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Book by TIM KELLY Music and Lyrics by BILL FRANCOEUR

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GROOVY! A Musical Comedy Tribute to the 1960s Book by TIM KELLY Music and Lyrics by BILL FRANCOEUR CAST OF CHARACTERS (In order of speaking) # of lines TRAVIS PERKINS...... music festival promoter, 94 about 20 MURIEL ...... another 96 ANN ...... hippie wannabe 26 SYLVIA ...... another 27 ALICE ...... another festival promoter 88 TONY ...... sound man 17 ELMER CRUMB ...... apple farmer 30 MRS. PORTER ...... irate citizen 69 SHERIFF WITHERS ...... bewildered law officer 67 MILLIE KUBRICK ...... flower child 13 BEADS ...... male hippie 21 MARY QUAINT ...... London fashion designer 29 GINGER ...... photographer 10 HIPPIE GIRL WITH FLUTE ...... hippie 14 MRS. IDA KAUFMAN ...... runs an animal shelter 42 IRIS ...... of musical group the Lemon 28 Bugs TORK ...... a Lemon Bug 29 ANDY ...... another 25 MILDRED ...... nurse 14 MISTY DAWN ...... hippie 16 SWASHBUCKLER ...... biker 17 JOYCE RUFFIN ...... town reporter 29 CHUCK MIDDLETON ...... about to be drafted 21 CALIFORNIA COWABUNGA ....surfer 22 CALIFORNIA IVY ...... another 16 STANLEY KELLOGG ...... talent manager 27 JACKIE PIERCE ...... another 26 MRS. SHERWOOD ...... Ann’s mother 29 EXTRAS/CHORUS MEMBERS as/if desired For preview only CALIFORNIA COWABUNGA ��surfer CALIFORNIA IVY ��another STANLEY KELLOGG ��talent manager JACKIE PIERCE ��another MRS. SHERWOOD ��Ann’s mother EXTRAS/CHORUS MEMBERS ��as/if desired

MUSICAL NUMBERS ACT ONE MC 1 Power to the People ��Male and Female Folksingers, Company MC 2 Music, Beads and Flowers �� Travis, Alice, Tony, Muriel, Beads, Millie, Elmer MC 3 Lemon Bugs in a Lemon Air-o-Plane �� Iris, Tork, Andy, Company MC 4 Brothers and Sisters ��Travis, Muriel, Alice, Joyce, Chuck, the Lemon Bugs, Hippies MC 5 Anything is Possible ��Cowabunga, Ivy, Company MC 6 Groovy! �� Company

ACT TWO MC 7 Entr’acte �� Instrumental MC 8 We May Not Pass This Way Again ��Travis, Muriel MC 9 The Pied Piper of Rock and Roll �� Hippie Girl With Flute, Company MC 10 We Almost Had a Breakdown �� The Lemon Bugs, Company MC 10a Groovy [Reprise] �� Company MC 11 Epilogue—A Tribute �� Company MC 11a Curtain Call �� Instrumental MC 11b Exit Music �� Instrumental For previewiii only SYNOPSIS The action takes place at Crumb’s Apple Farm. The time is the 1960s.

ABOUT THE SETTING A field in Crumb’s Apple Farm. The field is now functioning as the command center for a forthcoming pop music festival. What looks like an open tent is positioned UPSTAGE CENTER, ideally on a platform. In the back of the tent is a banner reading: “MUSIC, BEADS AND FLOWERS.” The following are inside the tent: a table at LEFT covered with posters, leaflets and a guitar; at RIGHT, a cot, pillow and blanket; CENTER, a desk facing out to the audience with a chair behind and a stool to one side. On the desk is a microphone, typewriter, cup with pencils, typing paper and walkie-talkie. Outside the “tent,” which is open to full audience view, is shrubbery UP RIGHT and UP LEFT [cutouts of apple trees would look great but not necessary]. DOWN RIGHT is a rustic bench with some shrubbery behind it. The same for DOWN LEFT. Here and there a tree stump would look good.

