Over the Hedge: Second Generation

by starwars4life

Set 15 years after Midsummer Crises. The kids and young adult hedgies are now grown adults and must continue to carry out what their parents have taught them about heists, fun, friendship, love, and family. But will the problems they now encounter as parents and mates make the hedge family grow stronger and larger, or break apart and get smaller?

6. Hedge of A Thousand Dances

Chapter 6: Hedge of A Thousand Dances

As the title implies, this is going to be a song-fic chapter. Have your music player or YouTube ready in order to get the most enjoyment out of this chapter!

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Verne concludes Plushie's and Meredith's wedding ceremony with the classic, "Then in the power invested in me and Mother Nature, I now pronounce you mates. You may kiss."

All of the hedgies and their extended families; the otters, Boombata and Nukalawa, Jordan and Ahniyah; the families of Richie, Brooke, Mark, Martha (a mink friend of Richie), Rainer (a badger friend of Brooke), Jeff (a duck friend of the hedgies), and Caleb the monitor lizard; as well as Jacoby, Amber, and their sons Maurice/Maury (aged 15) and Jack (aged 18) clap and/or cheer when Plushie and Meredith don't waste a nanosecond to plant their lips on the other's after Verne finishes. Gerald's family had been invited, but had to cancel when Wyatt came down with a fever, and the raccoons didn't want to risk spreading it to the guests at the wedding. To make up for it, RJ is filming the whole thing, and will continue to do so.

Once the applause settles down, Carolina shouts out, "Yay, mommy! I finally have a real daddy!", causing a round of chuckles.

Meredith then says, "Alright single ladies, time for you to fight over the bouquet!"

Once they are all in a group, Meredith turns her back on them, closes her eyes, and throws the flower bouquet over her head. There is a dogpile, but from it emerges Lizzy carrying the bouquet triumphantly.

Lizzy: "Looks like I'm the next one to get married!"

Garrett: "That's my oldest girl!"

Rebecca: "Those single boys raccoons better hope they can handle a loaded gun like Lizzy."

Scarlet: "Now on to the best part of any wedding: the reception!"

Aaron: "With lots n' lotsa FOOOOOD!"

Sam: "And music!"

Hammy: "And dancing!"

Plushie: "Speaking of dancing, Meredith and I have decided to break tradition for our wedding and will go ahead and have our couple's dance now."

Meredith: "Only after that will we have the food."

The young kids' groans are quickly silenced by their parents who tap them on the back or shoulder.

Meredith: "There's also an important reason why we're dancing now."

After locking right hands with Meredith, Plushie elaborates, "Marriage is a sacred and holy bond that honors the living and the departed. And the song Meredith and I are about to dance to—'Welcome to the Black Parade'—is dedicated to my late mother Kimberly..."

Meredith: "And to my deceased hatchlings..."

The celebratory mood now turns somber yet sincere. The others nod their heads without saying a word.

Plushie: "Once the song enters its full-blown 'rock out session' during the finale, feel free to join the dance floor. We'll let you know when."

Meredith: "Until then, hit it Quillo!"

Quillo, who is serving as the DJ, replies with, "Coming up! Clear the dance floor everybody!"

The family, friends, and guests form a circle around the main living area so that only Plushie and Meredith are in the middle.

Note: "Welcome to the Black Parade" is a song copyright by My Chemical Romance and their album The Black Parade. I chose not to censor the one swear-ish word because the song uses its non-swear meaning. It'll be pretty obvious which word it is, but in this case, it's defined from the Christian belief to be condemned by God to suffer eternal punishment in H-E-double hockey stick. Just like that latter word isn't considered a swear if you refer to it as a place, the same goes for the word in the song—even though I censored "the place word" just a moment ago because I don't like saying ANY bad words in my OTH stories. (Boy, am I weird?)

Plushie and Meredith are still holding each other's right hand, standing side-by-side, and their heads are looking at the ground, but as the song's opening piano notes play, they slowly look up. By the second to last note, they now face each other holding both hands in the Latin closed facing position.

As the first stanza is sung, the two sway to the left and right, and end with Plushie dipping Meredith down backwards.

When I was a young boy
My father took me into the city
To see a marching band

For the next stanza, the couple does the reverse with Meredith dipping Plushie down backwards by the end.

He said, "Son, when you grow up
Would you be the savior of the broken
The beaten and the damned?"

With their hands still locked, the two push and pull away from each other twice for the first and second line of the third stanza, and end it with Meredith leaning forward into Plushie with one pair of locked hands above their heads and the other hands close to their chests.

He said, "Will you defeat them?
Your demons, and all the non-believers
The plans that they have made?"

For the first and second lines of the fourth stanza, Plushie and Meredith do the tango to the left, right, front, and back. For the line that gives the title of the song, they lean back on their heels and spin around like a revolving door while holding their hands. The keep doing that as the rest of the band's instruments join in in the gap between the fourth and fifth stanzas.

"Because one day, I'll leave you a phantom
To lead you in the summer
To join the black parade"

Just as the lyrics repeat themselves in the fifth and sixth stanzas, Plushie and Meredith repeat their same dance moves, only with more jerking and intensity, which perfectly matches how the song builds up its own intensity.

When I was a young boy
My father took me into the city
To see a marching band

He said, "Son, when you grow up
Would you be the savior of the broken
The beaten and the damned?"

After the last word, the two stand side-by-side holding their left hands and looking at the ground again. When the true rockin' part of the music plays, Plushie and Meredith look back up, face each other, lock their hands and sway their upper bodies to the side.

When the lyrics pick back up, they separate to wave their arms in a semi-circle (going left, down, right then right, down, left) repeatedly while their feet run in place.

Sometimes I get the feelin'
She's watchin' over me
And other times I feel like I should go

For the next two lines, the turtles come back together so that Meredith's back is against Plushie's front, he lifts her up and down, and then they switch places so that she lifts and puts down Plushie. For the last line and the first stanza of the chorus, Plushie picks up Meredith who spreads her arms and legs outward and he spins her slowly.

And through it all, the rise and fall
The bodies in the streets
And when you're gone, we want you all to know

We'll carry on, we'll carry on
And though you're dead and gone, believe me
Your memory will carry on

The two switch so that now Plushie is the one with his hands and legs out being held and slowly spun by Meredith.

We'll carry on
And in my heart, I can't contain it
The anthem won't explain it

For the next four stanzas, the two repeat their dance moves from before: waving their arms in a semi-circle repeatedly while their feet run in place; taking turns to quickly lift each other up and down; and then lifting and spinning their partner slowly as the chorus happens again.

A world that sends you reelin'
From decimated dreams
Your misery and hate will kill us all

So paint it black and take it back
Let's shout it loud and clear
Defiant to the end, we hear the call

To carry on, we'll carry on
And though you're dead and gone, believe me
Your memory will carry on

We'll carry on
And though you're broken and defeated
Your weary widow marches

The two lock hands and push and pull toward each other, then do the tango aiming their arms up, down, and up during the first "Oh, ah, ha." They aim their arms down, up, down for the second "Oh, ah, ha".

On and on, we carry through the fears
Oh, ah, ha
Disappointed faces of your peers
Oh, ah, ha

The two briefly separate only to jollily hop-walk toward each other with outstretched arms that contact their mate's shoulders, whereby they hop-walk in a circle, starting fast but slowing down as the lyrics and music do the same.

Take a look at me, 'cause I could not care at all

In the short gap between stanzas, Plushie and Meredith look at the crowd and beckon them while quickly saying, "C'MON!" The others go into the dance floor and can just feel what kind of dance moves to do. By coincidence—or destiny—everyone does the same thing as Plushie and Meredith: they do the Swing dance, one couple at a time. Respectively for each line of the next stanza, the couples who take center stage to do their variation of the Swing are: Meredith and Plushie; Verne and Velma; RJ, Heather, and all raccoon and/or opossum blooded members of their bloodline; and all the squirrels.

Do or die, you'll never make me
Because the world will never take my heart
Go and try, you'll never break me
We want it all, we wanna play this part

The next order of the Swing are Rick, Luby, and their extended family; Kale, Clara, and their kids (those with scars making sure to point at those marks for greater emphasis); all porcupines and bats; Stella, Tiger, and all skunk-blooded animals.

I won't explain or say I'm sorry
I'm unashamed, I'm gonna show my scars
Give a cheer for all the broken
Listen here, because it's who we are

The next order of Swingers who take center stage are the otters; Boombata and Nukalawa; the beavers; and lastly Caleb and his fellow lizards.

Just a man, I'm not a hero
Just a boy, who had to sing this song
Just a man, I'm not a hero
I don't care

When the chorus happens again, everyone backs up to do some freestyle dancing while Plushie and Meredith do the same dance moves they've been doing for the chorus: lifting and spinning their partner slowly.

We'll carry on, we'll carry on
And though you're dead and gone, believe me
Your memory will carry on

You'll carry on
And though you're broken and defeated
Your weary widow marches, on

Everyone but Plushie and Meredith stop dancing, the latter doing several takes on the Swing dance while the former watch and sing.

Do or die, you'll never make me
(Ooooooooooooooooooo—)
Because the world will never take my heart
(—Ooooooooooooooooooo—)
Go and try, you'll never break me
(—Ooooooooooooooooooo—)
We want it all, we wanna play this part
(—Ooooooooooooooooooon)
(We'll carry on)

Do or die, you'll never make me
(Ooooooooooooooooooo—)
(We'll carry on)
Because the world will never take my heart
(—Ooooooooooooooooooo—)
(We'll carry on)
Go and try, you'll never break me
(—Ooooooooooooooooooo—
(We'll carry)
We want it all, we wanna play this part
(—Ooooooooooooooooooo—)
(We'll carry)
—Ooooooooooooooooooon!

As the song's marching drum taps its sweet, last tunes, Meredith and Plushie slowly inch their heads closer and then kiss when the last note drones. The audience erupts in more clapping, cheering, and whistling to which Plushie and Meredith reply "Thank you. Thank you. Thank you."

Once the audience settles down, Velma says, "Such a fitting song of dedication."

Plushie: "Whenever I missed my mom, I would listen to this song and no longer feel as bad by the time it ended. It's one of the few positive things that came out of my time with The Extremes." (Looks at Albert and Caleb) "No offense."

"None taken," Albert and Caleb say simultaneously.

Caleb then elaborates, "Music is one of the dee best ways to express or otherwise let out neg'tive emo'tions."

Albert: "Which is what all of us were feeling back then when The Extremes were still a thing."

Plushie is glad for the brief moment of silence that follows, because it means two things. One, the audience either knows or has no questions about how The Extremes went from listening to moody music, to vandalizing humans' property to let out their emotions. And two, Meredith can now make an announcement.

Meredith: "Anyway, let's restore wedding traditions by getting some food!"

Note: The following dialogue is based on the Over the Hedge comic strip dated February 24, 2023.

Plushie points to the areas as he names them when he says, "Presents over here. Cash over there. Cake in the tum."

The kids (and Hammy) cheer and run over to the animal-height-sized tables, their parents following soon after. Having adopted human foods, Brooke the beaver and her mate Hubert/Hubey make sure her five-year-old son Alan (named after her late father who died saving his family from Kale's ex-godfather) and seven-year-old daughter Stevie mostly have fruits and vegetables on their plates since those are what their species eat.

Stevie: "But mom, can't we have some peanuts, bread, and chips?"

Alan: "Yeah, they taste good. And daddy would let us."

Brooke puts her paws on her hips and slowly turns toward Hubert while rhetorically asking, "Oh he would, would he?"

Hubert: "Hey, Brookie those foods taste just like cattails but with extra punch. And our kids aren't even 10 yet, so it's too early to have them start dieting."

Alan and Stevie give cute, wide-eyed, pleading stares while saying, "Pleeeeeeeeease?"

Brooke gives in and says, "Sure. Go on, kiddos."

Her kids whisper "Yes!" while pumping a fist and get the foods they so craved.

Brooke lightly kisses Hubert's cheek and says, "Thanks for reminding me, babe."

Ever since her mother Erin passed away from due to health issues wrought by eating foods not part of a beaver's regular diet, Brooke has become a bit health-obsessed when it comes to what she and her family eat. Jeff the duck, his mate Gertrude, and their 8-year-old quintuplets Louise, Lenny, Morris/Moe, Barney, and Billie are less-inclined to that kind of thing and have also gotten accustomed to human food since they were often fed by humans at the pond they live located a good 10 miles away. The carnivore guests like Rainer, his mate Eloise, their 11-year-old daughter Sara; as well as Caleb, his mate Jacqueline/Jackie, and their twin 6-year-old sons Luke and Duke, along with Caleb's mother Francis and Jackie's father Jim join the wolves in eating raw meat. Martha, her mate George, and their seven-year-old son Marty stick with their omnivorous diet like most of the hedgies.

Bernard, Mary, Roger, and Ty had met Rainer, Jeff, and Martha on that same day they met Brooke and Richie. Like those latter two, the badger, duck, and mink didn't warm up to the company of hybrid animals until that fateful day Tabitha was saved. Although the bond of friendship was sealed back then, it was tested when Kale's former pack took over the woods and targeted those families for evading or interfering with the Bone-Chompers' killing their designated prey. But thanks to Kale's deeper loyalty to the hedgies and their friends, Rainer's, Jeff's, and Martha's opinions on wolves changed for the better. The same could not be said about Garrett's extended family—who are also present at this wedding—because his father Glen, mother Amy, uncle Jared, big brother Houston, and Houston's mate Lyra were still mad about Kale personally killing their son's/brother's/nephew's first mate, and driving Garrett into a comatose state. But Rebecca convinced them of Kale's reform and they made peace with him 15 years ago, just in time for Houston's and Lyra's 15-year-old kits, Beverley, Scott, and Delilah to be born.

Whether any of the animals have overcome past grudges or not, everyone is having a good time eating and socializing. They talk about how they've been doing, plans for future get togethers, or how their relationships have been.

At the "carnivore table," Roaster has been having a hard time coping with his recent scar, and with the singing and dancing now over, the other carnivores have time to ask about it. However, the questions are cautious, not because of the fear of a rebuttal by the wolf, but by how much pain Roaster seems to be in. The scars are still blood-red, half of them have yellow pus seeping out, and his left eye is bloodshot and has tears coming from it.

Sara: "Hey Roaster. Um...nice scar you got there?"

Rainer: "Uh, it makes you look, so...dangerous."

Roaster: "No, Sara and Mr. Rainer, it's not nice. It's been two days since I've gotten it, two days since I've put every healin' lotion dare is on it, and it still hasn't healed yet. It stings like tha devil, too!"

Clara: "For those of you's who're wondering, he got it from me as punishment. He's done some very bad things, but now dose times're behind him."

Roaster acts as if his mom didn't just speak and asks, "How does it look?"

Eloise: "You want an honest answer, or a sugar-coated one?"

It's pretty obvious which one he wants when Roaster says, "Just tell me how it looks!" in a spitting, yet pain-strained tone.

Eloise: "Infected."

Unlike Caleb and Francis, Jackie was born and raised in America, so she speaks like an American when she suggests, "You should get that looked at...By a really good doctor."

Boxer: "He has. By RJ, Verne, Becca, and Rick—tha best medically-knowledge animals in our familia whose paws are capable of doin' wonders."

Kale: "It don't matter what medical care he receives, my mate's hard hit will take at least one full week to stop hurting. But da pain will further remind him to not do very bad things ever again."

Percie: "Too bad you's don't have superhero level of high pain tolerance like me and mom, Roaster."

Roaster: "Tanks for rubbin' it in!"

Duke: "Why not put band aids on your boo-boos?"

Luke: "Yeah, me and Duke do it whenever we get scratched or bitten."

Clara: "We've tried. Roaster kept complainin' about how itchy they made him feel. Makes him wanna scratch the scars, which'll only make tings even worse."

Francis asks, "Is dare, um, any threat of 'im go'ing blind in tha' eye?" while pointing at Roaster's left eye.

Kale: "Nope. It's just gonna hurt like heck."

Roaster: "Wit all due respect, papá, I really hope you's right!"

Jim: "Rest easy, Roaster, he is. My daughter and I were raised in an animal testing lab where we saw humans hold up charts of areas our fellow test subjects were often affected, and the eye nerves are inside your eye socket near the back. They are not on the outside the eye socket, which means they're nowhere near the areas you got scratched."

Clara: "I knew dat too, which is why I told him ta jam his eyes shut before hittin' 'im."

Sara: "What did he do to make you give him that, Mrs. Clara?"

Knowing a wolf will harshly, retort, Rainer speaks first. "That's none of your business, Sara. If they were alright with it, they would've told us. But they haven't yet, which means it's private and personal."

Sara: "Okay. Sorry I asked."

Wolves in unison: "We's good."

After a seething groan, Roaster says, "Dat's it, I'm gonna get some more Neosporin ta put on it!" and he promptly leaves the table.

---

Elsewhere, the adults in Garrett's family are eating at one table, and the kids of his family are eating at another. Lizzy has just gotten a second plate of food when she is approached by her biological cousins Beverley and Delilah who beam while speaking.

Beverly: "You caught the bouquet!"

Delilah: "Which means you're the next to get married!"

Beverly's tone is still upbeat but jealous when she says, "But how did you get it? I can dive-roll like a champ."

Delilah's tone matches her sister's. "And I thought if I waited until the chaos settled, the one holding the bouquet would have tired herself out, which would be the perfect time to snatch it for myself."

Lizzy: "All the gymnastics my mom has taught me to use for offense and defense works like a charm. That's why I decided not to wait and be the first one to go for it by doing a front hand spring and then holding onto the flowers with a vise grip."

Delilah: "But I have a boyfriend."

Beverley: "Me too. And I've never seen you hang out with boys."

Lizzy: "I prefer my gal-pals, like you two!" (Puts a paw on her cousins' shoulders)

Delilah: "Aw, you're right. Enough of our silly jealousy. Congrats again! You won fair and square. I'll just need to go to more weddings until I catch the bouquet."

Lizzy: "Just because you didn't catch it doesn't mean you can't get married. My mom never caught a bouquet and she and dad are the closest lovers I've ever known."

Delilah: "I know, but I'd keep the bouquet like a trophy. I'd frame it and hang it in the dwelling of me and my boyfriend Michael."

Beverly: "Isn't that the son of Kyle, the raccoon paisano of the Bone-Chomper Wolf Pack?"

Delilah: "Yes, but Michael's nothing like his dad. Michael is sweet, kind, funny, cares about me, and he has the cutest-looking mask. *Giggle* It's black but is dotted with light-gray, raindrop-like spots."

Beverly: "Well, I'd rather my future mate be big, strong, gentle with me, but mean to anyone who tries to cause me and my friends and family trouble. Like my boyfriend, Corey." Holds her paws together on the right side of her chin and cheek while making a blissful sigh, and speaks in a love-struck tone when she says, "Ah...I'll never forget the day he stood up for me when I was being picked on by some mean girls. They were making fun of my birthmark being on my tush, when Corey came in and told them to stop teasing or he and his brother Randy would put a permanent mark on their tushies. Corey and Randy are so big for their age, and they use their size and strength to bully the bullies, and defend those who get picked on."

Lizzy: "But does he like you?"

Beverly: "That's why he came to my aid. He said he'd been in love with me since the moment he saw me, but was too afraid to say it because he thought it would make him look soft, which would make bullies not be afraid of him. He's actually a gentle giant, you'd know that if you got to know him personally."

Delilah: "What about you, Lizzy? You said you like your gal-pals, but is there a boy you're interested in."

Lizzy: "Honestly, no."

Delilah: "Then why did you work so hard to get the bouquet?"

Lizzy: "I was just having fun, it was another opportunity for me to use my gymnastics. If you wanna take it to give to Michael, I'll let you have it."

All while Lizzy answered Delilah's question, Beverly has been staring at Lizzy, thinking of all the times she and Delilah have spent with her. Beverly then says, "Yeah...We've known each other our whole lives, and besides your brothers, I've never seen you hang out with boys."

Delilah: "Come to think of it, you're right, Bev." (Looks at Lizzy) "I've never seen you so much as take an interest in boys."

Lizzy: "You're right. I've never been interested in guys. They always like roughhousing, quick to make snap-judgements before all the facts come in, obsessed with their guy pride, and—um—their scents are usually too 'rugged' for my liking. Girls like you and my other friends are caring, worried about real problems instead of pride, more empathetic, provide better comfort during tough times, and, their scents are sweeter to me. And I'd prefer pretty over handsome."

Beverly: "Then maybe guys aren't your thing."

Lizzy: "Yeah I..." (Pauses and speaks in a tone of epiphany) "Yeah...I guess...guys aren't my thing. Girls are..."

Delilah and Beverly gasp, look at each other, and then back at Lizzy. Thanks to all the talking going on at the tables, no one else has gotten wind of anything the three girls have been saying—and the latter thank Mother Nature for that.

Delilah breaks the silence among them first by asking, "Lizzy...? Are you...?"

Lizzy: "All the facts seem to add up...have added up my whole life, now that I think about it. So...I guess, yeah...I am."

Beverly speaks as if she is confused, "If that's the way you feel..." then sounds certain, "I won't ask you to change."

Lizzy breathes out a sigh of relief, until another idea pops in her head. "But what if my parents and siblings find out?"

Delilah: "They won't. We promise not to tell."

Beverly: "Yeah, promise-promise. We won't tell until after you have."

Lizzy: "Thanks you two. I honestly think my parents would understand, but not my brothers and sisters; at least not until we're all a little older. Hopefully by then they'll have matured enough to accept who I really am."

Delilah: "So, um, is there a special girl in your life."

Lizzy: "Yeah, her name's Mallory, or Big Mal as I like to call her. She's a one month older than me, but has always been like the big sister I never had...Or, more like the big sister I always needed whenever I'm going through tough times and can't get help from my siblings or parents. She's thoughtful, generous, happy, optimistic, and likes to joke around but can get serious when she has to. There is nothing that can get her down, and seeing her always in such a cheerful and light mood makes me wanna be cheerful with life too. And I've always been like the little sister she never had. She's an only child and likes to play with me more than all her other friends, I've gotten her into gymnastics, and while I consider myself a tomboy and her a girly-girl, it's like two opposites attracting. We argue like a married couple, but still deeply care for each other deep down."

Beverly: "Then it sounds like she's perfect for you, and you for her."

Lizzy: "But I don't know if she feels the same way about me. And what if our relationship will be ruined when I tell her my true feelings?"

