Merrily Script

Libretto Vocal Book

NOTICE: DO NOT DEFACE!• Should you find it necessary to markcues or cuts, use a soft black lead pencilonly.NOT FOR SALE• This book is rented for the period specified in your contract. It remains theproperty of:

Music Theatre International421 West 54th StreetNew York, NY 10019(212) 541-4684www.MTIShows.com

Music and Lyrics by Stephen SondheimBook by George Furth

Based on the Original Play by George Kaufman and Moss Hart. Originally Directed on Broadway by Harold Prince. Originally Produced on Broadway by Lord Grade, Martin Starger, Robert Fryer and

Harold Prince in Association with Ruth Mitchell and Howard Haines.

Book Copyright © 1994 by George Furth. Music and Lyrics Copyright © 1981, 1987by Revelation Music Publishing Corp. and Rilting Music, Inc. All Rights Reserved.

Used by permission.

Table Of ContentsACT ONE

PROLOGUE..........................................................................................................................................1#1 Overture (Orchestra) ..........................................................................1#2 Merrily We Roll Along (Company) ..........................................................................2

SCENE ONE..........................................................................................................................................7#3 That Frank (Company) ..........................................................................7#3A Incidental (Onstage Piano)................................................................. 18#3B Incidental (Onstage Piano)................................................................. 23#3C Incidental

(“Good Thing Going”) (Onstage Piano)................................................................. 26#4 Transition 1 (Company) ........................................................................29

SCENE TWO........................................................................................................................................31#5 Old Friends –– Like It Was (Mary, Charley)................................................................. 33#6 Franklin Shepard, Inc. (Charley) ........................................................................... 41#6A Transition 2 (Company) ........................................................................48

SCENE THREE....................................................................................................................................50#7 Old Friends (Mary, Frank, Charley)......................................................55#7A Growing Up –– Part 1 (Franklin) ......................................................................... 67#7B Growing Up –– Part 2 (Gussie) ............................................................................. 69#7C Transition 3 (Company) ........................................................................70

SCENE FOUR ..................................................................................................................................... 71#8 Not A Day Goes By (Beth)................................................................................75#9 Now You Know (Scotty, Mary, Tyler, Charley, Frank, Joe, Jerome, K.T.,

Company) ......................................................................... 79

ACT TWO

#10 Entr’acte (Orchestra)........................................................................ 86

SCENE ONE........................................................................................................................................ 86#10A Act 2 –– Opening (Gussie) ............................................................................ 86#11 It’s A Hit (Joe, Frank, Mary, Beth, Charley) ...................................... 90#11A Transition 4 (Company)........................................................................ 98

SCENE TWO ..................................................................................................................................... 100#12 The Blob –– Part 1 (Company)...................................................................... 100#12A The Blob –– Part 2 (Company, Gussie) .......................................................... 103#12B The Blob –– Part 2

(Underscore) (Onstage Piano) .............................................................. 106#12C Growing Up (Gussie) .......................................................................... 110#12D The Blob –– Part 3 (Company)...................................................................... 111#13 Good Thing Going (Charley, Frank) ............................................................. 114#13A The Blob –– Part 4 (Charley, Frank, Dory, Gussie, Joe, Guests) ....................... 115#13B Transition 5 (Company)...................................................................... 118

SCENE THREE ................................................................................................................................. 120#14 Bobby and Jackie and Jack (Charley, Frank, Beth, Pianist) ........................................ 120#14A Bobby and Jackie and Jack

Playoff (Onstage Piano) .............................................................. 126#15 Not A Day Goes By ––

Act 2 (Beth, Mary, Frank)........................................................ 133#15A Transition 6 (Tyler, Dory)................................................................... 135

SCENE FOUR ................................................................................................................................... 136#16 Opening Doors (Charley, Frank, Mary, Joe, 1st Girl, Beth)....................... 136#16A Transition 7 (Beth, Frank Jr., Mrs. Spencer) ........................................ 152

SCENE FIVE ..................................................................................................................................... 153#17 Our Time –– Part 1 (Frank, Charley) ............................................................. 154#17A Our Time –– Part 2 (Frank, Charley) ............................................................. 156#17B Our Time –– Part 3 (Company)...................................................................... 160#18 Bows (Orchestra, Company)...................................................... 162#19 Exit Music (Orchestra)...................................................................... 162#19A Exit Music (Orchestra)...................................................................... 162

Characters

FRANKLIN SHEPARDCHARLEY KRINGASMARY FLYNNTYLERTERRYSCOTTYDORYRUJEROMEK.T.MEG KINCAIDBUNKERGUSSIE CARNEGIETV NEWSMANTV NEWSWOMANMAKE-UP ARTISTSTAGE MANAGERJOE JOSEPHSONFRANK JR.JUDGEPHOTOGRAPHERBETHMR. SPENCERPIANISTMRS. SPENCER1ST GIRLGUESTSCROWD

Songs By Character

Beth #8 Not A Day Goes By....................................................... 75#11 It’s A Hit ................................................................... 90#14 Bobby and Jackie and Jack ........................................120#15 Not A Day Goes By –– Act 2..................................... 133#16A Transition 7........................................................... 152#16 Opening Doors ......................................................... 136

Charley #5 Old Friends –– Like It Was........................................... 33#6 Franklin Shepard, Inc...................................................41#7 Old Friends ..................................................................55#9 Now You Know............................................................79#11 It’s A Hit ................................................................... 90#13 Good Thing Going ................................................... 114#13A The Blob –– Part 4 ................................................115#14 Bobby and Jackie and Jack ........................................120#16 Opening Doors ......................................................... 136#17 Our Time –– Part 1................................................. 154#17A Our Time –– Part 2............................................... 156#17B Our Time –– Part 3............................................... 160

Company #2 Merrily We Roll Along ....................................................2#3 That Frank ....................................................................7#4 Transition 1................................................................. 29#6A Transition 2............................................................... 48#7C Transition 3 ..............................................................70#9 Now You Know............................................................79#11A Transition 4............................................................. 98#12 The Blob –– Part 1................................................... 100#12A The Blob –– Part 2 ................................................103#12D The Blob –– Part 3 ............................................... 111#13B Transition 5........................................................... 118#17B Our Time –– Part 3............................................... 160#18 Bows ........................................................................162

Dory #13A The Blob –– Part 4 ................................................115#15A Transition 6........................................................... 135

Frank #7 Old Friends ..................................................................55#7A Growing Up –– Part 1............................................... 67#9 Now You Know............................................................79#11 It’s A Hit ................................................................... 90#13 Good Thing Going ................................................... 114#13A The Blob –– Part 4 ................................................115#14 Bobby and Jackie and Jack ........................................120

#15 Not A Day Goes By –– Act 2..................................... 133#16 Opening Doors ......................................................... 136#17 Our Time –– Part 1................................................. 154#17A Our Time –– Part 2............................................... 156#17B Our Time –– Part 3............................................... 160

Frank Jr. #16A Transition 7........................................................... 152

Guests #13A The Blob –– Part 4 ................................................115

Gussie #7B Growing Up –– Part 2 ............................................... 69#10A Act 2 –– Opening..................................................... 86#12A The Blob –– Part 2 ................................................103#12C Growing Up ..........................................................110#13A The Blob –– Part 4 ................................................115

Jerome #9 Now You Know............................................................79

Joe #9 Now You Know............................................................79#11 It’s A Hit ................................................................... 90#13A The Blob –– Part 4 ................................................115#16 Opening Doors ......................................................... 136

K.T. #9 Now You Know............................................................79

Mary #5 Old Friends –– Like It Was........................................... 33#7 Old Friends ..................................................................55#9 Now You Know............................................................79#11 It’s A Hit ................................................................... 90#15 Not A Day Goes By –– Act 2..................................... 133#16 Opening Doors ......................................................... 136#17B Our Time –– Part 3............................................... 160

Mrs. Spencer #16A Transition 7........................................................... 152

Pianist #14 Bobby and Jackie and Jack ........................................120

Scotty #9 Now You Know............................................................79

Tyler #9 Now You Know............................................................79#15A Transition 6........................................................... 135

1st Girl #16 Opening Doors ......................................................... 136

CHRONOLOGY

ACT ONE

SCENE ONE: Bel Air, California –– 1976 (Frank, Mary: 40 years old)

SCENE TWO: NBC Studio, New York City –– 1973 (Frank, Mary, Charley: 37)

SCENE THREE: Frank’s Apartment, New York City –– 1968 (Frank, Mary, Charley: 31)

SCENE FOUR: Manhattan Courthouse, New York City –– 1967 (Frank, Mary, Charley: 30)

ACT TWO

SCENE ONE: Alvin Theatre, New York City –– 1964 (Frank, Mary, Charley: 27)

SCENE TWO: Gussie and Joe’s Brownstone, New York City –– 1962(Frank, Mary, Charley: 25)

SCENE THREE: The Downtown Club, New York City –– 1960 (Frank, Mary, Charley: 23)

SCENE FOUR: New York City –– 1957-1959 (Frank, Mary, Charley: 20-22)

SCENE FIVE: A Rooftop On 110th Street, New York City –– 1957(Frank, Mary, Charley: 20)

To Dennis Aspland and Sarah Douglas

Merrily We Roll Along Page 1

ACT ONE

PROLOGUE

#1 Overture (Orchestra)

(The stage is in darkness, covered in front by a scrim. The ORCHESTRAstarts to play the overture. When “Good Thing Going” begins, a LIGHTcomes up on FRANKLIN SHEPARD, seated at a piano behind thescrim, DOWNSTAGE LEFT. HE is a handsome, self-possessed man ofabout forty, dressed in an elegant tuxedo. He plays along with theORCHESTRA, but it is clear that he is playing for himself. It is also clearthat he is an extremely accomplished and deeply expressive player.

The ORCHESTRA segues into the vamp of “Merrily We Roll Along",and as the COMPANY ENTERS, FRANKLIN stops playing, looks athis hands, then stares ruminatively into the middle distance.

As the number (“Merrily We Roll Along”) progresses, we see slidesprojected onto the scrim, slides which tell us the story we are about to see:photos of FRANKLIN SHEPARD, MARY FLYNN and CHARLEYKRINGAS each at the age of eight, then at their individual high schoolsand colleges, followed by a variety of things such as: the three of themposing for humorous pictures in amusement-palace booths; their initialsuccesses as writers; FRANKLIN’S marriage and divorce; reviews, Varietyarticles, gossip columns, the newspaper accounts of the breakup ofFRANKLIN’S and CHARLEY’S partnership; FRANKLIN’S moviecareer; CHARLEY’S Pulitzer Prize; etc., leading finally to a huge slide ofa formal invitation which coincides with the end of the number andwhich reads:

YOU ARE CORDIALLY INVITEDTO A PARTY AT THE HOME OF

FRANKLIN SHEPARDTO CELEBRATE THE PREMIERE

OF HIS LATEST MOTION PICTURE“DARKNESS BEFORE DAWN”

1740 BELLAGIO DRIVEBEL AIR, CALIFORNIA

OCTOBER 4, 1976

Act I Prologue

During the course of the show, we will see these slides again, projectedduring the transitions between scenes, matching and illustrating eachappropriate time and event.

MUSIC continues underneath)

#2 Merrily We Roll Along (Company)

COMPANY (EXCEPT FRANK)(Variously)

YESTERDAY IS DONE.SEE THE PRETTY COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,BURSTING WITH DREAMS.

TRAVELLING’S THE FUN,FLASHING BY THE COUNTRYSIDE,EVERYBODY MERRILY, MERRILYCATCHING AT DREAMS,ROLLING ALONG…ROLLING ALONG…ROLLING ALONG…

GROUP IDREAMS DON’T DIE,SO KEEP AN EYE ON YOUR DREAM,

GROUP IIAND BEFORE YOU KNOW WHERE YOU ARE,THERE YOU ARE.

GROUP ITIME GOES BYAND HOPES GO DRY,BUT YOU STILL CAN TRY FOR YOUR DREAM.

GROUP ITEND YOUR DREAM…

GROUP II(Overlapping)

HOW DOES IT HAPPEN?

GROUP IDREAMS TAKE TIME…



ONCE IT WAS ALL SO CLEAR.

GROUP ITIME GOES BY…


HOW CAN YOU GET SO FAR OFF THE TRACK?WHY DON'T YOU TURN AROUND AND GO BACK?

GROUP IBEND YOUR DREAM…


HOW DOES IT HAPPEN?WHERE IS THE MOMENT?

GROUP IWITH THE ROAD…


HOW CAN YOU MISS IT?ISN'T IT CLEAR?HOW CAN YOU LET IT SLIP OUT OF GEAR?

ALLHOW DID YOU EVER GET THERE FROM HERE?

GROUP IYOU ROLL.


HOW DOES IT HAPPEN?

GROUP IIIHOW DOES IT HAPPEN?

GROUP IYOU JUST ROLL.

Act I Prologue


ONCE IT WAS ALL SO CLEAR.

GROUP III(Overlapping)

ISN’T IT ALWAYS CLEAR?

GROUP IEVERYBODY ROLL,

GROUP IIHOW DOES IT START TO GO?

GROUPS II, IIIDOES IT SLIP AWAY SLOW

ALLSO YOU NEVER EVEN NOTICE IT’S HAPPENING?

CHARLEYHOW DID YOU GET TO BE HERE?

ALL EXCEPT CHARLEYWHAT WAS THE MOMENT?

MARYHOW DID YOU GET TO BE HERE?

MARY, CHARLEYPICK YOURSELF A ROAD.GET TO KNOW THE COUNTRYSIDE.SOON ENOUGH YOU’RE MERRILY,

ALLMERRILYPRACTICING DREAMS.

DREAMS THAT WILL EXPLODE,WAKING UP THE COUNTRYSIDE,MAKING YOU FEEL MERRILY,MERRILY,WHAT CAN GO WRONGROLLING ALONG?


SOME ROADS ARE SOFTAND SOME ARE BUMPY.SOME ROADS YOU REALLY FLY.SOME RIDES ARE ROUGHAND LEAVE YOU JUMPY.WHY MAKE IT TOUGHBY GETTING GRUMPY?PLENTY OF ROADS TO TRY.