For previewiv only GROOVY! PROLOGUE MUSIC CUE 1: “Power to the People.” The opening strains of music are heard. East Indian in flavor, mysterious in nature, it evokes all of the “alternate consciousness” of the counterculture: the hippie, the flower child movement. The COMPANY ENTERS from LEFT and RIGHT during the music and freezes in silhouette poses of jubilant song and dance. As the Indian MUSIC FADES, a SPOTLIGHT COMES UP on a MALE FOLKSINGER and a FEMALE FOLKSINGER seated on stools DOWN CENTER. They are both holding guitars. The MALE FOLKSINGER has a harmonica in a brace around his neck. They begin playing and singing. The rest of the COMPANY is still frozen in a silhouette. MALE FOLKSINGER: (a la Bob Dylan. Sings.) Hey there, brothers, there’s a feelin’ comin’ down. FEMALE FOLKSINGER: (a la Joan Baez. Sings.) Hey there, sisters, come together, gather ’round. MALE FOLKSINGER: (Sings.) Pack up all your troubles, take a ride upon the wind. FEMALE FOLKSINGER: (Sings.) Come and sail with us again. BOTH: (Sing.) Close your eyes, can you see it in your mind? (LIGHTS UP. FOLKSINGERS join the COMPANY swaying to the music.) COMPANY: (Enthusiastic and energetic. Sings.) It was a generation of love, a generation for peace, A generation of flower power, seize the hour, come on along. It was a time to share and commune, take a trip to the moon, It was a time to go back to nature, change legislature, Write a big hit protest song. And everybody sang... Power to the people all across the land, Hey now, everybody lend a hand. Singing... Power to the people! Rise up and beat the drum, Sing it, shout it, “We shall overcome.” FLOWER CHILD ONE: (Speaks.) Welcome to our loving tribute to the 1960s... FLOWER CHILD TWO: (Speaks.) A time of hippies and flower children... FLOWER CHILD THREE: (Speaks.) Love-ins and be-ins! HIPPIE ONE: (Speaks.) Protest marches and sit ins...

For preview1 only HIPPIE TWO: (Speaks.) The 1960s was a time of great social change. And it seemed every crusade had its own slogan. FLOWER CHILD ONE: (Shouts.) Slogans like, “Keep the faith, baby!” FLOWER CHILD TWO: (Shouts.) “Don’t trust anyone over thirty!” FLOWER CHILD THREE: (Shouts.) “Hippie Power!” HIPPIE ONE: (Shouts.) “Flower power!” FLOWER CHILD ONE: (Shouts.) “We shall overcome!” HIPPIE THREE: (Shouts.) “Take a hippie to lunch!” (ALL reprimandingly look at HIPPIE THREE, who sheepishly smiles.) FLOWER CHILD ONE: (Speaks.) Peace and brotherly love was the message of the day. HIPPIE ONE: (Speaks.) Can you dig it? The 1960s was a real trip, man! COMPANY: (Sings.) It was a time to grow and achieve, stand up for what you believe. A generation of brotherhood and sisterhood, all riding a storm. It was a time to move and reach out, a time to stand up and shout. A generation of understanding, yet demanding wide-spread social reform. And everybody sang... Power to the people all across the land, Hey now, everybody lend a hand. Singing... Power to the people! Rise up and beat the drum, Sing it, shout it, “We shall overcome!” HIPPIE ONE: (Speaks.) To be a true child of the sixties, you first had to learn how to speak the lingo. (To COMPANY.) Everybody ready? (ALL acknowledge. To AUDIENCE.) Are you ready to tune in? That means listen. (To CAST MEMBERS.) All right, let’s rap. (TO AUDIENCE.) That means discuss. (To CAST MEMBERS.) Hit it! (NOTE: Assign each phrase to a different member of the CAST. Phrases should be rattled off quickly and energetically. Phrases may be directed to other CAST MEMBERS or in reference to other CAST MEMBERS. Or if you prefer they can be spoken directly to the AUDIENCE. In any event go for the humor.) COMPANY: (Shouts.) “He’s really far out!” “She blows my mind!” “She’s out of sight!” “He’s spaced out!” “Just let your light shine!” “You’ve got good vibes!” “Hey, get your head together!” “What a mind-blower!” “I’m really zonked!” “Don’t hassle me, man!” “Keep on truckin’!” “Can you dig it?” “Right on!” “It’ll be a gas!” “It’s streamline, baby!” “He knows where it’s at!” “She’s tripped