Delilah: "If she rejects you despite all the things you two have been through together, then she probably wasn't that good of a friend to begin with. But I really doubt that."

Lizzy: "Yeah, you're right on both accounts. I'll tell her how I feel next time I see her. But until then, all this talking has gotten me hungry. Let's got back to our table and eat."

Delilah and Beverly in unison: "Good."

The three walk back feeling closer and better than ever before.

---

At another section of the main living area where RJ, Heather, Bernard, Pat, Mary, Eric, Elaina, Ritchie, and Lucile sit, Elroy and Mary are trying to get their joeys to eat their food.

Tim: "I want some cake."

Mira: "Yeah, cake!"

Elroy: "I said it before, I'll say it again: eat more of your berries, oats, and chicken."

Mary: "Only then will you get some cake."

Zeke: "I finished. Can I have some?"

A glance at Zeke's plate reveals he is telling the truth, so Mary hopes to inspire her other two kids to be as good by saying, "Atta boy, Zeke! You're such a great eater! But you'll need to wait for the rest of us to finish eating first."

Heather: "If you want, I could—"

Elroy: "Please no. Don't give them ideas."

Mira: "I finished now. Can I have some cake?"

Elroy looks over, sighs internally, and then says, "You only ate one of your berries, Mira. You've got a whole plate full of food to eat. No cake until then."

Sadly, it seems even the simplest of tasks can be done incorrectly, as Tim, who was in a hurry to finish off his food faster, starts to cry. This draws everyone's attention. Lucile is the first to ask, "Uh-oh. What happened, Tim?"

Tim cries out, "I bit my finger-eeerrrrrr!" while holding up the digit.

Elroy scolds Tim silently with, "How dumb do you have to be to bite down hard on your own fingers while eating...?"

Fortunately, Heather says something much better for this situation. "Aw, bless your heart. I've done that before and it hurts, like, a lot. Especially because possums have so many sharp teeth."

Tim holds out his finger in Heather's direction and pleads, "Kiss to make feel better?"

Heather: "Of course, sweetie."

She is sitting next to Tim and is able to easily kiss the finger thanks to her fully-grown, long possum snout. Elroy rolls his eyes while saying in his mind, "There she goes spoiling our kid rotten. No wonder he's such a drama queen."

Mary's thoughts are the polar opposite, "Thank goodness we have someone who can help us out with our kids. It saves me and Elroy the trouble of having to do literally everything."

Regardless of what each spouse thinks, Heather's actions do the trick of calming Tim down so that everyone can get back to eating in peace.

---

Peace seems to be the idea going around the kids' table where Riley, Ellie, Kelly, Reagan, Ro-J, Damon, Niara, Frank, Chloe, Camille, Kylie, Dexter, Lucas, Ralph the otter, and Marty the mink are sitting. The first five raccoons and one otter are discussing how much better Reagan and Ro-J look and feel.

Kelly: "I told ya that eating normally would make you look like a normal raccoon."

Reagan: "I'm so glad I can be like a normal kid again."

Ro-J: "Me too. And all the swimming we've been doing with our otter friends have made us feel happier too. It's helped us release 'innerfrin, sertronin, dopemean, and oxycotten.' That's what happiness hormones are called."

Dexter: "I think you mean endorphins, serotonin, dopamine, and oxytocin."

Ro-J: "Yeah, thanks Dexter. I forget which one does what, though."

Dexter: "No need to be displeased, my sister and I know about all four. Endorphins are like the body's natural pain killers than make you overcome stress and discomfort. Serotonin balances the mood and promotes feelings of well-being."

Kylie: "Dopamine is the 'feel-good' hormone that leads to feeling happiness, pleasure, and reward. And oxytocin, though not really a 'happy hormone,' does promote social interaction that can lead to feeling positive emotions."

Dexter and Kylie drink two long gulps of their fruit punch, and when they put their cup down, each sibling's other senses give them an idea of what the listeners are doing.

Dexter asks, "Why's everyone so quiet?"

Kylie: "And you're staring at us too, aren't you?"

Ralph: "I, uh, wasn't expecting a full science lecture."

Reagan: "And how do you know so much?"

Dexter: "Our dad taught us."

Kylie: "If anyone knows about fitness, it's him."

Lucas: "I think they need the full explanation. I'll get it started, since your dad taught it to me first." (Turns his head toward the raccoons) "Growing up blind isn't easy. It's depressing and frustrating knowing that there is a whole world of wonderous things that us three can only smell, hear, touch, and taste—but never see. When it comes to envisioning things, the best we can ever do is guess, and our guesses are pretty limited since we have no experience seeing anything. And knowing that we'll never be able to see anything for our whole lives only makes it harder to bear."

Kylie: "So our daddy made sure to teach us what makes us feel good and how to harness it."

The raccoons continue to stare, awestruck at the hidden and deepest pain all bats must carry in their hearts and minds. The silence doesn't last as long as last time, since Riley says, "Thanks for telling us all that."

Reagan: "I never knew how tough it was to be blind."

Ro-J: "I always thought it let you hone your other senses to perfection like a superhero."

Lucas: "That's only in superhero stories. Blindness in real life is much different."

Ellie: "Even so, at least your other senses are above average. If I go blind, I'd be at a much bigger disadvantage than you three because I'm so used to using my eyes."

Kelly: "I've also seen a blind human before. She used a retractable cane like you three, but also needed her husband to guide her up or down stairs, stepping on and off road curbs, and to keep her from running into pedestrians."

Riley: "I don't mean to insult you three, but I guess if any animal is best-suited to go blind, it's a bat. And the fact that you can do so much without eyes makes you superior to other animals in many ways."

Dexter: "Yep, dad taught us that too. But thank you anyway."

Kylie: "So how are your swimming lessons going, Reagan and Ro-J?"

Ro-J: "They're fun! And like I said earlier, they make us feel better by helping us forget about our past life with our ex-parents."

Fearing his optimism might cloud his common sense, Reagan reminds him, "Nothing will truly erase those memories, Ro-J, especially with RJ around." Having learned much better social skills from her interactions with her new family, she senses that no one agrees with her about that last bit and avoids any rebuttal by redirecting her words to a more positive direction. "But Ralph and his family are the best swimming instructors of all otterdom."

Ralph: "What can'I say? I've been swimming all my life. I live in water and I live for water. Like my parents taught me, swimming is one of the most magical experiences of all. It's the closest thing to flying there is, only you are in full control of the speed and direction. Regular flying requires making wide turns and having to follow a set path. But with swimming, you can hover at a full stop, twist your body in any way you want, and pull off things you couldn't do on land. I can't do any backflips on the ground, but while underwater, I can do all the backflips I want. Of course, the water has to be deep enough, and I need to surface every eight minutes to take a breath. But other than that, I conclude that swimming is better than flying."

Reagan: "His parents, aunts, and uncles have taught us that too, and I believe them." (1)

Ro-J: "They also taught us how to mediate under water. Did any of you know that if you close your eyes and are perfectly still in water without any current, and just imagine you're on land, it'll feel like you're really on land?" (1)

Kylie: "No way. You'd feel the water around you."

Ro-J: "Not if you imagine hard enough. Seriously, you should try it next time you bathe."

Kylie: "No one can out-imagine a bat. We have to imagine everything that's visual, so you're on! And if I don't feel like I'm on dry land, you have to give me a full bag of lollipops. Deal?"

Ro-J immediately shakes her outstretched finger-claws and says, "Deal!"

Note: (1)= Thanks to Shkiper for suggesting the ideas that I broadened.

---

While that conversation has been going on, Damon and Niara are trying to convince Frank, Chloe, and Camille that the minks who attacked them aren't so bad.

Damon: "It's their parents who are too hard on them, that's why they're so rough with others."

Frank: "So their parents taught them it's okay to gas kids with asthma like me?! No way!"

Camille: "Their parents never specifically told them to do that to Franky, those bullies chose to do that."

Chloe: "And don't forget about how they hit me in the eye!"

Marty: "They have bullied me too. They say my stink isn't strong as theirs, and call me 'baby.' "

Niara: "But mama and dad taught us 'all bullies are bullied,' and those six were given a harsh lecture or beating for losin' to us."

Damon: "Maybe they also harsh 'cuz they don't have no real friends, other than me n' my sist'ah now."

Frank: "Well, that's what they get for being so mean to everyone who wants to play a simple ball game with 'em! It's their fault they don't have any friends."

Chloe: "They deserve no friends."

Marty: "Sorry, Damon and Niara, but I gotta agree with them. The first day I met Maddie I offered to share my lunch with her, and she shoved my face into the dirt while her parents just laughed. They all stopped and left only when my mom and dad came in."

Niara: "Y'all jus' nev'ah saw 'em the night that we did. They have feelings and problems to deal with too. And without any real friends, they mo' miserable than you."

Damon: "If y'all became their friends, I bet it'd catch 'em so off guard they'd have no choice but to admire yo courage."

Camille: "Become friends with them?! Are you insane?!"

Having eavesdropped on their kits' conversation from a few feet away where the adult skunks are, De'Ausha and Ladarius come over to offer some more advice.

In response to Camille's outburst, De'Ausha says, "Far from it. They were raised to recognize only strength, and by conquerin' yo fear and anger toward 'em, they'll recognize you all strong. Just like they realized how strong we were after we beat 'em in the duel."

Ladarius: "And if their parents don't treat them nicely, then friends are the only way they'll change how they behave around oth'as. Damon and Niara can't do this alone, and any attempts from adults like me, De'Ausha, Boombata and Nukalawa will seem forced on them because we're grown-ups. But if oth'a kids closer to the minks' ages help out, they'll be more willin' to change their ways."

De'Ausha: "You kids just need to give it one try. There's no harm in that."

Niara: "And if they try to gas you again, my broth'a n' I will gas them back. They know our 'chemical weapons' are mo' powerful, so they betta behave."

Frank: "Well...? Maybe just one try."

Camille: "We'll talk to our parents about it, first. See what they think. And if they agree, then we'll do it."

Ladarius: "Thanks for bein' willin' to do this, Frank, Camille, Chloe, and Marty. They say random acts of kindness have the biggest impact."

De'Ausha: "And Uncle Hammy taught us to 'be kind to the unkind, because they need it the most.' "

Everyone turns their head toward RJ when he announces, "Ladies, gentlemammals, and reptiles the newlyweds have had their fill of food and are now about to get the first pieces of cake! Start gatherin' around the cake tables."

The animals get up and do so. The bride's cake is a circular Funfetti cake with a 16-inch bottom tier and 14-inch second tier, and has vanilla icing covered in colorful sprinkles. The groom's cake is a single-tiered rectangular caramel cake measuring 24x12 inches. The sight and smell of both makes the animals' mouths water, but they know they must be patient because this day is about Plushie and Meredith.

Together they hold a big knife and slice a piece from the bride's cake, then cut that piece in half. Each turtle takes a piece into their hand and faces each other. Seeing the twinkle in Plushie's eyes and knowing the kind of guy he is, Meredith sharply whispers, "Don't you dare," with a smile. Plushie's smile widens and then goes back to normal. His cake piece approaches his mate carefully, only for Meredith to shove her piece into his mouth and smear the icing on his big nose. Plushie literally gets sweet revenge when he does the same thing to Meredith with the piece he is holding. Laughs come from the onlookers, causing the turtles to turn towards the audience and bow. The couple then uses their clean hands to wipe the icing off their spouse. Having had their fun, they cut and serve the first piece of the groom's cake civilly. Then it's everyone else's turn to have some cake, even the wolves who decided they're okay getting a little stomach ache later on.

As the dance floor opens up for anyone, Verne and Velma ask their nephew and new daughter-in-law a big question.

Verne: "So remind me where your honeymoon will be?"

Meredith: "At the Forest-Side Embassy Suites."

Velma: "Oh I've seen commercials for it on the TV. That's the hotel resort on the border of the state-protected forest on the opposite side from here. It's got a tennis court, golf course, indoor and outdoor pool, hot tubs, sauna, massage room, five-star restaurant, and an atrium designed like a tropical rainforest."

Plushie: "We'll be sleeping in the woods where the humans can't come, but will use the hotel cards Bucky, his brothers, and their mates forged for us to sneak in before and after the working hours. The resort is also located near a go-cart track and water park."

Meredith: "All in all, there's plenty of things for smart and creative turtles to do there for a week, as long as we stay hidden and be careful. Which we will. Promise."

Verne: "That's a 10-mile journey from here. Shouldn't you be on your way soon?"

Plushie: "No worries, Uncle. That 10-mile range is only for cars that take the roads. We, on the other hand, have an off-road motorized skateboard that we'll use to travel through the forest, shedding over half the time it takes to get there."

Carolina: "It's also amphibious like turtles, so we can cross any body of water that's on the way."

Plushie: "The main point being, we have all the time in the world to keep enjoying our wedding reception."

As if on cue, the next song is instantly recognized by Kale as soon as the music introduction plays. Excited—and grateful that one of his best friends included it in the wedding's song list—the male wolf shouts, " 'Feel Invincible' Oh! Clara, dis'is our song!"

Clara: "Den let's get on that dance floor, baby, and tear it up!"

The others make sure to get well out of the canines' way because they know that the wolf couple gets so hyped up whenever this song plays, that they would run over anyone in their way—even family. It was Clara's and Kale's couple's dance song at their wedding and perfectly captures the emotions each share for the other, and their take on the life they have lived ever since.

Note: "Feel Invincible" is a song copyright by Skillet and their album Unleashed.

As the singing begins, Clara and Kale face each other and prowl in a circle like two predators closing in for the kill, getting closer to each other as the stanza progresses.

For the first line, each looks over their shoulder at where their tails used to be, then do the "I'll be watching you" gesture for the second line.

Target on my back, lone survivor lasts
They got me in their sights

For the third line they shake their heads no, and pretend to fire a gun for the fourth line. For the fifth line, their circling each other ends, and they lean into each other's faces.

No surrender no
Trigger fingers go
Living the dangerous life

For the first line of the next stanza, they bounce their bodies as they nod yes. For the second line they stand on their tippy toes, then lay flat on their bellies. Clara lip sings the third line and acts out the chewing and spitting.

Hey, hey, hey everyday when I wake
I'm trying to get up, they're knocking me down
Chewing me up, spitting me out

They repeat their body bouncing and nodding for the fourth line. For the fifth line, Kale puffs himself up and then stands as high as he can. Clara does the same for the sixth line.

Hey, hey, hey when I need to be saved
You're making me strong, you're making me stand
Never will fall, never will end

For the next two lines, the wolves get on their hind legs and grab each other by the shoulders, while dipping to their left and right.

Shot like a rocket up into the sky
Nothing could stop me tonight

For all the main chorus, they get back on all fours, with Clara to Kale's right. They lean into each other and sway from one side to the other while lip singing and looking at each other with their peripheral vision.

You make me feel invincible
Earthquake, powerful
Just like a tidal wave
You make me brave
You're my titanium
Fight song, raising up
Like a roar of victory in a stadium

For the next stanza, Kale leans into Clara's face and she leans back while he lip sings what the male singer says. Then Clara leans into Kale's face and he leans back when she lip sings what the female singer says. For the last line, they crouch down like they're ready to pounce, then do so backwards when the word "Invincible" is spoken.

Who can touch me 'cause I'm (I'm made of fire)
Who can stop me tonight (I'm hard wired)
You make me feel, invincible

They now repeatedly kick their legs out to the side—both right legs first then both left legs—like a sideways Cossack dance.

I feel, I feel it
Invincible
I feel, I feel it
Invincible

For the next stanza the two prowl in a circle like they did at the beginning, only now they face the audience. The wolves shake their heads no at the end of the first line, and point to their mates and kids for the second line.

Here we go again, I will not give in
I've got a reason to fight

They resume their prowl-circling and point to themselves for the third and fourth lines. For the fifth line, they turn around and look at each other.

Every day we choose
We might win or lose
This is the dangerous life

For the first line of the next stanza, they again bounce their bodies as they nod yes. Kale lip sings the second line while looking away and slumping as if in defeat. Clara mimics his same movements while lip singing the third line.

Hey, hey, hey everyday when I wake
They say that I'm gone; they say that they've won
The bell has been rung, it's over and done

The wolves dip their heads to the left and right for the fourth line. Kale lip sings the fifth line and raises his posture to one of defiance in Clara's direction. She does the same in his direction for the sixth line.

Hey, hey, hey when I need to be saved
They counting me out, but this is my round
You in my corner look at me now

Like before, for the next two lines, the wolves get on their hind legs and grab each other by the shoulders, while dipping to their left and right.

Shot like a rocket up into the sky
Nothing could stop me tonight

When the main chorus repeats, they repeat getting back on all fours, with Clara to Kale's right, leaning into each other, and swaying from one side to the other while lip singing and looking at each other with their peripheral vision.

You make me feel invincible
Earthquake, powerful
Just like a tidal wave
You make me brave
You're my titanium
Fight song, raising up
Like a roar of victory in a stadium

For the next stanza, Kale leans into Clara's face and she leans back while he lip sings what the male singer says. Then Clara leans into Kale's face and he leans back when she lip sings what the female singer says. For the last line, they crouch down like they're ready to pounce, then do so backwards when the word "Invincible" is spoken.

Who can touch me 'cause I'm (I'm made of fire)
Who can stop me tonight (I'm hard wired)
You make me feel, invincible

They now repeatedly kick their legs out to the side—both right legs first then both left legs—like a sideways Cossack dance.

I feel, I feel it
Invincible
I feel, I feel it
Invincible

The two close their eyes and air band during the music interlude with Clara pretending to play the guitar and Kale pretending to play the drums. They stop when the song goes quiet, their faces touching the ground. Kale slowly opens his eyes as the next word is whispered, with Clara doing the same with the words that are whispered afterward.

(Invincible)
(You make me feel, feel)

As the next four lines crescendo, the two slowly raise their heads until they looking into each other's eyes by the time to main chorus begins again.

You make me feel, invincible
You make me feel, invincible
Shot like a rocket up into the sky
Not gonna stop, invincible

The two get up on their hind legs and grab each other's shoulders with their forepaws, and this time spin around in a circle for all of the next stanza.

You make me feel invincible
Earthquake, powerful
Just like a tidal wave
You make me brave
You're my titanium
Fight song, raising up
Like a roar of victory in a stadium

They go to all fours and do their side-by-side leaning and swaying for all the next stanza.

(Invinciblllllllllllle)
You make me feel invincible
Earthquake, powerful
Just like a tidal wave
You make me brave
(Invinciblllllllllllle)
You're my titanium
Fight song, raising up
Like a roar of victory in a stadium

Like they've been doing whenever the next stanza's lyrics are sung, Kale leans into Clara's face and she leans back while he lip sings what the male singer says. Then Clara leans into Kale's face and he leans back when she lip sings what the female singer says. For the last line, they crouch down like they're ready to pounce, then do so backwards when the last word is spoken.

Who can touch me 'cause I'm (I'm made of fire)
Who can stop me tonight (I'm hard wired)
You make me feel, invincible

The two conclude their dance by doing their leg kicking like the Cossack done sideways.

I feel, I feel it
Invincible
I feel, I feel it
Invincible

The wolf couple kisses while the audience cheers and claps. Then make their way off the dance floor for the next couple. Quillo announces it this time with, "From here on out, we'll do one married couple's dance song after the other. The next song is the one Bernard and Pat danced to at their wedding: 'We Belong.' Join in if you want to, but give them some room to do their own thing too."

Everyone who had been present remembers the song from that day, and wait until Bernard and Pat get in the middle. Only after that do those who want to also dance get on the dance floor. The raccoon and opossacoon lock paws but don't do anything until the eight second opening is completed and the lyrics start.

Note: The song "We Belong" is copyright by Pat Benatar and her album Tropico.

Bernard lip sings the first through sixth lines, and Pat lip sings the last line. For the first three lines of the first stanza, Bernard and Pat hold one outstretched paw and slowly walk in a circle while their other arm is bend upward at the elbow. For the fourth through seventh lines, Pat and Bernard slowly pull each other closer together with their locked paws, then yank their paws so that their ventral sides are touching by the end of the last line.

Many times I tried to tell you
Many times I cried alone
Always I'm surprised how well you cut my feelings to the bone
Don't want to leave you really
I've invested too much time
To give you up that easy
To the doubts that complicate your mind

For the first line of main chorus, Bernard and Pat grab both paws and lean backward and forward. For the second line, Pat lowers her legs while leaning into Bernard as he raises one of their locked paws into the air, while their other paws touch his chest. They trade places for the third line.

We belong to the light, we belong to the thunder
We belong to the sound of the words we've both fallen under
Whatever we deny or embrace for worse or for better

For the fourth line, Pat turns so that her back is to Bernard's ventral and the two interlock their paws while Bernard hugs her and they slowly sway to the left and right.

We belong, we belong, we belong together

For first two lines of the next stanza, the couple faces each other and Bernard lip sings the lyrics while leaning down and bringing Pat very close to the ground. Pat does the same to Bernard for while lip singing the third line.

Maybe it's a sign of weakness when I don't know what to say
Maybe I just wouldn't know what to do with my strength anyway
Have we become a habit? Do we distort the facts?

For the fourth line, they separate, shake their leads no, and point forward. They shake their heads no again and turn around and point in that direction for the fifth line.

Now there's no looking forward
Now there's no turning back

The two do the same things they did before when the main chorus happens a second time by grabbing both paws and leaning backward and forward. But when the third line begins, they swap places from what they did before so that now Bernard lowers his legs while leaning into Pat as she raises one of their locked paws into the air, while their other paws touch her chest. They trade places for the fourth line.

When you say
We belong to the light, we belong to the thunder
We belong to the sound of the words we've both fallen under
Whatever we deny or embrace for worse or for better

For the fifth line, Bernard turns so that his back is to Pat's ventral and the two interlock their paws while Pat hugs him and they slowly sway to the left and right.

We belong, we belong, we belong together

For the musical interlude, the pair do the tango with Bernard leading first and then Pat.

When the next stanza begins, the two press their ventral sides together again and rest their heads on their lovers' shoulder while swaying slowly in a circle for the first three lines. They both lip sing the remainder of the stanza.

Close your eyes and try to sleep now
Close your eyes and try to dream
Clear your mind and do your best to try and wash the palette clean

They open their eyes and shake their heads no for the first half of the fourth line, then grab one paw and lean backward with their opposite paw hanging outward. Still leaning back, they bring their free paws forward and interlock those during the fifth line.