GROUP I GROUP IIONE TRIP. SOME ROADS ARE SOFTALL YOU GET AND SOME ARE BUMPY.IS ONE QUICK RIDE. SOME ROADS YOU REALLY FLY.LOOK AROUND A BIT — SOME RIDES ARE ROUGHONE QUICK RIDE AND LEAVE YOU JUMPY.THROUGH THE COUNTRYSIDE. WHY MAKE IT TOUGHSTAY ON THE TRACK. BY GETTING GRUMPY?

PLENTY OF ROADS TO TRY.NEVER LOOK BACK. SOME ROADS YOU REALLY FLY.NEVER LOOK BACK.NEVER LOOK BACK.NEVER LOOK BACK.NEVER LOOK BACK.NEVER LOOK —

ALLHOW DID YOU GET TO BE HERE?WHAT WAS THE MOMENT?

HOW DID YOU GET TO BE HERE?

BENDING WITH THE ROAD,GLIDING THROUGH THE COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,CATCHING AT DREAMS.DREAMS THAT WILL EXPLODE,WAKING UP THE COUNTRYSIDE,EVERYBODY MERRILY, MERRILY,SING ’EM YOUR SONG,ROLLING ALONG!ROLLING ALONG!ROLLING ALONG!ROLLING A —

Act I Prologue

END OF PROLOGUE


SCENE ONE

(The MUSIC becomes loud and lively.

FRANKLIN, shaken out of his reverie, rises and climbs a staircase to alanding where he stands in the shadows and watches, whilesimultaneously the members of the COMPANY turn to each other andbegin chatting animatedly — THEY are now FRIENDS and GUESTSat a party in FRANK’S BEL AIR HOME.

DOWNSTAGE is a patio with bar and, just OFFSTAGE, a swimmingpool. UPSTAGE under the balcony are French doors leading to the insideof the house, through which we can see some of the GUESTS drinkingand dancing. The rest are DOWNSTAGE on the patio. THEY are all intheir thirties and forties, rich, successful and happy.

MARY FLYNN, a fat, disheveled, once-pretty 40-year old woman sits atthe bar, drunk and getting drunker.

During the course of the play SHE will become ten pounds thinner ineach successive scene. A slide over the proscenium reads: “BEL AIR,CALIFORNIA 1976”)

#3 That Frank (Company)

GUEST (TYLER)(To another GUEST)

I SAID, “FRANK, THIS PICTURE IS A WATERSHED…”

GUEST (TERRY)(To another GUEST)

I SAID, “FRANK, ONE DAY YOU’LL RUN MY STUDIO…”

GUEST (SCOTTY)(To DORY)

I SAID, “FRANK, WILL YOU LISTEN TO THAT RESPONSE?”

GUEST (DORY)I SAID, “FRANK REALLY KNOWS WHAT THE PUBLIC WANTS.”

TYLER(To a different GUEST)

I SAID, “FRANK, THIS PICTURE IS A WATERSHED…”

Act I Scene 1

MARY(At the bar, indicating her glass as she raises it to RU, a handsome youngman)

Know what I’m having?

RUWhat?

MARYNot much fun.

FRANK(Stepping out of the shadows on the balcony, raising a glass, calling downto EVERYONE with exaggerated cheerfulness)

PARTY!

GROUP ITHAT FRANK —

JEROMETHE GUY IS TOO MUCH —

FRANKHey, the party’s inside!

GROUP IITHAT FRANK —

FRANKYou like the picture?

TERRYTHE PLATINUM TOUCH.

FRANKHow about more Champagne?

(EXITS to get Champagne)

SCOTTYHE HAS TASTE, HE HAS TALENT —

TERRYIS HE THE BEST?


TYLERPLUS A FINE HEAD FOR BUSINESS.

K.T.THE MAN IS BLESSED.

ALLTHAT FRANK!

(FRANK RE-ENTERS, pouring Champagne.

MUSIC continues under)

RU(To MARY)

I wrote the screenplay for Frank’s movie.

MARYYour secret’s safe with me.

(FRANK sees MEG hurrying toward him. Avoiding being alone withher, HE turns to pour for TYLER’S group as she joins him)

FRANKOh Tyler, I want you to meet Meg, the star of my movie. My old friend Tyler here isthe man who invented the telephone answering machine.

TYLERAnd people are living in fear I’ll invent something else.

(THEY shake hands; FRANK moves on to pour for the next group,leaving MEG talking to TYLER)

GROUP ITHAT FRANK —

RU(To MARY)

So what do you do?

JEROMEHE’S FULL OF ADVICE.

MARYI drink.

Act I Scene 1


RUNo, what do you really do?

ALLAND GOD, IS HE NICE!

MARYI really drink.

K.T.WHAT A FRIEND —

MEGWHAT A HOST —

BUNKERAND HIS WORK IS GREAT!

TERRYHAS A WIFE WHO IS GORGEOUS —

MENA SON WHO’S STRAIGHT.

ALLHE’S THE TYPE YOU COULD EASILY LEARN TO HATE,THAT FRANK!

FRANK(To the GUESTS)

WHO SAYS, “LONELY AT THE TOP?”

(BABBLE up, then down)

I SAY, “LET IT NEVER STOP!”

(BABBLE again, up then down)

IT’S OUR TIME COMING THROUGH,ALL OUR DREAMSCOMING TRUE.WORKING HARD,


GETTING RICH,BEING HAPPY —THERE’S A SWITCH!

GROUP ITHAT SMILE —

BUNKERDon’t you miss writing music?

GROUP IHE’S HOT BUT HE’S COOL.

FRANKThat was the old Frank Shepard.

GROUP IIWHAT STYLE —

JEROMEThis guy’s the American dream!

MEG(Looking OFFSTAGE)

AND WHAT A GREAT POOL!

GROUP IIF YOU HAD NO IDEA WHATCHARISMA MEANT —

GROUP IIAND YOU JUST CAN’T BE JEALOUS,HE’S SUCH A GENT —

ALLHE’S THE KIND OF A MAN THATYOU CAN’T RESENT,THAT FRANK!

Act I Scene 1

(MUSIC out.

Under the following, snatches of LOW BABBLE and backgroundMUSIC or PIANO emanate from the slightly visible OFFSTAGE partyroom, from and into which GUESTS continue to ENTER and EXIT)

MEG(Approaching FRANK)

Franklin?

FRANK(Nervous; to avoid her, HE changes direction and crosses to MARY)

Oh, Meg, this is Mary Flynn.(Sincerely)

Mary is my deepest, closest, best friend in all the world. We go way back.

MARYBut seldom forward.

MEGActually, Franklin gave me the novel you wrote and I read it over and over.

MARYDidn’t you get it the first time?

FRANK(Loudly, to the GUESTS)

Hey, gang, we got this orchestra and dancing inside.

(MUSIC resumes, as FRANK EXITS)

TYLERI SAID “FRANK, YOU’RE COMING DOWN TO MEXICO…”

JEROMEI THINK FRANK IS MOVING BACK TO PARAMOUNT…

MARY(To the AUDIENCE)

THESE ARE THE MOVERS,THESE ARE THE SHAPERS,THESE ARE THE PEOPLETHAT FILL THE PAPERS.

GROUP I… MEXICO…


MARYTHESE ARE THE FRIENDS OF FRANK.

GROUP II… MOVING BACK TO PARAMOUNT…

MARYEACH ONE A PERFECT BLANK.

ALLWHEN YOU SEE A MOVIE THAT SUCCESSFUL,WHAT CAN YOU SAY?

(To FRANK)Congratulations!

FRANKTHANK YOU!

(FRANK joins a group and, with his back to us, has them all laughingwith an animated and hilarious story)

MARYTHESE ARE THE MOVERS,THESE ARE THE SHAPERS,THESE ARE THE PEOPLETHAT GIVE YOU VAPORS…

FRANK(Crossing, to MARY)

TWENTY YEARS AGO, WHO’D HAVE GUESSED,WHO’D HAVE GUESSEDWE’D BE STANDING HERE?GOD, WE WOULD HAVE BEEN SO IMPRESSED!NOW WE’RE HERE WITH THE MOST —


FRANK— BRILLIANT MINDS ON THE COAST.

GROUP II… MOVING BACK TO PARAMOUNT…

Act I Scene 1

FRANKAND NOTICE WHO IS THEIR HOST.


GROUP IIBEAUTIFUL, FRANK!

GROUP I… ACAPULCO, MEXICO…

GROUP IIBEAUTIFUL, FRANK!

ALLWHEN YOU’VE MADE A MOVIE THAT SUCCESSFUL,WHERE DO YOU GO?

FRANKUhhh — Paramount!

(MUSIC continues under.

FRANK, turning and crossing, holds up his pinkie to MARY)“Here’s to us.”

MARY(Holds up her pinkie)

“Who’s like us?”

FRANK, MARY(Clasping pinkies)

“Damn few.”

FRANKThanks pal, for flying out.

MARYThanks pal, for the ticket. I got a letter from Frankie.

FRANKWell, at least my son writes to you.


MARYTo thank me for coming to his graduation.

FRANKHe didn’t invite me.

MARYHe didn’t invite me either.

FRANKHow is Frankie?

MARYHe asked the same thing about you. Oh, Frank, why don’t the two of you —

K.T.(Interrupting as she crosses to FRANK)

Frank, I am beginning my broadcast, “Where Franklin Shepard goes I go, becausethat is where the ‘A’ list goes.”

(Smiles, moves away)

MARYI just figured out what the ‘A’ stands for…

(FRANK, smiling, leaves her)

JEROME(Stopping FRANK)

Now I heard a reliable rumor that you’re selling the Malibu house?

FRANKYou don’t want it. The place doesn’t even have a pool.

MARY(Too loudly)

No pool!?!

(MUSIC stops.

EVERYONE stares)

In my rat’s hole in New York the john is terminally busted and the kitchen should becondemned. But no pool!?!

(Shouts)TRASH IT!!

Act I Scene 1

(Flings out her arms, spilling liquid from her drink; FRANK crosses backto her)

FRANKLet’s have some coffee, Mary.

(Takes her arm and moves STAGE RIGHT)

ALLPOOR FRANK —

MARYI never drink coffee.

ALLHE HANDLED THAT WELL.

MARYCaffeine isn’t good for you.


FRANKLook, I’m aware this was just a formula movie.

JEROMEHE’S LOYAL AS HELL.

FRANKBut my next picture. You wait.

(FRANK crosses D.L.)

MARYI gave up waiting.

ALLHE’S POLITE AND CONSIDERATE, RAIN OR SHINE —

MARY(Brightly, lifting her glass, to TERRY at the bar)

IT BEGAN WHEN I TASTED COMMUNION WINE —

ALLTHAT FRANK.


FRANK(To GUESTS)

WHO SAYS, “MUSTN’T GO TOO FAR”?


I SAY, “LOOK AT WHERE WE ARE!”


IT’S OUR TIME, COMING THROUGH —I SAY, “GOOD,ME AND YOU!”I SAY, “ROLL!”I SAY, “RIDE!”

(Gesture toward inside house)I SAY, “HEY, THERE’S FOOD INSIDE!”

ALLTHAT FRANK —

TERRYFrank’s movie was fun!

ALLYOU’D THINK HE’D RELAX.

TYLERFrank knows what the public wants!

ALLNOT FRANK —

BUNKERFrank understands commercial!

ALLHE’S LAYING NEW TRACKS.

K.T.(Indicating MEG, who blushes)

And Frank made a star!

ALLIF YOU HAD NO IDEA WHATCHARISMA MEANT —

Act I Scene 1

AND YOU JUST CAN’T BE JEALOUS,HE’S SUCH A GENT —HE’S THE KIND OF A MANCOULD BE PRESIDENT,THAT FRANK!THAT FRANK!THAT FRANK!

#3A Incidental (Onstage Piano)

(MUSIC stops)

MEG(Crossing to FRANK)

Oh, Frank —

(FRANK, noticing GUSSIE ENTERING U.S.L. DOOR and watchingthem, moves quickly away. MEG, sensing something’s wrong stops,remaining at a distance)

— tonight I saw a falling star. I was running across the lawn and right there in frontof me…

FRANK(Loudly, for all to hear)

And what do we see in front of us? A rising star. Because no matter what the criticssay about this picture, they’re certain to love you.

GUSSIEThey’re certain to. No matter what they say about the picture.

(Rich, haughty, a Broadway star, used to an attention denied her on thiscoast, SHE comes DOWNSTAGE)

MARY(To no one)

The plot thins.

FRANKMeg, you know my wife, Gussie.

MEGEverybody who has ever been to a Broadway show knows Gussie Carnegie.

GUSSIEThe hem of your garment.


SCOTTY(To MEG, indicating all the LIGHTS below them from FAR L to FARR)

I say by tomorrow all of that is going to be at your feet.

GUSSIEScotty. That’s the Valley.

FRANK(To GUSSIE, after a brief awkward pause)

Have you been inside all this time?

GUSSIEIt’s customary when you give a party to attend it.

FRANKDid you sing?

GUSSIENo one asked.

(GUSSIE EXITS U.R. DOOR. FRANK crosses away to avoid MEGagain, but SHE follows close behind him)

MEGFranklin —

FRANK(Quietly, warning her)

Later.

MEG(Lowering her voice)

You’re ignoring me.

FRANKYes, I am.

MEGI’ve got feelings.

FRANKAnd I’ve got a wife.

MEGI love you so much.

Act I Scene 1

FRANKAnd I love you.

(He crosses UPSTAGE, away from her)

TYLER(Loudly)

Anyway, I’m off. Tomorrow I fly to New York.

BUNKEROh, while you’re there do not miss that new Charles Kringas play.

(MUSIC stops.

FRANK stops. Noisy ad lib. conversation stops)

That is the only show in years that actually deserves its Pulitzer Prize. I say, in everygeneration there is one playwright who —

(The silence and the stares indicate that obviously he has said somethingwrong)

Oh, my God. What did I say?

MARYDon’t you know that in this joint you must never, ever mention the name —

(Shouts)CHARLES KRINGAS!

FRANK(Crossing to her)

Mary.

MARY(Ignoring him, loudly)

See, Charley, Frank and I once were these devoted, inseparable friends.

GUSSIEWould anyone care to come inside?