For preview2 only out on love and peace!” “That’s what she’s into!” He’s a straight- lookin’ dude!” “She makes me paranoid!” “She’s groovin’ on the scene!” “I’m doin’ my own thing!” “She’s hip!” “He’s bad karma!” “That’s heavy, man!” “Uptight, out of sight!” “What a bummer!” “Wow! Dig all the beautitul freaks!” HIPPIE ONE: (Speaks.) And last but not least... COMPANY: (Sings.) “It’s groovy!” And everybody sang... Power to the people all across the land, Hey now, everybody lend a hand! Singing... Power to the people! Get down and join the dance Sing it, shout it... CHORUS ONE: (Sings.) Give peace a chance! CHORUS TWO: (Sings.) Power to the people! CHORUS ONE: (Sings.) We shall overcome! CHORUS TWO: (Sings.) Love and understanding! CHORUS ONE: (Sings.) Give peace a chance! CHORUS TWO: (Sings.) Brotherhood and friendship! CHORUS ONE: (Sings.) We shall overcome! CHORUS TWO: (Sings.) Sisterhood and kinship! CHORUS ONE: (Sings.) Give peace a chance! CHORUS TWO: (Sings.) Power to the people! CHORUS ONE: (Sings.) We shall overcome! CHORUS TWO: (Sings.) Love and understanding! CHORUS ONE: (Sings.) Give peace a chance! CHORUS TWO: (Sings.) Brotherhood and friendship! CHORUS ONE: (Sings.) We shall overcome! CHORUS TWO: (Sings.) Sisterhood and kinship! CHORUS ONE: (Sings.) Give peace a chance! CHORUS TWO: (Sings.) Power to the people! ALL: (Sing.) We shall overcome! Oh, yeah! (At end of song, BLACKOUT.)

For preview3 only ACT ONE LIGHTS UP: We discover TRAVIS standing behind the desk. He’s talking loudly into the walkie-talkie. MURIEL is sorting leaflets and posters at the table. TRAVIS: Speak up, Swashbuckler. All I’m getting on this walkie-talkie is static. (He listens.) Uh-huh, uh-huh, uh-huh. (To MURIEL.) Hey, Muriel, guess what? MURIEL: I give up. TRAVIS: Swashbuckler says another bus just pulled in. MURIEL: The more the merrier. Make sure they know about the apples. TRAVIS: (Into the mouthpiece.) Don’t forget to tell them to leave the apples alone. We promised Elmer. (He listens.) Uh-huh, uh-huh, uh-huh. (To MURIEL.) He wants to know if we have any posters left? MURIEL: Lots. TRAVIS: All right! (Into the mouthpiece.) Lots. One day they could be valuable. (He snaps off the walkie-talkie, puts it on desk. He steps to table and gives MURIEL a hand, or he might pick up the guitar and silently strum. They continue silently as DOWNSTAGE, two teenagers, ANN and SYLVIA, each about 16, ENTER LEFT. They wear bell-bottomed pants, multi-colored vests, beads, jangling bracelets and Indian headbands. They appear to be thrilled, looking about with awe.) ANN: Isn’t this magical, Sylvia? I told you we’d get away with it. SYLVIA: I never thought being a runaway would be so much fun. ANN: The fun hasn’t even started. Good-bye to being grounded. Good- bye to parents who don’t understand us. SYLVIA: Hello to the free life. ANN: Whatever that is. SYLVIA: That’s what we’re going to find out. There’s no turning back. (She makes a gesture to take in her surroundings.) Crumb’s Apple Farm looks like a good start. ANN: Music, Beads and Flowers. BOTH: Groovy! ALICE: (ENTERS RIGHT with a clipboard and sees OTHERS.) Hi, sisters.

For preview4 only ANN/SYLVIA: Hi, sister. ALICE: Just get here? ANN/SYLVIA: We just got off the bus. ALICE: Tell whoever drove the bus to park in the far field with all the other buses. Don’t block the road. ANN: We meant the Greyhound bus. ALICE: That’s unusual. SYLVIA: Are you one of the concert promoters? ALICE: It’s a loose sort of thing, but I guess you could call me a promoter. A couple of friends of mine came up with the same idea, so we joined forces. ANN/SYLVIA: Groovy! TRAVIS: (With MURIEL, steps from the tent, RIGHT. They carry posters. To ALICE.) Swashbuckler said he could do with a few more posters. ALICE: (To ANN and SYLVIA.) These are the friends I was telling you about. (A general exchange of “Hi.”) Travis here got the ball rolling. ANN: Great idea, Travis. A free concert. TRAVIS: I wouldn’t call it a concert. More like a festival, a celebration. We’re mixing rock, pop, folk, gospel, ethnic, blues, country and western. MURIEL: Whatever sounds good. ALICE: Whatever makes you feel good. SYLVIA: And it’s all free! TRAVIS: That’s the whole point. The best things in life are free. ANN: Is it really true the Lemon Bugs are going to perform? ALICE: Absolutely. They’re already here. Where did you stash your bedrolls? ANN: We didn’t bring any. We travel light. SYLVIA: She travels fastest who travels light. Or something like that. I read it in a book once. MURIEL: Right on! (Points RIGHT.) In that case, camp over by the apple carts. Someone will let you borrow a blanket. SYLVIA: You want us to tack up those posters?

