
through to -
some - where we can
to, some - where we can
Some where to run to,
so
Hah
way
seems
mor - ning
Hah
To
take
the
some - where we can go
Tempo I
181
ALEX
night
night
night

night
Be - cause the bar
wan - na
be
night
185
ALEX
They'll see me mo - vin' they will
188
no - ther me
191

my
194
is where I
tur
chance
see me
ning in - to
ac - tion
fire
ning
me
on
kind
of
side
and then it's
Flash - Dance

ENSEMBLE
litt - le
fan - ta - sy
We all just want a
litt - le
a -
We all just want a
rhy - thm ig - nites
dis - ap - pear in
when the
I'll
it's gone
One mo - ment here, then
in
tur -
fan - ta - sy
197
NICK
Stars
light
up
Some - where to run to

Some - where we can go
And as the stars
light
up
Some - where to
200
the
the
204
run
to
the
when
209
Some - where we
Sky
Steel - town
Sky

rea - sons
why
And
as
the
at
her,
Some - where
Some - where
BOYS
to
to
run
don't
ask
to
ask
Life
out
here

is

dance or
why
run
NICK
Have
up
light
GIRLS
die
stars
ALEX
look
sons
ver
rea -
go
Steel - town
can
NICK
the
to
to
got - ta
see
her
we
can
we
can
go
some - where
some - where
go
10

gain
211
div
213
217
Some - where
GIRLS
BOYS
to
Life
is
is
dance
der -
neath
BOYS GROUP 2
der -
neath
to
some - where
to
some - where
Un
the
Un

the
der
neath
Steel - town
der
neath
Steel - town
Un
the
Un
we
the
can
go
can
we
go
On - ly
dance
dance
BOYS GROUP 1
Un
run
GIRLS GROUP 2 +ALEX
to
Un
run
GIRLS GROUP 1
Life
Some - where
div
On - ly
Steel - town
der
the
neath
neath
Steel - town
der
dance
the
Un

the
Steel - town
Steel - town

der
the
Steel - town
11

Sky
221
Sky
Sky

Sky
3. Dance Crossover No. 2 Tacet
4. One In A Million
Cue - HANNAH: "So it's a long shot! But honey, the long shots pay."
q = 135

HANNAH
I came to work here one
It was - n't 'cos of the
pay

or
you get
11
stea - dy
job and
I've done it year af - ter
year
day
'cos
when I
I loved to clean
sett - le
in - to

the sew - ing and the soap
was sev - en - teen

It's the A - mer - i - can way
rou - tine
but through my brill - iant car - eer
12
14
I've found a way to cope
We're all the same a - round here
17
we
got this thing
we just keep hang - ing on 'cos
they call "hope"
Some set their sights
24
They try
their luck
slot ma - chines
mill - ion to
ting
for
the
pos
one
you
still got
long
shot
pays
si - ble.
mo - ment when the
means an - y - thing is
31
35
the
Be - yond their means, feed - ing
one
mil - lion to
days
wai
And
27
for
on
Tempo 1
Swing

20
Ve - gas lights,
chance.
My life is Clo - rox and Cheer

38
my life is Tide and All
be - cause I hear the call
It says we'll get out - ta
41
keep - ing
her
44
lot - ter
eye
that
the ball
gets
But
here
on
as long as one of

And
me

through
my
I don't wor - ry
days
so
for
or
us
fear
is
me
it's
the
13
47
With just
a buck
50
long
shot
53
pos
pays
si -
62
mill - ion
you
to
one
ne - ver
play,
The lot - ter - y
of
done
Gods
my
all
the
fun
im
one
think
- pos
in
si
ble.
mil
lion
day.
And though my re - cord's
to - day's the
We're just
cou - ple
day
I'll
win
Alex: "Six"
at -tempt to say a prayer
Alex: "Eleven"
lott
miss
in
Read the num - bers off - a there while
are
thin
74
is
an - y - thing is
hey!
'cos the
no - thing
'till
re - sults
71
a - hey
I won't be
ver have to worr - y
means
means
one
ne
You
kind
we'll
ble.
68
to
And
65
luck,

mill - ion
litt - le
if
59
56
and
I kneel be - fore you
Alex: "Sixteen"
Steel -
town

broads
14
77
Alex: "Twenty nine"
Who both de - serve to
80
stick
I'll
try
90
nough's
the
to
end
ALEX
e - nough
Well
now
ways
fin - ally see - ing how the
si
ble.
none
in
girl.
mil
lion
girl.
shot
mill - ion to
pays
pos - si - ble.
why not give
And I'm
107
tel
whirl?
means eve - ry - thing is
ling you
hon
you're a
One
it
one
long

se - cond to
one
104

I'm
then by
It might be tough but e -
nagg - ing
mil - lion to
You're
100
You can take that twen - ty nine and
HANNAH
97
110
odds
If you app - ly
my
pos
Hannah:
"Good thing you don't need to play the Lotto...
You're your own ticket out!"
93
where the sun don't shine
86
God
beat
it
in
one
mil - lion
15
5. Manhunt - Scene Change (Underscore) Tacet
6. In Touch With The Beat

CUE: JAZMIN: "Yeah, give her piece a chance!"
GLORIA: "Don't worry. I'll be fine."
Under dialogue
q = 142
KEISHA
You want some soul?
So
I'm
11
just
can't
turn up the bass,
in
take
I'm
up
a - ny more
this
bo - dy
in your face
Change it up your
pro - ven,
I'm
roy - al high -ness 'cos you're show - ing your age
queen of this stage
I look fine
17

Not to me
for!
you
JAZMIN
is
un - til
My moves are
14
I'll show you what
con - trol,

I'm di - vine
dis - ag - ree.
'cos when the
bass starts

cook - in' ev' - ry
16
Latin Groove

20
face
JAZMIN
I got some tips
is
26
think you should take
from
Jaz - min
to
29
you
and that will
spice
up
all
that you
some oth - er rhy - thms so
get
- ting
wet
JAZMIN
Show some
skin
'Cos when the

then re - treat!
'Cos when the
mu - sic's pump - ing it's just
dis - creet
mu - sic's pump - ing it's just

Draw
How
34
KEISHA
we
are mak -ing me sweat
32
You could find
do
try
GLORIA
These lat - in rhy - thms
You see those hips
stop
some free ad -
mak - in' 'em shake
look - in' at me
23
vice
them
in
you
in
touch with the beat.
you
in
touch with the beat.
17
37
GLORIA

JAZMIN

We keep dan
KEISHA
40
the crowd
It's for
the crowd
It's for
43

the crowd
It's for
we
on - ly
we
on - ly
we
dan
way
to
make
way
to
make
way
to
dan
that we're
make
Ne - ver think - in' 'bout the
want
that we're
us
want
that we're
us
want
on - ly
us

men in

men in
cin' and dan - cin'

men in
cin' and dan - cin'
We keep dan
cin' and dan - cin'
We keep dan
dan
our - selves
cin' and dan - cin
cin' and dan - cin
cin' and dan - cin
proud
our - selves
proud
our - selves
proud
Rock Groove
45
GLORIA
You talk your talk
48
I'm
51
lick
I learned on
the
rai - sin' the bar
bring the rock
street
I'll spin and
kick
the
on
bla - zing gui - tar
top of the beat.
and ev' - ry
dressed up
in
lea - ther,
in
18
54

boots and a belt

57

59
Dance
is
rough.
KEISHA
You're
gets
tar
gets
hea - vy
We keep
JAZMIN

We keep
We keep
there's
star
born
ev
there's
dan
dan
dan
crack,
star
born
ev
cin' and dan - cin
cin' and dan - cin
yeah to - night
yeah to - night

We'll keep dan
We'll keep dan
We'll keep dan
the
gui -
the
gui -
er
er
When
When
night.
night.
'till
cin' and dan - cin
yeah to - night

bu - ckle and
right

crack,
that
JAZMIN
64
crack,
bu - ckle and
hea - vy
KEISHA

Got
61
GLORIA

bu - ckle and
sight.
tar
look tough.
out of the spot -light 'cos you're lia - ble to melt.
KEISHA
Bet - ter step
GLORIA
the stage be - gins
to
'till
the stage be - gins
to
'till
the stage be - gins
to
cin' and dan - cin'
cin' and dan - cin'
cin' and dan - cin'
19
67

'till
'till
69
'till
all
the
lights
all
the
lights
all
the
lights
in - side
in - side
in - side
the
club
fade
club
fade
to
black
the
club
fade
to
This
81
is
Watch me
dan
rev - o
87
know that
all
you
lu - tion
in
the
no - thing else
but keep dan
girls
are
fee - lin'
vo - lu - tion
of dance
Ev - 'ry night
cin' and dan - cin'

do,
84
ra - ther
black
ALEX
78
I'd
black
the
Dialogue ALEX: No applause please!
to
it
too
on earth that
cin' and dan - cin'
Dance Break
q = 150 Latin
89
93
Funk
97
Org,
20
101
105
110
118
q = 144

This is
ALEX
rev - o - lu - tion in
the
of dance
We keep dan -
We keep dan -
e - vo - lu - tion
We keep dan -
121
Rock
Dist. Gtr.
114
cin'
cin'
cin'
We
keep
dan
keep
dan
keep
dan
keep
dan
We
We
We
cin'
cin'
cin'
cin'
We
keep
We
We
We
keep
keep
keep
dan -
dan -
dan -
dan -
21
123

126

cin'
We
cin'
cin'
cin'
cin'
cin'
cin'
cin'
We
keep
dan
We
keep
dan
We
keep
dan
We
keep
dan
dan
keep
keep
cin'
cin'
cin'
We keep dan -
cin'

We keep
cin'

We keep dan -
cin'
dan
cin'
dan
cin'

We
keep

We
dan

We
keep
dan -

We keep dan -
Yeah,
we
dance!
Yeah,
we
dance!
Yeah,
we
Yeah,
we
dance!
dance!
22
6a. In Touch With The Beat (Coda)
READY : Harry's all drama..."