MARYUp until that famous television interview when Charley, in front of —

FRANKMary, goddamn it, that’s enough.


GUSSIEMary, I’ve warned you.

JEROME(ENTERS, carrying pages)

Hey, the house numbers are in from the East coast!

SCOTTY(ENTERING with JEROME, shoots a fist high in the air)

And it went through the roof!(Excitement, BABBLE throughout the room)

FRANKSo we don’t have to save the bottles for deposits.

SCOTTY(To MEG)

And you, listen.(Reading)

“The surprise of ‘Darkness Before Dawn’, is Meg Kincaid, a starry-eyed find.”

TYLER(Raising his glass; loud, to get everyone’s attention)

To Franklin Shepard, who I’ve known ever since we started out together back in acrummy little Greenwich Village saloon.

JEROME(Also raising his glass)

To Frank Shepard. Congratulations to the client every lawyer dreams of. Forty yearsold, a hit in New York, now a hit in Hollywood, married to this Broadway legend,surrounded by the people who work for him, by his money…

(ALL laugh)

MARYOh, are we making speeches?

(Raises her glass)To Franklin Shepard, the producer. The man who has everything. And fat, drunkand finished, I would rather be me any day.

(There is an awful SILENCE)

TERRYLook at the time. I’ve got to get to bed.

Act I Scene 1

MARY(Bitchily, implyinghe’s gay)

He’ll wait.

GUSSIEGet out of here, drunk.

FRANKGussie!

GUSSIE(To FRANK)

Get that fat sot out of here.

FRANK(Having crossed to MARY; very quietly)

Mary, may I take your glass?

MARY(Very loudly)

No, big shot. You may not take my glass!

(Pulling away, SHE falls down hard, knocking over the entire bar with aloud and awful CRASH. As the guests gasp, she struggles up from thefloor, then falls again)

Oh no. Now I won’t be invited back.

(RU helps HER up and walks her UPSTAGE)

Listen, please — now don’t all feel you have to leave just because I’m leaving.

(SHE trips and RU grabs her. She squirms away from him, and turns toface the room on the stair landing)

But first, attention. I said,(Shouting)

ATTENTION!!

(The guests, shocked, stop and listen)

I have something I must say. You listening? You are all junk.(SHE turns to FRANK, pointing)

And you — you deserve them.


(SHE turns, falls down once more, and EXITS crawling. RU follows her)

TYLER(After a brief pause)

Damn sad.

TERRYIsn’t she somebody?

DORYNo, she’s a critic.

#3B Incidental (On-stage piano)

JEROMEShe wrote a best-seller once.

GUSSIEI would never have believed it. She’s finally out of Frank’s life.

FRANKAnd the loss is unbearable.

(As MEG, TYLER and SCOTTY have been helping clean up at the bar,MEG lets out a sudden scream, clutching her hand, which is bleeding)

SCOTTYWhat happened?

DORYShe cut her hand on a piece of glass.

MEGIt’s nothing. It’ll stop.

FRANK(To the others)

Meg’s cut her hand rather badly.

(GUSSIE moves away, next to TERRY)

MEGHonestly, it’s nothing.

Act I Scene 1

FRANKRu, somebody, go get something. Get some iodine.

(RU EXITS)

TERRY(To GUSSIE)

See, when you’re young and the star, how the slightest thing and you’re everybody’sfocus.

GUSSIEBitch.

(Crossing away)

MEGIt’s stopping. I’m just going to let it air.

(MEG runs out. FRANK has an impulse to follow her, but sees GUSSIEand doesn’t. GUSSIE has caught the moment however, and her eyesconnect with FRANK’S for a second before HE moves away)

SCOTTY(Too brightly, to FRANK and GUSSIE)

You two certainly do know how to bring down a curtain.

RU(ENTERING with the iodine)

I’ve got the iodine. Where’s the patient?

FRANKShe’s down at the foot of the lawn.

GUSSIEDoing her fawn imitation.

RU(Starts to EXIT, but turns back to FRANK)

Mr. Shepard?

FRANK(Distracted)

Frank.

RUBefore I go, I just want to know —


(Smiling)how do I get to be you?

FRANKThe worst vice in the world is “advice,” so I don’t give any.

(RU starts to EXIT)

Hey…(RU stops, turns back)

don’t just write what you know.(Points to his head)

Write what you know.(Points to his heart)

Now get out of here.

(RU EXITS. FRANK and GUSSIE stand alone. PIANO MUSICcontinues underneath. GUESTS are visible inside, dancing and enjoyingthe party. FRANK turns to leave)

GUSSIE‘The worst vice is ‘advice’?’ Did you get that off a tee-shirt, Frank?

FRANKI’m sorry, what’s wrong?

GUSSIEYou and that little punchboard are what’s wrong.

FRANKPlease, please don’t do this. We’ve got a party going on in there.

GUSSIEYou may have betrayed me but you’re not going to humiliate me.

FRANKGussie, when are you going to let it go? I never said you were too old for the part.The studio said you were too old for the part.

GUSSIETo think I divorced a husband who worshipped the ground I walked on to marry apitiful excuse for a man like you.

Act I Scene 1

FRANK(Sighs)

I’ve made only one mistake in my life. But I made it over and over and over. Thatwas saying ‘yes’ when I meant ‘no’. Forgive me.

(HE turns U.S.)

GUSSIEDon’t you dare walk away from me, mister.

FRANKAll right. You want to know if it’s true? It’s true. But what you’d never understand isshe is sensitive, she cares, she’s an inspiration. She is the raft that keeps me fromdrowning.

(MUSIC ends and the GUESTS inside applaud. New MUSIC begins)

#3C Incidental (“Good Thing Going”) (On-stage piano)

GUSSIEPathetic.

(SHE crosses D.R.)After all these years I have to hand it to Charley Kringas. That driven little runt wasalways the one smart enough to read your label.

FRANKAnd I envy Charley Kringas every day of my life.

GUSSIEOh, hilarious, this coming from a man whose work isn’t remembered by the timeaudiences reach the parking lot.

FRANKI swear, if I could go back to the beginning, if I could somehow be starting over withCharley, writing shows, trying to change the world, I’d give all this up like that.

GUSSIEYou’ve lied to yourself so long you probably believe that.

FRANKDo you really not see that I’m ashamed of all this? That I am as sick of myself as youare? That I just try to keep acting like it all matters. To not let people see how muchI hate my life, how much I wish the God damn thing was over —


RU(ENTERING with a reluctant MEG)

I found her running along the lawn, singing.

FRANK(Recovering, handing RU the iodine)

Oh sorry. Here.

RU(To MEG)

Now stand still and let me put some iodine on that hand.

JEROME(Entering U.C. with DORY)

My significant other and I want to say good-night.

MEG(Having the iodine applied by RU)

Ow, ow!

GUSSIE(Crossing down to RU and MEG)

Meg, my husband was just telling me that you’re the starry-eyed slut who keeps himfrom drowning.

FRANKGussie, stop it!

GUSSIEAbsolutely, Frank, I will stop it. But maybe she won’t be so starry-eyed now!

(GUSSIE grabs the iodine from RU and throws it directly into MEG’Seyes. MEG screams, covering her face with her hands. The others rush tosurround her; all of the following dialogue is simultaneous)

There’s my toast to you, Frank!

MEG(Overlapping)

My eyes! My eyes!

GUSSIE(Overlapping)

And may you always get all that you deserve!

Act I Scene 1

JEROME(Overlapping)

Frank, call the hospital! Call the hospital and tell them there’s been a terribleaccident!

MEG(Overlapping)

Oh, my God!

DORY(Overlapping)

Tell them to send an ambulance here fast!

GUSSIE(Overlapping)

He was sleeping with her, Dory!

TYLER(Overlapping)

We can’t wait for an ambulance, Frank. Put her in my car.

RU(Overlapping)

We need water, Mr. Shepard! Water and cloths!

MEG(Overlapping)

Oh, please! Somebody help!

JEROME(Frantically, leading MEG out)

Frank, the police must be notified at once!

TYLER(Overlapping)

There’s a phone in the car, Frank.

JEROMEFrank, Frank, hurry! We have to move!

GUSSIE(Following the exiting GUESTS, screaming at FRANK who stands therefrozen)

You said we were finished, Frank? Well, now we’re finished. You and her and me andevery God damn thing is finished!


(EXITS)

FRANK(Alone, turns, screams)

WHYYYY??!!

#4 Transition 1 (Company)

COMPANY(Variously)

HOW DID YOU GET TO BE HERE?WHAT WAS THE MOMENT?HOW DID YOU GET TO BE HERE?

GROUP IDREAMS DON’T DIE,SO KEEP AN EYE ON YOUR DREAM,OR BEFORE YOU KNOW WHERE YOU ARE,THERE YOU ARE,ROADS MAY WINDAND YOU MAY FINDWHAT YOU’VE LEFT BEHIND IS YOUR DREAM.TEND YOUR DREAM…

GROUP IIHOW DOES IT HAPPEN?…

GROUP IDREAMS TAKE TIME…

GROUP IIONCE IT WAS ALL SO CLEAR.

GROUP ITIME GOES BY…

GROUP IIHOW CAN YOU GET SO FAR OFF THE TRACK?WHY DON’T YOU TURN AROUND AND GO BACK?BEND YOUR DREAM…HOW DOES IT HAPPEN?WHERE IS THE MOMENT?WITH THE ROAD…WHEN DID THE ROAD BEHIND DISAPPEAR?WHERE DID YOU LET THINGS SLIP OUT OF GEAR?

Act I Scene 1

ALLHOW DID YOU EVER GET TO BE HERE?…

SOLONINETEEN SEVENTY-FIVE…

SOLONINETEEN SEVENTY-FOUR…

SOLONINETEEN SEVENTY-THREE...

END OF SCENE ONE


SCENE TWO

(The slide reads: NBC STUDIO 1973. We are backstage at a TV newsbroadcast in progress. Far UPSTAGE a TV NEWSMAN and TVNEWSWOMAN sit behind a desk, reporting the evening news. A make-up area is DOWNSTAGE LEFT and an interview area is being set upon a platform STAGE RIGHT

We get a sense of the general frantic floor activity of a live TV broadcastas a MAKE-UP ARTIST, FLOOR MONITOR (RU), and STAGEMANAGER and others are all bustling about.

Gradually we hear the sound of Frank Sinatra singing “Good ThingGoing” playing in the background and soon fading out)

TV NEWSWOMANAnd that was Frank Sinatra singing “Good Thing Going” from the Broadway andfilm hit “Musical Husbands.” The composers of that show, Franklin Shepard andCharles Kringas, are here in our studio tonight and we’ll be meeting and talking withthem. But first the news. Hal?

TV NEWSMANThe lead-in story from tonight’s edition of “News From New York.” Today ournation is at long last celebrating the cease-fire in Vietnam. The tragic death toll therenow having cost nearly forty-six thousand American lives. Judy?

TV NEWSWOMANOn the local front — Mayor Abe Beame…

(Lights down and sound fades out as RU turns to direct the ENTERINGMARY to the make–up area. This MARY is very happy, very excited)

MAKE-UP ARTIST(Holding up a hand mirror to CHARLEY KRINGAS, a bespectacled,easily agitated man seated in the make-up chair)

Well, Mr. Kringas, what do you think?

CHARLEY(Lowering mirror)

I think my worst nightmare has come true. I look like Richard Nixon.

MARYCharley, Charley.

Act I Scene 2

(MARY hugs him)

CHARLEYMary, do not speak to me.

(MARY removes her hands)

This whole goddamn thing is your fault. I don’t know why in Christ’s name I everlet you talk me into this humiliation.

RU(ENTERING with beverage tray, handing MARY a drink)

Here’s the drink you ordered, Miss Flynn.

CHARLEY(Taking the drink from MARY)

Mary, how thoughtful.

MARYCharley, c’mon, I need a drink.

CHARLEYOne drink. What would you like?

MARYA bottle of vodka and a straw.

(CHARLEY hands MARY the drink. RU EXITS)

Where’s Frank?(Drinks)

CHARLEYOh, Frank. Probably off signing to score another movie. Or closing a record deal… Ican only tell you where Frank never is…that’s with me, working on our show.

MARYWell, when I called K.T. to set up this interview, I made it very clear that all you twoguys were here to talk about was your next show and how long you both have beenworking on it.

CHARLEYGrow up, Mary. Since Frank married Gussie, the only ‘working’ he knows is‘working the room.’


MARYAnd just where did he learn that, Charley? Off on that goddamn yacht is where. Andwho was it who sent him off on that goddamn yacht, huh?

CHARLEYI say to hell with Frank. I’ve started a play all on my own. And if Frank doesn’t showup in the next thirty seconds, me, I am walking right out that door.

(Looks at watch)

MARYCharley, I know Frank. If you connect with him again, if you commit the guy todaypublicly, I promise you, by tomorrow you two are going to be back together workingagain. You gotta help save him, Charley.

#5 Old Friends –– Like It Was (Mary, Charley)

(CHARLEY looks at watch: time’s up; HE gets up and starts to EXIT.MARY stops him with her hand as well as with the song’s first line, asMUSIC begins)

HEY, OLD FRIEND,WHAT DO YOU SAY, OLD FRIEND?MAKE IT OKAY, OLD FRIEND.GIVE THE OLD FRIENDSHIP A BREAK.

WHY SO GRIM?WE’RE GOING ON FOREVER.YOU, ME, HIM,TOO MANY LIVES ARE AT STAKE.

FRIENDS THIS LONGHAS TO MEAN SOMETHING’S STRONG,SO IF OUR OLD FRIEND’S WRONG,SHOULDN’T AN OLD FRIEND COME THROUGH?

IT’S US, OLD FRIEND —WHAT’S TO DISCUSS, OLD FRIEND?HERE’S TO US,WHO’S LIKE US?

(She puts her pinkie finger up. After a beat, Charley links his pinkie tohers)

CHARLEYDAMN FEW.

Act I Scene 2

MARYCHARLEY,WHY CAN’T IT BE LIKE IT WAS?I LIKED IT THE WAY THAT IT WAS,CHARLEY —YOU AND ME, WE WERE NICER THEN.

