Musical Titles!

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Post by Tinuviel on Thu Jul 19, 2012 6:08 am

I'm the head writer of our Student made musical this year at my school called STUNTS (I'm not sure what it stand for...), and we need to come up with a title. The story is like Midsummer Night's Dream, Doctor Who, and Love Actually combined. It tells the story of Charlie, a time traveller who's been cursed by the evil Sorceress Agatha to travel in time to prove to non-believers that love exists. He must convince one person in 5 chances, or else he's doomed never to see the love of his life, Sophia, again. The musical is about discovering what love is (Love Actually) as well as where we can find it in our lives. Charlie takes Lily (his 5th and final chance) to the 16th century, the 20's, and the present to show her different types of love that she never knew existed, all the while trying to resist Agatha's interference and influence as he travels through time. ((((I came up with this idea Buckie free!!!)))))

Since I respect your opinions very much, I thought I'd ask all of you for any possible title ideas. It has to have the word STUNTS in it somewhere, which is the tricky part, but it doesn't have to be original. I'd suggested "Stunts and Back again," "A Stunts in Time," "Stunts Actually," and "Crazy, Stupid Stunts," but none of them have stuck.


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Post by chris63 on Thu Jul 19, 2012 6:14 am

Take a punt with a stunt Embarassed

I'l get my coat Laughing
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Post by Eldorion on Thu Jul 19, 2012 6:15 am

You could go the acronym route. "Soaring Through Universes, Never Soulmates." "Suddenly, Time Unweaves, Never Too Soon."

...Alternatively, you could go the non-terrible route. Laughing

Also, does "STUNTS" have to be plural?
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Post by chris63 on Thu Jul 19, 2012 6:20 am

I'm stumped.
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Post by Eldorion on Thu Jul 19, 2012 6:28 am

If we're taking the rom-com title remix route:

"Love and Other Stunts"
"Stunts and the City"
"Stunts with Benefits"
"How to Lose a Guy in 10 Stunts"
"Stunts Women Want"
"50 First Stunts"
"Four Weddings and a Stunt"
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Post by Ally on Thu Jul 19, 2012 11:33 am

Love.Crazy.Stupid.STUNTS (oh you've already done that Very Happy)
Time Stunts in Weddings
A song of mice doing stunts
well this stunts
Back to the Stunts
The (however old Charlie is) stunt
The Duke of Stunts
Time Stunts
Amid Summer's Dreams, featuring Stunts


Wow, this is a lot harder than I thought it would be! Great story idea though Tin!


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Post by Mrs Figg on Thu Jul 19, 2012 12:42 pm

Stunted Love.

Stunted Hearts in Five Parts.

Theres no stunt double when you fall in love.
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Post by Tinuviel on Fri Jul 20, 2012 12:04 am

I think it has to stay STUNTS, but thanks for all the titles! If something hits you one day, TELL ME! I'm just wrapping act 1 up now!

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Post by Mrs Figg on Fri Jul 20, 2012 12:21 am

five stunts and a wedding

charlies stunts in time

time stunts for no man

one small step for charlie a giant leap for stunts
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Post by Norc on Fri Jul 20, 2012 11:55 am

what is a stunt?
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Post by Tinuviel on Fri Jul 20, 2012 2:46 pm

It stands for something, I'm not sure what scratch Student Theater Under No Teacher Supervision? I don't really know!

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Post by Norc on Fri Jul 20, 2012 5:07 pm

sounds like an awefully good idea ;D
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Post by Tinuviel on Tue Aug 14, 2012 12:09 am

Ok, so I'll just post my finished product here!