CUE: GLORIA :"Yeah? Where exactly?"
Under dialogue
q = 90

ALEX
And we
might

Keep on
to
buck - le
and
all
dan -
the lights in - side the
cin' and dan - cin'
crack

Till
Till the stage be - gins

10
ALEX: "In a minute......."
ALEX:
"You better be right

about this, Ma."
morendo
club fade
to...
Segue No. 7 'High Art'
7. High Art

Intro q = 117
SEMI-CHORUS GIRLS
High
SEMI-CHORUS BOYS
High
23
Art

FEMALE STUDENTS
It takes am - bi - tion to
au - di - tion and win
your
place
The com - pe - ti - tion is the
Art
It takes am - bi - tion to au
MALE STUDENTS
It takes am - bi - tion to au
MALE STUDENTS
- di - tion and win
your
place
- di - tion and win
your
place
FEMALE STUDENTS

12
tough - est you
will
face
With ev - ry class a - no - ther
fa - cet you must
em - brace

tough - est you will face
With ev - ry class a - no - ther fa - cet you must
em - brace
MALE STUDENTS
MALE STUDENTS

tough - est you will face
With ev - ry class a - no - ther fa - cet you must
em - brace
24

15
SEMI-CHORUS GIRLS
High
Your form
pri - stine
each move - ment
clean
e - nough
to
SEMI-CHORUS BOYS
trace
High
Your form
Your form

17
pri - stine
pri - stine
each move - ment
each move - ment
clean
e - nough
clean
to
e - nough
trace
to
trace
Art
FEMALE STUDENTS
If
you're
ac - cep - ted
don't
ex - pect
to
im - press
with
'heart'
Art
MALE STUDENTS
MALE STUDENTS
If
If
you're
you're
*All boys sing harmony for these 4 bars
ac - cep - ted
ac - cep - ted
don't
don't
ex - pect
ex - pect
to
im - press
to
im - press
with
with
'heart'
'heart'

19

21
25
the
from
the
mo
the
be
dis - sec - ted
You'll
be
dis - sec - ted
You'll
be
dis - sec - ted
from
With
With
With
mo
mo
ev - ry
pir - ou - ette
in
here
you
ev - 'ry
pir - ou - ette
in
here
you
ev - ry
23
from
You'll
pir - ou - ette
in
here
you
ment
that
ment
that
ment
get picked
start
you
get picked
start
part
part
part
FEMALE STUDENTS
start
you
get picked
you
that
The
You mould your - self
to
to
to
what's been
what's been
what's been
done
be - fore
done
done
be - fore
be - fore
you.
The
you.
you.
The
The
26
25

FEMALE STUDENTS
maj - e - sty
of
the
maj - es - ty
of
ma - je - sty
MALE STUDENTS
the
of
maj - es - ty
the

28
of
the
You
line.
You
30
gain and
a - gain as
We're in
class - i - cal form.
You
We're in
line.
line.
We're in
MALE STUDENTS
class - i - cal form
FEMALE STUDENTS
you fol - low
gain and a - gain as you fol - low
gain and a - gain as you fol - low
We're in
train through
train through
train through
the
pur - suit of
pur - suit of
pur - suit of
pur - suit of
the
the
old
of
it
all
pain
of
pain
it
de
de
old
de
sign
sign
cen - tu - ry
all
cen - tu - ries old
per - fect
of
cen - tu - ry
all
the
per - fect
it
pain
per - fect
the
the
per - fect
the
sign
Funkier Groove
33
ALEX
I don't know why I think that
I stand a half
chance,
am I
a fool
to think they'd
27
36
give me
sec
- ond
39
so much tall - er than
Steel - town drag
if
work
can.
with
'em
they'll
let
50
the
53
ALEX
56
60
64
68
down
me
change
up
town
could show
them
Dance Break
Baroque style
W/w
ry
stance,
things
that
so
much
they have

But maybe
the
rhy - thm
and
Half-Time Feel
in my
pose
poss - i - bil - i - ties There's
ev
their nose

of
up
47
bit
step and in
One look at me
They turn a - side they turn
45
In ev - ry prep, in ev' - ry
They seem to stand
42
glance?
Just
to
ex - plore
ne - ver
seen
strike
ma - gine
all
be - fore.
28
72
Quasi Rehearsal Piano - DIALOGUE
76
80

subito mp
84
88
92
96
CUE: Ms Wilde: "Have a good day!"

100
Vamp
(Last x)
High
(Last x)
High
Art
There's still
tra - di - tion
in
the
vi - sion of
mo
dern
dance
Art
MALE STUDENTS
There's still
FEMALE STUDENTS
tra - di - tion
in
the
vi - sion of
mo
dern
dance
MALE STUDENTS
There's still
tra - di - tion
in
the
vi - sion of
mo
dern
dance
29
103
and
you
au
and
you
au
and
ALEX
105
you
face
- di - tion
- di - tion
What
de
will
de
pend
is
not
got
is
pend
but
wise,
be smart
it
it
me, Wake up,
mine
u - pon
a place for
it
de
u - pon
will
this
will
u - pon
- di - tion
it
pend
Got - ta
108
au
it
is
get
not
High
Art!
Segue No. 8 'Maniac'
8. Maniac
Dead Segue from No. 7
q = 158
KEISHA
Just
17
Steel - town girl on a
real
time
world
Sat - ur - day night Look - ing
21
no - one
sees her
at
all
for the fight of her
they
life
all
say she's
in the

cra
zy
30
24
27
JAZMIN
Lock - ing
move - ment
in
to
light
rhy - thms
to
ger
zone
when
beat
of
her
the
dan - cer
heart
chan - ging
GLORIA
She has danced
30
dan
the
in
be - comes
the
dance
to
the
It
If
33
can
cut
you
like
knife
the
gift
be - comes
the fire
KEISHA, JAZMIN,
GLORIA
37
on the wire
41
ni - ac
45
- ing

48
be - tween will
ma
ni - ac
like
ne
she's
on
ver
danced

She's a
KEISHA
ma
ni - ac
ma
ma
ni - ac
ma
ma
ni - ac
ma
She's a ma -
be
fore
and she's danc -
ni - ac
on
the
ni - ac
on
the

She's a
be

She's a
will
floor
GLORIA
JAZMIN
what
the
and
ni - ac
on
the

floor

floor

floor
31

52
and
and
she's
dan
and
dan
she's
she's
dan
like
ne
cing
like
ne
cing
like
ne
cing
59
ice
blue
65
KEISHA

62
line
of
in
san
shove
time
world
- fore
be
cra - zy
cra - zy
it
but there's
- fore
cra - zy
cra - zy
cra - zy
KEISHA
i - ty
is
hard
won
most
ne
can come
of
KEISHA
mys

You
or
pass
you
by
al - ways a
chance
if
the
work
ver
see
GLORIA
te - ry
the
place
place
it
71
push
be
danced
On
ver
cra - zy
GLORIA
Cra - zy
but can't hold
mo - ment in
danced
JAZMIN
It's
- fore
ver
be
JAZMIN

68
Cra - zy
it
she's
danced
GLORIA
she's
ver
55
she's
Touch
all your
life
for
JAZMIN
It's
3
hun - ger
stays
that
a - live
32
74
There's

77
GLORIA
80
- ping
- ping
- ping
83
stretch
strugg - ling,
KEISHA
strugg - ling,
JAZMIN
ALL
stretch
strugg - ling,
stretch
with
head
her
with
head
her
with
head
her
ni - ac
ma
ni - ac
ma
ni - ac
ma
cold
for
ing
for
ing
for
ing
ki

the
peak

the
peak

the
peak
ne
tic
heat
gainst
gainst
wind
the
wind
the
wind
sure
sure
ni - ac
sure

ne - ver stop -
the

ne - ver stop -
gainst

ne - ver stop -
ni - ac
ni - ac

She's

She's
ma -

She's
know
know
know
ma -
ma -
33

86
and

92
like
she's
danc
ni - ac
ni - ac
sure
sure
like
cing
like
cing
like
sure
ne
She's
ma
ma
ne
She's
cing
she's
ing
she's
She's
ing
ni - ac
95

ne
she's
like
ing
like
danc
she's
89
and
danc
and
she's
know
know
ver
danced
ver
danced
she's
ne
she's
ne
she's
ne
fore
fore
ma
fore
ni - ac
ni - ac
ma
ma
and she's dan -
and she's dan -
and she's dan -
ver
danced
ver
danced
ver
ni - ac
know
be
ma
danced
be
ver
be
danced
be
be
be
fore
fore
fore
34