We can't begin to know it, how much we really care
I hear your voice inside me, I see your face everywhere

Holding each others paws, they lean back and spin for the next line and a half. For the second half of the second line they stop spinning and make a fist pump. They go back to spinning for the third line.

Still you say (Weeeeeee beloooong)
We belong to the light (to the light), we belong to the thunder (to the thunder)
(Weeeeeee beloooong) We belong to the sound of the (to the) words (we belong) we've both fallen under

For the first half of the fourth line they stop spinning look to their side, then at each other. For the next half of the fourth line they dip their paws down and then up. They then go back to spinning for the last line.

Whatever we deny or embrace, for worse or for better
(We belong) We belong, we belong, we belong together

For the first half of the first line in the last stanza, they both lean their legs down while they aim one interlock set of paws high, then upright themselves and stomp their feet for the second half. For the second line, Bernard gets a firm grip on Pat's paws, bends over while Pat uses the grass to help her slide in between Bernard's legs, then hoists her so that she is back on her feet in front of him. They trade places for the third line, then hug and spin for the fourth line.

(Weeeeeee beloooong) We belong to the light, (to the light), we belong to the thunder (to the thunder)
(Weeeeeee beloooong) We belong to the sound of the (to the) words (we belong) we've both fallen under
Whatever we deny or embrace, for worse or for better
(We belong) We belong, we belong, we belong together

For the remainder of the fading out song, they go back to where they hold one outstretched paw and slowly walk in a circle while their other arm is bend upward at the elbow as a way to book-end their slow, romantic dance.

(Weeeeeee beloooong) We belong to the light (to the light), we belong to the thunder (to the thunder)

Since the family and their friends know the kind of bond Bernard and Pat share after all the things they have gone through, there's no need for anyone to even waste thinking why the song is perfect. The same goes for the next song.

Quillo: "Great dance, Bernard and Pat. Now let's have Mary and Elroy take center stage for their couple's dance song, 'The Middle.' And even though the main chorus will say 'Little girl', keep in mind that, for Mary's and Elroy's relationship, it can be interchanged with 'Little boy.' "

Note: "The Middle" is a song copyright by Jimmy Eat World and their album Bleed American.

Mary and Elroy hold their paws together and start by bouncing their bodies and giving one-shoulder shrugs for the opening stanza.

Hey, don't write yourself off yet
It's only in your head, you feel left out
Or looked down on

For the next stanza they keep bouncing, but now lean forward and backward toward each other.

Just try your best
Try everything you can
And don't you worry what they tell themselves
When you're away

For the main chorus, they swing their arms into upward arches for the first line and half of the second. For the second half of the second line to the third line, Elroy holds Mary's paw while she twirls in place. For the whole fourth and first half of the fifth lines, Mary then holds Elroy's paw while he twirls in place. They go back to arm swigging upwards for the remainder of the last line.

It just takes some time
Little girl, you're in the middle
Of the ride
Everything, everything'll be just fine
Everything, everything'll be alright, alright

For the next stanza the pair kicks a foot out to the side while clapping to the beat of the song's tempo.

Hey, you know they're all the same
You know you're doing better on your own (on your own)
So don't buy in

Elroy lip sings the first line of the next stanza while pointing toward the ground. Mary lip sings the second line and points at Elroy. They go back kicking a foot out to the side while clapping to the beat of the song's tempo for the third and fourth lines, and now shake their heads no.

Live right now
Yeah, just be yourself
It doesn't matter if it's good enough (good enough)
For someone else

Like before, they swing their arms into upward arches for the first line and half of the second when the main chorus is sung again. For the second half of the second line and for the whole to third line, Mary holds Elroy's paw while he twirls in place. For the whole fourth and first half of the fifth lines, Elroy holds Mary's paw while she twirls in place. They go back to arm swigging upwards for the remainder of the last line.

It just takes some time
Little girl, you're in the middle
Of the ride
Everything, everything'll be just fine
Everything, everything'll be alright, alright

They take each others' paws and wave them up and down to the song's tempo while bouncing their bodies for all of the next stanza.

It just takes some time
Little girl, you're in the middle
Of the ride
Everything, everything'll be just fine
Everything, everything'll be alright, alright
Woo!

For the first half of the guitar solo, Elroy holds up Mary's paw and keeps up with her as she twirls to the side, then she does the same for him when he twirls to the opposite side for the second half. As the notes start slowing down, they get their paws in the tango and lean up and down.

For the next stanza, the two hold only one paw as Elroy holds spins in place while Mary rings around him like the rosy.

Hey, don't write yourself off yet
It's only in your head, you feel left out (feel left out)
Or looked down on

They change places for the next stanza.

Just do your best (just do your best)
Do everything you can (do everything you can)
And don't you worry what their bitter hearts (bitter hearts)
Are gonna say

For the first one and a half lines, the two take each others' paws and wave them up and down to the song's tempo while bouncing their bodies, then they swing both arms in upward arches for the next one and a half lines, then go back to waving their paws up and down for fourth and fifth lines.

It just takes some time
Little girl, you're in the middle
Of the ride
Everything, everything'll be just fine
Everything, everything'll be alright, alright

They repeat their same movements only with greater intensity for the final stanza.

It just takes some time
Little girl, you're in the middle
Of the ride
Everything, everything'll be just fine
Everything, everything'll be alright

As expected, another song that perfectly describes the relationship of two soul mates warrants more cheers. But unexpected is when a song request is put in.

Sam and Aaron raise a paw and go "Oh! Oh! OH!"

Aaron: "Can you play the closing song from A Goofy Movie?"

Sam: " 'Eye to Eye!' Please!"

Quillo: "No problemo. Gimme a sec to pull it up on the computer."

Note: "Eye to Eye" is a song copyright by Tevin Campbell and A Goofy Movie soundtrack, property of Disney. And because a lot of dance moves happen during the main chorus that my descriptions can bog down, you might want to YouTube the "Eye to Eye" scene from A Goofy Movie to get a more visual idea that keeps the flow of the song going.

The others know why Hammy's and Scarlet's sons want this song. First, it's from one of their favorite childhood movies. Second, the song is simply rockin'! Third, and deeper, is that it describes how the relationship with the squirrel sons and their parents had been fixed 15 years ago after a horrible experience. When Sam's disability had contributed to Heather suffering her life-altering injury, Hammy and Scarlet told Sam he couldn't participate in heists until he improved. Sam went on a fit of rage, bit Hammy's arm hard, which caused Hammy to hit his son hard, and Aaron siding with his older brother refused to go get help for Hammy who almost bled to death. The boys ran away but nearly died too when they encountered Clara, but Kale saved them at the last moment. Because Hammy and Scarlet had not been around to guide and protect them, Sam and Aaron learned the importance of why their parents have to tell them no. Thus, this song perfectly captures how the boys finally saw eye to eye with their parents. That's also why, unlike the previous songs, Scarlet and Hammy join in too.

Before the song starts, the squirrels stand in a single file line with Hammy in front, then Scarlet, Sam, and Aaron. As the synthesized music opens, each rodent fans their arms out to the side at different elevations and moves them up and down to the song's notes. When the lyrics start, Hammy and Scarlet face each other and hold paws as they grove side to side while Aaron moves his arms like a break-dancing mime, and Sam does the Monkey.

Yeah, yeah
Hey, yeah

For the first three lines of the first stanza, Hammy and Scarlet shuffle their feet and take turns spinning each other, Aaron does arm circles and puts his feet forward to the rapid drum, and Sam raises and lowers his arms up, down, and to the side to the beat of the synthesized music. For the last line, the parents and sons look at each other and reach out.

I got myself a notion
And one I know that you'll understand
We set the world in motion
By reaching out for each other's hand

For the first two lines of the next stanza, Sam and Aaron point their fingers up and to the side while jumping their legs in and out, while Hammy and Scarlet rapidly raise and lower their shoulders (one shoulder at a time) to the quickening drum beats. For the last line, Hammy and Scarlet hold paws, lean back, and spin while Sam and Aaron hug while kicking their feet out to the side.

Maybe we'll discover
What we should have known all along, yeah
One way or another
Together's where we both belong

When the first line of the main chorus plays, one after the other, the squirrels move their arms in which Aaron raises his up to the right, Sam lowers his down to the left, Hammy raises his up to the left, and Scarlet lowers her down to the right. For the remainder of the chorus, having watched A Goofy Movie countless times, the squirrels flawlessly execute the exact same dance moves the fictitious Power Line and his lady dancers did in that flick.

If we listen to each other's heart

For the second line, they side step to the right while pointing up repeatedly with their right fingers, point across their chest to the left, slowly raise both arms up to the right, then cross their arms and move those side to side while moving both feet left.

(Oh yeah) we'll find we're never too far apart

For the third line, they spread their legs and point out to the side with their left paws, do a full upper body circle while bending over, jut their knees to the right, raise their left shoulder up, then raise their right shoulder up.

And maybe love is the reason why

For the fourth line they make fists with both paws, raise their elbow-bent left arms above their heads and lower their elbow-bent right paws down to their gut, switch arm positions, cross their arms at the chest briefly, bring their right arms back above their heads and their left arms at their guts, shrug with their elbow-bent arms bent out at their sides, point diagonally up to their right, and move out their open-palmed left paw going right to left at chest level. For the last line, Sam jumps into Scarlet's arms and she spins him 180 degrees while Aaron jumps into Hammy's arms and they do the same.

For the first time ever we're seeing it eye to eye

For the first line of the next stanza the squirrels put one foot forward and make a push movement with both paws while turning their heads to the side to look at the audience. For the second line, Sam and Aaron make climbing motions, then Hammy and Scarlet punch forward. For the third line, all four put one paw on their heart and point to themselves with their other paw. For the fourth line, the keep one paw on their heart and point to each other with their other paw.

If a wall should come between us
Too high to climb, too hard to break through
I know that love will lead us
And find a way to bring me to you

For the first line of the next stanza, Sam and Scarlet shake their heads no while Hammy and Aaron zoom around them in a circle. For the second line, Sam and Scarlet hold a paw out whereby Sam catches the stopped Aaron by the paw and Scarlet catches the stopped Hammy in the same way. For the third line, the sons face the parents and all smile as they shake their heads no with crossed arms. For the last line, they point while shuffling their feet toward each other for the first half, and then shake their heads no once and raise a fist in the air in triumph for the second half.

So don't be in a hurry
Think before you count us out, oh
You don't have to worry
I won't ever let you down (nothing's gonna stop us now)

When the chorus repeats, they repeat the same moves they did from before. When the first line of the main chorus plays, one after the other, the squirrels move their arms in which Aaron raises his up to the right, Sam lowers his down to the left, Hammy raises his up to the left, and Scarlet lowers her down to the right.

If we listen to each other's heart

For the second line, they side step to the right while pointing up repeatedly with their right fingers, point across their chest to the left, slowly raise both arms up to the right, then cross their arms and move those side to side while moving both feet left.

We'll find we're never too far apart

For the third line, they spread their legs and point out to the side with their left paws, do a full upper body circle while bending over, jut their knees to the right, raise their left shoulder up, then their right ones.

(Oh yeah) and maybe love is the reason why

For the fourth line they make fists with both paws, raise their elbow-bent left arms above their heads and lower their elbow-bent right paws down to their gut, switch arm positions, cross their arms at the chest briefly, bring their right arms back above their heads and their left arms at their guts, shrug with their elbow-bent arms bent out at their sides, point diagonally up to their right, and move out their open-palmed left paw going right to left at chest level.

(Oh yeah) for the first time ever we're seeing it eye to eye

For the next stanza, Aaron does same break dance moves, Sam raises one leg and taps toward the ground with both paws two times before switching to tap his paws toward the ground on his opposite side, and Hammy and Scarlet hold each other's paws to dance (and spin) together. All four make sure to look and point at their own eyes then at each other whenever the main singer says "Eye to eye."

(Eye to eye)
(We're seeing it, eye to eye) Yes, we are
Seeing it eye to eye (love is why we're seeing it)
(Eye to eye) seeing it eye to eye (eye to eye)
(We're seeing it) yeah, seeing it eye to eye
(Love is why we're seeing it) I think we're
Seeing it eye to eye (eye to eye, eye to eye)
(We're seeing it) yeah, eye to eye

During the music interlude each pretends to be a part of a rock band in which Sam is the electric guitar, Aaron is the bass guitar, Hammy is the drums, and Scarlet is the keyboard. But they air band their instruments like the Star Power animations from Guitar Hero 2: impossible to actually play such instruments while doing so, but man does it look COOL!

They keep doing that until the word "stop" is said in the first line of the next stanza, in which the four squirrels hold up a stop paw gesture. For the remainder of the stanza, they do what they did at the song's beginning in which Hammy and Scarlet face each other and hold paws as they grove side to side while Aaron moves his arms like a break-dancing mime, and Sam does the Monkey.

If you're ever lonely, stop
You don't have to be
After all, it's only
A beat away from you to me
Take a look inside and see, yeah

Remembering the dance moves from the movie, the squirrels stand side by side as the main chorus repeats again; Hammy is on the far right, Sam and Aaron are in the middle, and Scarlet is on the far left. For the first line, Sam and Aaron bend their knees inward then back out, hop in place twice, then all four hop to the left on their left leg while rolling their right arm forward, then jump their legs up to the left to do a heel touch.

If we listen to each other's heart

For the second line, they role their left arms, spin, jump up once while clapping their paws above their heads, and kick their left feet forward. For the third line, they moonwalk while freestyle swimming through the air, and end it by putting their shoulders together and sideways glancing; Sam and Hammy as one pair and Scarlet and Aaron as the second. For the fourth line, they remain in their pairs. While doing so, Sam and Aaron turn left then right as they do high marches while bobbing their heads up and moving their downward elbow-bent arms up and down. Hammy and Scarlet do the same but start at their left instead of right.

We'll find we're never too far apart
And maybe love is the reason why
For the first time ever we're seeing it eye to eye

For the last stanza, they stand side by side. For the first line, they kick one leg then the other out while moving their downward elbow-bent arms up and down, move their feet to the side while waving both arms out in a semicircle across their chests, then point diagonally up with their right finger.

(Seeing it eye to eye), Seeing it eye to eye baby

For the first half of the second line, they hold their arms out and up like a Y, then rapidly pump their fists while gyrating their bodies. For the second half of the second line, they hunch over their posture like gorillas while hopping, then land and point.

For the first time, (for the first time)

For the third line, they turn to face the audience and tap their guts. For the fourth line, they hold their arms out at shoulder level and bob their bodies up and down while bending their knees in and out. For the fifth through seventh lines, they do some freestyle break dancing as a group.

(Seeing it eye to eye)
Seeing it, (Seeing it baby)
(Seeing it eye to eye)
(Eye to eye) for the first time ever, eye to eye (seeing it)
Seeing it, baby (seeing it eye to eye, for the first time ever), yeah

For the eighth line, they make a sideways peace finger gesture with their left paws, raise those to their left eye, do the same with their right fingers and right eye, raise their left paw into the air followed by their right paw, the pairs face each other and point to their own eyes then at the opposite pairs.

Eye to eye (eye to eye), eye to eye, eye to eye, eye to eeeeeeyyyyyyyeeeeeeee

For the ninth line, they move their hips side to side while they interchange raising their left and right arms bent diagonally up and down at the elbows. They end the song by holding onto their brother and spouse with one wrapped arm, and use their free paw to point to their own eyes then their partners' eyes when the song says "eye to eye" for the last time.

Yeeeeeeahhhhhhhhh (seeing it eye to eye), for the first time ever, eye to eye

After the applause fades, DJ Quillo has to make a special announcement.

Quillo: "Now this next song comes with a special warning: it was what we played at Garrett's and Rebecca's wedding. For those who were present, you remember their dance moves, but that was 15 years ago. They've only fallen more in love with each other since then, and I guarantee they've really upped their game. So, all kids younger than 13 better look away or find something else to do, because it's about to get too hot to handle."

Knowing that Quillo's words will only make the kids more curious, the adults get in a circle around the dance floor that blocks view of Rebecca and Garrett in the center. Once the faintest scent of raccoon pheromones enters the air, Quillo knows he better start the song pronto before the situation goes from PG-13 into R. No surprise for this couple, their song is "Addicted to Love."

Note: "Addicted to Love" is a song copyright by Robert Palmer and his album Riptide.

During the entire opening drum sequence, Rebecca and Garrett are holding each other by the shoulders and swing sharply to the left and right every other beat. When the guitar kicks in, the couple proves that they indeed have stepped up their love game when Garrett yanks Rebecca toward him and the two share a French kiss with their eyes closed. While doing so, Garrett slowly leans down as far as he can, then leans back up for Rebecca to do the same to him, neither raccoon stopping their kiss.

When the synthesized trumpet plays its part, the two upright themselves and Rebecca arches her back, arms, and legs as far as she can while leaning her waist into Garrett so that the two look like a K in which Garrett is the straight vertical line and she is the sideways V. The only thing keeping her from falling over is Garrett's hold on her. When the synthesized trumpet plays again, the two reverse their roles so that Garrett is leaning into Rebecca. They repeat those moves two more times as the synthetic trumpet plays.

All these "physical" dance moves...and the singing hasn't even started. When it does, Garrett and Rebecca get in the tango position and tap their right feet in sync with the drum beats for the first line. Then spin and foot-tap their left feet for the second line. For the first half of the third line, Rebecca leans forward and backward into Garrett, and then he does the same to her for the second half. The two spin around four times while French kissing for the fourth line.

The lights are on, but you're not home
Your mind is not your own
Your heart sweats, your body shakes
Another kiss is what it takes

During the fifth line, Rebecca gets up and down on her toes, rubbing her body against Garrett's, whereby Garrett does the same to her during the sixth line. For the seventh line, the two finally decide to forget the subtlety and give each other love bites on the neck. They release their teeth and slowly bring their heads so that they are looking at each other again for the eighth line.

You can't sleep, you can't eat
There's no doubt, you're in deep
Your throat is tight, you can't breathe
Another kiss is all you need

For the first line of the next stanza, the two enter another kiss as they spin once and when they stop, Rebecca wraps her right hind legs across Garrett at the waist. They bob their upper bodies slightly forward and back. For the second line, they spin once and trade places so that Garrett wraps his right leg around Rebecca's waist and the upper body bobbing happens again. For the third line, they put both feet on the ground, lean back, and spin. They are arm's length away at first, but then get closer until their ventral sides are touching by the end.

Whoa, you like to think that you're immune to the stuff, oh yeah
It's closer to the truth to say you can't get enough
You know you're gonna have to face it, you're addicted to love

For the first line of the next stanza, Rebecca twirls in place once, stops so that her back is to Garrett's front, and they lean to the left and right while Garrett kisses her check. The swap places for the second line so that Garrett's back is to Rebecca's front. They stay in the same position for the third line and do pelvic thrusts forward. For the fourth line, Garrett turns so that he and his mate are looking at each other again, they kiss on cue, then grip each other's upper backs so hard they feel their claws start to dig into the skin beneath their fur.

You see the signs, but you can't read
You're running at, a different speed
Your heart beats in double time
Another kiss and you'll be mine

They push away but maintain their grip on their paws for the first half of the first line that follows. They lean back and throw one forepaw behind their head while holding onto each other using their other forepaw. For the second line, they pull hard and practically collide, but their fur softens the blow as they immediately spin around while French kissing again. For the third line, they stop spinning but keep kissing as they raise and lower their right shoulders. They raise and lower their left shoulders for the fourth line.

A one-track mind, you can't be saved
Oblivion is all you crave
If there's some left for you
You don't mind if you do

For the first line of the next stanza, they step back half an arm's length, point to each other while giving seductive eye looks, then lip sing the "oh yeah." For the second line, they spin once, point to each other while giving sexy smiles, and then waggle their pointing fingers for the "can't get enough." For the last line, they slowly inch their way to each other and enter what feels like their 50th kiss.

Whoa, you like to think that you're immune to the stuff, oh yeah
It's closer to the truth to say you can't get enough
You know you're gonna have to face it, you're addicted to love

The two maintain their kiss for the entire main chorus. For each line, each of them takes turns raising a knee up and down while leaning slightly back while the one who is standing leans slightly forward. The order of knee-kickers is Rebecca, Garret, Rebecca, Garret, and ends with Rebecca.

Might as well face it, you're addicted to love
Might as well face it, you're addicted to love
Might as well face it, you're addicted to love
Might as well face it, you're addicted to love
Might as well face it, you're addicted to love

During the guitar solo, the two break away for air then immediately kiss again, this time with their eyes closed. Garrett slowly leans down, then comes up again, then Rebecca does the same.

When their eyes open, they look at Quillo and make a cut gesture with their forepaws going across their necks. The record abruptly scratches to a stop, causing everyone to look at Quillo in question. The scratch sound hasn't even fully stopped when Garrett's voice makes everyone look at him.

Garrett: "That's good enough, Quillo. Thanks again for including our couple's dance song."

Rebecca looks at the crowd of animals and says, "Sorry for those who wanted to rock out to the whole thing, but let's be fair; the song just repeats the same words again anyway, and Garrett and I have had our fill..." Now looking at Garrett, she says, "Of dancing."

Garrett sees the (what should be) iconic mischievous raccoon look in her eyes, and does the same to her as a way of confirmation. He then says, "Thank you for watching us, folks. No claps or cheers are needed. I all wanna know is what tunes are up next?"

Quillo: "We've got the song we played at Roger's and Aleshia's wedding: 'I've Had The Time of My Life,' from Dirty Dancing. Everybody give it up for the magician spouse duo!"

As the animals clap and cheer while Roger and Aleshia make it to the center stage of the dance floor, no one notices Rebecca and Garrett sneak away from the group.

Note: "(I've Had) The Time of My Life" is a song copyright by Jennifer Warnes and Bill Medley and the Dirty Dancing movie soundtrack.

For the first line, Roger slowly walks toward his mate from behind and puts a gentle paw on her cheek. Aleshia turns toward him and puts one arm around his shoulder while he puts his arm around her waist for the second line. In the third line, Aleshia leans back and then comes back up. For the fourth line Aleshia steps in front of Roger. During the fifth line, she raises her left arm up into the air, then he does the same, and finally they slowly put their arms down, bending at the elbows. For the sixth line, they hold paws while Aleshia spins to the left and Roger spins to the right.

Now I've had the time of my life
No, I never felt like this before
Yes I swear, it's the truth
And I owe it all to you
'Cause I've had the time of my life
And I owe it all to you

In the brief music interlude, the pair step forward and backward with both feet while doing arm circles at chest level with bent elbows. Then do four wide arm sweeps from the side to their front going left, right, left, right.