Prologue:
Sophia stands alone on stage, looking at a locket, beginning to read an inscription on the inside
Sophia: “You’ll be in my heart until sun rises in the west. Love, your Charles.” (She looks to stage right, where the crew of the HMS PROVIDENCE is entering, quietly whispering to each other, then becoming silent. Sophia walks up to one of them) Excuse me sir, is Mr. Charles Barlow with your company?
The Man walks away without saying a word. Another sailor approaches her
Sailor 1: Excuse him Miss, he meant you no disrespect. Our voyage was… strange.
Sophia: Is Charlie with you? This is the HMS Providence, isn’t it?
Sailor 1: Yes miss, it is. Perhaps you’d like to sit down?
Sophia: Where’s Charlie?
Sailor 2: He been gone two years.
Sailor 1: Bill!
Sophia: 2 years? What happened?
Sailor 2: The weather turned horrid one night, and to stay on the sea woulda been suicide. When we docked in Barbados, Charlie was lookin’ real terrible. He told me he had just been in a row with his fiancé and he was flat out drunk. We needed ‘im at the helm that night! So John took ‘im to a medicine woman at the far end of the island. I can get John for you, if you’d like! Hey, John! Over here! Can you tell this young lady about what you seen happen to Charlie?
Sailor 3: Charlie was trippin’ over his feet, and ya can’t steer a ship when ye don’t know which way the sky is! So I heard there were a magic woman who could sober ‘im up quicker than you could blink. When I dragged ‘im to the shack, she told me that she needed her privacy while she was doin her voodoo. (Whistles) She was a looker!
Sailor 1: Johnny!
Sailor 3: Pardon me, miss. I meant no disrespect, ya know. So I waitin’ for a good fifteen minutes for him before I went to see what was keepin’ him. I heard yellin’ and looked in the window and there was a flash as bright as if it were Christ ‘imself! I was blinded for a good minute! I went in lookin’ for him after, but the house was empty. I ran back to the men on the beach and told them what happened, and we went and decided to stay on the beach.
Sophia: Why? Why didn’t you look for him?
Sailor 2: We didn’t want to get taken ourselves! There was some dark magic on that island, I could feel it in my bones!
Sailor 1: Whatever happened to him, it wasn’t natural. I know this may be hard for you to hear, miss, but you should stop waiting for him. He’s not coming back.
Sophia: But he is. He has to. He made me a promise, sir, and he’s always kept his promises. As long as I know he’s out there, I’ll wait for him. I know he’s trying to get back to me.
Sailor 1: Well God Bless you miss. I wish you the best.
Sophia: Thank you. May your holiday be a restful one.
The sailors bow in respect before exiting with the rest of their crew mates. Sophia is on stage, reading the inscription again.
Sophia: “Until the sun rises in the west.”
She freezes in a tableau, with LILY on the other side of the stage in the same position, holding a spoon.

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Post by Tinuviel on Tue Aug 14, 2012 12:10 am

*Some of the lines are not mine, since it was a collabrative effort, but I've put my touch on just about all of it*