98
ENSEMBLE
She's
She's
101
ma
ma
ni - ac
floor
104

ver
danced

107

110
ver
danced
be
be
ni - ac
ma
ni - ac
ma
fore
she's
and she's
ma

and she's
danc
and she's
danc
ni - ac
on
the
on
the
like
she's
ne -
like
she's
ne -
ni - ac
ing
ing
dan
danc
ni - ac
the
on
ni - ac
ma -
ma -
floor
the
like
ne
ing
she's

like
she's
ne
She's
on
cing
She's
ma
fore
and
ni - ac
floor
floor
ver
ver
danced
be
danced
be
fore
fore
113
119
125
129
133
137
141
145
149
Repeat ad lib
GLORIA
JAZMIN
KEISHA
It
cut
can
It
can
cut
It
cut
can

you
you

you
like
knife
like
knife
like
knife
Horn solo 8vb
35
Cue: Harry:
ALEX DANCE
"Let's make some noise for Alex"
q = 154
If
the
gift
If
the
gift
If
the
gift
36
152
be -
comes

be -
comes
be -

155
and
comes
the
fire
the
fire
the
fire

what
will
on
on
and

158
will
ni - ac
the
on
ing
ing
on
the
like
she's
like
she's
wire
wire
be
will
be
will
ENSEMBLE
She's
ma -
ma -
ver
tween
be
will
tween
ni - ac
ma
ni - ac
ma
danced
be
- fore
danced
be
- fore
danc -
and she's
and she's
floor
ver
floor
tween
ne
ne
the
She's
be
ni - ac
be
161

what
will
what
the
on
wire
and
the
be
danc -
37
164
She's
She's
167
ma -
floor
170

ver
ver
172
danced
danced
ver
danced
ver
danced
danc
she's
174

and
danced
danced
dan
ver
ver
she's
danc
danc
ni - ac
on
the
ne -
ing
like
she's
ne -
cing
like
cing
like
--
ing
like
she's
the
like
like
on
cing
cing
ni - ac
and
dan
ma
dan
ma
ni - ac
floor
ni - ac
ma -
she's
ne -
she's
ne -
she's
ne
she's
ne
be - fore
be - fore
9. Kool - Underscore Tacet
38
10. Twenty One

CUE - Alex: "Alright, but get home safe, ok?"
colla voce
with her
head held
'cos
11

high,
ly.
wo - man
see
in
her.
she'll stand
on
her
21
day that I'm
24
grown, time to
twen - ty
go
A Tempo q = 106
one,

Life's
like the
the
life
ways
live
be
This should
that the
own
to
know
goes,
her
wo - man who's al
some di - rec - tion, time
e - nough now to
At
on
I could
But I've seen

27
find
own.
she
that's diff -'rent than lone -
wish - in'
Be
There
lone
go
by when she's
A little more in tempo
And here I
a -
15
18
she'll get
al - though she might be
GLORIA
sure
be
the

I should.
ing
fun - ny
is
ne - ver that

game
good.
coz
you
39
31
wait for
34
win
you keep
take
mat - ter
with the num - bers who can
it's
cards
they
for
me
deal
face
in
the
how

to
start
show me
world
52
where a
dark,
55
Who
58
girl
a heart can get
Who
is
read - y
to
take
my
will
find
me
so
at
twen
ty
one.
a - head.
some - one
good
in.
Who's
be - hind
hand?
won't
lose
DIALOGUE - JIMMY: "Gimme a break, man..."
feel
Some - one who can
with
to
win.
me?
49
twen - ty
the house is
show
hard when you
you planned.
At
but
way
card
Look - ing
the
ing.
the
ne - ver
play
46
no
And it's
a - no - ther
that
43
one
40
hand.
But still
ning
37
a - gain
40
66
JIMMY
When I
try
to
get me
69
shrug,
sigh,
break
slam.
Grow - ing
ly
one
gi - ving
75

give
me
my
chance
at

81
me
GLORIA
Who'll
JIMMY
Who'll
is
be -
go
it
a - lone
this
hind
Who can
GLORIA
Who
will
re -
mind
a - way

re -
mind

that
me
find
for - ev
er?
me
me?
ache
you're the on -
take
rej - ec - tion, it's
Who's

84
last?

and
get
78
damn!
up was
72
all
your
that
When
they
When
they
your
not
your past?
fu - ture
not
your past?
fu - ture
find
find
is
is
me
me
and
take
41

87

my
so
and
90

at
at
heart
twen

twen
show
ty
one.
ty
one.
me some heart
so
Twen
Twen
can
a - gain
start
can
a - gain
start
ty
one.
ty
one.
94
11. Scene Change to Steel Mill Tacet
12. Totally Different People
CUE - JOE: "Some kinda thing, uh?"
CUE - ALEX: "Listen"
q = 140 Vamp under dialogue
Stop on cue
ALEX
He's prob - 'ly
got

him - self
maid
big
ja - cu - zzi and
but lem - me tell ya that won't get
fel - la laid
vid - e - o
ar - cade

It's
got - ta
be hot
e - nough for the
42
10
spark
He
thinks he's
13
with all his mon - ey and his
16
goods to
turn me
19
on
big
got

It
takes
22
It takes a
real
man to
28
We're
to - tal - ly diff
es - tate
sounds like
36
we'd
real
hot
real
it
go - ing
man
to
but Nick
ly
peo
to - tal - ly diff
spark
my
chain
It takes a
could
Two
the
rat - tle
real
ne - ver
I'm in
man to
please
ple
me
a ware - house and he's
'rent
peo
re - late
CUE: "They always have a future"
on
READY: "Retool our business"
Repeat ad lib under dialogue
got
e - nough for
But Hur - ley has - n't got the
in - sane
slick
'rent
34
be
his
He may be
31
in
to
drive me

my knees
lawn
25
buck - le
It's
sub - ur - ban
On Cue
ple
It
43
39
ALEX
He's ne - ver
had
42
to learn a
skill
on the hill
I doubt he knows a
45
got
to
be
48
hot
e - nough for
the
ALEX
her head
real
man to
and tough
wants
Nick
60
Two
ple
to - tal - ly
diff
to
peo
to - tal - ly
diff -
'rent
She wants him
ALEX
He's not my type and I'm not
purr
Hur - ley

peo
get her
We're
She
57
'rent
SAMMY
BOYS
man to
in
BOYS
JOE
real
get
It takes a
in bed
rough
It's
spark
51
54
thing a - bout the mill
It takes a
It takes a
real
man to
rich kid with
BOYS
BOYS
sin - gle
get me
He's just
house up
ple
We

his
cup
of tea
could - n't
be
less
44
63
meant to
be
BOYS
66
Two
Saint
to - tal - ly
69
diff
'rent
time
The lim - ou - sine is
chauf - feur when Christ - mas is

72
peo
ple
not
to
78
wear white
af - ter
things
in
life
Do
tip
the
ten - speed is
mine
Re -
La
sip
her
sure
ain't
free!
mark - ab - ly
cham - pagne
Not on
in
Pa - ree
your life
guys!

The
ALEX
We're
diff -
bour Day
spoken
his the
She'll
75

'rent
near
Re - mem - ber
in
zones
post - card when you're down
best
Tro - pez
Please send
to - tal - ly
diff -
45
81

'rent
84
peo
ALL
87
ple.
For - get
Two
her
ob
sess!
What?
92
PLAYOFF
Who could - n't
could - n't
be less...
be
less
Two
peo
poco rit.
DIALOGUE
ple
to - tal - ly diff
ta - sy.
Will 'ya watch
to
be.
Applause Segue
CUE:
"Outta' Hurley Steel.... I love you..."
meant
Meno mosso
HANNAH
Two
'rent
105
ple.
fan
We
q = 140
99
102
the
BOYS
peo
89
96
'rent
ALEX
for - get
to - tal - ly diff
the hype and
ALEX
we're luck - y when we
a - gree
to - tal - ly
diff -

to
dis
a - gree.

rit.
rent
peo
no - bo - dy loves
ple
but
no - bo - dy knows
her
like
me
13. Steeltown Crossover Tacet
Segue
her like me
46
14. Manhunt
CUE GLORIA: "I've a feeling he'll like it..."
q. = 130
Flamenco guitar, ad lib.
18
22

26
man
man
man

29
go
I'm
I'm
go
GLORIA
KEISHA
hunt
turn
hunt
turn
hunt
turn
hun - ting a - round,
JAZMIN
yeah
it
a - round

it
a - round

it
a - round
Man
yeah
Man
yeah
I'm
Man
go
hunt
Wo - men have
Wo - men have
in'
on
on
all
all
all
been hun - ted now we're
got the need
got the need
The
got the need
we
we
we
on
in'
in'
Wo - men have
hunt
hunt
The
The
32
one that's been
wai - ting has
ta
one that's been
ta
one that's been
wai - ting has
wai - ting has
ta
ken
ken
the
lead
the
lead
ken
the
lead
35
38
JAZMIN
he's sex - y
44
41
see
and he's
smooth
day
in
but slow
to make

his

by the
te -
le
phone

sit - tin' at
sit - tin' at
home
home
off
ice
47
home
the
He's good
sit - tin' at

to look
GLORIA
me
o-
I've been
ver
him ev - 'ry
47
by the
by the
te -
te -
le
le
phone
phone
move
JAZMIN
KEISHA
I've been
I've been

ho - pin' I'm

ho - pin' I'm
in
his
plans
in
his
plans
ho - pin' I'm
in
his
plans
48

50
This
This
take
take
mat
I'm
I'm
I'm
59
in
ters
in
ters
in
ters
mat
wai
56
wai
This
53
mat
ting
game
is
ting
game
is
ting
ing
old
gett
ing
old
in' on
in' on
go
in' on
man
man
man
to
hands
it's time
to
to
hands
my
it's time
hands
my
old
to
ing
my
to
to
gett
it's time
hunt
hunt
turn
turn
turn

it
it
Wo - men have been hun - ted now we're hun - ting a - round,
yeah
yeah

yeah

it
a - round
a - round
hunt
go
is
go
game
now we're hun - ting a - round,
gett
take
wai
a - round
Man
hunt
Man
we
hunt
Man
hunt
we
we
49