For preview5 only TRAVIS: Thanks. Check with a guy named Swashbuckler. SYLVIA: Swashbuckler? ANN: That’s so keeeeoooot! (TRAVIS hands over the posters.) SYLVIA: I bet you can’t guess where we’re going after Music, Beads and Flowers. TRAVIS/ALICE/MURIEL: (Routine.) San Francisco. ANN: (Impressed.) Wow! What a mind-blower! SYLVIA: How’d you know? TRAVIS/ALICE/MURIEL: Lucky guess. ANN: Maybe we can find the Lemon Bugs. ALICE: You’ll find them. There’s always a crowd surrounding them. They’re out of sight! ANN: (Starts RIGHT with SYLVIA.) Can you believe it, Sylvia? We’re actually going to meet the Lemon Bugs. SYLVIA: Groovy! (They EXIT.) TRAVIS: (Calls after them.) Oh, yeah. I forgot. Don’t eat the apples! ALICE: If any more kids show up, I don’t know where we can put them. MURIEL: There isn’t room for one more bus. TONY: (ENTERS DOWN RIGHT. He has some electrical equipment tossed over his shoulder and a workman’s belt around his waist.) The Lemon Bugs are very fussy about their sound. They don’t like feedback and they don’t like squawks. They’re very particular. ALICE: Rock stars usually are. TONY: Hope it doesn’t rain. MURIEL: Don’t even think it. ELMER: (ENTERS LEFT. He wears farm overalls and carries a straw basket of apples.) We got trouble. ALICE: That’s heavy, man. What kind of trouble? ELMER: It’s Mrs. Porter. She’s looking mean. MURIEL: Storm warning. TRAVIS: There’s nothing to worry about. Mrs. Porter is always complaining about something.

For preview6 only ALICE: Usually us. ELMER: This time she’s got Sheriff Withers with her. TRAVIS: In that case, we got something to worry about. ALICE: Scatter. MRS. PORTER’S VOICE: (From OFF LEFT.) Come along, Sheriff Withers. MURIEL: Too late. SHERIFF WITHERS’S VOICE: (From OFF LEFT.) I’ve got a squashed apple on my shoe. MRS. PORTER: (ENTERS LEFT, followed by SHERIFF WITHERS.) Never mind about your shoe. You can worry about that later. (MRS. PORTER is a force to be reckoned with. Bubble hairdo and mean- looking glasses. It’s immediately apparent she doesn’t like hippies, flower children or their music. As she speaks, she practically scoffs. SHERIFF WITHERS has a badge on his shirt.) ELMER: Hi, Mrs. Porter. Care for an apple? (He holds up the basket.) MRS. PORTER: No, thank you, Elmer. Apples always wiggle my dentures. ELMER: How about you, Sheriff Withers? Care for an apple? SHERIFF WITHERS: I just stepped on an apple. A rotten one. It was all squishy. ELMER: Crumb Farm never sends rotten apples to market. SHERIFF WITHERS: You shouldn’t let them stay on the ground when they’re squishy. MRS. PORTER: (Cutting to the chase.) Elmer Crumb, you ought to be ashamed of yourself. Allowing this music pop festival, or whatever it is, to go on. I don’t know what your father and mother would say. ELMER: They left the farm in my care while they’re taking a vacation in Europe. MRS. PORTER: I know that, but look what you’ve done with the farm. You’ve turned it into a circus. MURIEL: That’s not fair, Mrs. Porter. Elmer said we could use the farm, but we haven’t turned it into a circus. MRS. PORTER: If it’s not a circus, then it’s a side show. TRAVIS: Mrs. Porter, all we’re doing is trying to create some good vibes.