Scene 1
Lily, a sarcastic young adult, and her friend Michael , a lovable, erratic goofball, are hanging out in Lily’s bedroom. Lily sits on her bed surrounded by stuffed animals. She is in the same position that Sophia was on the beach except she has a spoon while Sophia had a locket. Lily gazes intently at the spoon, wondering whether or not to take another bite.
Lily: (groans audibly and forlornly gazes into her nearly empty carton of Rocky Road) Do you want to finish this?
Michael: (intently drawing something on oversize poster board) Lily, there’s no way that I’m touching your post-break up ice cream.
Lily: So much dairy. So little time. (buries head under her pillow, crumpled tissues fall off the bed)
Michael: I think it’s done. What do you think? (shows poster board to Lily, revealing her ex-boyfriend Steven’s face)
Lily: Michael, what did you do to his chin?
Michael: What are you talking about?
Lily: You made his chin look way too pointy. Steven’s chin was not that pointy.
Michael: Seriously. He cheated on you with Retail Girl and then was the one who broke up with you. Why aren’t you giving him an eye patch and blacking out all of his teeth?
Lily: Doesn’t make him any less hot.
Michael: He’s a jerk, Lily. And he looks like a sketchier version of David Spade.
Lily: I think someone’s jealous…
Michael: Trust me, I am NOT jealous of his chin. But I won’t say I’m not jealous. (tapes up the poster of Steven to a vertical surface)Alright, let him have it!
Lily: I actually thought he was perfect, you know? He was handsome and funny and employed (Michael looks uncomfortable at this one since he doesn’t have a job) and he wanted kids! God! (For every positive adjective describing Steven, Lily throws a stuffed animal at his face.) I mean,I was actually going to marry this guy, at least I thought I was. I thought we might even start a family! It’s nauseating! Now I’m just going to end up like mom eating Lean Cuisines and crying over Jodi Picoult novels! Forever alone!!!
Michael: Quit being so dramatic, you aren’t going to end up alone like your mom. Not until you get rid of some of these stuffed animals.
Lily: (softly) My dad gave them to me.
Michael: After he left?
Lily: Yeah. One every year for my birthday. Even when I got way too old for them. My sixteenth birthday, I got a stuffed elephant while all of my friends got cars. Once he left mom, I guess he decided that he just didn’t even need to try being my dad anymore. I bet he didn’t even pick them out; he probably got Cindy to find all of the stuffed bears in the bargain bin.
Michael: Homewrecker.
Lily: You know what? I think that all men are terrible. Good men simply don’t exist.
Michael: (clears his throat and looks into Lily’s eyes) I wouldn’t say that…
Lily: You’re right. You exist. But you don’t count!
Michael: Why not?
Lily: (Too wrapped up in her own drama to hear Michael) All guys want are girls, and after they get them, they throw them in the trash and order another! 50% of marriages end in divorce, right? So why do I think I can find a good guy to marry!
Michael: Lily, that’s not always true…
Lily: But Cindy and Steven are equally horrible people. Maybe it’s the idea of true love that doesn’t exist.
Lily sings “9 to 5” and Michael as well as Cindy, Lily’s dad, and Lily’s mom, and the rest of Lily’s community join in, singing about the mythologized idea of love and how it never lives up to their expectations. Michael sings about how Lily will never think of him as more than a friend but has the most optimistic voice of all of the characters participating in this number.
Remember this excerpt of the monologue?
“I mean, after all I’ve been through, how am I supposed to believe this Hollywood bologna called “true love?” Do people just have low enough standards to be happy and I’m romanticizing it? But how is that fair? Why do we constantly look for something that isn’t there? As far as I’m concerned, love is supposed to make you feel good inside and make your life better, but my entire life it has done the exact opposite! It seems to me that this “true love” that everyone is obsessed with, simply doesn’t exist.”
These sentiments should be synthesized into the song lyrics.
Michael: Lily, I think you’re making a mistake.
Lily: I already made a mistake. Now I’m making sure I don’t make it again.
Michael: Fine! Give up! I think you’re wrong, correction, I KNOW you’re wrong. But whatever, I have to go to work.
Lily: You got a job? Who hired you?
Michael: What? Uh… Toys R Us.
Lily: Isn’t it closed?
Michael: No
Lily: Well have fun with your “job”
Michael: I will
Lily: Good!
Michael: Perfect!
Michael leaves abruptly, but stops to look back at her longingly. He’s frustrated that Lily doesn’t realize that he is the PerfectRomanticComedyBestFriendGuy (TM) who has the ability to make her really happy.

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Post by Tinuviel on Tue Aug 14, 2012 12:12 am