62
all
got the

all
need
got the
all
The one that's been
need
The one that's been
74
ta - ken
has
ta - ken
wait - ing
has
77
to draw
him
the lead
the lead
the lead
JAZMIN
by
lips
in
the
mir -
ta - ken
Ru
Black
ror
Per - fume
wait - ing
71
has
wait - ing
65
The one that's been
need
got the

near

heels
on
er.
the
floor
A dress he can't ig
nore.
know he'll
be
at the
par
ty to - night
know he'll
be
at the
par
ty to - night
know he'll
be
at the
par
ty to - night
50

80
He'll
He'll
He'll

83
up and
up and
up and
be loo - kin' so
fine
be loo - kin' so
fine
be loo - kin' so
95
99
be
He'll
be
He'll
be
sur - prised when I
walk
sur - prised when I
sur - prised when I
I wan - na make you
glad
Man,
say
Man,
I wan - na make you
I wan - na make you
glad
Horn solo
mp
Horn solo
walk
you're a - live
you're a - live
glad
walk
you're a - live
say
86

He'll
Man,
fine
say
51
103
I'm
I'm
I'm
in' on
man
in' on
man
man
go
go
go
in' on
now
106
hunt
turn
hunt
turn
hunt
turn
we're hun - ting a - round,
all
got the
all
got the
all
got the
need
The one that's been
need
need
The one that's been
Man
The one that's been
112
Man
Man

hunt
hunt
hunt
it
Man
yeah
Man

ta - ken
ta - ken
wai - ting has
hunt
hunt
we
hunt
ta - ken
we
yeah
Man
wai - ting has
yeah
wai - ting has
a - round
a - round
a - round
109
it
it
we
the
lead
the
lead
the
lead
I'm
out
I'm
out
I'm
out

for
for
for
52
115
kill.
Man
Man
hunt
118
kill.
out
I'm
Man
I'm
out
I'm
out
hunt
for
for
hunt
Man
hunt
kill.
out
I'm
kill.
I'm
out
out

for
for
for
kill.
for
I'm
121
15. Don't Stop (Intro)

CUE - ALEX: "And then the performance started..."
q = 100
13
Horn / Oboe
CUE: "Don't be."
17
NICK

Don't
stop
do - ing
what you're do - ing
53
CUE: "If you're willing
to say you want it."
21
Don't
stop
did - n't
mean
to
Segue as one
stare
16. Don't Stop

q = 132
I ne - ver knew that you could move like that,
NICK
no - ther side?
In - stead of
life
in
dance
10
13
don't need them
gift
took
to
tell
me
what
while for
got
like
that
You
I used to dream a - bout a
chance,
have - n't
to
got.
you
re - a - lise
me
stop

It
know I've made you mad but don't
ALEX
That where I'm from you have - n't

16
runn - ing with
go and hide
how come you ne - ver show a -
com - pro - mise.
54

19
What I'm
not.
NICK
self
25
Just let them see the strength I
to
see
this
through
dreams
what you've
38
in
join the race, that's
mat - ter
who you
go.
learned.
Stop
keep - ing
You've got
way you're gon - na grow.

reach as
far
as
your
but
for - get
score.
You're
You're
meant
for
to your -

on - ly as great as the world you cre - ate.
44
it
know you've been burned,
41
view
ALEX: "Nick........."
on - ly
you can
of
be - long
the
are
point
You owe
you
their
you
And show that
change
No
dare to
see
that you could
Life is in the chase, Got - ta
35
bet
29
32
22
ALEX
more.
Don't
to
learn
to
let
the
fear
sub - side
55

47
start
Don't
You need some cou - rage
50
to
glide
they'll
look at
ne - ver
real - ly thought that they would
Look at
me!
girl
who's scared
to
try
Who's gon - na

way
way
ne - ver wan - na
63
let
her
sit
lit - tle
mo - ment pass
I'd
see
60
in
57
me
'Cos from the mo - ment you be -
let you
you want to win
start
53
if
gin
her
by
let
it
slip
a -
let
it
slip
a -
'Cos
life
is
in
the
chase
Got - ta
'Cos
life
is
in
the
chase
Got - ta
and
won - der
why
56

66
join
the
race

join
the
That's
the
That's
are
75
81
as
your
you can
reach as
far
as
your
you
know you've been burned
dreams

but
cre - ate
what you've
There's
room
go
learned
Stop
on - ly
as
great
to
as
soar.
soar
dare
for - get
You're
go
dare
score
dreams
far
78
reach as
you can
keep - ing
No
No
mat - ter who you are

72
grow
69
the

mat - ter who you
on - ly way you're gon - na
race
the
world
I'll
57
85
88
(No Time)
slip
it
slip
say - ing
re - a - lise
and
won
there
are
there
are

mat - ter where I'm from
what you're say
- ing
Don't
stop
I'm
Look - ing
in
your eyes
makes me
Look - ing
in
your eyes
makes me
bet - ter days
in
front
of
of
No
in
front
set
me
No
can
still
be - come
all
can
still
be - come
all
set
me
100
why
Don't
der
way
bet - ter days
word.
97
re - a - lise
sit
ev' - ry
to
hear - ing
away

94
ne - ver want
it
stop
let
let
91

out
to
be
out
to
be
58

103
The

106
in
the
in
the
barr - i - ers
The
barr - i - ers
fall
fall
break - ing
brea - king
Go
to
them
all
112
Maestoso
you're
there
Colla voce
ev - 'ry
stop
left
wall
an - swer the
left
call
and you'll prove
stay
do - ing what you're do
to
stop
Don't
down
wall
Don't
ev' - ry
way
down
way
115
109
16a. Kool Underscore Tacet
do - ing what you're do
ing
ing
59
16b. Don't Stop - Coda

CUE - JIMMY: "That's gotta count for something right?"

15
Flute
+Tpt

ALEX
Could
21

all
the things he said
24
make me
look
a - head
can
Is
there
be?
time
to
Just
hide
That
still
be - come
all
me?
see what's in - side
ment's
A - lex,
here
No
"Yours, Rebecca Wilde,

Head Administrator.......Yes!"
accel.
ALEX
48
33
45
mo
some - thing wait - ing there for
Can
30
27
hope
No
ne - ver thought, who
Guess
I was wrong
yes,
know
could - a thought
doors
could
was wrong
o - pen here.
now
Segue As One No. 17 'My Next Step'
60
17. My Next Step

q = 144
ALEX
All of my life it's been 'Look
at the south - side girl'

but they
won't
be
Stand - ing
proud
I'll
13
I'm

to
25
ing
it
Let 'em
know where

my next
rea - lly took was

hear
all
them
dreams,
what
the time
spark
is
my
no
of
am
ta
I spent in
it
step
it's been 'Who
need
all
life
but I'll show
Got
my
now
now
of
know
All
to
I thought they could see
me
them
it
side
at
To think of
be
I guess that
near
down
them
ing
That's all they wan - ted
19
be -
to
hide
are?'
meant
16
22
you
look
be
10
do you think
That's all
spi
rit
dark
com -
rea
the
kin' me
dy now!
I'm
61
28
head
in'
for
31
the
34
my
next
Cos
no
be
is
ta
kin'
43

E - ven the shift whis - tle
knows
46
art,
but
I'm
49

I'm just
a girl from the street
gon - na
55
E - ven
know
it.