For the first and second lines of the next stanza, they repeat their forward-backward steps and chest-level arm circles while facing each other. For the third line and half of the fourth line, they do chest-pumps by bending their arms upward and opening and closing as if doing chest flies. When the words "magical fantasy" are said, Roger magically produces his wand in his paw and waves it forward as if casting a spell.

I've been waiting for so long
Now I've finally found someone to stand by me
We saw the writing on the wall
As we felt this magical fantasy

The wand disappears in his paw and they go back to their chest-fly-like motions for the fifth and sixth lines. When the song's singers say "secretly" and until the next word is said, the two do their chest-level arms circles, but tap their right foot on the ground while doing so. For the seventh and eighth lines, they lock paws and move their right ones up and their left ones down, then move their right paws down and their left ones down. They do this six times. At the end of the eighth line, they hold their right paws, lightly leap out to the side while their left paws do an arch movement.

Now with passion in our eyes
There's no way we could disguise it secretly
So we take each other's hand
'Cause we seem to understand the urgency

For the first through third lines of the next stanza, they take both paws and skip around in a circle as if they're happy little school children. For the fourth and fifth lines, they do their chest-level arm circles while dancing around each other in a circle. They stop and are facing each other when the singers say "Because."

Just remember
You're the one thing
I can't get enough of
So I'll tell you something
This could be love, because

For the first line of the next stanza, they swing their arms forward and get close to each other, then back up while still bent over with their arms stretching toward their mate. When the word "life" is said, they lean their waists forward while arching their head, legs, and arms backward.

I've had the time of my life

For the second line, they walk to each other, put their right paw around the other's waist and their left arms are hanging outward as they spin a full circle.

No, I never felt this way before

For the third and fourth lines, they march in place and pump their arms as if running. When the singers draw out the "You," Aleshia puts out her paw, and Roger slowly takes it into his own and kisses the back of it. Roger leaps forward with his arms and legs out for "Hey, baby."

Yes, I swear, it's the truth
And I owe it all to you
Hey, baby

Next, he backs up and faces his mate so that, for the first line of the new stanza, Aleshia walks in a circle around Roger, pointing at him with her left paw while her right paw strokes her from head to hip at the word "body," then points to the center of her chest for the word "soul."

With my body and soul

For the second line, Aleshia is already behind Roger and places a paw on each shoulder as she shakes him side to side while moving her head in the same direction. For the third line, Roger shrugs his shoulder, doing arm circles while doing so, to make Aleshia let go and turns 180 degrees to face her. For the fourth line, he takes her paw into his own and then waggles and wobbles like crazy, and ends with getting still and shaking his head no.

I want you more than you'll ever know
So we'll just let it go
Don't be afraid to lose control, no

For the fifth line, Roger takes both Aleshia's paws as she leans back and slides in between Roger's legs. He then he slides her back out so that she's back on her feet for the sixth line, both of them lip singing.

Yes, I know what's on your mind
When you say, "Stay with me tonight" (stay with me)

For the first line of the next stanza, they quickly pull into each other so their ventral sides are touching as they smile without teeth, then separate. For the second and fourth lines, they raise their right paws up while lowering their left paws down and tilt their head to the right, then do the same with the opposite sides. They merrily skip in a circle for the third and fifth lines.

Just remember
You're the one thing
I can't get enough of
So I'll tell you something
This could be love, because

For the first and second line of the repeated main chorus, Aleshia's back is to Roger's front and he is hugging her as the two rock side to side, Roger's head resting on Aleshia's shoulder. They spin and swap roles for the third and fourth line so that Aleshia is hugging and rocking Roger.

I've had the time of my life
No, I never felt this way before
Yes, I swear (yes, I swear), it's the truth
And I owe it all to you

For the first line of the next stanza, Aleshia spins backward once and Roger spins forward once, each holding onto their right paw, so that when they're done spinning, they slowly lean down as if stretching their right leg while their left paws are upright in the air.

'Cause I've had the time of my life

They slowly rise back up to stand normally during the second line. For the third line, they happily skip in a circle while holding both paws, then abruptly stop to slowly point at each other while lip singing the fourth line.

And I've searched though every open door
'Til I found the truth
And I owe it all to you

During the long musical interlude in which the saxophone plays the main melody, Roger and Aleshia produce their magic wands in their paws (out of thin air) that they aim at each other which causes their hats to appear on their heads. They grab and toss their hats, which spin in a circle around them, spewing confetti and sparkler fireworks. The raccoons then lock elbows and spin around again in perfect sync with their hats and aim their wands at those to make them eject out heart-shaped decorations. They soon let go of their wands, but those vertically spin in a circle and let out red and pink smoke that temporarily hides them from the audience. When the smoke clears, they are standing side by side, holding a paw, and looking down.

When the next stanza's lyrics are sung, the couple slowly gets up and faces the audience, then turn toward each other so that Aleshia's left arm is around Roger's right shoulder, and Roger's left arm is around Aleshia's waist. He dips her down, then bring her back up during the second line. For the third line, Aleshia's back is to Roger's front, and they raise both left paws from their sides, and above their heads. For the fourth line, they interlock fingers, quickly lower their arms and separate while looking away and then at each other, and now are standing side by side.

Now I've had the time of my life
No, I never felt this way before (never felt this way)
Yes, I swear, it's the truth
And I owe it all to you

The pair does their marching in place and arm pumping for the first and second lines. For the third line, Aleshia runs at Roger then jumps as his paws make contact with her hips and he raises her up above his head. She remains prone in the air and he slowly spins her around for the remainder of the song.

I've had the time of my life
No, I never felt this way before
Yes, I swear (yes, I swear), it's the truth
And I owe it all to you

As the song fades out, he lowers her back down and the two kiss, drawing another round of applause and cheers from the audience.

'Cause I've had the time of my life
And I've searched though every open door
'Til I found the truth
And I owe it all to you

Another dance done, another round of applause follows (especially from Riley and Ellie), and another instance of Quillo letting the others know the next song—if not for a certain someone's loud complaint.

Ty: "Oy, I never did like slow songs, or overly sappy romantic ones."

Roger: "So you're saying you didn't like Bernard's and Pat's song, or—spoiler alert—the bats', otters', Mark's and Lee's, and Richie's and Lucile's, that'll follow?"

Ty: "No. Just yours, big brother. You use your magician-talk only on me, so I get to single out your taste of music."

Quillo: "No need to be displeased, I've got the song we played at yours and Grace's wedding locked and loaded."

Ty: "Then hit it Quillo."

Quillo: "Gladly, 'cuz like the name, it's gonna make you 'shut up and dance.' "

Ty and Grace ignore the snark in Quillo's remark and the chuckles that follow and just focus on getting into the middle of the dance floor.

Note: "Shut Up and Dance" is a song copyright by Walk the Moon and their album Talking is Hard.

When Quillo hits play, Ty and Grace don't waste a single moment to hold paws and look at each other deeply in the eyes. They bounce their bodies to the song's quick pace during the whole first stanza. While doing so, they shake their heads no for the first line, point to their own eyes with two fingers in the second line, Ty leans toward her and lip sings the third line only for Grace to lean forward toward him while lip singing the fourth line.

Oh don't you dare look back
Just keep your eyes on me
I said you're holding back
She said shut up and dance with me

Ty then looks over his shoulder to lip sing at the crowd while pointing at his woman during the fifth line, Grace raises her head and howls the sixth line like a wolf. For the last line, the two abruptly stop moving and lean their faces into each other's, separated by centimeters, and speak the words with locked eyes.

This woman is my destiny
She said 'ooo-hoo
Shut up and dance with me'

In the musical interlude, the audience claps along with the song (and continue to do so) as Ty and Grace bob their bodies to the left and right while holding each other's paws and swinging those in upward left and right arcs. The next words hold a deeper meaning to the couple than just a mere song's stanza. It harkens back to the mistake the two made that got Grace unexpectedly pregnant, and how they turned that mistake into a positive outcome by becoming responsible, caring, and devoted lovers to themselves, their daughter, and their families.

Fueled by those emotions, Ty and Grace keep holding their paws as they look away and down from each other in thespian shame for the first line. For the second and third lines, they slowly start raising their heads while nodding to the beat and tapping one hindfoot. For the fourth line, they snap their heads back so they are looking at each other again, and Ty raises his and Grace's right paw upward. They put their right paws down for the fifth line, and it's Grace's turn to raise hers and Ty's left paw upward.

We were victims of the night
The chemical, physical, kryptonite
Helpless to the bass and the fading light
Oh we were bound to get together
Bound to get together

In the one second gap between stanzas, the pair separates so that they're only holding onto each other by one paw.

For the first line, Grace pulls Ty toward her who spins but the two are facing each other when he stops. They let their paws go to shake their heads no and shrug while bouncing on their hindfeet for the second line. They end the stanza by wrapping one arm around the other's waist, interlocking their open-palmed paws with the free arm as they slowly lower those.

She took my arm
I don't know how it happened
We took the floor and she said

This time for the main chorus, the pair separates and raises the roof and kicks forward with their hindfeet as they hop for the first line, and keep hopping and kicking as they point to each other with two fingers for the first half of the second line, then point at themselves when the word "me" is said. For the third line, they stop hopping and Ty crosses his arms and leans back while tapping his hindfoot and lip singing.

Oh don't you dare look back
Just keep your eyes on me
I said you're holding back

Grace jerks her head away from Ty for the "she said" part of the fourth line, then jerks her head back to look at him while she takes her mate's outstretched paw and brings it close to her chest while lip singing the rest of the fourth line. For the fifth line, they hold their right paws out like the tango while sidestep kicking with their left and right legs. Both raccoons look up and howl the sixth line, and end the stanza by holding their left paws out like the tango while sidestep kicking with their left and right legs.

She said shut up and dance with me
This woman is my destiny
She said ooo-hoo
Shut up and dance with me

The audience goes back to clapping, and Ty does the same while remaining still for now. It's Grace who moves at the start of the next stanza by walking slowly around Ty in a circle while arching her right arm like a fashion model on the walkway, and pointing to her feet with her left arm for the first line.

A backless dress and some beat up sneaks

For the second line, Ty bends his knees up and down as his open-palmed pawed arms pull back when he goes down and push out when he goes up, then puts his paws to his cheeks in awestruck wonder for the words "teenage dream."

My discotheque Juliet teenage dream

For the third line, Ty puts his right paw over his left and pushes and pulls away from his chest, while Grace has finally finished a full circle around her mate and looks and points toward him.

I felt it in my chest as she looked at me

She spins into his arms so that her back is to his front for the fourth line, then spins out and back into him so that their fronts are touching for the fifth line.

I knew we were bound to be together
Bound to be together

For the next first line, they lean back so that their right paws are the only thing preventing them from falling, shake their heads no for the second line, and pull toward each other for the third line.

She took my arm
I don't know how it happened
We took the floor and she said

For the next first through third lines, the couple leans back and spins while holding each other's outstretched paws. They stop spinning at the fourth line to lip sing, and then spin the opposite way for the fifth through seventh lines.

Oh don't you dare look back
Just keep your eyes on me
I said you're holding back
She said shut up and dance with me
This woman is my destiny
She said ooo-hoo
Shut up and dance with me

They stop singing and Ty lip sings the next line.

Oh, c'mon girl

For the first half of the music interlude, Grace does The Monkey dance and Ty leans back while rolling his paws and tapping his right foot. During the middle of the interlude, they face each other and shake their bodies rapidly left and right to the high-pitched electronic sound, then they fling their arms up while leaning back once the sound reaches its highest note. For the last part of the interlude, they hold hands as Ty leans toward Grace who leans back, then she leans toward Ty while he leans back for a total of two times each.

For the first line of the next stanza, Ty leans his face toward Grace's while pointing at her eyes with two fingers. He then looks upward and moves his open-palmed paw left to right for the second line, and makes a fist and pumps it down for the third line. Grace takes his paw into her own for the fourth line, then Ty looks down while shaking his head no and lip singing for the fifth line. Ty snaps his head back up so that he is looking at Grace and the two's grip on both paws tightens for the sixth line.

Deep in her eyes
I think I see the future
I realize this is my last chance
She took my arm
I don't know how it happened
We took the floor and she said

In the brief music interlude, the audience claps to the song's beat, but Ty and Grace remain motionless as they keep staring into each other's eyes and take turns lip sing the entire main chorus. But for the last line, they sing out loud and jerk their heads to the side.

Oh don't you dare look back
Just keep your eyes on me
I said you're holding back
She said shut up and dance with me
This woman is my destiny
She said ooo-hoo
Shut up and dance

The pair sways their bodies to the side as they hold their right paws out to the side and their left paws remain at chest level for the first through third lines. They stop to lip sing the fourth line, then sway their bodies side to side as they hold left paws out to the side out and their right paws remain at chest level for the fifth through seventh lines.

Don't you dare look back
Just keep your eyes on me
I said you're holding back
She said shut up and dance with me
This woman is my destiny
She said oo-hoo
Shut up and dance with me

In the next music interlude, Grace slowly spins toward the left while holding onto Ty's paw, then slowly spins back toward him before the next line is sung. When that happens, the two kiss.

Ooo-hoo, shut up and dance with me

Now Ty slowly spins toward the right while holding onto Grace's paw, then slowly spins back toward her before the next line is sung, and kisses her when the words are sung.

Ooo-hoo, shut up and dance with me

In the closing music interlude, the two hold each other's shoulders and sway left, right, left. Finally, they kiss while spinning so rapidly it almost looks like a blur. But all the onlookers can clearly see them when they abruptly stop at the song's last note, their lips still locked in the kiss.

Roger whispers to Aleshia, "Was that dancing, or do they have fleas?"

No one else hears the sarcastic remark, or the snickering those raccoons make, because the rest of the audience's applause drowns both out.

After the next round of clapping is over, Quillo says, "Next is the song we played at De'Ausha's and Ladarius's wedding: 'Crazy in Love.' " Doing his best impression of skunks' vernacular (which makes him look like a fool instead of cool), he then says, "We about ta bring da hip to da hop in heah, play-ah's!"

As expected, the skunks roll their eyes at Quillo, but he wisely starts the song before anyone can verbally call him out.

Note: "Crazy in Love" is a song copyright by Beyoncè (featuring Jay-Z) and her album Dangerously in Love. And because both the dance moves and song are fast-paced, you might want to YouTube "Crazy in Love Minny Park Choreography" for a visual representation.

De'Ausha and Ladarius start by cross-leg walking toward each other as they cross their arms when they fling them to the front and uncross them when they fling them back. They do this for the whole first stanza.

Yes (whoo, ow)
It's so crazy right now
Most incredibly, it's ya girl, B (yes)
It's ya boy, Young
You ready?

For the whole second stanza, the two pump their arms outward starting low, then chest level, then high. For the first two lines they stand back-to-back. For the last two lines they turn around and face each other.

Uh oh, uh oh, uh oh, oh, no, no (ow)
Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no (yeah)

For the next two lines, they clap while marching in place.

History in the making
Part two, it's so crazy right now

For the first line of the next stanza they rapidly fling their arms up. They next put their paws on their hips which they lower and raise rapidly (along with their corresponding shoulders) then raise their hips and shoulder.

I look and stare so deep in your eyes

For the second line, they fling their arms forward and out and spin once, followed by jutting their left arms to the side, then kicking out one knee-raised leg. This leads into the third line where they put their paws on their hips, lean forward but twist their rears, then fling out their paws that they hold in a chomp gesture and twist those one way then the other.

I touch on you more and more every time
When you leave, I'm begging you not to go

For the fourth line, they put their paws on their head, bending their arms at the elbows, slowly raise one arm up then down, and hold up three fingers in front of their mate at eye level. During the fifth line, they raise their arms up and do a circle with those and their hips, then bring those down chest level to rapidly wave them back and forth, then end with throwing their arms down and tilt their bodies down as well. Still tilting, they squat and stand back up while rubbing their ventral sides for the sixth line.

Call your name two, three times in a row
Such a funny thing for me to try to explain
How I'm feeling and my pride is the one to blame

For the seventh line, they lean to one side and hold a paw to their hip, twist their body to the opposite side, raise a pumped arm of that opposite side, but pump their bodies up and down. For the eighth line, they arch their bodies backward, raising one arm over their heads and the other down while doing so, then pump their left hip up, and fling one arm out.

(Yeah, yeah) 'cause I know I don't understand
Just how your love can do what no one else can

Facing sideways, they begin the first line of the main chorus by putting their arms over their heads, then to their hips as they bend over, put their right arms out and raise those above their heads. For the second line, they open their stance, hold one arm upward that is bent at the elbow, then bend their other arm at the elbow as they hop in place once. For the third line, they keep their stance wide, hold both their paws together above their head, move their hips left then right, put their locked paws in between their legs while doing a head circle, and end it by touching their lover's paw. For the fourth line, they roll their arms forward as they kick forward with their left then right leg, bend their knees and punch at the ground.

Got me looking so crazy right now, your love's
Got me looking so crazy right now (your love)
Got me looking so crazy right now, your touch
Got me looking so crazy right now (your touch)

For the fifth line, they circle one leg forward while circling both arms back, wave their pelvis up and down, put their left elbow out followed by blowing a kiss with their right paw. For the sixth line, they punch their right arm out to the side and kick their right legs out, then do the same for their left arm and leg. For the seventh line, they point to their mate, then pretend to rapidly beat their head one paw at a time. For the eight line, they wave their right arm out to the side while holding it high, then punch their right arm out to the side at shoulder level, then put their paws to their hearts.

Got me hoping you'll page me right now, your kiss
Got me hoping you'll save me right now
Looking so crazy, your love's
Got me looking, got me looking so crazy in love

For the first two lines of the next stanza, they put their paws on their heads and raise their left and right hips up and down. For the last two lines, they punch both arms at the ground to the front of their bodies, then at the back.

Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no
Uh oh, uh oh, uh oh, oh, no, no

For the first line of the next stanza, they throw their arms up above their heads, then touch their pelvis as they move their hips rapidly up and down. For the second line, they put their paws on their hips, then point at their spouse with their right then left finger, and lastly point at themselves with their right and left finger. For the third line, they cross their arms while tapping their right foot, then left foot. For the fourth line, they jerk their heads no while turning their crossed-arm bodies in the opposite direction. For the fifth line, they raise their arms above their heads and slowly bring those down as they gyrate their bodies in a wavey like manner.

When I talk to my friends so quietly
Who he think he is? Look at what you did to me
Tennis shoes, don't even need to buy a new dress
If you ain't there, ain't nobody else to impress
It's the way that you know what I thought I knew

For the sixth line, they make a fist with one paw and beat where their heart is while pointing at their lover with their other paw going out and in, all while thrusting their pelvis outward. For the seventh line, they do the "I dunno" shrug gesture starting at chest level, then bumping up to shoulder level, then to eye level, then top of their head level. For their eighth line, they point at each other with one paw, then point at their side with the other paw.

It's the beat that my heart skips when I'm with you
But I still don't understand
Just how your love can do what no one else can

This time for the main chorus, they point at their spouse as they circle around each other, starting far apart, but coming closer and closer as the chorus goes on. For the first two lines of the chorus, they use their free paw to pretend tap their head.

Got me looking so crazy right now, your love's
Got me looking so crazy right now (so crazy)

For the third line, they use their free paw to do the "I'll be watching you" gesture, then use their pointing fingers to pretend to touch their lover. For the fourth line, they use their free paw to make a fist and beat their heart.

Got me looking so crazy right now, your touch (your love)
Got me looking so crazy right now (love)

For the fifth line, they make a phone gesture with their free paw, and now that they are close enough, they actually kiss when the word is sung. For the sixth line, they hug while raising and lowering their shoulders.

Got me hoping you'll page me right now, your kiss (hey)
Got me hoping you'll save me right now (hey)

They push off from each other and tap their right foot—bending at the knee—out to the side for the seventh line. For the eight line, they jump and go back to doing the same leg and foot motion this time with their left leg.

Looking so crazy, your love's
Got me looking, got me looking so crazy in love

For the ninth and tenth lines, they raise their leg backward bending it at the knee and push both arms out to the side.

I'm looking so crazy in love's
Got me looking, got me looking so crazy in love (I'm warmed up now, let's go)

For the next two lines, they do high marches while pumping both arms out to their sides.

Young 'Hov, y'all know when the flow is loco
Young B and the R-O-C, uh oh (oh)

For first half of the third line, they look away with their heads while doing the "talk to the hand" gesture with their opposite paw, then go back to doing do high marches while pumping both arms out to their sides from that point and for the whole fourth line. For the first half of the fifth line they look away with their heads while doing the "talk to the hand" gesture with their opposite paw, then go back to doing do high marches while pumping both arms out to their sides from that point and for the whole sixth line.

Ol' G, big homey, the one and only
Stick bony, but the pocket is fat like Tony Soprano (oh no)
The ROC handle like Van Axel
I shake phonies, man, you can't get next to

For the seventh and eighth lines, they do bent-knee marches while pumping their arms outward.

The genuine article, I do not sing though
I sling though, if anything, I bling yo

For the first two lines of the next stanza, they put their left paw on their hip and walk in a circle while pumping their raised opposite arm up and down from shoulder to above their head level. For the third line they take a step backward while looking away from each other, but pointing both fingers at the other, then pull their pointing paws in and out.

A star like Ringo, war like a Green Beret
Crazy bring ya whole set
Jay Z in the Range, crazy and deranged

For the first half of the fourth line, Ladarius makes the "I dunno" shrug gesture, and De'Ausha points at her mate with one paw while making the "crazy" hand gesture by pointing at her head and circling her finger for the second half. For the fifth line, the two look at each other, nod their heads while gyrating their bodies in a wave like way, then karate chop. For the sixth line, they move their hips side to side while rubbing their own ventral fur with their paws.

They can't figure him out, they like, "Hey, is he insane?"
Yessir, I'm cut from a different cloth
My texture is the best fur, chinchilla

For the seventh and eighth lines they stand sideways and pump their arms outward starting low, then chest level, then high. For the ninth line, they put an open palmed paw in front of their own face, swing it out to the side, then do the same with their other paw and repeat that paw motion as they march toward each other.

(Uh oh, uh oh, uh oh, oh, no, no) I been iller than chain smokers
How you think I got the name Hova?(Uh oh, uh oh, uh oh, oh, no, no) I been realer, the game's over

For the tenth line, De'Ausha gets on the ground with her legs sticking outward, her back arched, one paw above her head, and the other touching it as if she's about to faint. For the eleventh line, Ladarius struts to his mate, and takes her raised paw into his own, and brings her to her feet in a hug.