Scene 2
(Lily plops back down on her bed, dispirited. Lights flicker, the sound of things banging and falling rings out. )
Lily: What the—?! (She jumps up.) Michael, is that you? Is this supposed to make me feel better? (Panicked, beginning to ramble) That’s really sweet of you but I think you’re a bit misguided because scaring the crap out a girl will not make her feel bet-
Charlie trips down the stairs into Lily’s room. Lily naturally screams.
Charlie: (Rubbing his head) That’s gonna leave a mark
Lily: Oh my god, who are you?
Charlie: (Stands and brushes himself off.) I’m Charles! But you can call me Charlie.
Lily: Charlie…
Charlie: The time traveler! Who’s Michael
Lily: I’ve got a better question; WHO ARE YOU?
Charlie: I told you, I’m a time traveler. I travel through time to find people who don’t believe in love and take them to different couples throughout history to convince them that true love exists.
Lily: This is a dream. Regardless, GET OUT OF MY ROOM!
Charlie: (Laughs) This isn’t a dream. And even in your dreams, you don’t believe true love exists, so why would you dream about some man trying to convince you of it?
Lily: Good point. Now, excuse me while I go find my baseball bat.
Charlie: (Finally realizing he needs to get serious) Wait, please hear me out!
Lily: Why in God’s name would I? Give me one good reason
Charlie: Because nothing I could say could upset you more than what Steven did.
(Lily, shocked, nods her head for him to speak, though still looks at him skeptically.)
Charlie: My job is to make non-believers, like you, believe in true love. I know it sounds pretty crazy for someone like you. But I do swear that love exists. (Becomes wistful before snapping out of it.) I will take you with me as we travel in time to show you love in all its many forms -and trust me, there are many- with this! (he whips out his instrument)
Lily: With that. Do I look like an idiot?
Charlie: Honest! Music is the soul of the universe. No blue phone boxes or 1981 DeLoreans for me!
Lily: So…your job is to make people believe in love. Why? Are you working for the Hallmark Corporation or something?
Charlie: What? No! I’m not affiliated with any greeting card companies! I want you to be happy and find your own love. That’s my job.
Lily: And how did you get a crackpot job like that, then?
Charlie: Well, it’s quite a long story… Anyway, where would you like to go first?
Lily: Go? I’m not going anywhere. I’m waking up. Please excuse me.
(Lily goes to lie down on her bed, possibly to fall asleep in her dream so she can wake up in the real world. Charlie watches in fascination and amusement, waiting until she realizes that everything is actual happening. She quickly opens her eyes, spots Charlie still standing in her bedroom, and lets out a yelp.)
Charlie: Still here.
Lily: I’m not dreaming…?
Charlie: That’s what I’ve been saying! I’m being serious!
Lily: You seem like a lot of things, Charlie, but serious doesn’t seem to be one of them. How do I know you’re not like one of those creepy guys in cars who tell kids they have candy before kidnapping them?
Charlie: I, a man terrified of heights, appeared on your roof, got pooped on by a pigeon, fell down two flights of stairs, almost got beaten by an old woman and her handbag, then fell down another flight of stairs. A kidnapper would have given up at this point!
Lily: Are you drunk?
Charlie: No! Time travel just makes you dizzy sometimes, and I didn’t really have a choice as to where I was going. I was lead here. Come on, don’t you want to forget about your problems, Steven, your parents, everything, and have a little fun with a benevolent stranger? You’d be doing me as big a favor as I’d be doing you.
Lily: How do you know so much about me?
Charlie: Your facebook was left open on your computer upstairs. But I have to know about my companion before I can travel with them. It’s no fun travelling with a stranger.
Lily: And you are…?
Charlie: A guide. A mentor. Like a Time Gandalf, or that little green guy from Star Wars.*
Lily: (laughing incredulously) Seriously?
Charlie: Come on, trust me (he holds out his hand. Lily takes it. Charlie whips out his magical time-traveling musical instrument. He begins playing it and the time travel begins. Lily is frozen in fear.



*I couldn't resist! It's perfect! Embarassed

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Post by halfwise on Tue Aug 14, 2012 12:30 am

All this teenage precociousness is making my head spin.

I like the previously suggested "Love and Other Stunts".

And Norc, were you asking for the definition of a stunt? I'm sure you've looked it up by now, but a stunt is what happens after a little buckie, when someone says "Hey everybody! Watch this!"

The buckie is not a necessary ingredient for a stunt, but it does increase the likelyhood of someone thinking they can actually pull off a stunt. If several people decide to attempt a group stunt while under the influence of buckie, what you get is known as a "cluster fuck".

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Post by Orwell on Tue Aug 14, 2012 12:36 am

I've heard of groups being called a "pack of stunts" too. Very Happy Though, strictly speaking, that should be "stunters"... Nod

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Post by halfwise on Tue Aug 14, 2012 12:38 am

I should add that I once defined 'cluster fuck' to a group of foreign grad students: an Iranian, a Czech and a Puerto Rican (not technically a foreigner, but close enough). All three of them had just finished taking their first snowboard lesson, and I was riding up with them on the chair lift (I was on skis) to make their first attempt at the mountain. I asked if they knew what the term 'cluster fuck' meant. They shook their heads. I pointed out that there were 4 of us in close proximity riding up to make their first attempt at really using their snowboards.

We were approaching the top of the lift and the point of exit. What I expected to happen next is termed a 'cluster fuck'.

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Post by Pettytyrant101 on Tue Aug 14, 2012 12:45 am

Tin- A touch of Who magic sprinkled in there, but not too much. I particularly enjoyed your dialogue. It had an immediate rapport to it that felt natural, a good musical tends to also be good drama inbetween the songs, and I feel you have got that here.
Good work. Now we just need to hear the songs and read the rest!