Up
town
Feel
I'll
ther
wan
blows
go
na
'em.
may
my
name
call
high
it
it
my
art.
me.
And ev - 'ry bo - dy
- side
be
call
with
make
but the street's in
na
it' - ll
ing. Some
South
day
know where
that
be
no
I'm
where I'm
me
that
shift whist - le
52
way
gon
start
son
Now when the
my
per
in
the
thing's
Can't wait to
gon - na
40
fi - nish line
step
37
rhy
I meet's
thm.
thought I
62
58

had no shot at
61
I'm
race
in
64
Life's so
run - nin' the
it
watch
diff
Thought I
me
win

67
kin' me
I'm
kin' me
70
start

start
I'm
kin' me

start a
I'm

no
ther
no -
ther
no -
In
know where
my
ther
for
runn - ing
runn - ing
the
for
the
runn - ing
for
the
day
day
day
min
next
step
step
next
step
no
'Cos
is
ta -
ta -
ta -
to
Can't wait to
mor - ning now
Cos
is
Can't wait
mor - ning now
is
next
mor - ning now
place
ute
my
my
know where
'Cos
know where
one
FULL COMPANY
FULL COMPANY
on - ly good for run - nin' in
it
'rent now
was
Can't wait to
no
my
no
thing's
thing's
thing's
in
in
in
my
my
way
way
way
63

73
76
79
na
be!
na
be!
na
know where
my next
step
is
my next
step
my next
ta
is
I'm
gon - na
be
I'm
gon - na
be
per
gon - na
the
the
be
the
know where
per
son
me
son
son
that
that
that
wan -
wan -
wan -
CUE: NICK:
"Lets just say you owe
VAMP X 3 - DIALOGUE me dry cleaning for life"
per -
me
king
king
ta
me
king
ENSEMBLE sotto voce
is
step
ta
be!
DIALOGUE
83 CONTINUES
know where
I'm
86
know where

my next
step

Can't wait
is
ta
to

start
kin'
me
ther
day
no
64
89

my next
95
step
is
ta
gon - na
be
the
per
So
son
the
the
stars
So
kin'
let
So
ENSEMBLE
98
101
let
stars
let
the
stars
CUE: JIMMY: "Hey, that's all it takes!
Sky
that
Don't
Don't
wan
light
up

light
stop
now

to
stop
now
to
won - der
won - der
Steel - town

out
here
out
here
why
Life
Life
Steel - town
the
Steel - town
the
up
GLORIA
be!
light
na
the
up
know where
Life
I'm
me
Sky

Sky
92
why
here
out
65

104
is

is
dance
or
die
dance
die
Life
is
or
dance
or
out
here
is
die
Life
out
here
115
119
123
dance
or
is
dance
or
die
Alex Dance q = 158
ALL GIRLS SING TOP LINE

3
La
la
la
la
127
La
131
die
Harry announces Alex
107
la
Gtr. solo
la
la
la
la
la
la
la
la
la
la
la
la
la
la
La
la
la
la
la
la
la
la
la
La
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
66
135
139
142

146
She's
ENSEMBLE
She's
149
ma
ma

152

155
ver
ver
danced
danced

ni - ac
ni - ac
be
be
fore
ma
ma

and
she's
danc
and
she's
danc
ni - ac
on
the
like
she's
ne -
like
she's
ne -
ni - ac
ing
ing
on
ni - ac
the
on
ni - ac
on
the
floor

floor
ma -
ma -
She's
the
She's
fore
ma
ma
ni - ac
floor
floor
ni - ac
67
158
and
she's
dan -
she's
danc
like
ne
and
161
ing
ing
like
ver
danced
ver
danced
164
she's
she's
ne
cing
ing
ver
ver
like
she's
ne
ver
danced
danc -
like
she's
ne
ver danced
danc -
danced
danced
End of Act One
danc
ing
like
she's
ne -
danc
ing
like
she's
ne -
68
ACT TWO
18. I Love Rock 'n' Roll
h = 96
Drums + Helicopter SFX
etc.
JAZMIN
14

saw
him
dan - cin' there
knew
he
must have been
beat was go - in' strong
a - bout
31
tell
35
would - n't be
it
would - n't be
love
love
rock
I
43

me
rock
till he was with
me
a - no - ther dime
in the
come and take your time
me,
so
and I could
yeah
song
yeah
JAZMIN / KEISHA
me,
put
The
fa - v'rite
so
roll
KEISHA
teen
till he was with
'n' roll
'n
I
39
long
play - in' my
long

it
se - ven
27
tell
22
by the re - cord ma - chine
18
and I could
me,
sing - in'

juke - box
ba
- by

and
dance with
KEISHA
He
69
47

smiled
so
got
up
and
asked
for his
name
51
That don't
mat - ter
he
said
cos it's
all
55
said
can
59
take
you
me
me,
sing - in'
next we're
juke - box
ba
ENSEMBLE
mo - vin' on
love
rock
by
and he was with
and he was with
roll
love
put
the
so
a - no - ther dime in
roll
'n'
by
so
'n
rock
'n' roll
rock
love
yeah
love
me,
yeah
me,
dance with
a - lone
JAZMIN / KEISHA
be
ba
91
juke - box
come and take your time and

88
can
74
we
71
JAZMIN / KEISHA / GLORIA
next we're mo - vin' on
and
67
JAZMIN
same
where
and
63
home
the
me
so
put
a - no - ther dime

rock 'n roll
in
the
so come and take your time

and
70
95
dance with
99
me
juke
102

come
box
ba
love
by
and
take
your
time
and

rock
'n' roll
so
put
a - no - ther dime
love
rock
'n
roll
in
the
so
VAMP
dance
with
me!
q = 124
CUE TO SEGUE:
Kool: "Experience the best!"
19. Experience
q. = 124
show - ing up
Just
a bad

10
girl
doi - in' ev - 'ry thing
wan
na see
hot - ter than
SKIN DEEP GIRLS
Ev - 'ry - thing
goes,
it like
walk
on

I got
walk
the spot - light
right
Ev - 'ry - thing goes,
come
KOOL / CC
Ev - 'ry an - gle
you
I'm
at mid - night
SOLO SKIN DEEP DANCER
it like
all the goods
we talk
it
we talk
it
71

13
O - pen mar - ket
this
is how
we hawk
it
this
is how
O - pen mar - ket
16
dig
dig
in - to your pock - et
New

You're part
Cough it
of the
New
up
boys
it
of the
Cough it
up
boys
co
no - my
co
no - my
SKIN DEEP GIRLS
19
We
CC
SKIN DEEP PATRONS
22
You're part
in - to your pock - et
we hawk
got
the
Think you
SKIN DEEP GIRLS
SKIN DEEP PATRONS
Go

That's how
You boys are scan - da - lous
can han - dle us
dough
You boys are scan - da - lous
That's how
That's how
nice
and slow
we
we
we
roll
roll
roll
in the
in the
in the
New
New
New
Age
Age
Age
72
25
Chorus
CC
Take a spin com - mit the sin your in - no - cence is gone
Ex
per - i - ence the ve - ry best that
SKIN DEEP GIRLS
Ex
SKIN DEEP PATRONS
28
KOOL
In
CC
mon - ey can
buy
SKIN DEEP GIRLS
mon - ey can
In
buy
In

31
we
is
want
want
we
In
we
buy
want
we
want
ac
is
ac
is
ac
is
ac
here you know what - e - ver you de - mand we sup - ply
All
All
SKIN DEEP PATRONS
mon - ey can
Ex
All
tion,
an
tion,
an
tion,
an
tion,
an
at - trac - tion
at - trac - tion
bey - ond
at - trac - tion
bey - ond
at - trac - tion
bey - ond
bey - ond
All
all
mea-
all
mea-
all
mea-
all
mea-

33
37
40
sure
Plea - sure's
sure
Plea - sure's
sure
Plea - sure's
sure
Plea - sure's
GLORIA
This
is high
class
prin
prin
at
ci - pal
at
prin

46

49
ci - pal
GLORIA
Skin
in
back
Fan - cy wine
and
of
I'll
Mer - ce - des
KOOL
take
con - trol
ough - ta be

My
mind,
your
soul.
and
roll
in the New
Age
Take
That's rock
and
roll
in the New
Age
Take

I think
That's rock
a night or two
Deep

where
Deep
the eigh - ties
Deep
Skin
I think this is
I'll need
at
Do - in' lines
Skin
li - vin' in
at
Deep
ci - pal
Skin
en - ter - pris - ing la - dies
43
ci - pal
prin
73
a line
'll do
a spin com - mit
the sin
your
a spin com - mit
the sin
your
74
KOOL

52
in - no - cence is gone
CC
SKIN DEEP GIRLS
in - no - cence is gone
SKIN DEEP PATRONS
KOOL
Ex
per - i - ence the ve - ry best that mon - ey can
per - i - ence
In
SKIN DEEP GIRLS
In

In
per - i - ence
In
All
they want is ac - tion, a
we can try
All
they want is ac - tion, a
dis -
SKIN DEEP PATRONS
dis -
here
here

here
buy
per - i - ence
here you know that an - y - thing you like we can try
CC
Ex
GLORIA
55
Ex
Ex
Chorus 2
dis -
dis -
75
58
trac - tion bey - ond
all
all
mea
all
mea
all
mea
sure
Plea - sure's
sure
sure
prin
prin
prin
sure
prin
61
Vamp
77
mea
ci - pal at Skin Deep
CUE - KOOL:
"Like I told you, you're fired!"
JIMMY: "Hold on now, man.