(Uh oh, uh oh, uh oh, oh, no, no) fall back, Young, ever since I made the change over
(Uh oh, uh oh, uh oh, oh, no, no) to platinum the game's been wrap, one

For the first half of the first line in next stanza, they separate and tap their left foot once while making a full circle with their left arm, then do the same with their right foot and leg. For the second half, they shake their paws down and if trying to get water off of them, while twisting their bodies to the side. The repeat these motions for the second and third lines.

Got me looking so crazy, my baby
I'm not myself, lately I'm foolish, I don't do this
I've been playing myself, baby, I don't care

For the fourth and fifth lines, they put one paw—bent at the elbow—on the back of their own head, and the other paw at the opposite hip and interchange paw positions as they raise their hips left and right.

'Cause your love's got the best of me
And, baby, you're making a fool of me

For the sixth line, while standing, they curl their bodies in and then jump out at the word "sprung." Then Ladarius shakes his head no while his arms are crossed as De'Ausha taps one foot and points to her mate while bending her arm back and forth at the elbow. For the seventh line, De'Ausha jumps into Ladaerius who catches her and spins her in a circle while they hug and kiss. De'Ausha then does the same for Ladarius during the eighth line.

You got me sprung and I don't care who sees
'Cause, baby, you got me (you got me, baby)
You got me (you got me) so crazy, baby, (hey)

For the first line of the next stanza, the two stand side-by-side and strut forward while slowly raising both paws to their head. For the second line, they put their paws down and strut back to where they started.

Got me looking so crazy right now, your love's (oh love)
Got me looking so crazy right now (lookin' crazy)

For the third line, they jump-cross then jump-uncross their feet, clap their paws while leaning to the right, jump-cross then jump-uncross their feet, and clap their paws while leaning to the left.

Got me looking so crazy right now, your touch

For the fourth line, they hold their right arm then left arm out to the side and do wavey like motions ("the noodle" as it's known) while doing high marches—their legs bending at the knees—then wave their hips to the side as they bring both pointers to their heads and make the "crazy" hand gesture by pointing at her heads and circling their fingers.

Got me looking so crazy right now (baby)

For the fifth line, they do a quick forward arm circle (bent at the elbows), then a slow backward arm circle while arching their backs. They blow a kiss when that word is said then move their kissing paw in a full semicircle in front of their bodies at chest level during the sixth line. For the seventh line, they hold their paws out to the side at hip level as they twist-stomp their right leg, then hop. From that hop they do the same motion they just did for the eighth line.

Got me hoping you'll page me right now, your kiss (hey)
Got me hoping you'll save me right now (oh)
Looking so crazy in love's (hey)
Got me looking, got me looking so crazy in love (whoa)

For the first line of the last stanza, they face each other with their paws on their hips and rapidly raise the latter to their left and right. They jump 180 degrees and then do the same motion as before during the second line.

Got me looking so crazy right now, your love's
Got me looking so crazy right now (your love)

For the first half of the third line, they take one step forward and turn 180 degrees, then put their paws on their pelvis, and bounce their bodies while raising their left then right shoulder for the other half.

Got me looking so crazy right now, your touch

For the first half of the fourth line, they take their right arm and raise it to the back of their head as if they were fashion models, then mime a double-pawed air-pinch, and lower their arms for the second half.

Got me looking so crazy right now (your touch)

For the fifth line, they swing their arms in an arch to their front, then do a full front circle with their arms. For the sixth line, they wave their right arm forward while waving their left arm back, and interchange those arms.

Got me hoping you'll page me right now, your kiss
Got me hoping you'll save me right now

For the seventh line, they tilt their heads and lean their bodies to the right while raising their elbow-bent arms to chest level and snapping their fingers, then do the same motions while tilting their head and bodies to the left. For the eighth line, they face each other and put their left paw out to touch their mate's cheek, then their right paw out and around their mate's waist, and end by pulling together and kissing.

Looking so crazy in love's
Got me looking, got me looking so crazy in love

The audience feels the vibes of love given off by this pair's dance, and applaud longer than for any song thus far. After all, it takes a lot of skill and energy to pull off their fast-paced dance moves. In addition, Niara sticks two fingers in her mouth to loudly whistle while Damon shouts, "Yeah! You da man and woman, dad and mama!"

Ladarius and De'Ausha in unison: "No, you da man and woman, Damon and Niara!"

Only smiles follow that remark, and when Quillo feels the time is right to get ready for the next song he says, "The next one is what we played at the bats' weddings. We're bringin' the pop back to the dance floor with 'Heaven is a Place on Earth.' "

After giving the bat couples time to make their way to the dance floor and then separate from one another, Quillo hits play.

Note: "Heaven is a Place on Earth" is a song copyright by Belinda Carlisle and their album of the same name.

All bats holding their finger-claws, the females lip sing the first two lines of the opening stanza and lean their bodies and faces toward the males. During the second line, they separate so that the females are holding their spouse's right finger-claws and moving their left wings going up to down out to their sides, while the males do the same with their opposite wings. The pairs spin into and wrap their wings around each other for the third line while kissing. For the fourth line, they spin back out, point to the sky, then point to the ground. For the last line, they hold one set of finger-claws and flap their free wings until they are six inches off the ground, then drop back down with their free wings draped out to the side.

Ooo, baby, do you know what that's worth?
Ooo, Heaven is a place on Earth
They say in Heaven, love comes first
We'll make Heaven a place on Earth
Ooh, Heaven is a place on Earth

For the first half of the music interlude, the male bats fly in a circle around their mates while holding onto them with one set of finger-claws. They end their half by flying up straight up and then land to the ground on their feet. The females then do the same moves for the second half of the music interlude.

For the first line of the next stanza, all the bats wrap one wing around their bodies (like a vampire with his cape) while lowering the other wing from up to down. They unwrap their wings while spinning out to the side for the first half of the second line, then the females spin back into their mates who hold their right set of finger-claws upright and the other around their spouses' waists. For the third line, they hop out so that they are side-by-side, holding onto each other with their right finger-claws, all while move their left wings in a semicircle. They wiggle their left finger-claws for the last line.

When the night falls down
I wait for you, and you come around
And the world's alive
With the sound of kids on the street outside

The males let go of their mates and walk away from them for the first line of the next stanza. For the second line, the females spin toward their spouses so that they are hugging when they stop, the sisters' backs up against their mens' fronts and they bob their bodies side-to-side. For the third line, they take to the air and fly circles around each other. For the fourth line, the ladies make a big flap up with their men aiding them by hoisted them up by a set of finger-claws, then both genders hold their wings out and slowly fall back to the ground as if wearing a parachute.

When you walk into the room
You pull me close, and we start to move
And we're spinnin' with the stars above
And you lift me up in a wave of love

For the first line of the next main chorus, they bounce their bodies while squatting down and hold themselves in place with one wing on the ground, and reach out toward their lover with their finger-claws. They switch wings and do the same for the second line. The females then lean into their males' so that they are embracing while their backs to their fronts for the third line. The males then lip sing the fourth line while doing another outstretched semicircle with their free wing. The males then stand up but don't "take their eyes off" their mates' faces, the latter also crane their heads up to "look" at their mates for the fifth line.

Ooo, baby, do you know what that's worth?
Ooo, Heaven is a place on Earth
They say in Heaven, love comes first
We'll make Heaven a place on Earth
Ooo, Heaven is a place on Earth

The ladies stand up and their men give them the space to do so in the brief gap between stanzas.

When the first line of the next stanza is sung, the females hold their right finger-claws in a fist in front of their hearts while looking down to the ground and lip singing. For the second line, they reach out to their mates who pull them in so they are facing each other and holding their finger-claws. They let go of each other and the males turn around and hold up a set of finger-claws as if blocking out the sun from their eyes while searching for the third line. They perk their ears up and turn around to take their women's' outstretched finger-claws and pull themselves during the fourth line.

When I feel alone
I reach for you, and you bring me home
When I'm lost at sea
I hear your voice, and it carries me

For the first and second lines of the next stanza, Marylin and Christine bounce their bodies while leaning into their mates' faces as they lip wing and hold finger-claws. Bert and Claire slowly wrap their wings around themselves while squatting during the third line. For the fourth line, they quickly stand up, unwrapping their wings while doing so, and turn to face each other as they shake their head no once, and end with taking one set of finger-claws into the other's.

In this world, we're just beginnin'
To understand the miracle of livin'
Baby, I was afraid before
I'm not afraid anymore

For the first and second lines of the repeating chorus, they step back so that they are only connected by their right set of finger-claws and waves those up and down like doing a wave as they bounce their bodies to the song's beat. They do the same with their left finger-claws during the third and fourth lines. For the fifth line, they lock both finger-claws and wave them up and down while bouncing, holding up their right, then left, right, and left.

Ooo, baby, do you know what that's worth?
Ooo, Heaven is a place on Earth
They say in Heaven, love comes first
We'll make Heaven a place on Earth
Ooo, Heaven is a place on Earth

From the part when the music interlude begins to the first utterance of the word "Heaven", the female bats flap up so they are standing on their mates' shoulders, and both male and females hold out their wings while spinning around. From there to the second utterance of "Heaven", they swap places so the males are on their mates' shoulders. From there, the bats fly straight up two feet above ground, grab their outstretched wings, and spin slowly as their wings slow their decent to graceful levels.

(Heaven)

(Heaven)

(Heaven)

For the first and second lines of the next stanza, Marylin and Christine bounce their bodies while leaning into their mates' faces as they lip sing and hold finger-claws. Bert and Claire slowly wrap their wings around themselves while squatting during the third line. For the fourth line, they quickly stand up, unwrapping their wings while doing so, and turn to face each other as they shake their head no once, and end with taking one set of finger-claws into the other's.

In this world we're just beginnin'
To understand the miracle of livin'
Baby, I was afraid before
But I'm not afraid anymore

For the entire next musical interlude, including the utterance of the word "Heaven" they hold each other's finger-claws and roll their heads.

(Heaven)

When the main chorus repeats, they let go of their finger claws, hunch over, skip in place with their feet, and swing their wings to their left and right during the first two lines. For the third and fourth lines, they stand up tall, skip in place, raise their wings up and sway those right to left. For the fifth line, they hold each other by the shoulders and bounce around in a circle.

Ooo, baby, do you know what that's worth?
Ooo, Heaven is a place on Earth
They say in Heaven, love comes first
We'll make Heaven a place on Earth
Ooo, Heaven is a place on Earth

As the song repeats its main words, the male bats hoist up their mates' over their heads and the ladies stretch out their wings and legs as the men slowly spin around until the song ends.

Ooo, Heaven is a place on Earth
Ooo, Heaven is a place on Earth
Ooo, Heaven is a place on Earth
Ooo, Heaven is a place on Earth
Ooo, Heaven is a place on Earth
Ooo, Heaven is a place on Earth
Ooo, Heaven is a place on Earth

This round of applause is even longer than any of the ones before as it never ceases to amaze the animal onlookers how well-coordinated the bats' dance moves are despite the latter's lack of vision. It's as if the bats move to their feelings and hearts instead of their senses. But another explanation is all the training the bat girls did since they were teens to fly without running into trees. Once they mastered that, they focused on doing the same in close proximity, and then taught their mates to do the same, the males also giving them useful tips and advice.

The audience applauds again and this time, Quillo feels a tap on his arm and turns to see his BN (biological nephew) Ike who says, "You know what time it is, BU Quillo..."

Quillo says a quick, "Thanks," then leaves the DJ table.

Ike then announces, "Well, I'm obviously not Quillo, but the reason I'm taking over is because it's his and my parents', and other biological uncles' and aunts' turn to dance to the song that played at their wedding—to which I was not present, but have seen the video, so I know what the song is: Weezer's "Photograph." Don't forget to give them lots'a room, unless you wanna get pricked by a sharp quill."

The audience does as they're told and once the porcupine spouses are facing their respective mates, Ike hits play.

Note: Photograph is a song copyright by Weezer and their Green Album.

For the opening instrument notes, the pairs start by standing side-by-side and looking down at the ground, then slowly look up, turn to each other, and hold their paws. The audience claps along with the song's clapping.

For the first and third lines of the first stanza, the males hold one of their mates' interlocked paws out to side and the other at their chest, rapidly jutting their outward paws out and in as they swing their hips left and right in sync with the song's claps while doing so. The ladies do the same with their males' opposite arms for the second and fourth lines.

If you want it (oo-oo-oo)
You can have it (oo-oo-oo)
But you gotta learn to reach up there
And grab it (oo-oo-oo)

For the first line of the next stanza, the males move their feet to the side while elbowing to their left then right, and then put their paws on their ladies' shoulders and swinging their hips to the left and right during the words "oh baby."

'Cause everybody wants some love (oh baby)

For the second line, the ladies lean back and stick one fist up in the air and bring it down with one paw, and raising an open palmed paw in their air with the other in which they wiggle their fingers. Like before, they put their paws on their spouses' shoulders and swing left and right with their hips for "oh baby."

Shooting from the stars above (oh baby)

For the third line, the ladies bounce their bodies as they lean in and touch their hearts, while the men lean back and tap their feet. For the fourth line, the genders swap movements. For the fifth line, the pairs put a paw on their lovers' shoulders and kiss.

And though my heart would break
It's more than I can take
I can never get enough

Interlocking their paws again, for the first and third lines of the next stanza, the males lean forward and move their right paws forward but out to the side twice. The ladies do the same with their men's left paws during the second and fourth lines.

If you need it (oo-oo-oo)
You should show it (oo-oo-oo)
'Cause you might play so monastic
That you blow it (oo-oo-oo)

For the first line of the next stanza, the males hold one of their ladies' paws up high while the latter spin twice, and end with putting one leg forward and bowing. They jump up, hold onto their mens' shoulders and skip in a circle during the words "Oh baby." The genders swap roles for the second line.

'Cause everybody wants some hope (oh baby)
Something they can barely know (oh baby)

For the third line, the couples stand side-by-side—males on the right, females on the left—and raise the roof upward to their respective side, then (paradoxically) raise the roof while facing down on their respective side. For the fifth line, they lean back but hold onto one paw and shake their heads no.

And though my heart would break
It's more than I could take
I can never let it go

For the first line of the main chorus, the males make framing gestures with their paws like photographers trying to find the perfect angle for a picture while the females swing their arms from side to side, and then the genders swap roles for the second line. For the third line, both genders make framing photo gestures with their paws while looking at each other, then gingerly take their paws together while nuzzling their faces.

It's in the photograph

It's in the photograph

It's in the photograph of love

Ever since the lyrics have ended from the previous line, and for the music interlude up to the first "Oo-oo-oo," the pairs hold onto both paws and lean back to spin, stopping at the "Oo-oo-oo's" to stick one arm out to the side and shake their heads no to match the lyrics.

(Oo-oo-oo)
(Oo-oo-oo)

(Oo-oo-oo)

For the first line of the next stanza, they put their paws on their hips and swing those side to side, then hold two fingers sideways touching their own heads that they pull outward, then put their paws on their shoulders and skip in a circle for "oh baby." For the second line, they swing their hips side to side, hold up two fingers across their eyes that they pull outward, and then skip in a circle to "oh baby" like before. For the third line, they do the tango to their right, then tango to the left for the fourth line. They hop-kick out to the side while holding and bouncing their paws and shaking their heads no during the fifth line.

'Cause everybody wants a dream (oh baby)
Something they can barely see (oh baby)
And though my heart would break
It's more than I could take
I could never let it be

They repeat the same motions they did for the first chorus when it plays again here, in which the males then females make photo framing gestures with their paws while the opposite genders swing their arms from side to side, then both genders make framing photo gestures with their paws while looking at each other, and finally gingerly take their paws together while nuzzling their faces.

It's in the photograph

It's in the photograph

It's in the photograph of love

For the first line of the next stanza, they hold their paws in tango formation but bounce and arch their bodies to the right, then do the same for the left during the second line.

If you blew it (oo-oo-oo)
Don't reject it (oo-oo-oo)

For the third line, they slowly circle their locked left paws out to the left and then snap them to the front of the males' chests during the "oo-oo-oo." They slowly circle their locked right paws out to the right and then snap them to the front of the females' chests during the "oo-oo-oo" for the fourth line. For the last line, the males then females lean forward into their mates while their opposite gender leans back.

Just sit drawing up the plans and re-erect it (oo-oo-oo)
Just sit drawing up the plans and re-erect it (oo-oo-oo)
Just sit drawing up the plans and re-erect it (oo-oo-oo)

For the last lines of the song, the porcupine pairs kiss while the audience claps and verbally sings the closing lyrics.

(Woo-hoo-hoo-hoo)
(Aye aye-aye-aye-ayyeeee)

The clapping ends when the song does, and the porcupines leave the dance floor. Quillo gives a thanks to Ike and returns to his post as the DJ. Wanting to let their guests have some fun since no one but the hedgies have been dancing, Quillo says, "This next song, "Eres Tú" is for the otters, and yes, it's all in Spanish. But the thing about songs is that you don't have to know what the lyrics are; you can still enjoy them even if you don't understand what's being said."

Kale: "But for dose who wanna translation, stick close ta me n' my kids. We'll tell ya's all what's bein' said. Don't be nervous, we won't bite."

Because the hedgies are fluent in Spanish thanks to Kale educating them, only the guests move close to the wolves. Roaster has also returned and figures being a translator should take his mind off the still-searing pain of his scars. Once the animals stop shifting around, the otters separate into their couples: Kay and Jacob, Skip and Isabelle, and Amy and Jake, while Isaac dances with his niece Eiyla.

Being self-conscious, Isaac says, "Let's get one thing clear: My niece is just my dance partner, not my lover. So every movement us two do is not romantic, it's just plain old dancing."

Boxer (sarcastic): "Seguro que es...Sure it is..."

Isaac gets defensive when he retorts, "Lo digo en serio, chico—I mean it, kid!" Wanting to get the staring eyes off of him, he then says, "Eh-hem. Shall we, Quillo?"

Quillo plays the song, much to Isaac's relief.

Note: "Eres Tú" is a song copyright by Mocedades and their album of the same name. And it translates as "You Are."

As the opening trumpet plays, the otters take each other's paws and slowly sway side to side.

When the lyrics begin, the males hunch over and look down at the females who arch back as low as they can to the ground while holding both paws for the first two lines. For the third and fourth lines, the males put one paw behind their ladies' back (smiling when prompted by the lyrics) and then let go of their women's paws so that now the only thing keeping them from touching the ground is the mens' one paw.

Como una promesa, eres tú, eres tú/ Like a promise, you are, you are...
Como una mañana de verano/ like a summer morning.
Como una sonrisa, eres tú, eres tú/ Like a smile, you are, you are...
Así, así, eres tú/ That's how, that's how, you are

In the brief gap between stanzas, the otters quickly pull their dance partners up so they are all standing normally.

When the next stanza begins, the females hunch over and look down at the males who arch their back as low as they can to the ground while holding both paws for the first line. They pull the males back up and wiggle their fingers into the mens' open palms for the second line. During the third line, the pairs spin away from each other but are connected by their tails, and then do the Hula to the their left then their right, swaying their arms accordingly while doing the latter.

Toda mi esperanza, eres tú, eres tú/ You are like my hope, you are, you are...
Como lluvia fresca en mis manos/ Like a fresh rain in my hands.
Como fuerte brisa, eres tú, eres tú/ Like a strong breeze, you are, you are...

Now side-by-side, for the fourth line they look to their front to lip sing the first "Así", turn their heads to look at each other for the second "así", then look straight ahead to lip sing the song's title words.

Así, así, eres tú/ That's how, that's how, you are

For the first half of the first line in the main chorus, the otters point to their partner with one paw and hold up their other in the air while slowly circling each other. For the second half of the first line, they make a fountain hand motion that starts low and gets higher to the point where their paws are raised as high as they go, then they slowly bring their paws down to shoulder level in a semicircular motion.

Eres tú, como el agua de mi fuente/ You are, the water of my fountain

For the first half of the second line, they hold each other by the shoulders and turn to the right, left, and right. For the second half of the second line, they hold each others' paws, slowly thrust forward and upward, then reach out to their right with interlocked paws.

Eres tú, el fuego de mi hogar/ You are, the warmth in my home

For the third and fourth lines, they slowly tango up, down, up. For the fifth and sixth lines, they lean back, holding onto their partners' right paw, and spin while they twist their upright left paw in circles at the wrist.

(Eres tú/You are)
Algo así eres tú/ You are something like, Mm-Mmm-Mm-Mm
(Como el fuego de mi hoguera/Like the fire in my bonfire)
Algo así como el fuego de mi hoguera/ You are something like the fire in my bonfire

For the seventh line, they stop spinning and pull so their ventral's are touching. For the eighth line they rear their heads back and spin those to the "Woo-hoo-ooh-ooo" part. For the ninth line, they lunge to opposite sides—the males leaning to the left and the females to the right—with a bent leg and raise both paws up high, then low. For the tenth line they bring their paws chest level and circle outward starting at their chests and expanding as if shrugging without moving their shoulders.

(Eres tú/You are)
Algo así eres tú/ You are something like, Woo-hoo-ooh-ooo
(El trigo de mi pan/The wheat of my bread)
Mi vida, algo así eres tú/ My love, you are something like that

For the first line of the next stanza, the males take a knee and take their standing partners' paw into their own as if proposing. They let go of their partners' paws and air guitar for the second line. In the second-long gap in between lines, the females take a knee as if proposing and the males stand up. Once in position, the ladies hold one of their partners' paw with their own, look off to the side where the sun is, hold their upturned paw flat and raise it slowly, for the first half of the third line. When the third line's first "Eres tú" is said, they make a fist, then look back into their partner's eyes for the second "Eres tú" of that same line. The females stand up and lean into their male companions for the fourth line.

Como mi poema, eres tú, eres tú/ Like my poem, you are, you are
Como una guitarra en la noche/ Like a guitar in the night
Todo mi horizonte eres tú, eres tú/You are all my horizon, you are, you are
Así, así, eres tú/ That's how, that's how, you are

For the line that follows, those who are married embrace and kiss, while Isaac and Eiyla swing their heads to the words' beat and lip sing.