WE WERE NICE,KIDS AND CITIES AND TREES WERE NICE,EVERYTHING…I DON’T KNOW WHO WE ARE ANY MORE,AND I’M STARTING NOT TO CARE.

LOOK AT US, CHARLEY,NOTHING’S THE WAY THAT IT WAS.I WANT IT THE WAY THAT IT WAS —HELP ME STOP REMEMBERING THEN.

DON’T YOU REMEMBER?IT WAS GOOD, IT WAS REALLY GOOD.HELP ME OUT, CHARLEY,MAKE IT LIKE IT WAS.

Come on. It was so much better, Charley. The three of us.

CHARLEYAnd you come on — we’re not the three of us any more, Mary. Now we’re one andone and one.

MARYCHARLEY,NOTHING’S THE WAY THAT IT WAS.I WANT IT THE WAY THAT IT WAS.GOD KNOWS, THINGS WERE EASIER THEN.

TROUBLE IS, CHARLEY,THAT’S WHAT EVERYONE DOES:BLAMES THE WAY IT ISON THE WAY IT WAS —ON THE WAY IT NEVER EVER WAS.

(MARY downs the drink)

CHARLEYJesus, Mary. After all these years. You’re still in love with the guy.


MARY(Shrugs)

You gotta help save me then, Charley.

K.T.(ENTERING D.R.)

Charley? Frank? We’re on a commercial break, then it’s us. Follow me.

CHARLEYFrank isn’t here.

K.T.(Panicked)

He isn’t here? Where the hell is Frank?

(FRANK, GUSSIE, JEROME, TERRY are all hurried in by RU and theMAKE-UP ARTIST. ALL hug. RU EXITS. TERRY and JEROMEmove U.S. and confer, whispering)

FRANKFrank is here. And Frank is sorry. But ever since Gussie and I got married, life is thisseries of meetings, meetings, meetings.

(Crosses to CHARLEY, hugs him)Hey, pal.

CHARLEYHey, pal. Long time, no see.

FRANKOh, and I’ve missed you, buddy. And Mary. Oh, God, Mary.

(Hugs MARY. Stands back to look)You look wonderful. Lost a little weight?

MARYA hundred eighty pounds. He still calls, though.

K.T.Please, Frank, Frank — in the chair. And Charley, you come with me.

(As K.T. and CHARLEY cross to the interview area, FRANK sits in themake-up chair, and is made up)

GUSSIE(Stopping K.T.)

K.T., I think I saw my ex-husband hovering around outside. Could you see to it thatnobody is allowed in? He’s become the eternal sponge.

Act I Scene 2

K.T.Got it. Charley, move, please — we gotta go…

(CHARLEY and K.T. continue to interview platform; MAKE-UPEXITS with cart)

RUExcuse me, Mrs. Shepard. I know this is inappropriate. But I wrote a filmscript,“Darkness Before Dawn,” that is so perfect for you.

GUSSIEIt is inappropriate, give it to me.

(RU gives it to GUSSIE and crosses around platform to CHARLEY,hooking up his microphone)

I’ve accepted that if I don’t want people handing me scripts then I can never go out.Frank, did you tell Mary about closing the three–picture deal?

MARYOh, no.

FRANKBut, please let me be the one to tell Charley. I’m waiting to choose the exactmoment.

MARYOh, God.

GUSSIEI’ve explained to Frank, you compose a Broadway show you’re something in NewYork. But you produce a movie, you’re something all over the world.

(K.T. scurries back to the make-up area)

K.T.Frank, we’re up. We got to move.

MARYOh, hell.


(They head for the interview area. GUSSIE turns to follow them whenJOE JOSEPHSON, a seedy-looking man in his late 50’s, ENTERS D.L.During the following, we can see RU cross to K.T. and whisper in herear)

JOEGussie?

(SHE turns)

Hi, Gussie.

GUSSIEOh, Joe.

JOEYou look great.

GUSSIEYou caught me in the middle, Joe.

JOEI was just hoping maybe you could spare a hundred or so.

GUSSIEJoe, Joe. I —

(Surrenders. Into purse. Hands him money)You can’t keep doing this to me, Joe. Now this is the last time.

JOEI’m lining up backers for my next play —

GUSSIE(Backing away)

Excuse me, Joe. They’re waiting for me. I’m sorry.

(SHE turns and EXITS into the control room OFFSTAGE. JOE, after abeat shuffles off in another direction)

TV NEWSMANAnd now our evening’s top news story: Today the Supreme Court made its finalruling legalizing abortion. The court stated, “Abortion should be a decision betweena woman and her physician.” A longtime controversy now ended. Judy?

Act I Scene 2

(We hear a few bars of Sinatra singing “Good Thing Going”; RU hasbeen attaching Frank’s microphone)

TV NEWSMANFor those who have tuned in late, we are hearing Frank Sinatra singing the hit songby Franklin Shepard and Charles Kringas, our next guests, live from New York.

(Lights up on the interview platform where FRANK, CHARLEY andK.T. have been chatting, laughing, having a reunion)

K.T.Oh, and Frank, I cannot thank you enough for this favor.

FRANKFavor? After what you did for me during my divorce — !

CHARLEYThat’s why we’re here.

K.T.Oh, and how’s your son?

FRANK(Taking out wallet)

Want to see a picture?

K.T.No. But do that on the air and I’ll coo and I’ll tear and I’ll carry on like a mad thing.People love cheap sentiment. And I understand congratulations are in order. I hearyou’ve signed a three-picture deal to produce movies.

(Mimes applauding FRANK)

FRANK(Uncomfortable)

Where’d you hear that?

K.T.Oh, I have my spies. Now, don’t worry. I understand that I’m not supposed to bringit up on the air.

CHARLEY(Containing rage)

I think you weren’t supposed to bring it up in front of me.

K.T.Oh? Oh.


FRANKCharley, I was waiting for the exact moment to tell you. But see, it doesn’t changeour plan. It’s only two or three months at a time.

CHARLEY(Overlapping)

Frank, it’s always two or three months at a time.

FRANKI haven’t even signed the contract yet.

CHARLEY(Overlapping)

Do you know how long I’ve sat and waited for you to finish this project?

K.T.(Overlapping)

Guys, hold it for one second, can ya?(Looking at watch)

We’re just about on —

FRANKCharley, I have a son to support. I have an ex-wife draining me. What happens if wefinish this show, we get it on, and they say it’s no good?

CHARLEYFrank, I have four kids to support. And I don’t give a rat’s ass what “they” say. If Isay it’s good. If you say it’s good. That’s what’s important. That’s all that’simportant.

K.T.(Overlapping)

Okay, fellows, we’re just about to start.

CHARLEYHe only knows it’s good if it makes a fucking fortune!

K.T.(The “On The Air” sign lights up. Quickly smiling into the camera)

Hi. We’re back. And welcome to “Today in New York’s” Celebrity Spot. And herenext to me we have two brilliantly talented people. The gentleman on my right is —

Act I Scene 2

(A delay as FRANK, sitting smiling into the camera, is suddenly shockedto find K.T. is waiting for him)

FRANKOh. Uh — Franklin Shepard. I almost forgot.

K.T.(Looking at, then pointing to Charley)

And — ?

CHARLEY(Also frozen by the camera)

And he is. Why should he lie. And I have no idea who I am.

FRANKThis is my great friend and even greater collaborator, Charley Kringas.

K.T.They are the songwriters for “Musical Husbands,” both the show and the movie.They also wrote —

(Hand over heart)“Sweet Sorrow”…and their newest collaboration will be called “Take A Left,” butmore about that later.

CHARLEYApparently much later.

K.T.(Throughout, K.T. directs all her questions to FRANK)

And you recently married the star of those shows, Gussie Carnegie, did you not?

FRANKYes, that’s correct.

CHARLEY(Feeling left out)

And I’m married to Evelyn.

K.T.Now all of Broadway says you two are the next Rodgers and Hammerstein, Lernerand Loewe —

CHARLEY— Irving and Berlin.


K.T.Let’s start at the beginning. You’re both from Chicago and you both went to thesame school and the same college.

CHARLEYNo. Me, Columbia. Him, Julliard.

K.T.So your entire life you’ve been very, very close friends?

CHARLEYUntil today.

FRANKLike all partners we have had fights and other commitments, but the magic is onlythere when it’s me and Charley. Charley and me.

K.T.(To camera)

I love it.(To FRANK)

Now, how do you two work together?

#6 Franklin Shepard, Inc. (Charley)

CHARLEYOh, may I answer that?

K.T.Please.

CHARLEYHow do we work together? Sure.

HE GOES —(HE mimes an arpeggio on an imaginary piano)

AND I GO —(Mimics typing, the clicking keys sounding in the orchestra)

AND SOON WE’RE HUMMING ALONG —HMMM-HMMM-HMMM —AND THAT’S CALLED WRITING A SONG —HMMM-HMMM-HMMM —THEN HE GOES —

(On the “piano”)AND I GO —

Act I Scene 2

(On the “typewriter”)AND THE PHONE GOES DRRRRRING!AND HE GOES —

(Mimicking FRANK’S intense business calls into an imaginary phone)“MUTTER MUTTER MUTTER MUTTER, YES, JEROME,MUTTER NO, JEROME,MUTTER MUTTER MUTTER MUTTER”—

(To K.T.)THAT’S HIS LAWYER, JEROME —

(Back into the “phone”)“MUTTER MUTTER MUTTER MUTTER MUTTER DO IT,

JEROME…”(Hangs up “phone”)

— CLICK —“SORRY, CHARLEY —”

(Arpeggio on “piano”)SO I GO —

(On the “typewriter”)AND SOON WE’RE TAPPING AWAY —HMMM-HMMM-HMMM —

(Mimicking an intercom)BZZZ!“SORRY, CHARLEY.”BZZZ!

(To K.T.)IT’S THE SECRETARY —BZZZ!ON THE INTERCOM…

(As FRANK)“YES, MISS BZZZ…”

(Nasal, as the Secretary)“IT’S A MESSENGER.”

(As FRANK)“THANKS, MISS BZZZ,WILL YOU TELL HIM TO WAIT?WILL YOU ORDER THE CAR?WILL YOU CALL UP THE BANK?WILL YOU WIRE THE COAST?WILL YOU —”DRRRRING!“SORRY, CHARLEY…”

(Into “phone” again)MUTTER MUTTER MUTTER MUTTER SELL THE STOCKMUTTER BUY THE RIGHTSMUTTER MUTTER MUTTER MUTTER MUTTER —”BZZZ!


(Into “phone”)“LET ME PUT YOU ON ‘HOLD’…”BZZZ!“YES, MISS BZZZ…”“IT’S THE INTERVIEW…”“THANKS, MISS BZZZ,WILL YOU TELL HIM TO WAIT?WILL YOU WIRE THE CAR?WILL YOU ORDER THE COAST?WILL YOU SEND UP THE BANK?…”

AND THE TELEPHONES BLINKAND THE STOCKS GET SOLDAND THE REST OF US HE KEEPS ON “HOLD”.AND HE’S INTO MAKING MOVIES.AND HE’S NOW A CORPORATION.RIGHT?

SO I PLAY AT HOMEWITH MY WIFE AND KIDSAND I WAIT TO HEAR THE MOVIE BIDS.AND I’VE GOT A LITTLE SAILBOAT.AND I’M INTO MEDITATION.RIGHT?

HE FLIES OFF TO CALIFORNIA.I DISCUSS HIM WITH MY SHRINK.THAT’S THE STORY OF THE WAY WE WORK,ME AND FRANKLIN SHEPARD, INC.

(HE laughs)

I’m surprised at how much I like this. I promise to be honest. If you promise tohandle the lawsuit.

K.T.(Uncomfortable, turns quickly to FRANK)

Now, when you do work together, I’ve always been curious, which generally comesfirst — the words or the music?

CHARLEY(Glancing at FRANK)

Generally, the contract.

Act I Scene 2

K.T.(To CHARLEY)

Oh, that sounds like you think making money is a bad thing for an artist.

CHARLEYMONEY?

(Arpeggio in orchestra)DID I SAY MONEY?

(Arpeggio again; music resumes)NO, I LIKE MONEY A LOT —HMMM-HMMM-HMMM —I MEAN IT’S BETTER THAN NOT —HMMM-HMMM-HMMM —BUT WHEN IT’S —

(Grunts like a pig and starts grabbing imaginary money)MONEY —

(Grunt, grunt)MONEY —

(Snorts, gathering money like a manic, drooling octopus)WHEN YOU’RE INTO —

(Snort)MONEY —

(Lightly)AND YOU SHOULD BE…

(Plays an imaginary arpeggio, then gestures to FRANK; MUSICcontinues under)

Listen, Frank does the money thing very well. But you know what? There are otherpeople who do it better. And Frank does the music thing very well. And you knowwhat? No one does it better.

STILL THE TELEPHONES BLINKAND THE BUZZERS BUZZAND I REALLY DON’T KNOW WHAT HE DOES,BUT HE MAKES A TON OF MONEY,AND A LOT OF IT FOR ME.RIGHT?

SO I THINK “OKAY”AND I START A PLAYAND HE SOMEHOW KNOWS,’CAUSE RIGHT AWAYIT’S DRRRRING!

(Into “phone” again, as FRANK)

“HIYA, BUDDY,


WANNA WRITE A SHOW?GOT A GREAT IDEA,WE’LL OWN ALL THE RIGHTSWITH A TWO-WEEK OUTAND A TURNAROUNDON THE GUARANTEEPLUS A GROSS PERCENTOF THE BILLING CLAUSE —”

AND THERE I AM IN CALIFORNIA,TALKING DEALS AND TURNING PINK,BACK IN BUSINESS, AND I MEAN JUST THAT,BACK WITH FRANKLIN SHEPARD, INC.

VERY SNEAKY HOW IT HAPPENS,MUCH MORE SNEAKY THAN YOU THINK.START WITH NOTHING BUT A SONG TO SING,NEXT YOU’RE FRANKLIN SHEPARD —

(MUSIC suddenly stops)

Wait, one second, wait. I’m getting in too deep here.

K.T.(Very anxious to change the subject)

Franklin, let me ask you —

CHARLEY(Interrupting, stopping her)

See, Frank and I are not that kind of close. The way we used to be.