I'm good for this place"
81
JIMMY
JIMMY
un - der - stand the buy and sell I'll help you land the cli - en - tele

CC
You ain't worth a dime
84
JIMMY
was - tin' your time
may - be you're too dumb to see I'm gon - na be
CC
boy
You're
Well
boy
a some - bo - dy
KOOL
You're
76

87
KOOL
no - bo - dy
here
CC
get
get
SKIN DEEP GIRLS
out
SKIN DEEP PATRONS
Chorus
Ex

Ex

Ex

90
out
CC
mon - ey can
buy
SKIN DEEP GIRLS
buy
SKIN DEEP PATRONS
93
buy
pie
pie
pie
All
All
All
we want's con -nec - tion a
Ex - per - i - ence the cher - ry on your piece of the
mon - ey can

mon - ey can
se - lec - tion bey - ond
all
all
mea
mea
all
mea
sure
sure
Plea - sure's
Plea - sure's
prin -
prin -
sure
Plea - sure's
prin -
77
96
KOOL

Ex

CC
ci - pal
at Skin Deep
SKIN DEEP GIRLS
ci - pal
GLORIA
at Skin Deep

Ex
SKIN DEEP PATRONS
ci - pal
at Skin
Ex
buy
Ex -
the ve - ry best that mon - ey can
buy
Ex -
the ve - ry best that mon - ey can
buy
Ex -

buy
Ex -


99
buy
Ex -
per - i - ence
a fee - ling that's to good to de - ny
Just
a litt - le cash and you get
per - i - ence
Just
per - i - ence
a fee - ling that's too good to de - ny
Just
per - i - ence
Just
per - i - ence
a fee - ling that's too good to de - ny
Just
78
102
pass - ion bey - ond
all
all
mea
mea
mea

all
all
all
mea
mea
sure
sure
sure
sure
sure
sure
sure
sure
sure
sure
Plea
Plea
Plea
Plea
Plea
sure
sure
sure
All
All
All
sure
All
sure
Trea -
Trea -

Trea -
Trea -
Trea -
105
All
you need
you need
you need
is Skin
is Skin
is Skin

you need
is Skin
you need
is Skin

Deep.

Deep.
Deep.
Deep.
Deep.
79
19a. One In A Million (Reprise)

q. = 124
ALEX
My life was writ - ten in
stone
11
my life was set
I said I'd keep it real
And now I'm
ne - ver

ne - ver
could
danced
I'll

And then I'll run
23
long shot pays
27
out
in - to
his
mil - lion to

35
for
And on
'cos
of
it
all
ev' - ry - thing

top
I'm fin - ally see - in' how the
got
like I've
dance
maze
now
you give it
one
life
Yeah,
gon - na
a feel - ing that
pos
32
dan - cin'
arms,
one
mil - lion to
I'll
a - lone
them
and it's
I'm
it
feel
show
20
I said I'd go
thrown
be - lieved
in steel
sud - den - ly
14
q = 120
17
Poco meno mosso

rall.
si - ble.
I'm
try
is
pos
si
ble.
one
in
mil
lion
80
20. You Can't Keep Me Down

CUE - JIMMY: "Nobody listens"
q = 190
Red
13
put
17
JIMMY
Can't
you
see
I'm
dy
at who
Time's run - ning

GIRLS
LOW

BOYS
HIGH

out
Time's run - ning
out
Time's run - ning
LOW BOYS

can't
Time's run - ning
out
out
Get
just
21
GIRLS
HIGH

like I'm
fool they scoff
light! stop sign!

me down
clown
with no

lay off
bett - er punch - line!
ing here?
They
hope.
Some
the
dope.
Jim - my
Jim - my
Jim - my
Jim - my
JIMMY
No,
they're
wrong

now.
81
25
Bad
luck
is
29
got
33
i - de
do
or
got
My
break
37
41
die
com - in'
to
an
as on
how
if you
an
urge
is
com - in'
45
I'm
fight - er
49
who just
you
57
you
can't
of
keep
the
me
be
- long
now.
See
ma - ny times
I'm
down.
It's
time
to
do
Down the
road
they say
hit,
'Cos
I'm
bend.
And
mat - ter how
my dest - in - y,
me
press.
don't
won't quit No
keep
round
53
ta - kin' hold
and im
But it's
me,
can't
try
a suc - cess.
in
I've
wan - na
be
end.

to
what
is
things
best
for
me, and

are gon
- na stay
82
61
slow.
But I've raised the
65
69
Yeah,
HIGH GIRLS
Won't
be
Won't
be
HIGH BOYS

LOW BOYS

JIMMY
73
won't
be
long
be
long
81
85
ver
I'm
up
for

ver
more,
I'll
it
surge
in
the
me,
got - ta
who's
fight - er
'Cos
you
you
can't
get
I'm
down.
do what - e
is
They'll know
See
takes
now.
it
now.
then.
knock me
all
now.
77
feel
long
now.
be
JIMMY
long
Won't
Won't
now.
and now
long
LOW GIRLS
stakes
blow.
my
do
sights
and
set
on
you
can't
real - ly
can't
cool
by
ig - nore, you
keep
me
some - thing new,
keep
me
I'll
83
89
HIGH GIRLS
you
can't
keep
you
can't
keep
you
can't
keep
me
you
can't
keep
me
No
you
can't
keep
me
LOW GIRLS
HIGH BOYS
LOW BOYS
down.
93
down.
They'll
knock
you
back with ev
'ry
stride
down.
me
down.
There's
down.
me
There's
down.
no - where
no - where
84
97
You're
else for you
to
hide.
to
else for you
You're
hide.
You're
up
up
a - gainst
a - gainst

up
a - gainst
the
the
ropes,
ropes,

the
bruised
and
bruised
and
bruised
ropes,
and
101
beat - en up
You'll ne - ver
get
in
beat - en up
in
side.

get
beat - en up

You'll ne - ver
in
side.
side.
You'll ne - ver
You'll ne - ver
JIMMY
You'll ne - ver
to count
me
out
to count
me
out
'cause

'cause
get
get
to count
to count
me
me
know
know
out
out
get
to count
me
out
'cause
know
85
105
you
you
you
keep
me
down.
keep
me
can't
You
can't
keep
me
can't
keep
me
First
First
First
First
round, knock
round, knock
round, knock
down.
you
can't
keep
me
down
down.
down.
round, knock
111
can't
out!
Get
out!
out!
bout.
Get
bout.
Get
for the next
Get
up
out!
up
up
up
for the next
for the next
for the next
bout.
bout.
86
115

Don't
you
know
the
you
know
Don't
you
know
the
Don't
you
127
This
on you?
joke's
on you?
joke's
on you?
JIMMY
on you?
joke's
the
Dance Break
joke's
know
the
Don't
119
GIRLS
Grow
is
the
new
Jim - my,
grow
in'
strong
in'
strong
now.

now.
131
They're gon - na
say
they
knew
They're gon - na
say
they
knew
135
JIMMY
I'm
fight - er
who can't be
beat,
me
me
I'll
when...
when...
'Coz

stand
a - lone
on
my own
two feet
And
87
139
BOYS
you
can't
keep
me
you
can't
keep
JIMMY
get the cash
147
and
of here,
you
can't
keep
my
past be - hind
me
you
151
can't
me
HIGH GIRLS
Some - thing's com - ing
a - round the bend
a - round the bend
HIGH BOYS

LOW BOYS
JIMMY
rise
I'll
me,
the
fu - ture clear, And
a - round the bend
a - round the bend
up,
will
that
will

we knew him then
gon - na say
that
we knew him then

that

gon - na say
Yes
gon - na say
down.
gon - na say
LOW GIRLS

down.
keep
JIMMY
down.
get out
BOYS
me
143
down.
JIMMY
rise
that
we knew him then

we knew him then

up.
And
88
155
you
you
you
you
you
can't
keep
me
keep
me
keep
can't
me
keep
can't
can't
can't
159
Got his sights
set
on some - thing new,
set
rise.
will
Yes
er
will
he's got - ta
do
do what - ev
Got his sights

set
down.
do what - ev
Got his sights
down.
set
down.

Got his sights
down.
me
down.
me
keep
do what - ev
er
er
he's got - ta
he's got - ta

do what - ev
rise.
er
do
do
he's got - ta
do
And
89
you
can't
keep
me
can't
keep
me
can't
keep
can't
keep
me
can't
keep
me
163
you
you
you
you
down.
down.
me
down.
down.
down.
Dead segue
20a. Scene Change Tacet
21. You're Not Done

CUE - HANNAH: "No, don't you say that!"
q = 144
HANNAH
You've just been han - ded

3

shot
the
on - ly
one
ALEX
who gives a
shit why they of
fered

you
that you've got
The shot I've got
slot?
is - n't mine
90
'cos you were way out
10
of
line
This
is
my
life,
my
life!
HANNAH
What
kind
of
13
life,
this
ain't
life,
Yes
you
can
16
life
is
fall,
run
till
you
dream comes
true
But
bet - ter
22
25
28
What
if
31
it
clo
that
ses?
up