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Post by halfwise on Tue Aug 14, 2012 12:51 am

You write and score your own music?! I'd love samples.

This is exactly what high schools should be doing everywhere, but instead they're stuck in standardized test hell.

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Post by Tinuviel on Tue Aug 14, 2012 1:02 am

I'm not in charge of music, and the lyrics are still being written by the vocal directors, but I can give you the list of songs!

Act I-
scene 1: 9-5; Dolly Parton
scene 2: Don't Let me Go; Shrek the Musical
scene 3: The Riddle; Scarlet Pimpernel
scene 5: Me Party; The Muppets and There's No Knowing; Willy Wonka

Act II-
scene 1: I Won't Say I'm in Love; Hercules
scene 2: Take Me or Leave Me; Rent
scene 4: Original Song; Me and Becky
scene 5: King Herod's Song; Jesus Christ Superstar
scene 7: I'm a Believer; Smash Mouth

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Post by Pettytyrant101 on Tue Aug 14, 2012 1:03 am

So you could post act 3 scene 4 then! cheers

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Post by Tinuviel on Tue Aug 14, 2012 1:05 am

The title, by the way, is "Stunts in the Name of Love" and STUNTS stands for something, it's not literally a bunch of artsy kids throwing themselves off buildings and jumping out of helicopters Rolling Eyes