K.T.Now, Frank —

CHARLEY(Interrupting her again)

And friendship is like a… garden. You have to water it and tend it and care about it.And you know what? I miss it and I want it back. Look —

(MUSIC resumes quietly)

NOTHING PERMANENT HAS HAPPENED,JUST A TEMPORARY KINK.FRIENDSHIP’S SOMETHING YOU DON’T REALLY LOSE…

(MUSIC stops again; to camera)

Act I Scene 2

Ladies and gentlemen, don’t let me lose the greatest composer any lyricist ever had.Phone him, write him, stop him on the street. You’ll recognize him. He’s the onegoing through his checkbook —

(FRANK gets up to leave, but is stopped both by K.T. and his attachedmicrophone)

— and tell that man to get back to his piano.

(MUSIC resumes quietly again, but growing gradually louder and morefrantic)

VERY SNEAKY HOW IT HAPPENS,EVERY DAY YOU’RE ON THE BRINK.FIRST THE PRIZES, THEN THE INTERVIEWS…

(Looking around, realizing where HE is; in mock astonishment to coverhis embarrassment)

OH MY GOD, I THINK IT’S HAPPENED!STOP ME QUICK BEFORE I SINK.ONE MORE TRIUMPH THAT I CAN’T REFUSE —

(To camera again)In case you didn’t notice, this is my first time on TV. And my last!

NO, HERE’S THE POINT, WHATEVER HAPPENS,THEN WE’LL ALL GO HAVE A DRINK —

(Gestures in FRANK'S direction)THAT’S THE GUY I LOVE, THE FELLA WHO’SINSIDE

(Into “phone”)“MUTTER MUTTER MUTTER MUTTER QUICK, JEROME,GET THE PRESIDENT,THERE’S A CRAZY MANON MY TV SCREEN…”INSIDE —BZZZ! BZZZ! DRRRING! —INSIDEFRANKLIN SHEPARD —

(To camera)Just write him care of Any Bank, U.S.A.— INC.!

K.T.Now let’s take a commercial break.

(“On The Air” sign goes out)Oh thanks, guys. Jesus Christ.


(SHE EXITS)

FRANKThat was a real slaughter, Charley. Congratulations.

CHARLEYFrank —

FRANKOh, I think you said enough. I know for years you’ve been attacking me andconstantly putting me in the position of having to defend myself. But that — see, Idon’t know why anyone would want to so humiliate and betray the guy who is hisoldest friend in the world like that. But I do know you’re never going to have theopportunity to do it again. You’re goddamn out of my life, Charley.

CHARLEYI’m sorry —

FRANKYou’re sorry! After you publicly mock and ridicule and belittle me when, man, Iswear I would lay down my life for you.

CHARLEYIf you’d just let me —

FRANKShut up! Charley, all these years I have loved you no matter what you did, but I guessbecause I don’t live my life like you or the way you’d like me to, you had to shoot medown and watch me bleed. Well, I like my life, so please you just get the hell out ofit.

(Starts to leave)

MARY(ENTERING quickly, stopping FRANK)

Guys, hey. What do you say the three of us go out for a humongous drink and talk?We need to talk.

GUSSIE(ENTERING with JEROME and TERRY)

Oh, Frank, Frank. Are you all right?

CHARLEYFrank, can we go talk?

Act I Scene 2

FRANK(To the others, ignoring CHARLEY, fighting for control, really hurt)

You know, there is this tribe in Africa that when one of its members does somethingcruel or evil, or betrays them, they never see him again. They simply — just never seehim. They never talk to him, or look at him, or acknowledge him in any way. Forthem, he is dead. Absolutely and irrevocably dead.

(Starts to walk away)

CHARLEY(A hand on FRANK’S shoulder, to stop him)

Frank? Let me explain what —

(FRANK stops and shrugs the hand off, then without turning aroundcontinues to walk away. CHARLEY talks as he grabs FRANK’S arm)

Can I explain what all that came out of?

(FRANK swings around, shoving CHARLEY, sending him sprawling tothe floor. CHARLEY gets up and lunges at FRANK)

MARY(As the TWO MEN go at each other, until finally separated and backedOFFSTAGE by the OTHERS)

Frank! Charley! Stop it! Charley, Frank! No!! No!! No!!

(FRANK EXITS first, after which CHARLEY is let go. HE standsbrushing his clothes, finally turns and bows to MARY with armsoutstretched, indicating ‘satisfied?’ then turns and EXITS opposite side ofstage. After a despairing pause, MARY EXITS)

#6A Transition 2 (Company)

COMPANY(Variously)

SOME ROADS ARE SOFTAND SOME ARE BUMPY,SOME ROADS YOU REALLY FLY.SOME RIDES ARE ROUGHAND LEAVE YOU JUMPY,WHY MAKE IT TOUGHBY GETTING GRUMPY?PLENTY OF ROADS TO TRY.

SOLONINETEEN SEVENTY-TWO…


SOLONINETEEN SEVENTY-ONE…

GROUP I GROUP IIONE TRIP. SOME ROADS ARE SOFTALL YOU GET IS AND SOME ARE BUMPY.ONE QUICK RIDE. SOME ROADS YOU REALLY FLY.LOOK AROUND A BIT — SOME ROADS ARE ROUGHONE QUICK RIDE AND LEAVE YOU JUMPY.THROUGH THE WHY MAKE IT TOUGHCOUNTRYSIDE. BY GETTING GRUMPY?STAY ON THE TRACK. PLENTY OF ROADS TO TRY…

SOLONINETEEN SEVENTY…

GROUPSOME ROADS YOU REALLY FLY…

SOLONINETEEN SIXTY-NINE…

ALLHOW DOES IT START TO GO,DOES IT SLIP AWAY SLOWSO YOU NEVER EVEN NOTICEIT’S HAPPENING?NINETEEN SIXTY-EIGHT…

END OF SCENE TWO

Act I Scene 3

SCENE THREE

(Slide: 1968.

(A gorgeous, ultra-modern, split-level apartment on Central Park Westwith a fabulous New York view in the background. One UPSTAGEdoor leads to the front hall, another to the bedroom hallway. A doorSTAGE LEFT leads to the kitchen.

FRANK is talking on the phone, open suitcases and trunks, souvenirs,crates on the floor next to him. As the LIGHTS come up, we see that he isdressed in a shirt and shorts)

FRANK(Into phone hurriedly)

You say ‘she is not there’? Is she expected back?

(Doorbell rings)

You don’t expect — I’m sorry, my front doorbell is ringing.(Covers the phone and calls)

The door is open.(Into phone)

One more time, please. You don’t expect her back until — ?(Listening)

— until after the theatre?

(A nine-year old FRANK JR. ENTERS from the front hall)

No. No message. Wait, yes, would you tell her —

FRANK JR.(Doing vaudeville pose)

Ta-da!

(FRANK now sees his son, immediately hangs up, runs to him, gets downon his knees, hugging and kissing him. As HE talks, he lifts him up, withFRANK JR. wrapping his arms and legs around his father; throughoutthe following scene, FRANK holds, touches and strokes his son lovinglywhenever possible)

Frankie, oh my Frankie! My God! I don’t believe my eyes. Oh, did your daddy missyou! And look at how big you got! Give Daddy a love. Bigger. Bigger. Bigger.

FRANK JR.(As FRANK hugs him)

Daddy, we saw your boat. But we didn’t see you.


(MARY and CHARLEY ENTER, posing like a vaudeville team)

MARY, CHARLEYTa-da!

(THEY run over to FRANK. All three scream, kiss, laugh and lock in athree-way hug, huddling and jumping up and down together)

CHARLEYWhat’s amazing is that we’re not all still waiting at that dock to surprise you. ‘Wasour face red.’

FRANKFirst class doesn’t get off at the dock. We had this big ramp at the prow and aCaptain who leads you right into your limousine.

CHARLEYOh, of course. Silly us. Now you should have known that, Mary.

(Both are staring at FRANK’S pantless legs)

FRANK(To FRANK JR.)

Why didn’t you tell me I have no pants on?(Starts a search for his pants)

CHARLEYWe got Beth to send Frankie from Houston.

FRANK JR.Daddy, I have the thirty-two postcards all over my wall. My favorites are the alligatorand the Panama Canal.

CHARLEY(Opens one of the trunks and looks deep into it, the lid concealing himfrom both FRANK JR. and us)

Oh look, he brought Frankie an alligator back. What a nice little —

(HE begins to scream and resist an imaginary alligator which attacks himrepeatedly, each time pulling him deeper and deeper into the trunk. Theothers laugh as he finally disappears completely into the trunk)

FRANK(As CHARLEY flings FRANK’S pants out of the trunk)

Oh thanks, Uncle Charley.

Act I Scene 3

(Putting on pants)That’s bound to give someone here real nice dreams.

MARYStart with the trip, and then I want a Sherpa guide to show me this gargantuanapartment.

FRANKWell, I owe it all to you guys for making me go. I didn’t do anything that wasn’trich. Rich living, rich food, rich people.

CHARLEYWell, poor Evelyn, my poor wife, who never comes in from our poor house in thepoor country, poor thing, is dropping off our four poor children at her poormother’s…

FRANKGot it, Charley.

CHARLEY… where they’re expecting Frankie, and then… then Evelyn is meeting the three ofus at —

MARY(To CHARLEY)

Wait, wait, wait!(To FRANK)

Where? Where? You’ll never guess where?

FRANKThe Downtown Club.

MARY(Disappointed)

Charley!

(CHARLEY points to himself; he’s innocent)

FRANKLet me think. A smoky, dingy Greenwich Village dive or the homecoming party atthe Colony Club? Hmm. What a choice!

CHARLEYOh Frank, sorry. You must give me a list of what’s ‘in’ and what’s ‘out.’ You knowhow important all of that is to me.


FRANKOh, wait. Wait, wait, wait.

(FRANK takes out wrapped book and manila envelope from trunk)Presents. I forgot presents.

(To FRANK JR. — handing him gifts)This is for Aunt Mary and that’s for Uncle Charley.

(As FRANK JR. distributes them)

Oh. son, about forty of yours are right now up in the air between Gibraltar andTexas. But, trust me, they are absolutely worth the wait.

MARY(Having unwrapped her gift)

It’s my book. In Spanish.

FRANKI bought it in Valparaiso, Chile, where there it was in all these store windows.

CHARLEY(Taking his gift from FRANK JR. and opening it)

Oh, Mary, tell Frank the story of how success has affected you. Okay, I’ll start. Maryhas joined the enemy.

MARYCharley!

CHARLEY(To FRANK JR.)

Frankie, tell Aunt Mary how many kids in your class say, “When I grow up I want tobe a drama critic.”

MARYCharley, shut your mouth and open your present.

CHARLEYI did.

MARYWhat is it?

CHARLEY(To FRANK)

What is it?

Act I Scene 3

FRANKIt’s an option agreement. We have been offered a small fortune to do a movie versionof “Musical Husbands.”

CHARLEY(Sits on the trunk)

Frankie, take this over to Daddy and say very clearly, “There isn’t enough money inthe universe…”

(FRANK JR. crosses to CHARLEY who hands him the envelope)

FRANKYou’re welcome, Charley. I appreciate the gratitude. Thanks very much.

FRANK JR.(Arriving at FRANK, handing him the envelope)

‘There isn’t enough money in the universe…’

FRANK(Interrupting)

Sweetheart, you want to put that on the bed for Uncle Charley?

(FRANK JR. EXITS towards the bedroom with the envelope)

MARY(Following FRANK JR. with the flight bag)

And you gotta brush your teeth, wash your face, get out your pajamas… whateverthe hell kids do.

(EXITS)

FRANK(Loud)

Charley, I am thirty-one years old. Beth wiped me out with the divorce. I’ve got ason to consider. So forgive me, Charley, if I happen to need money.

CHARLEY(Louder)

Then let’s us do the work and the money will come. Frank, we cannot keep makingour stuff the other thing we do!

MARY(Appearing at the bedroom door, holding the boy’s pajamas, quietingthem, indicating FRANK JR. OFFSTAGE)

Shhhh. Guys! Not now!


(She disappears into the bedroom hallway)

FRANKCharley, I am telling you we can make a statement with this movie.

CHARLEYNurse! Doctor! Guard! Attendant! Matron! Anybody! Help!

FRANKTrust me!

CHARLEYNo, you trust me!

FRANKCharley, listen —

CHARLEYFrank, Frank, you listen. You listening? No, no, no! Never, ever, no!!

#7 Old Friends (Mary, Frank, Charley)

MARY(RE-ENTERS to the shouting, loudly calls out)

HEY!!

(MUSIC; THEY turn to MARY as she quietly, charmingly, pointedly,lifts her pinky finger)

HERE’S TO US —

FRANK(After a beat, raising his pinky)

WHO’S LIKE US?

CHARLEY(Grudging pause, then raises his pinky)

DAMN FEW.

FRANK(Intimate and warm, to CHARLEY)

HEY, OLD FRIENDARE YOU OKAY, OLD FRIEND?WHAT DO YOU SAY, OLD FRIEND,ARE WE OR ARE WE UNIQUE?

Act I Scene 3

TIME GOES BY,EVERYTHING ELSE KEEPS CHANGING.YOU AND I,WE GET CONTINUED NEXT WEEK.

MOST FRIENDS FADEOR THEY DON’T MAKE THE GRADE.NEW ONES ARE QUICKLY MADEAND IN A PINCH, SURE, THEY’LL DO.

BUT US, OLD FRIEND,WHAT’S TO DISCUSS, OLD FRIEND?HERE’S TO US —WHO’S LIKE US?DAMN FEW!

CHARLEY(Softening)

SO, OLD FRIEND,FILL ME IN SLOW, OLD FRIEND.START FROM HELLO, OLD FRIEND —I WANT THE WHEN, WHERE AND HOW.

(Including MARY)OLD FRIENDS DOTEND TO BECOME OLD HABIT —NEVER KNEWHOW MUCH I MISSED YOU TILL NOW.

ALL THREEMOST FRIENDS FADEOR THEY DON’T MAKE THE GRADE,NEW ONES ARE QUICKLY MADE,SOME OF THEM WORTH SOMETHING, TOO.BUT US, OLD FRIENDS —WHAT’S TO DISCUSS, OLD FRIENDS?