For preview7 only MRS. PORTER: Vibes? ALICE: It’s the age of Aquarius. ELMER: Love your brother and sister. MURIEL: (Gives the peace sign.) Peace. MRS. PORTER: Such rubbish. ALICE: No, it isn’t. MURIEL: There’s so much tension in the world, the music celebration will be a release. MRS. PORTER: Release from what? MURIEL: Tension, of course. MRS. PORTER: Your little music celebration is going to release the world’s tension? MURIEL: It’s an effort. Doesn’t that count for something? MRS. PORTER: Not as far as I’m concerned. I can’t imagine your mother allowing you to do this, Muriel. I’ll have a few words to say to her. Tsk, tsk. ALICE: Music, Beads and Flowers is a return to nature. Sort of. MRS. PORTER: This apple farm doesn’t have to return to nature. It is nature. Tsk, tsk. (MILLIE KUBRICK ENTERS DOWN RIGHT. She wears a long white dress and sandals, a headband of flowers. Carries a basket of flowers. As MRS. PORTER continues to protest, MILLIE gives a flower to each person, starting with TONY, murmurs “Love.”) If these young people want a rock concert, let them go to Centerville. I understand there’s going to be a big one there. TRAVIS: The tickets are expensive. TONY: Way too expensive. Most kids can’t afford them. ALICE: Ours doesn’t cost anything, unless you want to make a donation. MRS. PORTER: Young people are actually living in the fields, washing in the stream and sleeping under the stars. MURIEL: Only until the celebration’s over tomorrow. MRS. PORTER: I don’t care if it’s one more second. I’m certain it’s illegal. MILLIE: (In front of MRS. PORTER, hands her a flower.) Love. MRS. PORTER: What, what? (She looks at the flower with disdain.) What’s this?

For preview8 only TONY: It’s a flower, Mrs. Porter. ALICE: Flower power. MRS. PORTER: I don’t want a flower. Take it back. MILLIE: (In front of SHERIFF WITHERS, hands him a flower.) Love. SHERIFF WITHERS: I’m allergic to flowers. Take it away, take it away. Ah-ah-ah-choo! OTHERS: Gesundheit! (BEADS ENTERS UP LEFT. He’s dressed in wild hippie fashion—beaded vest, headband, guitar slung over his back. Strings of beads in his hand. He moves to MRS. PORTER.) MRS. PORTER: (Doesn’t see BEADS coming.) This gathering— MURIEL: We call it a tribal gathering. MRS. PORTER: Tribal gathering? Did you ever hear anything so absurd, Sheriff Withers? SHERIFF WITHERS: I don’t understand any of it. Broken-down buses painted all kinds of crazy colors. Flowers, guitars, tambourines. BEADS: (To MRS. PORTER.) Beads. Pass them on. MRS. PORTER: What, what? Who are you? BEADS: They call me Beads. MRS. PORTER: What an idiotic name. BEADS: It suits me. MRS. PORTER: Then you’re an idiot. (BEADS attempts to put some beads over MRS. PORTER’S head.) Stop that! Get away from me! Get a haircut. SHERIFF WITHERS: Like I say, I don’t understand any of it. TRAVIS: Maybe we can help you. TONY: It’s worth a try. BEADS: Sit and listen, brother and sister. (He indicates the bench DOWN LEFT. On guard, MRS. PORTER and SHERIFF WITHERS sit. MUSIC CUE 2: “Music, Beads and Flowers.”) TRAVIS: (Sings.) Music, beads and flowers are good for the spirit. ALICE: (Sings.) Music, beads and flowers are good for the soul. TONY: (Sings.) Love and understanding have brought us here today. MILLIE: (Sings.) Music, beads and flowers are the one and only way.