SCENE 3

Lily and Charlie transition into the 16th century. They are in a corner of a dining room by a large flowerpot filled with a festive floral arrangement. Agatha is hidden in the shadows disguised as house maid. Throughout the scene, she floats in and out of the dining room. Nobody has noticed them yet. Lily clearly is nauseous.
Lily: WHAT THE—?
Charlie: (claps his hand over LILY’s mouth and makes her duck behind the flowerpot) Can you be any louder? When you first transition to a new time period, it’s essential that you be quiet.
Lily: A new time period?
Charlie: Yes, Lily. You don’t recognize the décor, the mode of dress? We’re in 16th century London. Haven’t you taken a history class?
Lily: History class definitely did not prepare me for this.
Charlie: Very well, then. Modern education must be terribly generalized, anyway. Can I trust you to stay here and not be seen?
Lily: Yes, but I would prefer it if you stayed to explain- Where are you going? You can’t just leave me in a complete stranger’s dining room! That’s not how kidnapping works!
Charlie: I promise I’ll be right back. I just need a few things to help us blend in a bit more. Hold tight.
James, a haughty and greedy young man, walks into the dining hall with an older man, Mr. Howell, who is the father of James’s fiancé. Luckily for Lily, the two men are on the opposite side of the hall and do not notice her presence. They are too busy engaging in a heated argument.
James: Sir, a deal is a deal. You give me a dowry of 100 acres and I save your daughter from penniless obscurity. I don’t understand why you need to complicate things.
Mr. Howell: My word, James. My family is not penniless! There is no reason for you to slander us so…loudly.
James: By the time word gets out that the Howells have gone broke, I won’t even be permitted to stoop so low as to speak to you. Now tell me why I cannot have my 100 acres!
Mr. Howell: Sir, with these ninety-five acres, you will have a plot of land rivaling that of the King! There is a farmer sitting on the last five. I’ve begged him to sell, but those acres are his livelihood.
James: I swear, Mr. Howell, if your Victoria was not so handsome, I would never consider marrying someone of such mediocre standing.
Mr. Howell: Such disrespect, James. You may be a nobleman, but your behavior is really quite vile.
James: Just remember, Howell. I have the power to ruin you. Well, ruin you even more.
Mr. Howell: (reconsidering) James, I may have some baubles that will make you reconsider. Jewels! Furs! Paintings! I'll show you to my quarters and you can pick anything you like.
James: Now, good sir, I think we understand each other.
James and Mr. Howell exit the room and Charlie comes back into the room wearing some sort of servant’s uniform. He throws a maid’s uniform at Lily.
Lily: What is this?
Charlie: I broke into the maid’s room. It must be about your size. This way you don’t have to hide behind that silly flowerpot for the rest of the night.
Lily: Thanks. Did you hear those two men?
Charlie: Every word. The walls around here are very thin.
Lily: That James is unbelievable! Do you think his fiancé heard him?
Charlie: I would definitely count on it.
Lily: I don’t understand this at all. How is this greedy ass supposed to make me believe in love? Love wouldn’t go near this marriage with a forty foot pole.
Charlie: You just have to keep watching. Let the whole story unfold.
Lily: If I tolerate your cryptic comments, will you eventually get me out of here?
Charlie: Cross my heart, hope to die.
Lily: (reluctantly) Fine.
As Lily changes, Victoria enters, and Mr. Howell respectfully exits.
James: Hello darling. Enjoying the party?
Victoria: I hardly find a business meeting between men an enjoyable event.
James: You’re right. Perhaps you should turn in for the night. Get your beauty sleep. I wouldn’t have you looking tired in front of all my investors in the morning. He moves to touch her face, but she slaps his hand away. He grabs her wrist. Whether you like or not, we are to be wed in the morning, and if you don’t act like a proper woman should, than I won’t treat you like one. He roughly releases her hand, and saunters out of the room as if nothing is wrong.
Mrs. Howell enters the dining room. Lily and Charlie busy themselves by pretending to dust but really they are focusing on the conversation between the two women.
Victoria: Did you hear how he was speaking to father? And I still have to marry that revolting leech!
Mrs. Howell: Victoria! You better quiet yourself this instant. He might be able to hear you! He wouldn’t be addressing your father in that rather…impudent tone if our fortune was what it was five years ago. Times have changed, Victoria. We have to adapt to them. It is our lot as women. We must be strong in ways that go unnoticed.
Victoria: I will try to send you money whenever I can.
Mrs. Howell: Don’t worry what will become of your father and me. Our time has passed. You are the one that we must worry about and keep safe now.
Victoria: Mother, may I be excused? I would just like to freshen up before our dinner with my…(disgusted by the next word) fiancé.
Mrs. Howell: I’m so sorry, my dear. I just want you to know that this is supposed to be for you.
Victoria, once out of her mother’s vision runs outside to a courtyard where Henry, a merchant’s son, is waiting for her. Charlie and Lily follow close behind.
Henry: Are you being followed?
Victoria: My father is with James, pawning off the family heirlooms. Mother is tending to dinner and the servants are nothing to worry about.
Henry: Good.
They passionately embrace. Henry pulls away.
Henry: “The servants are nothing to worry about.” What a princess you are.
Victoria: Hardly. Especially nowadays.
Henry: Do you think you could live without them?
Victoria: My parents? They’ve given me everything they possibly could.
Henry: (tenderly) I meant the servants.
Victoria: Oh. Well, yes, of course. I could learn to do without.
Henry: Would you want to?
Victoria: Henry, what are you saying?
Henry: I need you to run away with me… tonight.
Henry and Victoria sing “The Riddle”. Mrs. Howell can be heard calling out her daughter’s name offstage.
Mrs. Howell: Victoria? Where are you? The dinner is starting?
Henry: Victoria, please.
Victoria: James…
Henry: Please.
Victoria: We have tonight.
Henry: But we do not. You have a rehearsal dinner to host.
Victoria: If only love was as easy as land to attain.
Henry: But it would be too easy to possess if that was so, and it would not be as sweet.
Victoria: I know. (beat) I’ll always love you.
Henry: Until we meet again. Agatha enters, just as they begin to kiss.
Agatha: Miss Victoria! What are you doing? She rushes over to Henry and starts to violently push him in the opposite direction. You leave her alone! She’s to be married! Shame on you sir! Leave now, and if you come back, you’ll have her parents to answer to!
Henry: over his shoulder Good-bye!
Victoria: now being lead by Agatha back into the main room Good-bye!
Charlie: So-
Lily: Charlie, how is that love?
Charlie: What do you mean?
Lily: She sold her happiness for money. She just let the maid shove him onto the streets.
Charlie: Lily!
Lily: And why didn’t Henry fight back? Why didn’t he snatch Victoria away from her family before? They didn’t fight, Charlie! They didn’t fight for their relationship. They just gave up. That’s what everyone does.
Charlie: And you don’t believe she truly loves her parents? That they don’t love her? She gave up her happiness so her parents could protect her from poverty, Lily. The Howells know that this is hurting Victoria! They aren’t blind and they are hurting for her, you see?
Lily: I want to go home, Charlie. This “love” crap that you keep spouting is nothing. It’s convenience and justification of misery and defeat. And honestly, it makes me sick.
Charlie: Can you give me one more chance to prove it to you? That love exists?
Lily: Charlie, I want to go home.
Charlie: The question was a formality. You can’t leave until I prove it to you. I think what we need is a change of pace. Less seriousness and more lightness, more fun. You’ll like this next place I’m taking you.
Lily: I hope you’re right, Charlie. I really hope you’re right.
Charlie starts playing his harmonica. Time travel commences. End of scene.