FRANKTELL YOU SOMETHING:GOOD FRIENDS POINT OUT YOUR LIES,WHEREAS OLD FRIENDS LIVE AND LET LIVE.

MARYGOOD FRIENDS LIKE AND ADVISE,WHEREAS OLD FRIENDS LOVE AND FORGIVE.


FRANKAND OLD FRIENDS LET YOU GO YOUR OWN WAY —

CHARLEY(Pointedly, but pleasantly)

HELP YOU FIND YOUR OWN WAY —

MARY(To CHARLEY)

LET YOU OFF WHEN YOU’RE WRONG —

FRANKIF YOU’RE WRONG —

CHARLEYWHEN YOU’RE WRONG —

MARY(Hastily)

RIGHT OR WRONG, THE POINT IS:OLD FRIENDSSHOULDN’T CARE IF YOU’RE WRONG —

FRANKSHOULD, BUT NOT FOR TOO LONG —

CHARLEY(Edgily)

WHAT’S TOO LONG?

FRANKIF YOU’RE WRONG —

CHARLEYWHEN YOU’RE WRONG —

MARY(Quickly)

THE THING IS:OLD FRIENDS DO LEAVE THEIR BRANDS ON YOU,BUT OLD FRIENDS SHOULDN’T COMPETE.

FRANKOLD FRIENDS DON’T MAKE DEMANDS ON YOU —

Act I Scene 3

CHARLEYSHOULD MAKE DEMANDS ON YOU —

FRANKWELL, DON’T MAKE DEMANDS YOU CAN’T MEET.

CHARLEYWELL, WHAT’S THEPOINT OF DEMANDS YOU CAN MEET?

MARYWELL, THERE’S A TIME FOR DEMANDS,WHETHER YOU MEET THEM OR NOT…

(These next lines are delivered loudly and simultaneously as musiccontinues under)

MARYGuys, fellas, boys, buddies, c’mon. You gotta talk to each other, not over, notaround, not through each other. To each other, understand?

CHARLEYYou are never wrong. Never. The last time you admitted you were wrong was onecold Tuesday back in Chicago in December 1954…

FRANKIf you were right, I would be the first to admit it. But with you, there is no otherside. There’s only your way and the wrong way.

ALL THREEHEY, OLD FRIENDS,HOW DO WE STAY OLD FRIENDS?WHO IS TO SAY, OLD FRIENDS,HOW AN OLD FRIENDSHIP SURVIVES?

ONE DAY CHUMSHAVING A LAUGH A MINUTE,ONE DAY COMESAND THEY’RE A PART OF YOUR LIVES.

NEW FRIENDS POURTHROUGH THE REVOLVING DOOR —MAYBE THERE’S ONE THAT’S MORE,IF YOU FIND ONE, THAT’LL DO.BUT US, OLD FRIENDS —WHAT’S TO DISCUSS, OLD FRIENDS? —


HERE’S TO US!WHO’S LIKE US?…

TWO OLD FRIENDS,FEWER WON’T DO, OLD FRIENDS —GOTTA HAVE TWO OLD FRIENDSHELPING YOU BALANCE ALONG:

FRANKONE UPBRAIDS YOUFOR YOUR FAULTS AND FANCIES,

MARYONE PERSUADES YOU

CHARLEYTHAT THE OTHER ONE’S

ALL THREEWRONG.

MOST FRIENDS FADEOR THEY DON’T MAKE THE GRADE,NEW ONES ARE QUICKLY MADE,PERFECT AS LONG AS THEY’RE NEW.

BUT US, OLD FRIENDS —WHAT’S TO DISCUSS, OLD FRIENDS? —HERE’S TO US!WHO’S LIKE US?

(In elaborate harmony obviously practiced over the years)DAMN FEW!

GUSSIE(ENTERING with JOE)

Oh, anguish, I hate it when I’ve missed everything.

JOEThe wife here, she misses nothing.

GUSSIEI had no idea the gang would be dropping in. My understudy’s been going on thelast few weeks and Joe insisted, as a courtesy, I must see her. But first I insisted thatJoe must see Frank’s new apartment. Have you ever seen that disaster he was livingin?

Act I Scene 3

MARYI decorated it.

GUSSIEI am calling the Surgeon General tomorrow to have him cut out my tongue.

MARY(To herself, as she turns crossing away)

Promises.

GUSSIE(Going brightly to CHARLEY)

Look, Joe. It’s Charles. Now we can call the night a success.

CHARLEYHi, Gussie. I didn’t hear a doorbell.

GUSSIEI bet that’s because I didn’t ring one. I never do when I have keys. I’m decoratingthis pad. The price was right. Free. Here.

(SHE moves to each one, giving them each a different color swatch fromher large bag)

I picture all the furniture in here the hues of anemones. See…(Crosses to CHARLEY and gives swatch)

a chair,(Crosses to FRANK and gives swatch)

a chair,(Crosses to JOE and gives swatch)

a footstool,(Crosses to MARY and gives swatch)

and a sofa.(MARY frowns)

Oh, I should have a brain transplant. I forgot we bought this teeny, tiny, house-warming nothing. Some awesomely expensive Champagne. I’ll open it.

(Slight pause)“Do.”

(Slighter pause)All right, I will.

MARYLet me go check inside.

CHARLEYAlways nice to see you, Joe. And your wife.


(MARY and CHARLEY EXIT to the bedroom hallway)

GUSSIEJoe, precious, there are glasses in the kitchen. And it’s Frank’s house, so he can do thehonors.

(Hands FRANK the Champagne)Mushi-mushi, darling. We have a curtain to make!

JOEHome one day and already she’s ordering me around.

(JOE EXITS into the kitchen)

GUSSIEHow nice to see the old gang.

(THEY stand far apart, both facing front. GUSSIE lowers her voice,takes out her compact and repairs her make-up; FRANK begins to openthe Champagne as they talk)

Can they see us?

FRANKYes.

GUSSIEI didn’t even unpack. I made up my mind. I’m leaving Joe.

FRANK(Stops opening the Champagne)

He’ll be destroyed.

GUSSIEOr I will be. I’ll call you when I arrive at the theatre.

FRANKI’m supposed to go out.

GUSSIEOh, please, please, you’ve got to wait for my call.

FRANKGussie —

GUSSIEI’m desperate.

Act I Scene 3

FRANK(A pause. Then)

I’ll wait for your call.

GUSSIEConsider yourself kissed.

(MARY, CHARLEY, and JOE RE-ENTER)

JOEYou got this guy everything anyone could ever want in a kitchen except for glasses.

FRANKHere, I’ll get them. They’re still packed.

(HE EXITS, handing the Champagne bottle to JOE)

GUSSIE(Still looking in her compact)

Oh, eek, look at me. That means ‘don’t.’ I’m going to the little boy’s room to repair.(GUSSIE EXITS)

JOEIt’s real first-class Champagne.

MARYI don’t drink.

JOEWhat, never?

MARYWell, hardly ever. I am a very excessive personality. Too much coffee, too muchcigarettes, too much food…

CHARLEYToo much Frank.

(MARY turns away)

JOEIs Frank the only person in the world who doesn’t know you’re in love with him?

(MARY raises a hand for him to stop. JOE then points in the direction ofFRANK and GUSSIE)

And how many people know about those two?


CHARLEY(After exchanging a shocked glance with MARY)

Oh, there must be one or two — who don’t.

JOEI decided not to know. She’s now Broadway’s hottest star and the guy he’s hot, too…obviously in more than one sense. I say let ’em get it out of their systems. As long as,please God, she don’t leave me.

MARYI think Frank’s being gone the last eight months put an end to it.

JOE(Opens Champagne bottle)

Gussie flew over and joined the cruise, you know.

CHARLEYWhat?

MARYWe had no idea Gussie was on the cruise.

GUSSIE(RE-ENTERING)

It will never cease to amaze me how everyone in this town knows everything I do. Itwas only for the last two weeks.

FRANK(ENTERS with tray of glasses, hands it to GUSSIE)

Okay. Pretend these are Champagne glasses.

(JOE fills the glasses)

GUSSIE(Passing the tray)

You’ve got yours. Now, Charley. Just one, Joe. Mary?

MARYNo, thank you.

GUSSIEOh, that’s right, you never do. Well, more for us.

(Raises her glass in a toast to FRANK)To our genius.

Act I Scene 3

JOE(Steps forward)

Thank you. It’s always nice to be appreciated.

(THEY drink)

Okay, Gus, curtain, curtain, we got a curtain.

GUSSIEOh, pooh. But one minute late, God, every column.

JOESo, Frank? We see you after?

MARYFrank’s coming with us.

GUSSIEOh?

FRANKActually what I should do is stay here and get organized.

MARYYou’re kidding, aren’t you?

GUSSIEOh, Mary, now let’s all let Franklin get himself settled in. Goodnight, Mr. All-Work-And-No-Play. And everybody’s favorite, Charley.

JOEDon’t you guys stay strangers now.

(GUSSIE and JOE EXIT to the front hallway)

CHARLEYGoodnight.

(Goes OFF to the bedroom)

MARYYou’re really not coming?

FRANKMary, I can’t leave. Not right now. Just accept that, will you?


MARYPlease, Frank. Please.

(FRANK shakes his head ‘no.’ A moment, then MARY picks up theChampagne bottle)

Here’s to us.(MARRY drinks from the bottle)

FRANKMary!

MARY(Calls to CHARLEY)

Okay, Charley, let’s drop Frankie off and go have ourselves one hell of a time.

(MARY carrying the Champagne bottle, EXITS. CHARLEY ENTERS,carrying an overnight bag over his shoulder, a little boy’s coat and thesleeping FRANK JR.)

CHARLEYI’ll be down in a minute.

(Putting FRANK JR. on piano)Get rid of Gussie, Frank.

FRANK(Putting the coat on the sleeping FRANK JR.)

Gussie’s none of your business, Charley.

CHARLEYBut you are. Get rid of this pathetic life.

FRANKCharley, I love success. I love having two out of two shows hit. Moving up in theworld.

(A pause. Then)I need some time to think.

CHARLEYThen begin by thinking about joining Mary and me tonight. Frank, there’ssomething going on with Mary. She hasn’t written one word since her book took off.Frank, she needs us. She needs both of us.

FRANK(Laying his head on his son’s head, being close)

I made a promise I’d wait for a phone call. I have to. I promised.

Act I Scene 3

CHARLEYWait for her phone call and get out of it once and for all. Then meet us.

FRANKI’ll be there.

CHARLEYYou know, I love you.

FRANKI love you.

CHARLEYI missed you.

FRANKI missed you.

CHARLEYAnd I want us to get back working together.

FRANKGet out of here before the both of us start wailing.

CHARLEY(CHARLEY raises FRANK JR.’S arm, operating it up and down like apuppet and doing a ventriloquist’s voice)

“Goodnight, pop. And listen to Uncle Charley because he’s never wrong.”(CHARLEY hits a bass note on the piano and EXITS, carrying FRANKJR.)

FRANK(Crosses to the piano and answers CHARLEY’S notes, then goes up to thefront hallway)

I’ll see you in just a little bit.(Shouting to the departing CHARLEY)

I miss him already.


#7A Growing Up –– Part 1 (Frank)

(FRANK returns DOWNSTAGE, passing the piano and stops to close thelid, idly noodling an arpeggio on it. HE pauses, sits on the bench andcontinues noodling. Soon the noodling becomes the vamp for “GoodThing Going”)

FRANKTHANKS, OLD FRIENDS…KEEP REMINDING ME…FRANK’S OLD FRIENDSALWAYS SEEM TO COME THROUGH.FRANK WILL, TOO...

(Orchestra enters)SO, OLD FRIENDS,NOW IT’S TIME TO START GROWING UP,TAKING CHARGE,SEEING THINGS AS THEY ARE.FACING FACTS,NOT ESCAPING THEM,STILL WITH DREAMS,JUST RESHAPING THEM.GROWING UP.

(Hits a dissonance with both hands. Fondly)CHARLEY IS A HOTHEAD,CHARLEY WON’T BUDGE.CHARLEY IS A FRIEND.

CHARLEY IS A SCREAMER,CHARLEY WON’T BEND.CHARLEY’S IN YOUR CORNER.

MARY IS A DREAMER,MARY’S A FRIEND.MARY IS A NUDGE.

MARY IS A PURIST,CHARLEY’S A JUDGE.CHARLEY IS A DROPOUT,EVERYTHING’S A “COP-OUT.”WHY IS IT OLD FRIENDSDON’T WANT OLD FRIENDS TO CHANGE?

EVERY ROAD HAS A TURNING,THAT’S THE WAY YOU KEEP LEARNING:

Act I Scene 3

(Noodles with one hand)

SO, OLD FRIENDS,DON’T YOU SEE WE CAN HAVE IT ALL,MOVING ON,GETTING OUT OF THE PAST?SOLVING DREAMS,NOT JUST TRUSTING THEM,TAKING DREAMS,READJUSTING THEM,GROWING UP,GROWING UP.

TRYING THINGS,BEING FLEXIBLE,BENDING WITH THE ROAD,ADDING DREAMSWHEN THE OTHERS DON’T LAST.GROWING UP,UNDERSTANDING THAT GROWING NEVER ENDS.LIKE OLD DREAMS —SOME OLD DREAMS —LIKE OLD FRIENDS.

(HE continues to play for a moment, then becomes aware of GUSSIEstanding at the doorway. He stops playing)

GUSSIEDon’t stop.

FRANKI thought you were going to call.

GUSSIEI said I had a headache and had the car bring me back here.

FRANKI have plans, Gussie. I’m going to meet Mary and Charley. And there is something Ihave to say to you. I think it’s —

GUSSIE(Interrupting)

Frank, I did it. I sent the driver back to take my things to a hotel.


FRANKGussie, don’t. No. You can’t do that! We’ve already destroyed one marriage. I couldnever live with you leaving Joe for me.

GUSSIEI’m leaving him for me.

FRANKBut why? Why suddenly? Why tonight?

GUSSIEI saw tonight I could lose you.

FRANKMy friends are waiting.

#7B Growing Up –– Part 2 (Gussie)

GUSSIEYour friends will be there for you tomorrow. I need you tonight.