For preview9 only MURIEL: (Sings.) Music, beads and flowers can bring you such pleasure. BEADS: (Sings.) Music, beads and flowers can bring you such joy. ELMER: (Sings.) Dancing in the moonlight, gazing on a star. TRAVIS: (Sings.) Music, beads and flowers, will bring you peace, MURIEL: (Sings.) Bring you love... ALL: (Sing.) Show you who you are. (Additional HIPPIES and FLOWER CHILDREN may ENTER and join in as desired.) Music, beads and flowers all day in the sunshine. Music, beads and flowers all night in the rain. Why not share the moment, be one with nature’s call? Music, beads and flowers mean a world of peace, A world of love, a world for one and all! (Dancing and hugging as they sing.) CHORUS ONE: (Sings.) CHORUS TWO: (Sings.) 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 la la! ALL: (Sing.) Music, beads and flowers all day in the sunshine. Music, beads and flowers all night in the rain. Love and understanding have brought us here today. Music, beads and flowers mean a world of peace, A world of love, the one and only way! (Begin dancing wildly and playing tambourines.) CHORUS ONE: (Sings.) Music, beads and flowers! CHORUS TWO: (Sings.) It’s the one and only way! CHORUS ONE: (Sings.) Music, beads and flowers! CHORUS TWO: (Sings.) It’s the one and only way! CHORUS ONE: (Sings.) Music, beads and flowers! CHORUS TWO: (Sings.) It’s the one and only way! CHORUS ONE: (Sings.) Music, beads and flowers! CHORUS TWO: (Sings.) It’s the one and only way! CHORUS ONE: (Sings.) Music, beads and flowers! CHORUS TWO: (Sings.) It’s the one and only way! CHORUS ONE: (Sings.) Music, beads and flowers!

For preview10 only CHORUS TWO: (Sings.) It’s the one and only way! CHORUS ONE: (Sings.) Music, beads and flowers! CHORUS TWO: (Sings.) It’s the one and only way! CHORUS ONE: (Sings.) Music, beads and flowers! CHORUS TWO: (Sings.) It’s the one and only way! TRAVIS: (Speaks.) What’s it called? ALL: (Sing.) Music, beads and flowers! TRAVIS: (At end of song.) Now do you understand? SHERIFF WITHERS: Nope. MRS. PORTER: (Stands.) You call that an explanation? Young people coming from everywhere. They make noise and give the town a bad name. I consider it my civic duty to stop this foolishness before it goes any further. ALICE: You can’t do that, Mrs. Porter. MRS. PORTER: Watch me. ELMER: It’s my property. MRS. PORTER: I say applesauce. MURIEL: Get your head together, man! After tomorrow night Music, Beads and Flowers will be over and done with. ALICE: A beautiful memory. SHERIFF WITHERS: (Stands.) Maybe that is the best thing, Mrs. Porter. Let them “do their thing” and be done with it. MRS. PORTER: If we don’t stop this rubbish immediately, what’s to prevent some other group of youngsters from putting on another concert next week? Who gave them a license? TRAVIS/ALICE/MURIEL: (Startled.) License? SHERIFF WITHERS: You kids do have a license, don’t you? TRAVIS: (Fibs.) Sure, sure. SHERIFF WITHERS: I guess I’d better see it. Who issued it? ALICE: (Fibs.) Town clerk. SHERIFF WITHERS: I can’t check with him. It’s the start of the weekend. He’s gone fishing.