(Na-na-na-naaaaa, na-na-na-naaaaa-aaaaa)

For the first half of the first line of the repeated main chorus, the otters form a line side-by-side, hold each other's paws, raise those paws up and put a foot forward and back, the latter going from left and right. For the second half, they separate into their pairs, hold onto their partner with one paw that they use to push and pull toward each other while their free paw does the fountain hand motion that starts low and gets higher to the point where their paws are raised as high as they go, then they slowly bring their paws down to shoulder level in a semicircular motion.

Eres tú, como el agua de mi fuente/ You are, the water of my fountain

For the first half of the second line, they pull each other so their ventral's are touching and lip sing "Eres tú." For the second half of the second line, they hold each others' paws, slowly thrust forward and upward, then reach out to their left with interlocked paws.

Eres tú, el fuego de mi hogar/ You are, the warmth in my home

For the third and fourth lines, the ladies spin around as their males hold onto their paws raised above their heads. The males then do the same thing as their ladies hold up their paws high during the fifth and sixth lines, and then they lip sing the seventh line. For the eighth line they rear their heads back and spin those to the "Woo-hoo-ooh-ooo" part. For the ninth line, they lunge to opposite sides—the males leaning to the left and the females to the right—with a bent leg and raise both paws up high, then low. For the tenth line they bring their paws chest level and circle outward starting at their chests and expanding as if shrugging without moving their shoulders.

(Eres tú/You are)
Algo así eres tú/ You are something like, Mm-Mmm-Mm-Mm
(Como el fuego de mi hoguera/Like the fire in my bonfire)
Algo así como el fuego de mi hoguera/ You are something like the fire in my bonfire
(Eres tú/You are)
Algo así eres tú/You are something like Woo-hoo-hoo-ooo
(El trigo de mi pan/The wheat of my bread)
Mi vida, algo así eres tú/ My love, you are something like that

For the first and second lines of the repeated main chorus, the otters form a line side-by-side, hold each other's paws, raise those paws up and put a foot forward and back, the latter going from left and right. For the third and fourth lines, they separate into their pairs, hold onto their partner with one paw that they use to push and pull toward each other while their free paw does the fountain hand motion that starts low and gets higher to the point where their paws are raised as high as they go, then they slowly bring their paws down to shoulder level in a semicircular motion.

(Eres tú/You are)
Algo así eres tú/ You are something like, Mm-Mmm-Mm-Mm
(Eres tú, como el agua de mi fuente/ You are, the water of my fountain)
Algo así como el agua de mi fuente/ You are, the water of my fountain

For the fifth and sixth lines, the pairs spin away from each other but are connected by their tails, and doing the Hula to their left then their right, swaying their arms accordingly while doing the latter. When the song ends, the otters bow.

Eres tú/You are
El fuego de mi hogar/ You are the warmth in my home

Whether the onlookers are multilingual or not, everyone enjoys the song and cheers like they have for all the others. As for the otters, this was the song that Kay and Jacob played at their wedding, and was so loved by their kids that Amy and Skip played it at their weddings, and Isaac will undoubtedly do the same. The relationship of the otters to their spouses was perfectly captured in the song. Skip actually married Isabella before he and his family moved to the United States, having fallen in love with her and she with him during their harrowing adventures against a gang of deadly vipers back in the Amazon. They fought alongside together, helped each other escape deadly traps in a temple, and rescued her family in the process. From then on, they started spending time with each other without the threat of a viper gang to get in the way and discovered how each shared similar values in family, helping others, and making lots of new friends in the process.

Note: I again based Skip's backstory off TheIceAge77342's story Adventure Awaits II: In the Amazon and give him all the credit.

As for Amy, Jay was the first American otter she got to know once her family decided to settle in these woods. She was swimming in a creek one day and just noticed him. He looked like a good guy in need of company, and so she introduced herself and the two hit it off to a great start and became friends, then lovers, then mates, and finally parents. At first they didn't want to have kids, but as the due date got closer, they became more excited and knew their two-side-of-the-same-coin relationship could overcome any challenges.

When the otters have made their way off the center stage, Quillo announces, "The next song is what we played at Caleb's and Jackie's wedding, "Alane," and like "Eres Tú," it's in another language. This one being in Duala, the native language of Cameroon, Africa."

Remembering what Kale and his kids had done before, Caleb's mother Francis says, "And I will trans'late for those who want to know wha'tis bein' said."

Quillo: Thanks, Francis. Now everybody, get ready to party like you're the grooviest African tribe!"

As the couples take their places, Caleb and Jackie reminisce how they got together. He was already seeing Jackie when he used to be part of The Extremes, but kept it a secret from her out of the fear that she would dump him if she knew all the bad things he did in his free time. His motive for joining the group was the pain of losing his father who died trying to protect his mate and son from being captured by Verm-Tech. The fact that they still got captured despite his efforts made it seem like it was all for nothing—plenty of reason for Caleb to have some pent-up rage that needed to be vented out. Jackie, her parents, and grandparents were born and raised in America, which is why they don't have African accents, but like Caleb, they were once pets who subsequently escaped, which made the two lizards connect to each other. Unlike Caleb, Jackie and her family didn't know how to live in the wild, but Caleb and his mom showed them the ropes, which deepened their bond with each other.

That made it hard for Caleb to lie to her about his time with The Extremes, and his confession of it when he left the group nearly cost him his relationship with her. But he saved their bond when he said he still needed something to take the inner pain he felt away, and that something was Jackie. With her attention grabbed, he finally revealed his true feelings toward her and promised that she would be his new escape, since The Extremes' way nearly got him killed. It's not easy living a double-life, and he was more than happy to go back to a regular life once he came clean with her. Every day has been better for both of them ever since, proving that one of the first steps someone has to do in order to become the best person s/he can be is get away from bad influences. Their wedding song demonstrates how love, though harder to embrace, is more powerful than hate and anger.

Note: "Alane" is a song copyright by Wes (Madiko) and his album Welenga. And it translates as "Love Song." And I sadly couldn't find out what the translation of the parenthesized lyrics are, since they weren't on either website that translated the song, and I'd have to pay for an online translator for the only website I found that could translate Duala. (*Shaking my fist in fake-anger*) Internet: you failed me!

Since they are at a very special occasion—in today's case, a wedding—Boombata, Nukalawa, Caleb, and Jackie are wearing belts and bracelets woven with beads (stolen from humans) around their waists and both wrists and ankles. This makes every movement highlighted with a shaking sound like those of traditional African tribes.

The song starts with a woman singing the first lyrics, during which time, Boombata, Nukalawa, Caleb, and Jackie make fists, stomp their feet, and nod their heads to the background chanting.

(Has vééé héeee – he hi yé yé yé)

In the brief music interlude, the African animals make a flat-palmed prayer gesture with their paws and sway those, as well as their bodies, side to side.

For the first and second lines of the first stanza, they face their mates' back, put one hindfoot out, then back, march high in place for three steps, and repeat those moves. The beads they wear make a Chee chee, chee-chee-chee! sound while doing so.

Sô ndèri nsang hé/There is a love
Mi ni ya sô ndé hè hè/A feeling so strong

In the few seconds' gap between lines two and three, they jump-spin so that they are now facing their mates. For the third and fourth lines, they spread their legs wide and march in place while holding their right arm high and left arm low—bent at the elbow to give a 90 degree angle—and move their arms up and down. They move their hips side to side while doing this.

Bika misang hé hé gani mitou/Coming to the world from up above
Mi kwa mi tchô a ndoû mi kwa hô yè/ Where you and me and all nature belong

With the fifth and sixth lines, the females put one hindfoot out, then back, march high in place for three steps while the males clap and waggle their upper bodies. The males then do what the females did and the females do what the males did for the seventh and eighth lines.

Sô ndèri nsang hé/There is a love
Minimi ya sô bèbi sô ndè/ The heart in a music so fine
Bika misang hé hé gani mitou/ For everyone dancing all along
Mi kwa mi tchô a ndoû mi kwa hô yè/ A sound of joy that is so divine

For the first half of the first line in the main chorus, the African animals march in place while holding their right arm high and left arm low—bent at the elbow to give a 90 degree angle—and move their arms up and down. For the second half, they put their bent arms forward and pump them back and forth while taking two steps to the left.

Alanè mba yi woumaa wè/ Come on and dance in a love song

For the first half of the second line, they continue to pump their arms out in front of their chests as they take two steps to the right. For the second half, they put one foot out and turn their bodies in a full circle while one arms is upright and jutting back and forth while the other arm is on their hip.

Ho tou sôndé, ho maa yè/ All together, forever

They swing their hips to the left, right, then in a circle for the third line. For the first half of the fourth line, they take wide steps and march forward with their arms spread wide and twerk upper bodies. For the second half, they hop backwards three times.

Alanè mba yi woumaa wè/ Come on and dance in a love song
Ho tou sôndé, ho maa yè/ All together, forever

For the first line of the next part, they put a paw out in a stop gesture and shake it, march in place, and shake their waists from side to side. For the second line, they put one foot out and turn 180 degrees while clapping.

Wé ya senga wé (has vééé héeee)/ Join the world in a love song
Wana wé ndé lambo (hé he hémentourék)/ People are singing, everyone loving free

For the next part, they put their paws together in a flat-palmed prayer gesture and wave those and their bodies left, right, left-right-left. They repeat for the next line.

(He hi yé yé yé)

(He hi yé yé yé)

For the first line of the next stanza, the male animals turn their bodies in a circle as they step up high.

Sô ndèri nsang hé/ There is a love Mm-mm-mm-mmm-mmm

For the second line, they cross their left leg in front of their right, bring the left leg back, then cross their right leg in front of their left while doing an upper bicep flex with their left arm and lower bicep flex with their right. They step back and let their females do those same, rapid movements for the third and fourth lines.

Mi ni ya sô ndé hè hè/A feeling so strong
Bika misang hé hé gani mitou/Coming to the world from up above
Mi kwa mi tchô a ndoû mi kwa hô yè/ Where you and me and all nature belong

The four animals repeat their same dance moves they did in the first chorus, only now they face their mates, smiling while doing so as it reminds them of their tribe, upbringings, and pride of their rich-heritaged homeland.

For the first half of the first line in the main chorus, they march in place while holding their right arm high and left arm low—bent at the elbow to give a 90 degree angle—and move their arms up and down. For the second half, they put their bent arms are facing forward and they pump them back and forth while taking two steps to the left.

Alanè mba yi woumaa wè/ Come on and dance in a love song

For the first half of the second line, they continue to pump their arms as they take two steps to the right. For the second half, they put one foot out and turn their bodies in a full circle while one arms is upright and jutting back and forth while the other arm is on their hip.

Ho tou sôndé, ho maa yè/ All together, forever

They swing their hips to the left, right, then in a circle for the third line. For the first half of the fourth line, they take wide steps and march forward with their arms spread wide and twerk upper bodies. For the second half, they hop backwards three times.

Alanè mba yi woumaa wè/ Come on and dance in a love song
Ho tou sôndé, ho maa yè/ All together, forever

Still facing their mates, they do the same moves the did before for the next two lines in which they put a paw out in a stop gesture and shake it, march in place, and shake their waists from side to side for the first line, then put one foot out and turn 180 degrees while clapping.

Wé ya senga wé (has vééé héeee)/ Join the world in a love song
Wana wé ndé lambo (hé he hémentourék)/ People are singing, everyone loving free

For the two lines of the next part, they do what they did before where they put their paws together in a flat-palmed prayer gesture and wave those and their bodies left, right, left-right-left.

(He hi yé yé yé)

(He hi yé yé yé)

For the whole next stanza, the Nukalawa and Jackie come forward. For the first two lines, they bounce their bodies as they kick forward one leg then the other. For the third and fourth lines, they spin in two circles and stomp their feet when finished.

Nè ma kwa ni kaso/We belong to the planet
Nè ma kwa sè kwa/Here and everywhere
Nè ma ka ni kaso/And nature is the home
Nè ma kwanè ka/Everybody share

Now Boombata and Caleb come forward and perfectly replicate their mates' moves.

Nè ma kwa ni kaso/We belong to the planet
Nè ma kwa sè kwa/Here and everywhere
Nè ma ka ni kaso/And nature is the home
Nè ma kwanè ka/Everybody share

For the first line of the repeated main chorus, all four stand side by side, make open-palm paw gestures and raise the roof eight times while stomping. For the second line, they stop marching, hold their paws upward and slowly bring them down slowly to shoulder height so that they look like letter T's.

Alanè mba yi woumaa wè/ Come on and dance in a love song
Ho tou sôndé, ho maa yè/ All together, forever

For the remainder of the chorus, they form a line and repeat their moves they had done for the choruses before.

For the first half of the first line, they march in place while holding their right arm high and left arm low—bent at the elbow to give a 90 degree angle—and move their arms up and down. For the second half, they put their bent arms are facing forward and they pump them back and forth while taking two steps to the left.

Alanè mba yi woumaa wè/ Come on and dance in a love song

For the first half of the second line, they continue to pump their arms as they take two steps to the right. For the second half, they put one foot out and turn their bodies in a full circle while one arms is upright and jutting back and forth while the other arm is on their hip.

Ho tou sôndé, ho maa yè/ All together, forever

They swing their hips to the left, right, then in a circle for the third line. For the first half of the fourth line, they take wide steps and march forward with their arms spread wide and twerk upper bodies. For the second half, they hop backwards three times.

Alanè mba yi woumaa wè/ Come on and dance in a love song
Ho tou sôndé, ho maa yè/ All together, forever

The four again do the same movements they have been doing for the next part: For the first line, they put a paw out in a stop gesture and shake it, march in place, and shake their waists from side to side. For the second line, they put one foot out and turn 180 degrees while clapping.

Wé ya senga wé (has vééé héeee)/ Join the world in a love song
Wana wé ndé lambo (hé he hémentourék)/ People are singing, everyone loving free

For the first three lines of the next stanza, the males keep doing the same dance moves they just did for the main singing, while the females dance to the background lyrics by bouncing their bodies as they kick forward one leg then the other, spin in two circles, and stomp their feet when finished. The genders swap dance moves for the fourth through sixth lines.

Wé ya senga wé (has vééé héeee)/ Join the world in a love song
(Nè ma kwa ni kaso/We belong to the planet)
(Nè ma kwa sè kwa/Here and everywhere)
Wana wé ndé lambo (hé he hémentourék)/ People are singing, everyone loving free
(Nè ma ka ni kaso/And nature is the home)
(Nè ma kwanè ka/Everybody share)

For the last stanza, the couples separate from their line by jumping twice. Then spin into their mates and embrace while sharing a kiss, and keep spinning slowly until the song ends.

Wé ya senga wé (has vééé héeee)/ Join the world in a love song
(Nè ma kwa ni kaso/We belong to the planet)
Wana wé ndé lambo/ People are singing, everyone loving free
He hi yé yé yé

The audience chant-cheers for the animals of African descent who bow for their spectators. As they make their way back into the audience, Rainer asks, "Jackie, since you're American how did you learn to dance like that? From Caleb?"

Jackie: "Yes. I was already a good dancer and taught him some American dance moves, but he showed me how to dance like an African monitor lizard. It was tough, but Caleb taught me well, so that's why I'm so good at it."

Caleb: "We teach our sons too."

Jackie: "He means we're teaching our sons. They still have a while to go, but like they say, 'practice makes perfect.' "

Quillo: "Words to live by, Jackie. And speaking of practice, this next song is for Mark and Leslie."

Leslie takes Mark's paws tenderly into her own and excitedly says, "Our song, 'Learning to Fly.' "

Mark kisses her once and adds, "Because you taught me how to fly again after fixing my patagium."

The audience makes way for the couple and when they are in the center of the dance floor, Quillo hits play.

Note: "Learning to Fly" is a song copyright by Tom Petty and the Heartbreakers and their album Into the Great Wide Open.

For the entire music opening, the two face each other and take turns waving their left then right arms in front of their spouse, as their patagiums make it look like a forward cape swoosh.

For the first through third lines, the two take turns spinning in and out from each other while holding one paw in which Lee goes out first, then Mark. Each gets to go out twice.

Well, I started out
Down a dirty road
Started out all alone

For the fourth line, Mark raises both paws diagonally up to the right while Lee raises hers diagonally up to the left, then they lower both arms as they sit down. For the fifth line, Mark puts his paws out to the right at shoulder level and sways them like doing the Hula, while Lee does the same with her left arms. They get back to their feet in between lines, so that for the sixth line, they point one open-palmed paw up toward the sun then slowly lower it down while shaking their hips to the beat. For the seventh line, they bring their arms in and squat, but otherwise remain still.

And the sun went down
As I crossed the hill
And the town lit up
The world got still

For the chorus's first line, Mark raises both arms up, spreading his patagium while doing so, and stands on his toes. Remembering his depression about losing his ability to glide, he slumps down and hangs his head in shame for the second line. Remembering how she supported her future mate, Lee puts a paw on his shoulder for the third line, then hugs him from the back for the fourth line.

I'm learning to fly
But I ain't got wings
Coming down
Is the hardest thing

Both standing side-by-side, they put one foot forward and one foot back while they raise their bent elbows to chest level for the first two lines of the next stanza, and shake their heads no during the second line. For the third line, Mark puts both paws in front of his face and brings them down slowly, then Lee swings her arms out from the front to her side, then raises her paws upright and wiggles her fingers during the fourth line.

Well the good ol' days
May not return
And the rocks might melt
And the sea may burn

To symbolize how Leslie started helping Mark to learn how to glide again, for the first two lines of the repeated chorus, Lee raises Mark up and spins him while he raises up both arms. To symbolize how he still struggled as she helped him, Mark shakes his head no while Lee slowly puts him back on the ground for the third and fourth lines. Then the two swap rolls for the fifth through eighth lines.

I'm learning to fly
(Learning to fly)
But I ain't got wings
(Learning to fly)
And coming down
(Learning to fly)
Is the hardest thing
(Learning to fly)

For the first half of the music interlude, they grab each other's paws and side-turn their partner as s/he jumps up and the one whose feet on the ground swings him/her to the side. Then they help their spouse do cartwheels for the music interlude's second half by having one stand behind and hold the waist of the cartwheeling one. They do this to symbolize how their relationship was truly a mutually-beneficial one. Mark drew from Leslie's strength that she gave to him, and gave her his own in return.

For the first and second lines of the next stanza, the two hug and sway slowly to their sides.

Now some say life
Will beat you down

They then separate so that for the third line Mark clutches his heart with both paws, then lets one arm fall to the side and puts the other over his eyes inside his elbow. For the fourth line, Leslie pretends to take a crown off her head with one paw, then shakes an angry fist. They do this to symbolize the arguments they had with each other as Mark's depression turned into anger, and Leslie got angry back.

Break your heart
Steal your crown

For the first two lines of the next stanza, Mark and Lee face one another and hold outstretched paws while skipping in a circle. For the third line, Mark pulls Leslie in and bends down as she bends back, then they swap roles for the fourth line. They do this to demonstrate how despite their anger, they still loved each other deep down and never gave up for the sake of their spouse.

So I started out
For God knows where
I guess I'll know
When I get there

This time, Leslie holds up and spins Mark with his outstretched arms (and patagium) until the last line of the next stanza. This symbolized how Mark finally started to get better at re-learning how to glide with his duct-taped patagium.

I'm learning to fly
Around the clouds
But what goes up
(Learning to fly)
Must come down

During the next music interlude, the two run off to the nearest tree and climb it to the top. For the next stanza, they are side-by-side and hold a paw as they jump together off the top and slowly fall down to a branch below, lip singing while doing so.

I'm learning to fly
(Learning to fly)
But I ain't got wings
Coming down
Is the hardest thing

For the next stanza, they jump off the branch and face each other to hold both paws as they fall slowly down to the next branch.

I'm learning to fly
(Learning to fly)
Around the clouds
But what goes up
(Learning to fly)
Must come down

For the next stanza, they jump off the branch and circle around each other like two dogfighting planes as they glide down to the ground.

I'm learning to fly
(Learning to fly)
(Learning to fly)

Now on the ground, but far apart from each other, they happily skip to their spouse for the first line. When they get together, Mark raises Leslie up and spins her around as she holds up her arms and patagium for the second through last lines. All this symbolizes how they became closer than ever once Lee had finally succeeded in teaching Mark how to fly with his duct-taped patagium.

I'm learning to fly
(Learning to fly)
(Learning to fly)
(Learning to fly)

The audiences cheers then gets quiet when the adult flying squirrels hold up a stop paw gesture. Mark speaks first by saying, "Yes, thanks everybody." While turning to look at his mate, he says, "But I need to thank you especially, Leslie."

Leslie smiles back and says, "What're true lovers for? And Kale?" This draws the wolf's attention as Lee continues, "As weird as it sounds, if your brother, Luciano, and that other wolf Dillinger had never injured Mark, the two of us may have not gotten together."

Mark: "But that's all. There's no way either of us are ever saying anything positive about that night."

The others don't say anything out loud, but know that Mark is referring to how his mother died from those wolves. Instead the audience turns to Quillo, eagerly awaiting the next song.

Quillo: "If any lame-o's out there thought that song was too slow, then get ready to rock it out to the 90s surviving in the early 2000's, 'cause next is what we played at Brooke's and Hubey's wedding: 'Everywhere.' "

Brooke and Hubert make their way to the dance floor and turn to Quillo to let them know when they are ready.

Note: "Everywhere" is a song copyright by Michelle Branch and her album The Spirit Room.

As the guitar plays the opening notes, the look that Brooke and Hubey give each other in their eyes exchanges words that they feel resonate in their hearts. While dating, Hubey introduced Brooke to this song when she was still grieving over the death of her father Alan, who had been killed by Kale's ex-godfather Bone-Chomper Leo. This song cemented her bond with Hubey and gave her the peace of mind that Alan is never truly gone.

For the first line of the first stanza, Brooke grips both fists at her gut, pulls her arms up and out in front of her, points to her face with one finger, then to her eyes with two fingers. Hubey bobs his body as he points at Brooke and then to himself during the second line.

Turn it inside out so I can see
The part of you that's drifting over me

For the third line, the two have both paws in front of their own faces, then open their paws (as if playing peek-a-boo) with and shrug while shaking their heads no. For the fourth line, they cover their eyes with their paws and slowly wipe their paws to the side, and don't open their eyes until the fifth line.

And when I wake you're, you're never there
But when I sleep you're, you're everywhere
You're everywhere

In the short music interlude, the pair stands back-to-back, tap their paddle-like tails (out to the side) to the beat instead of their feet, and roll both paws.