Ne - ver like
you
Ma - ma
You think
end
ALEX
no
steel
ble
guar
an
mill's
end
like
up
sta
not
of
ev' - ry
some - thing
tee
- ble
life?
a house - wife
you
see
me
I'm not like
You're
search
fall,
pre - tend
in
You'll
don't
stum
there's
to
new
take.
chance you
19
done
34
you
'cos
I've
got
plan
91
37
Wor - king
40
man
in
with
will
hurt
me
Go
49
That's
just
fears
Wake
up
and
the
take
for
me
And
if
you
they
shat
- ter
62
do
it
a - gain
tears
You're
hurt?
look
life's
not
some
done
stor
You
hope
your
hopes

they
will
prayed that
book
un
Won't
Live
not
and
no
you
and
59
pay
steel
through the
than
Was - n't
56
tough - er
HANNAH
price you
Grow
be
Rockier Feel
ALEX
53
through the
hurt,
I'll
the
46
steel
43
And
be
for
til
won't
Dad would
come back But
he'll
92
65

ne - ver
come back
Ma - ma!
HANNAH
May - be you're right! May - be
68
that
for
me.
78
You're
not
to
me,
Leave
Take one
last
look
79
This is
the fu - ture you face
If you don't re - a - lise
life
Take all that pas - sion in - side
85

your mo - ment

88
it
ALEX
live
fan - ta
can't
fight the fight ev' - ry
day

real
and let your gut be your guide
Keep on
look - in'
out
for
to
get
me
this
in
the
place
chase
at
is
82
up
done
ne - ver love
That's
71
I might
a - gain!
This should be

sy
got - ta keep
through all the dirt and de - cay
I'm
not
wai - tin'
And here's a chance for my
girl
way
though it may drive us
a - part
93
91

for
the
prince
am
And
you've got - ta
fol - low your
ne - ver
li
vin' the
Life's
not
some
end
it
fai
Don't
97
mo
more
ther
for
once
to
here
don't
Don't
set
This
the
tale
talk
You're
life
Act
is
done
like
so much
me
up
to
Though
you
can
rit.
not
try
Threre's
dis - ap - pear
learn
end
tale
100
ry
life
Got - ta
94
high
heart
fail
fail
don't
done
Meno mosso
103
Cue: "wait Alex ....wait"
Slow and free

HANNAH
111
Run
114
till
you
fall
Run
till
you
fly
My
117
A Tempo q = 144
done
litt - le
You're
not
No
more
girl
my
done
stand - ing
litt - le
one
morendo
still
You're
not
You're
not...
Doorbell rings
94
22. Keisha's Flashdance - Tacet
22a. I Love Rock 'n' Roll (Reprise)

PRE-RECORDED
h = 96
love
rock 'n' roll
love
dance with
juke box
ba
put
22
rock
a - no - ther dime
'n
roll
in
the
juke box
so
so
put
love
dance with
and
and
so
'n' roll
so
love
dance
with
the
by
roll
rock
love
'n
a - no - ther dime in
rock
ba
ba - by
'n' roll
in the juke -box
CUT ON CUE - KOOL HITS RADIO
and
19
rock
by
15
so
love
12
a - no - ther dime
roll
put
'n
me
so
rock
me
95
23. Gloria Intro

CUE - GLORIA: "Yeah, I got it."
q = 116
ALEX
Glo - ri - a
run
now
17
21
some - how
you've
on
the
af - ter
him
some - bo -
dy
al - ways
GLORIA
Run - nin'
you're
13
got - ta
get
ALEX
think you've
got
ta
96

25
slow
down
be - fore
for
break - down
it
You
real - ly
real - ly
34
was
was
it
it
some - thing that
some - thing that
37
he
head
he
don't
re
don't
call - ing
ful
not
to
mem - ber
voi
ces
in your

are the
care
mem - ber
are the
call - ing
re
said
be
said
head
ALEX
You
show
GLORIA
it
So
blow
40
to
31
think you're head - ing
start
28
you
Glor - i
Glor - i
voi
ces
in your
Cut On Cue
97
23a. Gloria
CUE - Alex: "It's a date."
q = 130
ALEX
don't
JAZMIN
Glor - i - a
you
think you're
fall
in'
Glor - i - a
KEISHA
Glor - i - a

If
ev - ry
bo - dy
wants
you
KEISHA
why
11
JAZMIN
ALEX
JAZMIN
cal - lin'
an - y - bo - dy

leave her hang - in' on the
KEISHA
is - n't

you
don't have the
an - swer

leave her hang - in' on the
98

15
line
line
Glor - i - a
think they got your
I think they
got
your
num - ber
Glor - i - a

al - i - as
that you been liv - in'
Glor - i - a
25
un - der
Glor - i - a
22
cal - ling Glor - i
cal - ling Glor - i
SKIN DEEP GIRLS
Oh

19
cal - ling Glor - i
Oh
but
you real
ly
don't
re - mem - ber
Glor - i - a
28
was
it
31
head
some - thing that they
said
are
call - ing
Glor - i
the
voi
ces
in
your
99
34
you
37
don't have
line
41
57
to
an - swer
Oh
leave her hang - in'
on
the
SKIN DEEP GIRLS
But you
63
real
call - ing
Glor - i
the
voi
was
are
66
ly don't re - mem - ber
said
Dialogue
call - ing Glor - i
60
ces
in
your
it
some - thing that they

head
Attacca 23b
23b. Scene Change to Nick's Office Tacet
100
24. Wake Up
CUE - JOE: "I'm just lucky I'm not starting out now."
q = 147 (Dialogue)
A Tempo
19
NICK
God
The ones who lend a
I've seen the
am
and you give
and they
still
fixed
40
But you won't

the race
a work - ing man
give
know the
get
There's
no
life
fought for
my
don't care
rea - ching for
piece
of
the dream
There's no - thing there
It
more
your share
you're
the floor
for
37
on
out
The ones who hope
bless the men
Pro - mis'd Land
God
hand
31
34
bless the wor - king man
23
27
is - n't
winn - ing when you're
worth
You
the chase
they
out
in
the
real
world
101
Wake
43
up,
be
46
49
time
to
make

ry eyed
59
'ry
62
The
65
Break
all
fire
cha - rade
the

your
pro
signed
on
for
saw
fought for
you've just
my
piece

been played
red
town
and
go
her
dance
of
the
of
You
ro - mance
the spark
in
ev -

the
dream
first
hide
ti
life
mise
this
God bless the star -
bless
leave
God
can - not
col - lect
mo - ment
ties
glance
To
you
up
get out - ta here!
ry eyed
big
got - ta
The
mind
your
hind
53
68
56
ride
She
left
me
star -

But it's
give
and you give

and
you're
102
still
71
74
be - trayed
your
77
Break
There ain't
af - ter
is
mind
all
To
ties
in
real
leave
this
col - lect
your
life
- ver gon - na look
90
You can
96
back
93
up,
time
try
but
And
I'm
ne
cutt -
ver will
shutt
I've known
in'
off
I'm
ne -
a - gain
see me
And
love
in' down the life
ne - ver gon - na
go
you ain't
to make
hind
And I'm
and
And
Wake
be -

got - ta get out - ta here
town
be
bro - ken
to
meant
world
83
87
no
the
- ti - ny
des
joke
up
no
E - ver
80
then
the phone
line
Now I'm fol -
103
- low - in'
99
Wake
102
up,
be
105
108
my
own
line
all
lone
time
to
make
hind
your
Break
all
got - ta
get
I know I got - ta get a
to - day
leave
this
life
get
and
go
Time
to
go
out - ta
got - ta leave it
all
got - ta

got - ta
town
here
bull - shit
out - ta
your

got - ta get out - ta here, Go
Go
- way
col - lect
117
120
To
ties
up
111
114
mind
here!
24a. Scene Change (Optional) Tacet
get
out - ta
here,
104
25. Don't Stop (Reprise 2)
CUE - GLORIA: "It was a nice dream, you know."
q = 108
ALEX: "Shhhh, it's okay..."
rall.
ALEX
colla voce
know you've been
used
and it's
10
you're
Don't
let
done.
it
slip
here
There's
dream - ing what you're dream - ing
much more that
a - way.
rall.
17
so
You're
no
on the
Don't stop

that
run.
thing to
you were
Don't
you've got
I'm
you con - fused.
as
not
got
But long
13
dream can
fear
'cause
meant
to
do.
stop
take you

there
105
26. Nightmare Ballet Tacet

CUE - ALEX: "God. Oh God! Mama!"
Adagio q = 65
Celli
Gtr 1
13
Vlns
WW/Tpt/Horn
High Art
17
Faster q = 125
Harpsichord
21
25
Horn

WW
38
+Tpt
+Tpt
My Next Step
Str.
Tpt
+Tpt
Horn
+ Tpt
29
33
106
Tpt
42
Tpt/Horn
Maniac
46
q = 144
Vibes
50
Ob.
54
58
Gtr 1 Solo
62
70
74
77
Str./T.Bells
Pno +Tpt
66
107
Don't Stop
Vlns.
81
85
93
104
Vc.
97
101
89
27. One in a Million (Underscore) Tacet
108
28. In Touch With The Beat (Reprise)

CUE - KEISHA: "Baby, you the great white hope"
q = 90
KEISHA
So
keep
dan
cin' and dan - cin'
12
ach - ing
15
to
and
18
dan - cing
do
on and on
Go

Just keep dan -
do
the thing your heart is
cin' and dan - cin
GLORIA / JAZMIN / KEISHA
ev - ry
step you take we're
ta - king with you
Yes
we'll
Segue
too.....
28a. Magical High Art (Dance Crossover No. 8) Tacet
be
109
29. Flashdance . . . What A Feeling

CUE: Alex starts record player
q = 92
KEISHA
First
when there's no - thing
but
slow
glow - ing
dream
GLORIA

fear
seems
to
GLORIA
lone
have
hide
deep in - side
cried
si - lent
tears
your mind
full
of
pride
in
JAZMIN
in
All a -
JAZMIN
that your
13
JAZMIN
KEISHA
in
110