(MUSIC under)LIFE IS KNOWING WHAT YOU WANT, DARLING.THAT’S THE ONLY THING TO KNOW.AS I TOLD YOU MOONS AGO, DARLING,NOTHING WRONG WITH WANTING.

NOTHING WRONG WITH WANTING ME, DARLING,ALSO NOTHING WRONG WITH NOT,THOUGH IT’S ONLY FAIR THATYOU SHOULD BE AWARE THATI WANT YOU A LOT.

(Moving slowly towards him)

GROWING UPMEANS ADMITTING THE THINGSYOU WANT THE MOST.CAN’T PURSUEEVERY POSSIBLE LINE.FOLDING TENTS,MAKING CHOICES,IGNORING ALLOTHER VOICES,INCLUDING MINE…YOU’RE DIVINE…

Act I Scene 3

(FRANK moves away a bit)

YOU DECIDE ON WHAT YOU WANT, DARLING,NOT ON WHAT YOU THINK YOU SHOULD.NOT ON WHAT YOU WANT TO WANT, DARLING,NOT FROM FORCE OF HABIT.ONCE IT’S CLEARLY UNDERSTOOD, DARLING,BETTER GO AND GRAB IT.THINGS CAN SLIP AWAY FOR GOOD, DARLING,WHAT IS IT YOU REALLY…

(THEY embrace, then kiss. GUSSIE crosses toward the bedroom.FRANK follows, stopping at the phone. GUSSIE stands in the hallway ashe dials 411)

FRANKMay I have the number of the Downtown Club?

#7C Transition 3 (Company)

(GUSSIE EXITS)

COMPANYYESTERDAY IS DONE.SEE THE PRETTY COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,GATHERING DREAMS.

TRAVELLING’S THE FUN,FLASHING BY THE COUNTRYSIDE…EVERYBODY MERRILY,MERRILYFOLLOWING DREAMS,ROLLING ALONG…ROLLING ALONG…ROLLING ALONG…ROLLING ALONG…

END OF SCENE THREE


SCENE FOUR

(The slide reads: “MANHATTAN COURTHOUSE 1967”)

JUDGE(VOICE-OVER)

In the case of Shepard vs. Shepard, after serious consideration I have made a decisionto close this courtroom to both the press and the public. After a one hour recess wewill reconvene behind closed doors with the next subpoenaed witness. This court isnow adjourned.

(We hear the sound of a gavel.

Lights up on the steps of a COURTHOUSE. The year is 1967. AREPORTER [K.T.] is waiting, impatient and angry, when aPHOTOGRAPHER with a flash camera hurries in)

K.T.You missed the star going in. Stay close. We’ll try to grab her coming out.

PHOTOGRAPHERI left the minute the Peace March broke. Whattaya got?

K.T.Composer’s wife who wants every last cent plus the kid. This cat’s gonna be lucky ifthey let him keep his clothes.

PHOTOGRAPHERI thought you got something hot.

K.T.After the judge reads the deposition of the star witness and suddenly closes thecourtroom to the public, trust me, I got something hot.

(The courthouse doors open and JOE, with GUSSIE wearing sunglassesand scarves to conceal her, ENTERS, moving hastily DOWNSTAGE, asif towards a taxi)

GUSSIE(To JOE, crossing)

It’s an innocent little friendship that’s been blown totally out of proportion.

JOE(Crossing)

You’re a big star. You gotta know better.

Act I Scene 4

K.T.Hold it, Miss Carnegie. Why were you subpoenaed?

JOEOh, financial records, percentage, chasserie…

(GUSSIE pokes JOE; they continue to EXIT, but K.T. and thePHOTOGRAPHER block their way)

K.T.Miss Carnegie, how are you two involved in this scandal?

JOEWe are not involved.

GUSSIE(Pulling JOE away, avoiding the PHOTOGRAPHER)

And it is not a scandal. We have no comment.

K.T.(Blocking them again)

Can you tell us why you are subpoenaed to testify today?

JOEMy wife and me, we are Mr. Shepard’s best friends I guess is why.

GUSSIE(Pokes JOE to stop him. Pulls him along. To K.T.)

Do you not understand that we have no comment?!(GUSSIE pushes K.T.’S microphone away as THEY finally EXIT)

K.T.(To the PHOTOGRAPHER)

And the public knows ‘no comment’ means ‘guilty as hell.’

(JEROME, CHARLEY and MARY ENTER from the courthouse,followed by SCOTTY and TYLER, K.T. and the PHOTOGRAPHERhurry to the steps. JEROME, seeing, the press whispers to CHARLEY,who goes back inside)

K.T.Any statement for the press, counselor?

JEROMEI have no statement.


(To his group)Stay with me.

K.T.I understand Gussie Carnegie is scheduled to testify this afternoon in a closedcourtroom.

JEROMEThat’s what we understand.

K.T.Why?

JEROMEWe have no idea.

(CHARLEY drifts back out)

K.T.Maybe Mr. Shepard could explain. Isn’t Mr. Shepard coming out?

JEROMEMr. Shepard just left by a side exit.

PHOTOGRAPHER(To K.T.)

I know that exit.

(THEY EXIT STAGE LEFT)

JEROME(Looks around for more press, then)

Go get him, Charley.

(CHARLEY signals through the courthouse doors to FRANK, whoENTERS pale, exhausted, frantic)

CHARLEYFrank, this has gone on long enough.

MARYWe all think you should get out of this any way you can.

CHARLEYGive Beth whatever she wants.

Act I Scene 4

FRANKCharley, she wants everything.

JEROMEI warned you in the beginning, Frank, ‘settle for whatever but settle.’ A womancharging ‘abandonment of a wife and child’ … Come on.

FRANKBeth wants to move back to Houston with my son. And I’ll never allow that. Never.

CHARLEYYou know what they’re planning to do today, Frank.

JEROMEWith Beth sitting there with your kid on her lap.

MARYStop it now, Frank. Walk away. Take a trip.

CHARLEYSave yourself all this pain.

FRANKI cannot just lose my family.

TYLERFrank, I’ve taken that yacht. Come on the cruise. Get away. Get some rest.

MARYAnd when you get back you can stay with me.

CHARLEYGo, Frank, go. We all want you out of this. Go. Get away.

FRANKI can’t live without my son.

(BETH, a feminine, strong and tense woman in her late 20s, ENTERSfrom the courthouse, together with MR. SPENCER, her father, andFRANK JR., her son. THEY start to EXIT STAGE LEFT. The boystares back at FRANK as they cross)

Beth!


(BETH continues walking, ignoring him. FRANK screams at the top ofhis lungs)

BEEEEEETH!

JEROMEFrank, don’t make it worse.

FRANKI’m not going to give up, Jerome.

BETH(At the EXIT STAGE LEFT, to MR. SPENCER)

Daddy, wait for me.

MR. SPENCERDon’t be a fool, Elizabeth.

BETHI said ‘wait.’

(Bends down and kisses FRANK JR.)Mommy will be right back. You go with Grandpa.

MR. SPENCERYour mother would turn over in her grave.

FRANK JR.(Looking back as HE is pulled OFFSTAGE by MR. SPENCER, calling)

Daddy! Daddy! Daddy! Daddy!(HE keeps repeating the call into the distance)

BETH(Waiting until JEROME EXITS STAGE RIGHT)

I want you to give up, Frank.

FRANKIt’s not life without my son —

BETHYou’re not going to like what you hear this afternoon.

#8 Not A Day Goes By (Beth)

(MUSIC begins underneath)I’m not out to hurt you, Frank. But I’ll hurt you if I have to.

Act I Scene 4

FRANKHow is Frankie?

BETHHow do you think he is, Frank? All I keep thinking is ‘I could have stopped it.’ I waswarned about Gussie. I could have stopped it.

FRANKDo you still love me?

BETHDid you sleep with her, Frank?

FRANK(Insistently)

Do you still love me?

BETH(Quietly at first)

NOT A DAY GOES BY,NOT A SINGLE DAYBUT YOU’RE SOMEWHERE A PART OF MY LIFEAND IT LOOKS LIKE YOU’LL STAY.

AS THE DAYS GO BY,I KEEP THINKING, WHEN DOES IT END?WHERE’S THE DAY I’LL HAVE STARTED FORGETTING?

(With increasing fury)BUT I JUST GO ONTHINKING AND SWEATINGAND CURSING AND CRYINGAND TURNING AND REACHINGAND WAKING AND DYINGAND NO,NOT A DAY GOES BY,NOT A BLESSED DAYBUT YOU’RE STILL SOMEHOW PART OF MY LIFE,AND YOU WON’T GO AWAY.

(Raging)SO THERE’S HELL TO PAY,AND UNTIL I DIE,I’LL DIE DAY AFTER DAYAFTER DAY AFTER DAYAFTER DAY AFTER DAYAFTER DAY


TILL THE DAYS GO BY!TILL THE DAYS GO BY!TILL THE DAYS GO BY!

(Quietly again)Did you sleep with Gussie?

FRANKI love you, Beth.

BETHDid you want that kind of life so much you went with her?

FRANKI’ll always love you.

BETHBut did you?

FRANK(Looks away. Then)

Yes.

BETH(Puts out her hand and steps toward him)

Frank, I want us to —

(Suddenly FRANK JR. runs ONSTAGE toward FRANK, with MR.SPENCER running in after him)

FRANK JR.Daddy! Daddy! Daddy!

(BETH pulls him back to send him to his grandfather so that she andFRANK can talk)

BETHNo, Frankie, no. You’re to stay with —

FRANK(Holding onto FRANK JR.)

He’s my child, too!

Act I Scene 4

(K.T. and the PHOTOGRAPHER have quickly moved in and suddenlythere is a flash as he shoots a picture of this momentary struggle. FRANKand BETH stop, shocked. FRANK wheels around to thePHOTOGRAPHER)

Get out of here!

(CHARLEY, MARY, JEROME and the others come rushing back in)

BETH(Holding FRANK JR.’S hand, EXITS with him and MR. SPENCER)

I can’t live like this!

FRANKBeth, wait!

(The PHOTOGRAPHER takes another shot of FRANK calling after theEXITING BETH. FRANK turns on him)

I said get out of here!

(FRANK pushes the PHOTOGRAPHER, THEY scuffle and FRANKshoves him down on the ground)

Are you satisfied?

PHOTOGRAPHERIt’s my job, man.

FRANKThen go find a decent one, man.

CHARLEYHey, take it easy. Calm down, buddy. Cool off.

(The PHOTOGRAPHER gets up and crosses to the steps)

K.T.I’ll kill those photos, genius. But you owe me one.

(K.T. also crosses to the steps as CHARLEY leads FRANK back to thegroup)

MARYListen to Charley and me, Frank. We want you to get away.


FRANKJust hold me close, Mary. All I want to do is get back to work.

CHARLEYYou’re in no shape to write, pal. Go off with Tyler for a while.

FRANKI don’t want to go away.

SCOTTYI’m your agent and I’m telling you now is not the time to work.

MARYI love you, Frank. And Charley loves you. Listen to us.

TYLERLiving well is the best revenge!

#9 Now You Know (Scotty, Mary, Tyler, Charley, Frank, Joe, Jerome,K.T., Company)

(MUSIC)

SCOTTYSO YOU’VE MADE A MISTAKE,SO YOU’RE SINGING THE BLUES,SO YOU’LL TAKE SOME TIME,GO VISIT SOME PLACES —

MARYYOU’VE GOT TO BE SOMEWHEREWHERE THERE’S NOTHING TO REMIND YOU —RIGHT?

TYLERWHAT YOU NEED IS A BREAK —I’LL ARRANGE A NICE CRUISE,YOU’LL RELAX A BIT ANDSEE SOME NEW FACES…

CHARLEY, MARYYOU’VE GOT TO DO SOMETHING —ONLY NEVER LOOK BEHIND YOU.

Act I Scene 4

CHARLEY, MARY, TYLERRIGHT?

SCOTTY, TYLER(Enthusiastically to the others)

BEST THING THAT EVER COULD HAVE HAPPENED —

(MARY and CHARLEY shoot them a look)

FRANK(Pleasant, dead)

Right.

JOESO YOU’LL SIT IN THE SUN,YOU’LL COME BACK WITH A TAN,THEN WE’LL DO THAT SHOWYOU’VE ALWAYS BEEN TALKING —

SCOTTYTHE SIDE IS RETIRED,SO WE START ANOTHER INNING —RIGHT?

TYLERON A BOAT IS SUCH FUN —

JEROMEYOU’LL COME BACK A CHANGED MAN —

TYLERI’VE HAD LOTS OF GUESTS ANDNO ONE’S SQUAWKING.

CHARLEY, MARYFEELS LIKE AN ENDING,BUT IT’S REALLY A BEGINNING —RIGHT?

SCOTTYBEST THING THAT EVER COULD HAVE HAPPENED,I SAY, BEST THING THAT EVER COULD HAVE HAPPENED —


TYLER(Overlapping)

BEST THING THAT EVER COULD HAVE HAPPENED —

JOE(Overlapping)

ONE MORE THING NOT TO THINK ABOUT…

JEROME(Overlapping)

IT WAS ALL GETTING MUCH TOO COMPLICATED —

FRANK(Interrupting, edgily)

Right!

(Pause, then MARY steps forward angrily)

MARYALL RIGHT,NOW YOU KNOW:LIFE IS CRUMMY.WELL, NOW YOU KNOW.

I MEAN, BIG SURPRISE:PEOPLE LOVE YOU AND TELL YOU LIES.BRICKS CAN TUMBLE FROM CLEAR BLUE SKIES.PUT YOUR DIMPLE DOWN,NOW YOU KNOW.

OKAY, THERE YOU GO —THAT’S THE SUM OF IT,NOW YOU KNOW.

IT’S CALLED FLOWERS WILT,IT’S CALLED APPLES ROT,IT’S CALLED THIEVES GET RICHAND SAINTS GET SHOT,IT’S CALLED GOD DON’T ANSWER PRAYERS A LOT,OKAY, NOW YOU KNOW.