For the first line of the next stanza, Hubey keeps doing what he did in the music interlude, and Brooke turns around to face him and put a gentle paw on his shoulder while lip singing. Brooke then turns her back on him and the two swap rolls for the second line. For the third line, she faces him and the two slowly raise their open-palmed right paws to head-level and then interlock their fingers. Still holding their paw, they slowly lean back, and raise a pointing finger from their free paw at their spouse, and then their surroundings for the fourth line.

Just tell me how I got this far
Just tell me why you're here and who you are
'Cause every time I look, you're never there
And every time I sleep, you're always there

In between stanzas, they let go, and turn to face the audience while moving their paws from up to down and out at their sides.

For the first line of the main chorus, the pair slowly turns while pointing their fingers out and at their surroundings and then point at themselves when the word "me" is said.

'Cause you're everywhere to me

For the second line, Hubey dances like he's running in place while Brooke holds her paws at her eyes, rubs her paws downward so that they close, then opens her eyes when she points at Hubey who stops his dancing, and the two lock paws as Brooke leans her body and face into Hubey's.

And when I close my eyes, it's you I see

The pair slowly leans back as far as they can while holding onto one paw and lip signing during the third line. They shake their heads no during the fourth line, then pull toward each other so they are together again during the fifth line.

You're everything I know, that makes me believe
I'm not alooooooo—whoa-whoa—ooone
I'm not alone

In the short music interlude between stanzas, the pair stands back-to-back, tap their paddle-like tails (out to the side) to the beat instead of their feet, and punch with one paw out to the side starting high, then going into the middle, then low. Brooke does so with her right paw and Hubert does so with his left.

For the first line of the next stanza, Brooke approaches Hubey from behind and wraps both arms around him in a hug while lip singing. They swap roles during the second line. Next, they break apart but still face each other as they slowly lower themselves to the ground during the third line.

I recognize the way you make me feel
It's hard to think that you might not be real
I sense it now, the water's getting deep

Brooke dramatically mimes washing herself with one paw while clutching her chest with another paw to symbolize how hard it was for her to overcome the grief of losing her father. While doing this, Hubert rolls forward then lies flat on his stomach with his arms propping his head up and his feet, bent at the knees, raised in the air.

I try to wash the pain away from me

While holding paws during the fifth line, Brooke stands up and then yanks Hubert to his feet.

Away from me

For the first two lines of the repeated main chorus, Hubey hoists Brooke up, who wraps her legs around his waist, and leans back while Hubey spins them both in a circle, then they swap roles for the third and fourth lines. For the fifth line Hubey unwraps his legs and Brooke lets him down.

'Cause you're everywhere to me
And when I close my eyes, it's you I see
You're everything I know, that makes me believe
I'm not alooooooo—whoa-whoa—ooone
I'm not alone

For the next two lines and during the music interlude, they close their eyes to kiss, with Brooke's arms around Hubey's collar area, and Hubey's arms around Brooke's waist.

I'm not alone
Whoa, oh, ooohhh, oh

For the first through fourth lines of the next stanza, they put their right palms together as if they're giving a five—or in their case, four—and stare into the other's eyes. For the fifth and sixth lines, they spread their finger while maintaining eye contact. They interlock their fingers again for the seventh and eighth lines.

When I touch your hand
It's then I understand
The beauty that's within
It's now that we begin
You always light my way
I hope there never comes a day
No matter where I go
I always feel you so

For the first line of the repeated chorus, they push out from and pull in to each other while holding their paw, using their free paw to point at their spouse when the word "you're" is said, then point to themselves at the word "me." For the second line, the do the same push and pull movements with closed eyes, point to the proper person when the personal pronouns are said, and open their eyes when "see" is said. For the third line, they swing to the left then the right, then pull toward each other while shaking their heads no during the fourth line.

'Cause you're everywhere to me
And when I close my eyes, it's you I see
You're everything I know, that makes me believe
I'm not alooooooo—whoa-whoa—ooone

For the first line of the next stanza, they separate then raise and expand their arms while circling in place, and then point to themselves when "me" is said. For the second line, their arms are at their side, then they raise them above their heads while taking in a deep breath. They let out that breath and point to each other during the third line.

'Cause you're everywhere to me
And when I catch my breath
It's you I breathe

For the fourth line, they stand side-by-side, tap their tails on the ground, and punch with one paw out to the side starting high, then going into the middle, then low. They turn and wrap their arms around the other while shaking their heads no during the fifth line.

You're everything I know, that makes me believe
I'm not alooooooo—whoa-whoa—ooone

Brooke lip sings the entire last stanza. For the first line, she looks up to the sky for a split second, then at Hubey and finally at the audience. She looks back up at the sky for the second line, then slowly looks down and into Hubert's eyes when the third line is said. The two kiss with their eyes closed for as the guitar plays its last notes.

You're in everyone I see
So tell me
Do you see me?

They walk off the dance floor to thunderous applause. When everyone looks back at Quillo, the porcupine says, "Next is the song that teaches how beauty is on the inside, not the outside. It's the song that was played at Jeff's and Gertrude's wedding: "What Makes You Beautiful".

The two ducks fly their way to the center of the dance floor and stare into each other's eyes as Quillo gets things ready. The entire song perfectly embodies how the duck pairs' relationship started, flourished, and continues to grow to this day.

Jeff and Gertrude got together like the story of the ugly duckling. Gertrude isn't the most attractive-looking duck, was picked on for it, and had a lot of low self-esteem. They met when he saved her from committing suicide. She had lost everything when she was only 13-years-old. She had been shot in the wing by duck hunters, but that actually saved her life because when her friends and family took off, they were killed. Since there is no sport in shooting a grounded duck, the hunters let her live, a cruel irony as she was denied her chance to join her loved ones in death. Without her family's unconditional love, there was no one for her to confide in when others mocked her for her looks. When she couldn't take it anymore, she went to a high mountain and planned to jump off it to her death, since her wing was still out of commission. Having heard her cries and seen her running, Jeff followed and convinced her not to jump, similar to how a couple in a famous movie about a sinking ship first met.

Jeff had struggled through his love life as well, meeting smoking hot lady ducks who he was loyal to, but who would always reject him for other males. Because of this, Jeff learned that looks are not what make relationships work. When he first laid eyes on Gertrude, he didn't think she was attractive, but once he spoke with her and got to know her better, he fell in love with who she was on the inside. Even today, he is often mocked for marrying such an "ugly duckling", but says phooey to them, because like an old British collection of tales proposed: is it better to marry a good-looking spouse who will never love you and cheat on you every chance s/he gets; or an unattractive spouse who will never cheat on you because s/he will love you forever? Jeff chose the latter and both he and Gertrude have discovered true happiness ever since. His and Geetrude's motto is "Choose love over looks," which the song perfectly embodies.

Note: "What Makes You Beautiful" is a song copyright by One Direction and their album Up All Night.

When the opening guitar notes play, Jeff and Gertrude hold their right wing up in a talk-to-the-hand pose, lower it slowly, then do the same with their left wing. They then reorient themselves so that Jeff is standing behind Gertrude and both are looking in the same direction.

Jeff holds his wings straight up for the first half of the first line of the opening stanza, then Gertrude holds hers out to the side for the second half. For the second line, they turn their heads side-to-side while "walking like an Egyptian" with their wings. For the third line, Gertrude faces her mate but looks away in theatric embarrassment while covering her face with one of her wings while Jeff lip sings. For the fourth line, Jeff shakes his head no and then uses his wing to gently moves hers out of the way so he can see her face.

You're insecure, don't know what for
You're turning heads when you walk through the do-o-or
Don't need makeup, to cover up
Being the way that you are is enou-ou-ough

For the first line of the following stanza, Jeff turns in a full circle while pointing his wing at the audience, then points to his eyes with his other wing when the words "see it" are said. For the second line, he slowly throws his wings forward over his head and then rests them below Gertrude's chin. They nod their heads yes when the cymbals beat.

Everyone else in the room can see it
Everyone else, but you-oo

For the first line of the main chorus, they stand side-by-side, use one wing to touch the others' shoulders (Jeff using his right and Gertrude using her left), and do the famous kick line dance. For the second line, they fly up six inches above the ground and do a front flip in mid-air then land. For the third line, the pair look down at the ground while swinging their heads side to side. For the fourth line they kick out to the side as they turn to face each other so that they hold each other's wings during the fifth line while lip singing.

Baby, you light up my world like nobody else
The way that you flip your hair gets me overwhelmed
But when you smile at the ground, it ain't hard to tell
You don't know, oh-oh
You don't know you're beautiful

For the second stanza of the main chorus, they stand side-by-side to swing their wings to the left and right during the first line. For the second line, Gertrude has her wings touching her chest then shoots them out to the side and repeats these moves four times, while Jeff starts his wings at the chest and shoots his up above and repeats those moves four times. For the third line, they face to each other and take turns leaning in and out toward their mate.

If only you saw what I can see
You'll understand why I want you so desperately
Right now I'm lookin' at you, and I can't believe

They put more space between them during the fourth line when they separate by flapping their wings so it looks like they're hovering backwards. Once stopped for at the beginning of the fifith line, they point to each other with one wing while bobbing their bodies to the song's beat. For the sixth line, they face the audience, Gertrude punches out to the side while Jeff punches up in the air to the lead guitar's notes, then lower their wings slowly.

You don't know, oh-oh
You don't know you're beautiful, oh, oh-oh
That's what makes you beautiful

For the first line of the next stanza, Gertrude crosses her wings (instead of arms) and looks away while tapping a foot and Jeff sumo-walks over to her while moving his wings as if he is running in slow mo. They flap once to separate and then swap roles for the second line. For the third line, Gertrude uses one wing to cover her face in shyness while Jeff holds onto her free wing and flies in a circle around her so that he lands in front of her by the beginning of the fourth line. During the fourth line, the two embrace in a hug while looking into their eyes.

So c-come on, you got it wrong
To prove I'm right, I put it in a so-o-ong
I don't know why, you're being shy
And turn away when I look into your eye-eye-eyes

For the first line of the next stanza, Jeff turns in a full circle while pointing his wing at the audience, then points to his eyes with his other wing when the words "see it" are said. For the second line, he slowly throws his wings forward over his head and then rests them below Gertrude's chin. They nod their heads yes when the cymbals beat.

Everyone else in the room can see it
Everyone else, but you-oo

For the first line of the repeated chorus, Jeff flies and perches atop Gertrude's back and cranes his head down to look her in the eyes while she cranes her head up to look into his eyes while they both lip sing. For the second line, Gertrude hops once to launch Jeff so he can do a back flip in mid-air. They shift so that they are side-by-side and look down at the ground during the third line, then shake their heads no during the fourth line. For the fifth line, they turn and point to each other with both wings while lip singing.

Baby, you light up my world like nobody else
The way that you flip your hair gets me overwhelmed
But when you smile at the ground, it ain't hard to tell
You don't know, oh-oh
You don't know you're beautiful

For the first and second lines of the repeated chorus's second stanza, they are side-by-side again, hold onto their lover's shoulder with one wing, and do the kick line dance while turning in a full circle. For the third line, they face each other and swing their wings out to the left and right. For the fourth line, they point at each other with one wing while shaking their heads side to side to the song's beat.

If only you saw what I can see
You'll understand why I want you so desperately
Right now I'm lookin' at you, and I can't believe
You don't know, oh-oh

During the fifth line, they hold both wings above their heads and wave them in and out repeatedly while hopping. For the sixth line, they face the audience and Gertrude punches out to the side while Jeff punches up in the air to the lead guitar's notes.

You don't know you're beautiful, oh, oh-oh
That's what makes you beautiful

For the next stanza, the audience matches the song's claps while the two ducks take to the sky and fly in circles as they glide to the ground. When Jeff and Gertrude land during the last line, they get down on their knees, lower their bodies as close to the ground as possible, and have their wings spread out to the side

Na-na-na, na-na-na, na, na, na
Na-na-na, na-na-na

Na-na-na, na-na-na, na, na, na
Na-na-na, na-na-na

For the first line of the next stanza, they slowly bring up their upper bodies. For the second line, they point to each other with both wings, then point out to their side (Jeff to the left and Gertrude to the right) for the third line. They stand up during the fourth line. For the fifth line, Jeff puts one wing across the opposite shoulder and his other wing pointing diagonally up in the air, while Gertrude puts one wing across the opposite shoulder and her other wing pointed diagonally down.

Baby, you light up my world like nobody else
The way that you flip your hair gets me overwhelmed
But when you smile at the ground, it ain't hard to tell
(You don't know, oh-oh)
You don't know you're beautiful

For the first line of the resumed chorus, they stand side to side and swing their wings to the left and right. For the second line, they hold onto one wing, flap up with their free wings, then do simultaneous front flips in mid-air. Still holding onto a wing, for the third line, they face each other, lean back, and throw their free wings diagonally up while kicking. They pull into each other during the fourth line so that they embrace during the fifth line.

Baby, you light up my world like nobody else
The way that you flip your hair gets me overwhelmed
But when you smile at the ground, it ain't hard to tell
You don't know, oh-oh
You don't know you're beautiful

For the second stanza of the main chorus, they hold onto a wing, lean back, and throw their free wings diagonally up while kicking during the first line. For the second line, they fly in a circle while holding onto one of their spouse's wings. They land and slowly point to each other with their free wing during the third line. For the fourth line, they let go of their wings and Gertrude crosses her wings and shakes her head no. For the fifth line, Jeff arches his wings forward toward her going from over his head and stops when he touches the sides of her shoulders.

If only you saw what I can see
You'll understand why I want you so desperately
Right now I'm lookin' at you, and I can't believe
You don't know, oh-oh
You don't know you're beautiful, oh, oh-oh

For the next line, Gertrude stops her head shaking and looks into her mate's eyes. For the final line, Gertrude puts her wings on the sides of Jeff's shoulders and the two lip sing, then kiss when the song ends.

You don't know you're beautiful, oh, oh-oh
That's what makes you beautiful

The audience applauds as the ducks bow and then fly over to join the crowd, who then looks to Quillo.

Quillo: "Ready for another round of fast-paced dancin' to hip-hop? Then let's have Amber, Jacoby, Martha, and George come center-stage to their wedding song, 'Umbrella.' "

As the mustelid pairs walk arm-in-arm—carrying a stick with them in their free arm that they place them at the frontmost part of the center of the dance floor—they mentally recall how they got together. Amber and Martha were best gal-pals all their lives, having grown up together, hanging out together, and going through life's trials together. They are so close that they made sure their weddings to their mates happened on the same day at the same place. As expected, both couples even danced to the same song.

Oddly, George started out as Amber's lover, and Jacoby started out as Martha's, but those pairs turned out to be incompatible because everything they could offer to the other was something the latter already had plenty of. The ex's quickly tired of each other too fast because they were too similar. But when Martha and Amber shared their experiences with each other, they realized Jacoby could give Amber exactly what she needed, and George could give Martha what she needed. Amber needed someone with spunk and athleticism, whereas Martha needed someone with high class and a gentle heart. They swapped lovers and everything went well for each pair, and once again they had their friendship to thank for that.

Note: The song "Umbrella" is copyright by Rhianna (featuring Jay-Z) and her album Good Girl Gone Bad. And I'm skipping the first two stanzas because they sounded too human-ey for animals. I also recommend YouTubing "Umbrella Anna Py Choreography for this first part to get a more visual representation of the fast-paced song and dance moves if my descriptions feel like it's slowing things down.

They start the first line of the stanza the song begins on (the third) by facing each other and putting their left foot out as they lock their own paws, bending their arms at the elbows, and make a circle around their head while also circling their bodies.

You have my heart

For the second line, they cross their arms across their chests with their paws touching their shoulders, put their left paw on their left hip and angle it in that direction, then bend their knees to the left as they snap their right paws from their shoulders down to their right hindquarter and raise it up to the lumbar region.

And we'll never be worlds apart

For the third line, they shoot their right paw out to their right side which angles diagonally down, then bring it to the front of their body but still angled diagonally down, then send their right paw diagonally up to their right with their right paws, and finally squat while bending to their left and angling their bodies back up again in a swift yet elegant motion.

Maybe in magazines

For the fourth line, they do two chest thrusts, then drag their left foot out to the side while holding their fisted-pawed arms out to their side to make their upper body look like a T.

But you'll still be my star

For the fifth line, they walk two steps forward, separate their legs, brushing their hair with one paw while swinging their lower body forward then backward.

Baby, 'cause in the dark

For the sixth line, they tap their right shoulder with their left paw, then tap their left shoulder. Next, they thrust their left arm diagonally up to their left while they lean and balance on their left leg while their right let raises up and their right arms are diagonally down at their right side. They then do the same movements with their opposite arms, paws, and feet.

You can't see shiny cars

For the seventh line, they bounce their bodies while crossing their arms over their chests with their paws touching their shoulders, then put their left paw on their side while pointing to themselves with their right paw, and finally stop bouncing to slowly point at their mate.

And that's when you need me there

For the eighth line, they lean and balance on their right leg as they raise their left leg out and their right paw goes diagonally up to their right side. From there in the same line of the song, they walk one step to their side, and spin so they face the audience when they take a second step.

With you, I'll always share

For the nineth line, they raise their right paw to their mouth as if shouting, and bring their left paw to their mouth a micro second later.

Because

For the first line of the main chorus, they spread both legs out and both arms diagonally down to the side, then fluently flow them back up above their heads where they lock their own paws and circle them above their head while circling their pelvises twice. They end the first line by bending their knees angled out to their left while their upper perks out and their heads lean down to the right, and both fisted paws are out to their lower sides, then they do one pelvic thrust forward and bend over so their upper bodies are leaning forward.

When the sun shine, we shine together

For the second line, they stand up straight, circle their elbow-bent right arms up to head level, do the same motion with their left elbow-bent arm, and make their entire bodies look like a T by shooting their arms out to the side and have their feet together. They shake their right then left paws once while flinging them down, and do a bow while bending their knees.

Told you I'll be here forever

For the third line, they raise their bodies back up, take a step to their left, touch their left paw to their right shoulder and then their right paw to their left shoulder while moving their hips to the left then right. Next, they move both arms in front of their body as if doing breast stroke while they lean forward and stick their right foot back.

Said I'll always be your friend

From there, during the fourth line, they spin 180 degrees, put their right paw on their right hindquarter and look over their right shoulder, put their right paw down and put their left paw on their left hindquarter and look over their left shoulder, then make a fist with their straightened arm that they swing out to the side as they turn another 180 degrees. Lastly, they lean down to touch their left foot with their right paw.

Took an oath, I'ma stick it out to the end

For the fifth line, they rise back up, put both paws to their own mouths as if hollering while moving their hips left and right, shoot both arms out to their sides at shoulder level, then punch the ground as they take a knee.

Now that it's raining more than ever

For the sixth line, they flap their paws as they stand back up, then shoot both arms out to their sides at shoulder level, and punch the ground as they take a knee.

Know that we'll still have each other

For the seventh line, they get back to their feet with their paws on their left hip, point both paws diagonally down, put their paws on their swinging hips, then have their right arm bent at the elbow angled up, and put their left bent-elbowed arms perpendicular to their right.

You can stand under my umbrella

For the first line of the chorus's second stanza, they step their right leg out, turning their bodies sideways while doing so, and jut their right fisted paw out while their left fisted paw is jutted out to their other side, and step back and face the audience. They spread both legs and arms out to the side for the first "eh", put both paws in the air for the second "eh", and bring their fisted paws diagonally down to their sides while putting their feet together for the third "eh."

You can stand under my umbrella, -ella, -ella, eh, eh, eh

For the second line, they march in place three times while jutting their arms out to the side, then take one step to their left, turning their bodies sideways while doing so, step their left leg forward and punch their left fist out, do bow-legged squats that turns into taking a knee in which they use their left paw to punch to their right, front, then left with each "eh."

Under my umbrella, -ella, -ella, eh, eh, eh

For the third line, they circle their right arm upward once as they stand back up and face the audience sideways, shake their right fist twice, circle their right arms downward and then place their right paw on their head, bending it at the elbow as if posing, and shake their hip to the left and right while looking over their right shoulder.

Under my umbrella, -ella, -ella, eh, eh, eh

For the fourth line, they jump-turn 180 degrees, shake their left fist twice, circle their left arms downward and then place their left paw on their head, bending it at the elbow as if posing, and shake their hip to the left and right while looking over their left shoulder. They make sure to leave themselves a few seconds to collect the sticks they had placed at the front of the dance floor that they will soon use as performance canes.

Under my umbrella, -ella, -ella, eh, eh, eh, eh, eh-eh

Note: For this next part, you might want to YouTube "Umbrella Dance" by Vân Anh Lê Hà for a better visual representation of the fast-paced song and dance moves if my descriptions feel like it's slowing things down. The video is to the first part of the song, but thankfully the tempo is the same so the moves still match the different lyrics.

For the first line of the next stanza, they stand side by side and rest their sticks on the back of their shoulders as they take three cross-stepped marches forward. During the second line, they move their hips side-to-side as they march backwards three steps, and then put their left foot out.

These fancy things
Will never come in between

For the third line, they quickly turn their heads down then up, then jut their right hip up as they slowly take their left arm down to their knee and slowly raise the arm up to chest level while stroking their fur. For the fourth line, they place their left paw back on their stick, then thrust their hips four times—left, right, left, right—while shaking their upper bodies with their hip movements.

You're part of my entity
Here for infinity

For the fifth line, they bend their knees bow-legged then jut their right hip up as they tilt their heads to the right, then repeat the same movements using for the left sides. For the sixth line, they lean forward while bringing their sticks over their heads and stopping at chest level.

When the war has took its part
When the world has dealt its cards

For the seventh line, they step right while moving their sticks to the left, then step their left foot back and lean down to their right foot while stroking their fur with their stick. For the eight line, they instantly bring their sticks to hip level, then hold it out to their right side—turning the stick from horizontal to vertical—and circle it around their bodies' front, then to the back of their right shoulders as the stick points diagonally down. For the ninth line, they shake their stick to the left then right in sync with the syllables of "be-cause."

If the hand is hard
Together we'll mend your heart
Because

For the first line of the repeated chorus, they stand sideways and put one end of their sticks on the ground while holding the other end in both paws, and squat down and up. For the second line, they circle their hips twice, put their right paw on their right hip, then touch their left shoulder with their right paw, and bring their bent-elbowed right arm out to their right to snap their fingers once.

When the sun shine, we shine together
Told you I'll be here forever

For the third line they whip their heads back—bending their knees and squatting slightly while doing so—then forth, back and forth. For the fourth line, they turn so their backs are facing the audience, raise their left arm in the air and shake it side-to-side as they shake their hips.