_________________
"I think that many confuse 'applicability' with 'allegory'; but the one resides in the freedom of the reader, and the other in the purposed domination of the author." -JRRT

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Tinuviel
Tinuviel
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Post by Tinuviel on Tue Aug 14, 2012 1:07 am

Scene 4
Sophia is seen in the same position as where we left her previously. This time Agatha enters. She’s the exact opposite of Sophia in appearance, very edgy and sexy.
Agatha: That’s a very nice locket
Sophia: I’m sorry? Oh! Thank you. It’s from my fiancé.
Agatha: Who’s the lucky man?
Sophia: His name is… was Charles.
Agatha: was?
Sophia: Yes, you see, I’ve just learned that he’s been lost at sea.
Agatha: I’ m so sorry my dear, how did he die?
Sophia: Oh! No, he’s not dead. He’s been lost at sea. His crew made it sound like he was taken by an enchantress.
Agatha: That has a far better ring to it than “witch” or “sea hag”.
Sophia: I beg your pardon?
Agatha: Nothing, I was just musing how creative men can get when the sea air tricks their minds. There aren’t any enchantresses, just beautiful women. It makes for a better story. Men will be men.
Sophia: I’m afraid I don’t understand.
Agatha: When a man is at sea, he seldom sees any women, so when a strikingly beautiful woman crosses their path, they believe her otherworldly. It also boosts their pride when they tell a story about how they conquered a goddess.
Sophia: Not Charlie. He wouldn’t try that sort of thing.
Agatha: What makes you so sure? He’s only human. Isn’t he? How long has it been since you’ve seen him last?
Sophia: (dejectedly) Two years.
Agatha: That’s a long time to be without a woman’s company. Perhaps he’s not lost. Perhaps he’s chosen not to come back.
Sophia: We did get into a fight before he left. I wanted to go with him, but he said the sea was no place for a woman. But he promised he would return for me, just the same.
Agatha: Promises can be broken. If you were in his shoes, wouldn’t you want the company that was denied you?
Sophia: No, I wouldn’t.
Agatha: I suppose not. But it must hurt, knowing that the woman he mysteriously disappeared with was beautiful.
Sophia: It’s a little lonely, yes.
Agatha: And I don’t take you for a woman who would turn to alcohol to heal this kind of pain?
Sophia: Of course not!
Agatha: Just as I thought. I might have something for you. I made remedies from herbs for a living, and I’ve found a cure for just about anything. (She pulls a vile from her cloak) This might help you. If you ever find yourself unable to cope with the loneliness and the concern, take this, and you won’t worry about him anymore.
Sophia: (hesitates before taking it) Thank you.
Agatha: (almost rudely) Please, don’t mention it. It’ll be our secret, woman to woman. You should probably go home, the sun is setting. (She walks away, and to herself says,) It knows when its time has ended. Sooner or later Charlie, she’ll set on you, too. (She walks offstage)
Sophia: (to herself) The sun is setting in the west. Until it traces its path backwards through the sky, I’ll love you Charlie.

