| re: Damn Me And Curse Me For Still Needing You... | |
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Posted by: |
Jsteinfan 03:08 pm UTC 11/13/10 |
| In reply to: | Damn Me And Curse Me For Still Needing You... - Scaramouche 02:04 pm UTC 11/13/10 |
| I think you are Brilliant.. but let Jim do his own projects! I would love, pay, bleed, and suffer for an orginal Scaramouch concept album...... Maybe a collaboration with rockman? > Regarding an end to Act 1 of my Neverland vision, bear in > mind that I feel Surf's Up and I'll Kill You If You Don't > Come Back are PERFECT for my vision of Neverland and need > to be included. > > For context, at some point in Act 1, Surf's Up is > performed (not sure where yet), and provides the moment > when Peter & Wendy become lovers. This is another beach > scene with perhaps some subtle nudity (they are dressed > much like the B4G cover), with a backdrop providing a > moonlit sky and effects providing the sounds of waves > pounding sand. > > During the guitar solo they perform a mild but erotic > ballet to simulate foreplay. I can see an exposed breast > being caressed (briefly) here just to add some spice, but > 'all done in the best possible taste'. During the mandolin > outro a more vigorous ballet is performed to simulate the > actual love making. As the outro ends they (gracefully) > fall to the floor, locked in embrace and disappear into > dry ice. > > In the scenes that follow (and unbeknown to Peter) a > pregnancy is hinted at, and Wendy finally confides in > Tinkerbell. > > Cut towards the end of Act 1 (and a few months later) and > winter has set in. An emotional Wendy yearns for her > mother, and knows she must return home to give birth (and > raise the child). She is torn between this and leaving > Peter. In an attempt to ease the pain she sings to him > 'Two Out Of Three 'Aint Bad' (with lyrical tweaks), > although contrary to the lyrics she will always love him. > As the songs ends she flees into the night and home, > leaving a dumbstruck and speechless Peter. > > Fast forward another 7 months to the final scene of Act 1. > In previous scenes Hook is becoming more and more > successful with his search & capture missions (supplying > Obsidian with it's unending need for young blood), and the > Lost Boys are increasingly worried that Peter no longer > seems to care about offering up any resistance to the man. > They then confront him... > > Lost Boy: 'Hook took another three last night. Destroyed > the shelters out on the ridge.' > > Peter: 'I know. Damn the Hook. Damn him forever...' > > Lost Boys: 'Seven months Peter. Isn't it about time we > fought back?' > > Peter: 'No-one tells me what to do'. 'I'll know when it's > time...' > > Lost Boy: 'There won't be many of us left at this rate. > Where's your fire gone? > > Peter: 'You know nothing' > > Tink: 'I know that it's time for you to snap out of this. > She's gone Peter and she 'aint ever coming back. Trust > me'. > > Peter: 'Don't you dare...don't you dare say that! She has > to come back. She must! I'll kill her if she don't come > back...' > > He then sings the song, which now starts as a bitter and > angst ridden piano ballad, before developing into more > mid-tempo with some guitars (note slight lyric changes to > indicate past tense). > > 'From the minute I turned and laid my eyes on her > I had no eyes of my own > I was blind to the world, she was too good to be true > But she was something to see, so very young and alone > > And I still don't believe the way she turned on me > Now where's the girl that I knew? > I gave her somewhere to live and then somebody to love > She gave me nothing but trouble, man, I've been such a > fool > > She gave me nothing at all > Now I can't give it to her > She taught me how to be cruel > Now I can't try it on her > > How did she abuse me? Let me count the ways > How many hours in how many days? > How must it amuse her? Let me count the pain > How many rules breaking how many games? > > How did she abuse me? Let me count the ways > How many hours in how many days? > How must it amuse her? Let me count the pain > How many rules breaking how many games? > > She got her ass out of gear > She got her soul out of whack > She went and ripped out my heart > But didn't bother to pack > > In every way I'm glad she's outta my life > But I'll kill her if she don't come back > I'll kill her if she don't come back > > In the pit of the night she used to pull me so close > And then she'd hold me so tight > And in the wink of an eye she used to give me it all > And with a kiss in the darkness she delivered the light > > And in the dark of the night I hear her laughing so loud > I know she's laughing at me > Oh ain't it funny and sad, the way I fell for her lies? > The way I fell into love and then she yearned to be free > > She gave me nothing at all > Now I can't give it to her > She taught me how to be cruel > Now I can't try it on her > > How did she abuse me? Let me count the ways > How many hours in how many days? > How must it amuse her? Let me count the pain > How many rules breaking how many games? > > She got her ass out of gear > She got her soul out of whack > She went and ripped out my heart > But didn't bother to pack > > In every way I'm glad she's outta my life > But I'll kill her if she don't come back > I'll kill her if she don't come back...' > > > As first half of the song ends, the Lost Boys shout in > unison (and dismay): 'But she 'aint ever coming back!' > > Peter (although realising this himself) snaps and shouts: > 'Get Out, GET OUT'! He grabs several boys and pushes them > away, finally throwing a glass in their direction, which > smashes against a wall. > > Left alone and sobbing on his knees (centre stage), a > solitary spot light picks out Peter (rest of stage is > dark). The piano intro of the coda starts and he rises, > moving outside to the beach. Even though Wendy is not > present, he sings the coda directly to her, as opposed to > 'about her' in the first half. The vocal is no longer > bitter but truly heartfelt with the the title (hopefully) > becoming more ironic to the audience. > > This section now becomes surreal and dreamlike, with all > the girls mentioned in the lyrics (cheerleaders, > ballerinas in front of mirrors, a girl gang in leather, > homecoming queens etc) individually spot lit (in time with > the lyrics) around the stage, but they remain still, > almost mannequin like, and Peter moves amongst them as he > sings. > > > 'Somebody bless all the girls in the sand on the beach > They're dreamin' of boys but staying just out of reach > Bless all the cheerleaders down on the track > They're glistening like diamonds with that sweat on their > backs > > Bless all the girls and their gangs on the street > They're looking for danger and they're holding their > piece > Bless all the girls staying late after school > They're playing with fire, but how they play it so cool > > An bless all the shy girls who're learning to dance > They stare in the mirror and they conjure romance > Bless all the girls who are always alone > They kneel down in prayer and then wait up by the phone > > Bless all the homecoming queens of the night > They're looking for magic in gymnasium lights > An bless all the girls who know what love is about > They try not to cry and then they try to put out > > An bless all the homecoming queens of the night > They're looking for magic in gymnasium lights > An bless all the girls who know what love is about > They try not to cry and then they try to put out > > Somebody bless all these girls that I never have met > But damn you and curse you after all that you've done > You're the one girl I'll never forget > You're the one girl I'll never forget > > Somebody bless all these girls and everything that they > do > But damn me and curse me... ' > > > At this point, the girls on stage go dark and a solitary > spot light illuminates (a no longer pregnant) Wendy in > centre stage on a slightly raised platform (disguised by > dry ice). As with the other girls she is still and > mannequin like. Peter circles her and points... > > '...for still needing you'! > > before falling to his knees, and with arms outstretched > (as if worshipping a God) he sings the title over and > over... > > 'An I'll kill you if you don't come back > I'll kill you if you don't come back > I'll kill you if you don't come back > I'll kill you if you don't come back > I'll kill you if you don't come back'! > > > Stage goes dark and end of Act 1. Amongst other open plot > lines involving Hook this ending also adds the > questions...Will Wendy come back? Has there been a birth? > Boy or a girl? Will Peter leave Neverland for Wendy, and > will he ever return? > > > | |
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