For preview11 only MURIEL: It’s somewhere in the files. MRS. PORTER: She’s lying, Sheriff. BEADS: (To MRS. PORTER.) Have some beads. MILLIE: (To MRS. PORTER.) Have a flower. MRS. PORTER: I’ve already told you I don’t want any beads, and I don’t want any flowers. BEADS: (Makes the peace sign.) Peace. SHERIFF WITHERS: Let me handle this, Mrs. Porter. (To TRAVIS, ALICE and MURIEL.) Find the license. In the meantime I’ll just wander about and see what’s going on here at Crumb’s Apple Farm. I see a lot of suspicious-looking kids. MRS. PORTER: They should all be arrested. (SHERIFF WITHERS turns and EXITS DOWN LEFT. MRS. PORTER follows after him, turns before she leaves and, with distaste, scoffs.) Hippies. (She EXITS.) ALICE: We don’t have a license. OTHERS: Shhhhh. ALICE: You don’t have to have a license if you’re not charging anything. (Worried.) Do you? (OTHERS shrug. They haven’t the slightest idea.) SHERIFF WITHERS: (RE-ENTERS from DOWN LEFT.) What about security? I’m only one sheriff. I can’t be expected to be everywhere at once. TRAVIS: Don’t worry. We’ve solved the security problem. SHERIFF WITHERS: How? ALICE: Swashbuckler and some of his biker friends are taking care of security. SHERIFF WITHERS: Swashbuckler? Why, he’s a hood! What are you going to do if someone breaks an arm or something? MURIEL: Mildred has donated her services. She’s a registered nurse. SHERIFF WITHERS: Yo may think you’re all set, but I just know something will go wrong, and it will make me look bad with the voters. ALICE: It’s cool, man. Trust us. SHERIFF WITHERS: Last time I trusted anyone I ended up with a rubber check. (Shaking his head, he starts to EXIT again.) I dunno about this. I mean, a guy like Swashbuckler. (He’s OUT DOWN LEFT.) TRAVIS: There’s still a lot of work to do before tomorrow night. Let’s get to it. (ALL but TRAVIS and MURIEL EXIT RIGHT.) For preview12 only MURIEL: I hope we haven’t taken on more than we can handle. TRAVIS: Don’t let Mrs. Porter worry you. She likes complaining. MURIEL: We wouldn’t be having this celebration if it wasn’t for you, Travis. You’ve done most of the work. TRAVIS: Couldn’t have done it without you, Muriel. You and Alice have been a big help. MURIEL: I consider you a special person in my life, Travis. You’re really far out. TRAVIS: That’s the way I feel about you. Always have. Ever since we were in Future Farmers of America, and everyone said we were suffering from puppy love. Remember? MURIEL: How could I forget? TRAVIS: Woof, woof. MARY’S VOICE: (From OFF LEFT.) Stay close to me, Ginger, and always have your camera at the ready. GINGER’S VOICE: (From OFF LEFT.) Yes, Miss Quaint. (MARY ENTERS. She speaks with a British accent and is dressed in extreme fashion. She carries a large sketch pad. GINGER follows, dressed in khakis, with several cameras strung about her neck. MARY is energetic and opinionated.) MARY: (To TRAVIS.) You there. TRAVIS: (Points to himself.) Me? You mean me? You speaking to me? MARY: I’m looking for someone named Travis. You look like a Travis. TRAVIS: I’m Travis. MURIEL: He’s Travis. MARY: I suspected as much. I’m Mary Quaint. From London. I’m sure you’ve heard of me. TRAVIS/MURIEL: No. MARY: (Crushed.) Oh. Tell them who I am, Ginger. GINGER: Mary Quaint is Europe’s foremost designer for young people. (She snaps a picture of TRAVIS and MURIEL.) MARY: Without me, Europe wouldn’t know anything about the hip-clinging knit skirt or paste-on rhinestones. TRAVIS/MURIEL: (Unimpressed.) Really?

For preview13 only GINGER: Don’t forget the hooded dress and shorts with rolled-up cuffs. MARY: Not to mention the pop-it necklace and see-through gloves. MURIEL: You’re a fashion designer. MARY: Tell them, Ginger. GINGER: Miss Quaint is not just any fashion designer. Miss Quaint is THE fashion designer for today’s restless youth. MARY: That’s why I’m here, Travis. I feel I’m going stale. I’m becoming out-of-touch. The Love Generation is one step ahead of me, and I have to catch up. You won’t mind if I study the youngsters here and make a few sketches for inspiration? TRAVIS: I don’t object if they don’t. Do you see any problem, Muriel? MURIEL: No problem. It’s streamline, baby. MARY: Splendid. (HIPPIE GIRL WITH FLUTE ENTERS DOWN LEFT. She is covered in beads, flowers and slogan buttons. Wooden flute to her lips. She continues to cross the stage.) She looks interesting. You there, young hippie. HIPPIE GIRL WITH FLUTE: (Stops, gives peace sign.) Peace. Love. Harmony. MARY: Same to you, dear. What you’re wearing is charming. What do you call it? HIPPIE GIRL WITH FLUTE: Clothes. MARY: How droll. Snap her picture, Ginger. (GINGER snaps a picture.) I’m Mary Quaint. I’m sure you’ve heard of me. HIPPIE GIRL WITH FLUTE: No. MARY: You will. What’s your name? HIPPIE GIRL WITH FLUTE: Hippie Girl With Flute. MARY: Hippie Girl With Flute? That’s what I call an original name. Love the beads. May I read the buttons? HIPPIE GIRL WITH FLUTE: If that’s your thing. MARY: (Gets out a pair of eyeglasses and holds them to her eyes, reads the buttons.) Let me see now. Hmmmm. “Hippie Power.” “I am a human being. Do not fold, spindle or mutilate.” “Peace.” “Flower Power.” “This button is just an attempt to communicate.” “Don’t trust anyone over thirty.” “If you can read this button, you’re standing too close.” (She steps back.) Sorry.