_________________
"I think that many confuse 'applicability' with 'allegory'; but the one resides in the freedom of the reader, and the other in the purposed domination of the author." -JRRT

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Tinuviel
Tinuviel
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Post by Tinuviel on Tue Aug 14, 2012 1:09 am

Scene 5
Lily and Charlie appear in a speakeasy in 1929. Lily feels sick from the trip.
CHARLIE: How are you this time?
LILY: Yeah… I’m not exactly used to this whole Time Travel thing…
CHARLIE: Here, sit down for a minute. I’ll get you a drink.
Lily: Wait!
Charlie goes off stage to find her a drink. Lily sits. Margaret comes and sits next to her.
MARGARET: Hi. First time here?
LILY: Yes…
MARGARET: Are you alright? You don’t look so good.
LILY: Mmmmm…
MARGARET: How much did you have to drink? Do you know what your name is?
LILY: Lily.
MARGARET: I’m Margaret. Do you know you last name?
Lily gives her a look and holds her head.
MARGARET: Do you remember who you voted for?
LILY: What?
MARGARET: Come on. Don’t tell me you didn’t vote.
LILY: Where am I? What year is it?
MARGARET: Honey, it’s almost 1929, and you’re in The Back Room.
LILY: …?
MARGARET: New York City!
LILY: …?
MARGARET: Hun, it’s New Year’s Eve!
LILY: …?
MARGARET: Seriously, how much did you drink?
LILY: I didn’t have a drink.
MARGARET: Ok. And I suppose you put on that outfit sober?
Lily gives her a look.
MARGARET: Well then, you need one! My treat.
LILY: Oh, no, that’s okay. Someone’s getting one for me already.
MARGARET: Let me guess. Some man you hardly even know, brought you here, and told you he’d be right back with a drink, right?
LILY: Yeah, how’d you --
MARGARET: Well, here’s a little piece of advice, Lil.
LILY: Lil?
MARGARET: It’s the 1920s! Women don’t need men to rely on for a good time. We can do whatever men can do, but we can do it better.
LILY: Sounds like you’re the expert
MARGARET: Honey, I’m a heartbreaker!
Margaret sings Me Party; Muppets, feature dancers are other flappers who join in on the song, after a while she is interrupted because she sees a guy walking in the bar who she is extremely attracted to. Song stops abruptly, other dancers slowly die out and stop dancing. Margaret takes a breath and after a bit, walks toward the man. She taps him on the shoulder. Lily watches this encounter.
MARGARET: Oh…
PETER: Hello.
They stare into each other’s eyes.
MARGARET: I’m Margaret.
PETER: Peter.
MARGARET: Great name.
PETER: Want to dance?
MARGARET: Of course.
Peter leads Margaret onto the dance floor. DANCE NUMBER. Charlie appears with a …fedora… and pulls Lily onto the dance floor. Dance ends, Peter and Margaret leave the dance floor, dancers disperse, and Charlie and Lily watch.
PETER: You were incredible!
MARGARET : Don’t sell yourself short! You’re quite the dancer.
PETER: Can I get you a drink?
MARGARET: I don’t see why not
PETER: Fantastic.
During the next acting sequence a “DJ” yells, “And now, we begin our New Year’s countdown!” --10- Peter takes Margaret’s hand and -9- they begin to walk towards the bar, -8- when Margaret trips into -7- his arms. He holds her up, -6- and they both -5- slowly look up into each other’s eyes. -4- Pause in the moment-3- , and they begin to lean forward towards a kiss -2- , while he is still holding her…
AGATHA: -1- EVERYONE SCATTER! THE COPS ARE COMING!
Peter holds out his hand to Margaret, she looks back at Lily, smiles big, takes his hand, and runs. Lily, walks to center stage, looking after them as everyone in the club including Agatha, rush off stage. Charlie lingers. After everyone has cleared, he walks up to Lily. Lily sighs and looks up at him.
LILY: You know, I don’t really see anyone in a police uniform.
CHARLIE: You’re right. I wonder why a club owner would want to chase away her own customers.
Lily: Beats me (She looks at Charlie and tilts his fedora back. She’s pretty close.) That was a lot of fun old sport.
AGATHA: Agatha is wearing a hood, so Charlie can’t see who it is. Excuse me sir, that’s my husband’s hat. I’d like it back.
CHARLIE: Of course, I’m so- (He realizes it is Agatha, and steps back. Agatha grabs them and pulls them back. Laughs evilly, lights begin to flicker. She sings There’s no Knowing; Charlie and the Chocolate Factory. The ensemble is here, dancing around them in a menacing manner to signify Agatha’s version of time travel.)

_________________
"I think that many confuse 'applicability' with 'allegory'; but the one resides in the freedom of the reader, and the other in the purposed domination of the author." -JRRT

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Tinuviel
Tinuviel
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