17

stone
made
of

stone
world
made
world
made
world
made
of
steel
of
made
steel
of
steel
q = 122
made
of
of
stone
21
KEISHA
Well
25
GLORIA
hear
Wrap a - round
JAZMIN
feel
KEISHA
eyes
feel
the
the
rhy
rhy -
thm
thm
Wrap a - round
Wrap a - round
the

take

take

take
mu - sic
hold
of my
hold
hold
close my

of my

of my
111
29
heart
What
What
What
cin'
for
vin'
cin'
cin'
for
for
lin'
lin'
vin'
lin'
fee
36

vin'
fee
heart
33
fee
heart
can
can
can
Bein's

it
have
it

it
my
life
my
life
my
life
Bein's
Bein's
have
have

be - lie -

be - lie -

be - lie -
all
now I'm dan -
all
now I'm dan -
all
now I'm dan -
Take
your
pas -
Take
your
pas -
Take
your
pas -
112
39
and

42

45
make
sion
Pic - tures
Pic - tures
come
come
come
GLORIA
make
hap
it
hap
you can
you can
- live
you can
fee
dance
dance
dance
lin'
pen
it
pen
hap
- live
What
it
make
- live
and
and
sion
Pic - tures
sion
pen
right
right
right
through
your
life
through
your
life

through
your
life
113
50
55
59
63
71
79
83
86
lin'
lin'
lin'
GLORIA
What a
JAZMIN
KEISHA
What a
What a
fee
fee
fee
am
am

mu - sic now
Bein's

mu - sic now

be - lie -
114
89
vin'
am
am
now
GIRLS
What
BOYS
What
What

95
lin'
am
lin'
lin'
am

mu - sic now
mu - sic now
vin'
Bein's be - lie
fee -
fee -
fee -
Bein's be - lie
fee -
Bein's be - lie
lin'
- lin'
fee -
What
now
ENSEMBLE
What
rhy - thm
92
rhy - thm
am
vin'
vin'
am
115

98
rhy - thm now
Pic - tures
come
Pic - tures
rhy - thm now
Pic - tures

101
Pic -tures
Pic - tures
come
come
come
a - live
a - live
come
a - live
You can
You can
You can
dance
dance
dance
a - live
You can
dance
a - live
You can
dance
right
right
right

right
right
I can real - ly have
What a
What a
fee
fee
What a
fee
through
your life
through
your life
through
your life
through
through
your life
your life
it all

it all
lin'

What a fee -
lin'
lin'
I can real - ly have

What a
fee-
What a fee -
116

105
Please
Please
108

it

it
lin'
right through
right through
right through
right through
Pic - tures come
Pic - tures come
your life

your life
a - live
a - live
You can dance
a - live
You can dance
a - live
You can dance
fee
lin'
What
What
your life
What
You can dance
your life
You can dance

What
a - live
Pic - tures come
lin'
Pic - tures come
Pic - tures come
lin'
right through
be - lieve
be - lieve
your life
What
30. Finale Tacet
fee
fee
fee
fee
lin'
lin'
lin'
lin'
117
31. Megamix
q = 148
Steeltown Sky
18
q = 156
(Hn.)
(+Tpt.)
22
35
Synth
39
q = 148
Half time
55
q = 74
CONTINUE ON
APPLAUSE
63b
Maniac
64
68
q = 158
Elec Pno / Synth
ENSEMBLE

She's a
ma -

She's a
ma -
118

72
ni - ac
ma
ni - ac
75
she's
ni - ac
the
on
ing
like
she's
ing
like
she's
She's
on
ni - ac
the
on
she's
she's
ne
ne
floor
floor
ver
danced
ver
ni - ac
ver
danced
and
dan
dan
cing
cing
- fore
she's
dan -
she's
she's
like
like
ma
and
ma
ni - ac
danced
- fore
be
floor
be
danced
ma -
ver
ma -
floor
ne
ne
She's
like
the
the
ing
ni - ac
like
danc
- cing
danc
84

on
ni - ac
she's
81
78
and
ma
and
she's
danc -
ne -
ne -
119

87
ver
danced
89

ver
danced
ver
ver
danced
danced
I Love Rock 'n Roll

92
98
h = 96
love
102
106
110
rock
love
love
love
'n' roll
rock
'n' roll
rock
'n' roll
rock
danc
danc
ing
like
ing
like
'n roll
put
a - no - ther dime
she's
ne
be - fore
in the
juke - box

and

ba
by
dance with me
in the juke - box
ba
and

a - no - ther dime
put
ne
so
she's

so
be - fore
ENSEMBLE
dance with
me
by
120
Proud Gloria
114
q = 178
lin'
am
lin'
lin'
rhy - thm
am
JAZMIN
KEISHA
What
rhy - thm
now

be - lie
vin'
fee
fee
fee
am
mu - sic now
now
Bein's
GLORIA
What
mu - sic now
148
What
145
Glo - ri - a
q = 122
137
What A Feeling
Glo - ri - a
Glo - ri - a
Glo - ri - a
Glo - ri - a
131
Glo - ri - a
120
am
121
152 GLORIA
lin'
lin'
lin'
lin'
lin'
What
JAZMIN
What
KEISHA
What
fee
fee
fee

What
fee
ENSEMBLE BOYS

What
fee
155
am
am
am
am
Bein's
Bein's
come
come
rhy - thm now
Pic - tures
Pic - tures
Pic - tures
be - lie -
Pic - tures
mu - sic now
Bein's
rhy - thm now

mu - sic now
vin'
vin'
Pic - tures
vin'
ENSEMBLE GIRLS
come
come
come
be - lie -

be - lie -
- live
You can dance
- live
You can dance
- live
You can dance
- live
You can dance
- live
You can dance
122

158
right
right
right
right
right

161
through
through
through
through
through
your
life
your
life
your
life
your
life
your
life
can real
can real
ly
ly
have
it
all
fee -
What
fee -
Please
it
Please
What a
fee

be - lieve
fee
fee
fee -
be - lieve
all
What a
What
lin'
What
What a
lin'
lin'
have
lin'
lin'
lin'

164
it

it
123
Pic - tures
Pic - tures
come
167

Pic - tures
come
come
come
come
Pic - tures
Pic - tures
live
live
You can
right
your life

your life
through
live
live
You can
dance
right
through
your life
You can
dance
through
live
You can
dance
right
dance
right
your life
You can
dance
What
fee
lin'!
What
fee
lin'!
What
fee
What
fee
lin'!
fee
lin'!
What
31a. Playout Tacet
right
through
through
your life
lin'!

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B ook b y Tom Hed le y & Rober t C a r y

Mu sic b y Robbie Rot h

PHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL

Applications to perform this work must be made,

Cast (in order of appearance)

Alex Owens (19, Steel mill worker by day, dancer by night)

Steel Mill workers / Street Dancers / Street Kids /

Overture / Dance Crossover No. 1 (Instrumental)

Dance Crossover No. 2 (Instrumental)

One in a Million (Hannah, Alex)

Manhunt (Underscore) (Instrumental)

In Touch with the Beat (Keisha, Jazmin, Gloria, Alex)

In Touch with the Beat (Coda) (Alex)

High Art (Shipley Academy Students, Alex)

Maniac (Keisha, Jazmin, Gloria, Ensemble)

Kool Underscore (Instrumental)

10. Twenty One (Gloria, Jimmy)

18. I Love Rock n Roll (Jazmin, Keisha, Gloria, Ensemble)

OVERTURE / DANCE CROSSOVER No. 1

Hang in there, Joe, that pensionll kick in any minute.

Hey, Alex, you doin your act at Harrys place tonight?

Maybe we oughta come take a look.

Just check your wife and kids at the door, Sammy.

My wife doesnt understand me.

Th ats probably why youre still together.

Come on, teach me some moves.

Just as soon as you learn to weld a straight seam, Abe.

Oh, Joe. Youre so sweet. And old.

Whatd she say? I cant hear.

I said . . . either you got the beat or you dont.

Steel Worker 1 Th at true, Hurley? What your uncle just said?

(Re: the handshake.) Goin for the personal touch?

I try. Alex Owens, right?

A thousand people in the yard, and you already know my name?

I think that counts as extra credit.

Nick Hurley. The big guys nephew comin to whip us into

I dont think you need any help in that department.

You better be referring to my work.

Dont worry. Ive had women on the floor before

Oh, I bet you have. Goodnight, Mr. Hurley. (Then, more

Maybe tomorrow Ill bring an apple.

Shes always late!

Our fans are waiting!

Jimmy? Jimmy Kaminsky?

I dont, I got my own place now. Im just checkin on Ma.

Guess its been a while?

I was thinkin I should have stolen a car with better mileage.

Only when you remind me.

Listen, you still dancin at Harrys? Cause I was thinkin maybe

Yeah, but my jokes were no good back then.

Neither were your burgers.

Ba-dum chhhh! Shes here all week!

Dont you think you should be askin your cousin, Gloria?

(Dry.) Yeah. I leave the lights on now. Gnight, Jimmy.

(Softening.) Ill see what I can do.

DANCE CROSSOVER No. 2

Alright. No fast moves. Give me everything in the register and

(Putting the paper away.) Just do me one favour.

Take me with you.

Okay, kid, its you and me.

Rain or shine, to the end of the line. Partners in crime.

Man, crime aint what it used to be.

Is that what Jimmy Kaminsky says?