Said I'll always be your friend
Took an oath, I'ma stick it out to the end

They start the fifth line by putting their left paw on their left hindquarter and look over their left shoulder, then bend their bodies downward as if stretching their left legs, stroking their fur with their left paw down then back up while doing so.

Now that it's raining more than ever

For the sixth line, they raise their sticks vertically, turn their sticks horizontally at chest level, then circle their sticks above their heads twice, turning to face the audience while doing so. For the seventh line, they stick they right leg out to the right as they put their stick-holding arms out to the left, shoot their left leg out to the left as they put their stick-holding arms out to the right, then put their stick-holding paws out to their front starting low then bring it up to chest level.

Know that we'll still have each other
You can stand under my umbrella

For the first line of the next stanza, they hold their sticks against their chest with their left paw, push it out, circle it so it's facing diagonally down their left side while stroking their headfur with their right paw, then bring the stick back to where it started. For the first line's two "-ella's" they march to the side, tap their left foot for the first two "eh's", then tap their right foot for the third "eh."

You can stand under my umbrella, -ella, -ella, eh, eh, eh

For the first half of the second stanza, they march sideways, then roll their heads during the second half.

Under my umbrella, -ella, -ella, eh, eh, eh

For the third stanza, the females hold their sticks horizontally above their heads and high-knee march in a circle around their males who are on both knees and pushing and pulling their sticks diagonally up to their right three times then left two times.

Under my umbrella, -ella, -ella, eh, eh, eh

For the fourth line, the roles swap so the males are the ones holding their sticks horizontally above their heads and high-knee marching in a circle around their females who are on both knees and pushing and pulling their sticks diagonally up to their right three times then left three times.

Under my umbrella, -ella, -ella, eh, eh, eh, eh, eh-eh

In the brief gap between stanzas the mustelids toss their sticks away and face their spouses.

For the first line of the next stanza, they put their bent-elbowed arms and fisted paws up to their left, make two quick arm circles at chest level so that they are now holding their arms up to their right. They repeat the same movements for the second line.

You can run into my arms
It's okay, don't be alarmed

For the third line, they place their paws on the back of their mate's neck. For the fourth line, they pull into each other so that they embrace while kissing on the lips. For the fifth line, both pairs keep kissing then whip their heads back at the word "pour." For the sixth line, they whip their heads forward so they are looking at each other, then slowly lean back, balancing on their heels, as they spin. For the seventh line they break away doing a sliding step to their side, males out to the right and females out to the left, but they are still facing each other.

Come into me
There's no distance in between our love
So go'on let the rain pour
I'll be all you need and mooooooorrrrrr-oooooorrrre
Because

For the first line of the repeated main chorus, they take their right fisted arms out to the side and slowly bring them to their front, then shoot them up into the air when the word "together" is sung. They do the same motions with their left arms and paws for the second line. For the third line, Amber and Martha slowly raise a pointed right finger at each other as Jacoby and George do the same, both pairs stopping at shoulder level. For the fourth line, they do a fist pump with their right paw while they bring up their left pointing paws, then do another fist pump.

When the sun shine, we shine together
Told you I'll be here forever
Said I'll always be your friend
Took an oath, I'ma stick it out to the end

They face their spouse during the fifth line, but raise both fists in the air as if making a V as they nod their heads. For the sixth line, they shoot their arms out to the side and do a backward upper body circle. For the seventh line, they point to their mate with both paws while doing a forward upper body circle, then open-palm the sky with their left paw while still pointing at their mate with their right fingers.

Now that it's raining more than ever
Know that we'll still have each other
You can stand under my umbrella

For the first half of the first line of the next stanza, they mime rain falling on their head with their left fingers. For the first line's second half, they hunch their bodies and arch both arms while putting their right leg backward and forward. They repeat the same moves for both halves of the second line, but put their left leg forward and backward.

You can stand under my umbrella, -ella, -ella, eh, eh, eh
Under my umbrella, -ella, -ella, eh, eh, eh

For the first half of the third line, they jump-turn to face the audience and flap their fisted arms from down at their sides to shoulder level, then jump-turn to face their lovers and do more flaps for the second half.

Under my umbrella, -ella, -ella, eh, eh, eh

For the fourth line, they lock elbows and slowly spin while raising one bent-armed paw above their head and pushing up and down toward the sky.

Under my umbrella, -ella, -ella, eh, eh, eh, eh, eh-eh

For the first and second lines of the next stanza, the females rub their bodies as if they are being drenched by rain and there's nothing they can do to make it stop so that they are sprawled on the ground by the end of the second line. That sets up the third line, when the females point to their spouse and then point at themselves, whereby Jacoby and George tenderly take their mate's paw and sit down with them.

It's raining, raining
Ooh baby, it's raining, raining
Baby, come into me, come into me

For the first two lines of the next stanza, the couples wrap their arms around each other and rock to the left and right each time the word "raining" is sung. For the third line, they stop and the females touch their mens' cheek, followed by the males doing the same for their ladies. For both of the next lines, the couples enter a kiss and don't break away.

It's raining, raining
Ooh baby, it's raining, raining
You can always come into me, come into me
It's pouring rain, it's pouring rain
Come into me, come into me

For the last two lines, the couple keep kissing and slowly lie down on the ground so that they are on their sides.

It's pouring rain, it's pouring rain
Come into me, come into me

They don't stop kissing until the applause has faded and then they get up, say their thank you's while waving and smiling.

Once they leave the dance floor's center, Quillo speaks again.

Quillo: "We're almost done here folks. Next is Richie's and Lucile's wedding song, "How Do I Live Without You," most famously featured in that awesome action movie, Con Air."

Richie and Lucile get to the center of the dance floor and embrace as the song starts.

Note: "How Do I Live Without You" is a song copyright by Trisha Yearwood and their album (Songbook) A Collection of Hits.

During the entire music introduction, they keep both paws around the other, rest their head of their mate's shoulder, and even wrap their tails around one of their lover's leg. They merely move their upper bodies side-to-side while doing so.

For the first line of the first stanza, the two unwrap themselves and Lucile shields her eyes with one arm and looks away, while Richie holds onto her other paw with both of his paws. They keep doing this for the second line as well. For the third line, Lucile unblocks her eyes that now have one eyebrow raised and looks at Richie's while lip singing.

How do I get through one night without you?
If I had to live without you
What kind of life would that be?

For the first line of the next stanza, Richie pulls Lucile toward him and his mate does a full twirl that ends with her back touching his ventral, and he embraces her again.

Oh now, I need you in my arms, need you to hold

For the second line, they sway to the left and right slowly. Lucile takes Richie's paws and places them on where her heart is when prompted by the song, then at her chest which she makes him tap for "my soul."

You're my world, my heart, my soul

For the third line, Richie raises his paws which allows Lucile the room to slowly spin out so that they are now facing each other. For the fourth line, the pair holds each other by the sides of their shoulders and slowly dips to their left then right while lowering their heads and closing their eyes.

If you ever leave
Baby, you would take away everything good in my life

In the brief music gap between stanzas, Lucile and Richie stop dipping, and slowly look back up with their eyes opened.

They shake their heads no when "Without you" is said. They continue the first line by stepping one foot out to the side, turning their bodies while doing so, but hold onto one paw, and raising their free paw up above their heads and slowly bringing them down in an arch that stops when they make a fist in front of their chests—Richie using his left arm and Lucile using her right.

Without you, there'd be no sun in my sky

The two raccoons waltz during the second and third lines, and end the third line by holding onto one of their mate's paws, leaning back, putting one foot forward while the other foot is back, and raising their free paw diagonally up.

There would be no love in my life
There'd be no world left for me

For the fourth line, they slowly walk in a circle while maintaining their paw-pose with their free paws and holding onto their lover's paw with the other.

And I, baby, I don't know what I would do

For the fifth line, they stand side-by-side and use their free paw to do the searching hand pose as they look in a semicircle with their heads turning in opposite directions. They let go and walk away from each other during the sixth line. For the seventh line, they clutch a fist in front of their hearts while lowering their heads and putting more distance between themselves.

I'd be lost if I lost you
If you ever leave
Baby, you would take away everything real in my life

For the first line of the main chorus, Richie turns his head over at Lucile for the word "And", she turns her head over to him for the word "tell", he turns his body toward her for the word "me" and she turns her body toward him for the word "now." In between the first and second lines, they run toward each other.

And tell me now

For the first half of the second line, both racoons take one of their mates' paws and Lucile spins while Richie holds his and her paw up high, then she stops to lean back at the word "live." For the second half of the second line, Richie spins toward Lucile who holds his and her paw up high then he stops to lean back at the world "you."

How do I live without you?

For the third line, they lean in and hold both paws while lip singing. They hold onto one paw as they separate, mime breathing in and out, then point at each other with their free paw for the fourth line. They grab both paws and lean back in while lip singing the fifth line.

I want to know
How do I breathe without you?
If you ever go

For the sixth line, they turn so they're standing side-by-side, turn their heads diagonally down and shield their faces with one paw, shake their heads no once, then put their open-palmed free paw up high and move it down to leave it hanging out to their side.

How do I ever, ever survive?

Next, for the first "How do I", Richie puts his face-blocking paw down and turns to wrap his outstretched paw around Luile's shoulder, she does the same to him for the second "How do I", and then the two kiss for the remainder of the line.

How do I, how do I, oh, how do I live?

During the saxophone-led music interlude, Lucile demonstrates her astounding strength when she hoists Richie up above her head and holds onto him by the gut with one paw as she spins him in full circles like a person making a pizza. She lets him down, he gets behind her, puts one paw on her shoulder and another on her inner thigh, and showcases his own strength when he spins her like a ship's helm so that she is doing a hand stand, then spins her again so that she's back on her feet, and repeats the moves one more time. This draws cheers, Ooo's, and Ahhs from the audience.

For the first line of the next stanza, they stand back-to-back and walk away while pointing a thumb over their shoulder at their spouse. They point to their surroundings with their free paw during the second line. They turn about-face and point to their mate, then at themselves for the third line. During the fourth line, they run to each other and spin when they embrace.

If you ever leave
Baby, you would take away everything
Need you with me
Baby, 'cause you know that you're everything good in my life

In the gap between stanzas, they spin away from each other and stop so that they are no longer facing their lover.

For the first line of the repeated main chorus, Lucile turns her head over at Richie for the word "And", he turns his head over to her for the word "tell", she turns her body toward him for the word "me" and he turns his body toward her for the word "now."

And tell me now

For the second line, they take each other's paws and waltz. For the third line, they abruptly stop and position themselves so that Lucile is leaning down but looking up at Richie who is leaning over and looking down at her as he lip sings the lyrics. They waltz in the opposite direction during the fourth line, then swap places during the fifth line so that they stop so that Richie is leaning down but looking up at Lucile who is leaning over and looking down at him as she lip sings the lyrics.

How do I live without you?
I want to know
How do I breathe without you?
If you ever go

For the sixth line, they stand side-by-side at the shoulders and Richie raises one open-palmed paw high in the air for the first "ever", Lucile raises an open-palmed paw in the air that touches Richie's for the second "ever, and then they interlock fingers and slowly bring their paws down to chest level for the word "survive."

How do I ever, ever survive?

For the seventh line, Richie turns so that he is facing Lucile for the first "How do I", then she turns to face him for the second "How do I", and then they kiss for the remainder of that line. They waltz slowly from the end of that line to the end of the seventh line.

How do I, how do I, oh, how do I live?

From that point to the song's end, they slowly move side to side as they hug and nuzzle.

How do I live
Without you, baby
Oooooooooo, baby
How do I live?

Some of the animals are shedding tears of happiness as they are moved by the song and how it perfectly describes Richie's and Lucile's love for one another. When those two get off the center of the dance floor, Quillo is relieved that the end has finally come.

Quillo: "Last, and by all means least," (Pauses to let some brief chuckles come out of the audience) "is the song played at Rainer's and Eloise's wedding. I figured we should end on an energetic note. So get ready, 'cuz it's gonna put you in such a good mood you're gonna be 'Walkin' on Sunshine'!"

As Rainer and Eloise make their way to the center of the dance floor, they reflect on how this song perfectly captures their relationship. Eloise's family had moved into the forest of the EFE after the Bone-Chompers' reign of terror had ended. And when she and Rainer laid eyes on each other, it was true love at first sight. Both were in their early teens back then, but they developed a young schoolboy and schoolgirl crush on each other. They couldn't stop thinking (and daydreaming) about each other, much to their parents' and siblings' annoyance; their steps were giddy whenever they walked; they sang a lot of la's; and their heartbeats quickened whenever they so much as detected the others' scent. And unlike most kids, they openly (and gladly) said they were in love with each other, whether they were together or separate. However, the two were virtually inseparable whenever they visited, and it was a tough process for them to be alright when they had to leave for home.

Like any caring parents, theirs tried to tell them that true love takes time, and that relationships where the lovers say it's true love even when they barely knew each other rarely work out. But Rainer and Eloise did get to know each other better, and only deepened their love. They were true soul mates: their personalities, preferences, beliefs on various subjects, and mannerisms were the exact same. It's as if they were twins—people who know the other's mind—who had been separated at birth, only to re-discover each other at a later time. They were so obsessively in love with each other that both sets of parents agreed to let them marry at the young age of 15, if only so they could finally stop telling the whole world how much in love they were, how they were meant for each other, and would get together some day. Sadly for their families, even after marrying, Rainer and Eloise can't stop telling how much in love they are with one another, and still share this with the whole world every chance they get. Only now they will express this through dance and song.

Since the badgers are quadrupedal, it limits the kind of dance moves they can do, but also means they must be more creative with their dance moves—which is no problem for these true lovers.

Note: "Walking on Sunshine" is a song copyright by Katrina and The Waves and their album of the same name.

When the song starts, the two large mustelids face each other and take turns bobbing their bodies as Rainer leans in toward Eloise who leans back, then they swap moves. When the first world is said, they stand up on their hind legs, throw their forepaws in the air, and get back down.

Ow!

From that point on, they swing one fist and bent-elbowed forearm in front of their body while looking at each other.

Ohhhh, yeeeah

For the first line of the first stanza, the two stand side-by-side and keep bobbing their bodies happily as Eloise leans into Rainer while eyeing him with her peripheral vision and lip singing. For the second line, Eloise keeps lip singing as they swing their bodies side-to-side in the same direction.

I used to think maybe you loved me, now baby I'm sure
And I just can't wait till the day when you knock on my door

For the third line, Eloise does a handstand and walks on her forepaws while Rainer gets on his hindlegs and holds and guides his mate forward with his forepaws, as if the two are playing vacuum cleaner.

Now everytime I go for the mailbox, gotta hold myself down

For the fourth line, Rainer puts his mate's hind legs down, Eloise lies prone with her head on top of her forepaws, and he gets on top of her as if in a "courtship" position, and looks down at her while she looks up at him, all while the two bob their heads to the side.

'Cause I just can't wait till you write me you're coming around

During the gap between stanzas, he gets off of her and they separate, but never stop facing each other.

For the main chorus, they walk pompously in a circle around each other while standing as tall as they can and jutting their legs out as if parading, getting closer while doing so. They only stop to do head circles whenever the word "Wooah" is said, then go back to their parading walk. For the last line, they stop all movements and lean into their faces to lip sing.

I'm walking on sunshine, woooah
I'm walking on sunshine, woooah
I'm walking on sunshine, woooah
And don't it feel good!

For the next stanza, Rainer kicks both left then right legs out to the side repeatedly while Eloise brings her left then right legs forward and backward, the two hopping in place to make the switch.

Hey, alright now
And don't it feel good!
Hey yeah

In the song gap, the audience once again ponders the irony of how two badgers—animals known for their toughness and fearsomeness—are acting so silly. But they know the reason is because they are so in love with each other.

For the first line of the next stanza, the two stand side-by-side and bob their bodies happily as Rainer leans into Eloise while eyeing her with his peripheral vision and lip singing. For the second line, Rainer keeps lip singing as they swing their bodies side to side in the same direction.

I used to think maybe you loved me, now I know that it's true
And I don't want to spend my whole life, just waiting for you

For the third and fourth lines, the two abruptly stop and Rainer leaps so that he is now facing Eloise who backs up while he crawls forward toward her with an arched back and his head grazing the grass, lip singing all the way. The two shake their heads no whenever "don't", "not", and "no" is said.

Now I don't want you back for the weekend
Not back for a day, no no no

For the fifth line, Rainer leaps so that he is on Eloise's right, puts a forearm around her shoulder, leans in to her, and lip sings. For the sixth line, the two leap away while signing the lyrics for real.

I said baby I just want you back and I want you to stay
Woah yea-eah!

Like they did with the first chorus, during its repetition, they walk pompously in a circle around each other while standing as tall as they can and jutting their legs out as if parading, getting closer while doing so. They only stop to do head circles whenever the word "Wooah" is said, then go back to their parading walk. For the last line, they stop all movements and lean into their faces to lip sing.

I'm walking on sunshine, woooah
I'm walking on sunshine, woooah
I'm walking on sunshine, woooah
And don't it feel good!

For the next stanza, Eloise kicks both left then right legs out to the side repeatedly while Rainer brings his left then right legs forward and backward, the two hopping in place to make the switch.

Hey, alright now
And don't it feel good!
Yeah, oh yeah
And don't it feel good!

In the brief music gap here, the audience matches their claps with the song's, and the two badgers stand in place while swaying their bodies to the left and right. When the song's title is spoken, Rainer does the pompous walk slowly while walking toward Eloise, then she does the same when the song's title is said again.

Walking on sunshine
Walking on sunshine

For the first two lines of the next stanza, the pair gets on their hindlegs and holds onto their forepaws as they swing their forearms side to side, stopping at the end of each line to kiss on the lips before resuming their giddy dancing.

I feel alive, I feel the love, I feel the love that's really real
I feel alive, I feel the love, I feel the love that's really real

For the third line, they go back to all fours and Rainer does two quick 360 degree spins. Eloise does the same for the fourth line.

I'm on sunshine baby oh, oh yeah
I'm on sunshine baby oh

For the main chorus, they once again go back to walking pompously in a circle around each other while standing as tall as they can and jut their legs out as if parading, getting closer while doing so. They only stop to do head circles whenever the word "Woooah" is said, then go back to their parading walk. For the last line, they stop all movements and lean into their faces to lip sing.

I'm walking on sunshine, woooah
I'm walking on sunshine, woooah
I'm walking on sunshine, woooah
And don't it feel good

The two quickly rear up and down, then stand still and lean into their faces to sing the first line of the next stanza. For the second line, Rainer leans domineeringly over Eloise as he lip sings. They trade places with Eloise leaning domineeringly over Rainer during the third line. They rear up to shrug during the fourth line.

Hey, alright now
And don't it feel good
I'll say it, say it, say it again now
And don't it feel good!

From that standing up, Rainer lies flat on his back and Eloise gets on top of him during the first line of the next stanza. For the second and third lines, Rainer shoots his forepaws out to the left and right of Eloise's head while she bobs her body to the left and right.

Ohhhh, yeahhhh
And don't it feel good
Now don't it, don't it, don't it, don't it, don't it, don't it feel good

For the first line of the next stanza, Elosie rolls off of Rainer and lies on her back so that he can get on top of her. For the second and third lines, Eloise shoots her forepaws out to the left and right of Rainer's head while he bobs his body to the left and right.

I'll say it, say it, say it again now
And don't feel good
Now don't it, don't it, don't it, don't it, don't it, don't it feel good

For the first line of the next stanza, they roll again and get back to all fours. For the second through fifth lines, the two interchange dance moves in which Rainer walks three steps forward while Eloise walks three steps back, both of them kicking their free hindleg out at the end of each line, then Eloise walks forward while Rainer walks back.

Tell me, tell me, tell me again now
And don't it feel good
Ohhhh, yeahhhh
And don't it feel good
Oh don't it feel good, don't it feel good
Now don't it feel good?

For the last stanza, they come together, rear up on their hindlegs, hold onto each others forepaws, and swing their forearms to the left and right while kicking their hindlegs out to the side.

Oh yeah, oh yeah, oh yeah, oh yeah-yeah-yeah (Don't it feel good)
Oh yeah, oh yeah, oh yeah-yeah-yeah (Don't it feel good)
Oh yeah-yeah, oh yeah-yeah (Don't it feel good)

Rainer and Eloise share a kiss when the song ends and keep kissing as the audience claps. They only get back to all fours when their quadrupedal body structure forces them to. Nevertheless, their dance moves to their favorite song have clearly demonstrated that sometimes, "true love at first sight" can be a thing that works out.

Quillo: "Whew! Finally done."

Rainer: "Plushie and Meredith, I hope everyone's dancing didn't distract us from your big day."

Plushie: "Oh Rainer, who do you think told Quillo to prepare those songs for each married couple to dance to? It was me and my new mate."

Merdith: "I told you we wanted to break the traditions of regular weddings. If only my mate and I danced, it wouldn't be as special to us."

Plushie: "What would make our wedding talked about for generations to come would be if every married couple got to dance. That's what makes this wedding special for us.

Mary: "What about all our parents?" (Looks at where the first generation of grownups are standing) "Do y'all wanna dance too?"

Lou: "No thanks."

Rick: "This wedding is for you young couples to shine."

Luby: "Besides, we still danced in the free space of the dance floor while those songs were playing and the dancers danced."

Stella: "Or had fun watchin'."

Simon: "And listening."

Verne: "And from the looks of it, you all look pretty beat."

Everyone in unison: "Uh-huh."

RJ: "Then let's get leftover plates made, and bid farewell to our guests."

Velma: "But first, we must send off the newlyweds."

Tiger looks at Plushie and Meredith when he says,"Because no matter how much you want to break tradition, some wedding traditions must remain the same."

Plushie and Meredith in unison: "We understand."

The animals get in two lines so that Plushie, Meredith, and Carolina are at one end, and the off-road motorized skateboard is at the opposite end. The three reptiles run through the showers of thrown rice and pats on the shoulder, then get on their vehicle, wave, and head off into the wilderness.

The hedgies and their guests help put things up and head back home. Everyone has an early bedtime and look forward to what the next chapter in their lives will bring.

Not knowing yet that it will be one full of trials and tribulations.

---

I wanted to shake things up with this chapter by having all the song numbers happen early in the story, and hope you had a fun time jammin' to the songs I chose!

And while not much plot happened here, I did introduce new plot threads that will be covered in the chapters to come.

See you then!