For preview14 only HIPPIE GIRL WITH FLUTE: I have to practice my flute playing. I can only do that when I’m walking, not talking. Dig it? MARY: I quite understand, Hippie Girl With Flute. “Keep on trucking.” I may trail along. Perhaps you could introduce me to some of your strange friends. HIPPIE GIRL WITH FLUTE: Whatever. (Flute to her lips, she EXITS RIGHT. OTHERS stare after her.) MARY: I’ll whip up some rags with a few fashion accessories and slogan buttons and call it “Hippie Girl With Flute.” It’ll sell like butterscotch. GINGER: She’s getting away. MARY: There’s plenty more where she came from. (She EXITS RIGHT.) GINGER: Miss Quaint is feeling inspired. TRAVIS/MURIEL: Whatever works. GINGER: (Moves after MARY, spins to take another snap of TRAVIS and MURIEL. She motions them to stand closer together. They do.) Big smile. (They smile. GINGER snaps, EXITS RIGHT.) ALICE: (ENTERS DOWN RIGHT.) Swashbuckler’s looking for you, Travis. TRAVIS: Is there a problem? ALICE: Depends on how you look at it. One of the buses tipped over. TRAVIS: Tipped over?! MURIEL: Anybody hurt?! ALICE: No. The kids were on the roof meditating and jumped clear. MURIEL: That’s a relief. TRAVIS: I better check this out. (He runs OFF RIGHT.) MRS. KAUFMAN: (ENTERS LEFT. She is pleasant, and wears a simple dress and hat.) Hello, Alice. Hello, Muriel. BOTH: Hi, Mrs. Kaufman. MRS. KAUFMAN: I’m fascinated by what you’re doing. You’ve certainly caused this little farming community to sit up and take notice. ALICE: What can we do for you? MRS. KAUFMAN: I got a message that Travis wanted to speak with me. ALICE: It’s about your shelter for abandoned cats and dogs. MRS. KAUFMAN: What about it?

15 ForEnd previewof script preview. only PRODUCTION NOTES

PROPERTIES ON STAGE: In tent: Banner reading “Music, Beads and Flowers,” table with posters, leaflets, guitar; cot with pillow, blanket; desk with chair and stool, microphone, typewriter, cup with pencils, typing paper, walkie- talkie. Outside tent: shrubbery, two benches, optional tree stumps. BROUGHT ON, ACT ONE: Clipboard (ALICE); electrical equipment, workman’s belt (TONY); straw basket of apples (ELMER); basket of flowers (MILLIE); guitar, strings of beads (BEADS); large sketch pad (MARY); cameras (GINGER); flute (HIPPIE GIRL WITH FLUTE); eyeglasses (MARY); hanky (MRS. KAUFMAN); guitars (TORK, ANDY); tambourine (IRIS); pad and pencil (JOYCE); basket covered with napkin, order paper (CHUCK); surfboards (COWABUNGA, IVY); business card (STANLEY); “Stop the Music!” sign (MRS. PORTER); suitcases, guitars (LEMON BUGS). BROUGHT ON, ACT TWO: Large handbag with snapshots (MRS. SHERWOOD); newspaper (MURIEL); basket with napkin (CHUCK); flute, cap with feather (HIPPIE GIRL WITH FLUTE); “Stop The Music!” sign (MRS. PORTER). COSTUMES The 1960s were a time of bell-bottom pants, flowered shirts, fringed vests with slogan buttons and beads. Headbands, feathers, flowing dresses. Indian clothing mixed with items found in the attic or at a yard sale. Uniform odds and ends. Boots, sandals. In short, colorful but funky. Long hair was in for the males, from Beatles style to shoulder length. A few wigs would look neat but not necessary. Give a funky look to the costumes and that’s all that’s required.

MISCELLANEOUS Before the show actually begins, HIPPIES might wander down the aisles greeting members of the audience and passing them flowers and beads. The side walls of the stage could be decorated with large paper flowers, the more colorful the better. STANLEY and JACKIE could appear in ACT TWO as additional HIPPIES. So the audience won’t recognize them, they might wear floppy hats and wigs. A painted backdrop against the back wall would prove effective.

FLEXIBLE CASTING

Make adjustments as/if needed. For example, BEADS could be played as female. TORK could be TEENA, ANDY could be ALVA, GINGER could become GEORGE, etc. EXTRAS, in addition to playing HIPPIES, could play BIKERS and SURFERS. For preview64 only We hope you’ve enjoyed this script sample.

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