OKAY, NOW YOU KNOW,NOW FORGET IT.DON’T FALL APART AT THE SEAMS.IT’S CALLED LETTING GO YOUR ILLUSIONS,

Act I Scene 4

AND DON’T CONFUSE THEM WITH DREAMS.IF THE GOING’S SLOW,DON’T REGRET ITAND DON’T LET’S GO TO EXTREMES.

IT’S CALLED, WHAT’S YOUR CHOICE?IT’S CALLED, COUNT TO TEN.IT’S CALLED, BURN YOUR BRIDGES,START AGAIN.YOU SHOULD BURN THEM EVERY NOW AND THENOR YOU’LL NEVER GROW!

BECAUSE NOW YOU GROW.THAT’S THE KILLER IS,NOW YOU GROW.

ALL RIGHT, NOTHING’S FAIR,AND IT’S ALL A PLOT,AND TOMORROW DOESN’T LOOK TOO HOT —RIGHT,YOU BETTER LOOK AT WHAT YOU’VE GOT:

(Pause, then smiling as FRANK doesn’t respond)OVER HERE, HELLO?

(HE looks at her, smiles for the first time)

OKAY, NOW YOU KNOW.RIGHT?

JOESO YOU’LL FIND A NEW GAL —

SCOTTY, JOESO YOU’LL WRITE A NEW PLAY —

JEROME, SCOTTY, JOEIN A MONTH OR TWO,YOU’RE GOING TO THANK US.

MARYYOU MAY HAVE MISSED ONE ROAD,BUT THERE’S PLENTY MORE TO FOLLOW.RIGHT?


TYLERWE’LL GO THROUGH THE CANAL,UP THE COAST TO L.A.YOU’LL COME SEE THE PLACEI’M BUILDING AT TRANCAS.

CHARLEYYOU HANG AROUND HERE, PAL,AND YOU’RE ONLY GONNA WALLOW.RIGHT?

ALLRIGHT!

SCOTTY, K.T., BUNKERBEST THING THAT EVER COULD HAVE HAPPENED!

MARY(Overlapping)

I MEAN, YOU’LL COME BACK,I MEAN, WHAT’S THE FUSS?

CHARLEYI MEAN, SEA AND SUN AND COMFORT PLUS.

CHARLEY, MARYI MEAN, AFTER ALL, YOU’VE STILL GOT US.

ALL(Variously, overlapping)

BEST THING THAT EVER COULD HAVE HAPPENED!IT WAS ALL GETTING MUCH TOO COMPLICATED…BEST THING THAT EVER COULD HAVE HAPPENED!

FRANKRIGHT!YOU’VE GOTTA LET GO,GOTTA DO IT FROM SCRATCH,TAKE A LONG DEEP BREATH,GO BACK TO YOUR SOURCES.A LITTLE VACATION,WHICH IS ALL ABOUT FORGETTING —RIGHT?

Act I Scene 4

ALLRIGHT!

FRANKRIGHT!

(To CHARLEY)THEN WE’LL DO A NEW SHOW —NO, WE’LL DO A WHOLE BATCH —MAYBE ONE THAT’S ALL ABOUT DIVORCES!I MEAN, A DIVORCE COURT —WHAT A FASCINATING SETTING!RIGHT?

ALLRIGHT!

FRANKRIGHT!

ALL(Variously, overlapping)

BEST THING THAT EVER COULD HAVE HAPPENED…BEST THING THAT EVER COULD HAVE HAPPENED…I SAY, BEST THING THAT EVER COULD HAVE HAPPENED…IT’S YOUR TIME, YOUR TIME…YESTERDAY IS DONE.SEE THE PRETTY COUNTRYSIDE.SOON ENOUGH YOU’RE MERRILY,MERRILYROLLING ALONG…ROLLING ALONG…SO YOU’LL SIT IN THE SUN,YOU’LL COME BACK WITH A TAN,IN A MONTH OR TWO,YOU’RE GOING TO THANK US.IT’S YOUR TIME…IT’S YOUR TIME…

(THE COMPANY has assembled to send FRANK off on TYLER’Syacht)

ALL(In unison)

WHAT’S YOUR CHOICE?IT’S CALLED, COUNT TO TEN.


IT’S CALLED BURN YOUR BRIDGES,START AGAIN.YOU SHOULD BURN THEM EVERY NOW AND THENOR YOU’LL NEVER GROW!

BECAUSE NOW YOU GROW.LIFE’S A KILLER,SO NOW YOU GROW.

MARYYOU’RE RIGHT, NOTHING’S FAIR,AND IT’S ALL A PLOT,AND TOMORROW DOESN’T LOOK TOO HOT —

ALLRIGHT, YOU BETTER LOOK AT WHAT YOU’VE GOT:

(Variously, overlapping)OVER HERE, HELLO?OVER HERE, HELLO?NOW YOU KNOW!NOW YOU KNOW!RIGHT!RIGHT!RIGHT!RIGHT!NOW YOU KNOW!

(FRANK is now on the ship next, to BUNKER, wearing a yachting capand waving goodbye to the crowd)

END OF ACT ONE

Act II Scene 1

ACT TWO

#10 Entr’acte (Orchestra)

SCENE ONE

#10A Act 2 –– Opening (Gussie)

(During the entr’acte, the lights slowly come up on GUSSIE, pacing backand forth on an empty stage, dressed in a sexy evening gown)

GUSSIE(Apparently thinking of FRANK)

HE’S ONLY A BOY…WHY DO I THINK HE LOVES ME?MAYBE HE LOVES WHAT I CAN DO FOR HIM.MAYBE HE THINKS THATI’LL COME THROUGH FOR HIM.MAYBE THE MOON IS CHEESE!

AND YET MAYBE,MAYBESOMETHING REAL IS HAPPENING HERE…BUT BABY,YOU’RE A BABY,AND THE MAN I’M MARRIED TO NEEDS ME NEAR…OKAY, THE MOON IS CHEESE!

(Suffering a little too much)AND I LOVE THE GUY I SHOULDN’T,AND I DON’T THE ONE I SHOULD.AH, BUT LOVE IS BLIND,AND I GO FOR THE KINDTHAT I FINALLY FINDIS NO GOOD…

(Suddenly belting to a strip beat, the pacing turns into a musical comedystrut and we realize that we’re watching her perform in a show — shemight even be joined by a couple of Male Dancers here)

IT STARTED OUT LIKE A SONG,IT STARTED QUIET AND SLOW,WITH NO SURPRISE,AND THEN ONE MORNINGI WOKE TO REALIZE


WE HAD A GOOD THING GOING.

(Moving UPSTAGE as if to an audience at the back wall, her voicefading)

IT’S NOT THAT NOTHING WENT WRONG…

(She EXITS UPSTAGE and we are now in an alley outside the stagedoor of the Alvin Theatre in New York. It is opening night of “MusicalHusbands.” The slide reads: ALVIN THEATER 1964.

JOE JOSEPHSON, chewing a cigar and continually checking his watch,ENTERS and paces rapidly back and forth in front of the stage door. Hislook races between the door and stage right, where suddenly LOUDVOICES are heard as CHARLEY, MARY, BETH and FRANK, withfive-year old FRANK JR. asleep in his arms, ENTER, talking loudly)

JOE(Quieting them)

Shhh. Shhhh.... You got an opening night inside or did you forget?

FRANKWe’re sorry. We’re very sorry, but something amazing happened.

JOEI’ll say amazing. When suddenly, right before the eleven o’clock number, this wholepack of you jumps right up out of your seats, turns and races straight up the centeraisle like a bunch of meshugginas.

CHARLEYIt was Evelyn. She suddenly, just like that, she went into labor.

MARYAnd being Evelyn she wouldn’t tell us until her pains were only five minutes apart.We just a second ago got her into a cab.

JOE(To CHARLEY)

Then what the hell are you doing here?

CHARLEYMy wife would not let me into the cab!

FRANKEvelyn refused to let Charley miss our first opening night.

Act II Scene 1

CHARLEYLook! She even brought a tape recorder to record the applause.

JOEFrom your mouth to God’s ear.

FRANKNow the very second the applause is over, Charley — I have the cab waiting — soyou, Beth and I will fly to that hospital in record time, I promise.

(BETH hurries out STAGE LEFT behind the theatre)

JOE(Listening at the door)

They’re quiet.

FRANKVery quiet.

MARYWhen an audience is quiet like that it means they’re really concentrating.

(The three MEN turn and look at her; she shakes her head)

Shut up, Mary.

JOEWe should go back in for the closing.

(Turns, looks up to God)I didn’t mean ‘the closing.’

BETH(RE-ENTERING, to the SPENCERS, taking FRANK JR., pointing off)

Here Momma, now that cab with the meter running right there, that is for Charley.So you and Daddy take that one right behind it.

FRANK(Kissing the sleeping FRANK JR.)

And I’ll see you very soon, little bit, and I’ll tell you every single thing that happened.Oh, I wanted him to be here opening night.

BETHFrank! Now he’s been here opening night. Momma, hurry. And we both thank youvery much and we both love you very much. Now hurry.


MR. SPENCER(EXITING with MRS. SPENCER, carrying FRANK JR.)

I don’t understand why in hell any human being in his right mind would ever, everlive in New York City.

BETH, CHARLEY, FRANK, MARY(Overlapping with MR. SPENCER)

… ever, ever live in New York City.

FRANKCharley? Let’s do another show.

BETHYeaaaaaaa!

MARYAnd then another and then another and then another…

JOEAnd I’ll produce it.

CHARLEYWait a minute, wait a minute. Joe, you’ll produce “Take A Left?”

JOEI say first get yourselves a couple of hits to show that you can make money. Then,then you can do that political flop to show them you got integrity. Me, I’ve got suchan idea for you guys. So commercial. First you’ll hate it, then you’ll love it.

BETHFrank, you know I never say anything. But I am going to say this. For me. For me,just do one more for Joe, and then you can go do “Take A Left.”

FRANKI know the kind of music I want to write. I also know it’s hard on you right now, butBeth, I’m asking you to trust me.

BETHAnd I’m asking you to trust me.

MARYBeth. Guys. Right now is the time you gotta do your own stuff.

Act II Scene 1

BETHYou don’t have a child, Mary. And you just had yourself a best seller. So, of course,that’s all very easy for you to say.

MARYOh, Beth, believe me. Success ain’t all it’s cracked up to be.

FRANKI think Charley and I will handle success very well.

CHARLEYYeah, look how well we’ve handled failure.

#11 It’s A Hit (Joe, Frank, Mary, Beth, Charley)

(Enormous APPLAUSE from inside as JOE opens the stage door.CHARLEY turns on his tape recorder; MUSIC starts)

JOELISTEN TO THAT!

(Another roar of APPLAUSE from inside)WILL YOU LISTEN TO THAT!

(And another)

FRANKDO YOU KNOW WHAT THAT MEANS?LET ME TELL YOU WHAT THAT MEANS —WAIT, NO, ANYONE WHO EVEN THINKS IT,DON’T SAY IT, YOU’LL JINX IT —

(OVATION from CHARLEY’S tape)

CHARLEYLISTEN TO THAT!

(OVATION from inside as JOE opens the stage door)

JOEDID YOU LISTEN TO THAT?

(Another OVATION as JOE EXITS into the theater)

FRANKDOES THAT MAKE YOU FEEL PROUD?WELL, FEEL MORE THAN JUST PROUD —


OKAY, WAIT, I’LL TEMPT FATEAND I’LL STATE IT OUT LOUD:

(OVATION as CHARLEY opens the stage door for a moment and theyall bask in the sound)

THAT’S THE SOUND OF A —(As the music starts to build in speed and excitement)

HIT!IT’S A HIT!GANG, I THINK THIS IS IT!NO MORE WRITING CLEVER LITTLE SHOWSFOR THOSE BASEMENT SALOONS,NO MORE PROCLAMATIONS FROM THE PROSTHAT “YOU CAN’T HUM THE TUNES”—

CHARLEYNO MORE SNEAKING IN AT INTERMISSIONTO THE PLAYS YOU WISH YOU COULD AFFORD —

MARYOR PRODUCERS HAVING YOU AUDITIONWHENEVER THEY’RE BORED —

CHARLEYAND WHO’LL SAYRIGHT AWAYAS YOU PLAYTHE FIRST CHORD:

“Boys, boys, it’s very, very — what is the word? ‘Interesting.’ And if I had even theslightest belief any audiences would come, I would do it in a minute.

(Cups hand to mouth to call the next songwriter)Next!

ALLWE’RE A HIT!WE’RE A HIT!

(Ovation as JOE RE-ENTERS)

JOESTANDING UP —THE WHOLE BIT!

Act II Scene 1

FRANKNO MORE COACHING THOSE SOPRANOSWITH VOICES LIKE BEES —

CHARLEYNO MORE SECONDHAND PIANOSWITH SIX BROKEN KEYS —

MARYNO MORE AGENTS GIVING YOU OPINIONSAS THEY TURN YOU OVER TO THEIR MINIONS —

ALLJUST FOR THESEGUARANTEESWE SHOULD PLEASETHANK THE LORDIT’S A HIT!IT’S A HIT!

BETHWILL MY FOLKS HAVE A FIT!AFTER ALL OF THAT BALONEYTHEY’VE MADE ME GO THROUGH,ALL THAT, ‘HONEY, NOT THAT HE’S A PHONY,BUT WHAT DOES HE DO?’WILL THEIR FACES BE STONYWHEN THEY SEE ON THEIR SONYSOMEONE HANDING THE PHONYTHE TONYAWARD!

FRANK‘I would like to begin by thanking all the hundreds of people who have turned downevery show I have ever written so that I could win tonight for this one.’

(OVATION as CHARLEY opens the stage door)

Thank you!

FRANKLISTEN TO THAT!WILL YOU LISTEN TO THAT?TELL ME, IS THAT A NOISEOR IS THAT A NOISE?


THAT IS A NOISE WE’VE BEEN WAITINGTHE WHOLE OF OUR LIVES TO HEAR!

BETH(Overlapping)

LISTEN TO THAT!DID YOU LISTEN TO THAT?HONEY, IS THAT A NOISEOR IS THAT A NOISE?THAT IS THE LOVELIEST NOISEFOR A BREADWINNING WIFE TO HEAR!

FRANK(Overlapping)

LISTEN TO THAT,WILL YOU LISTEN TO THAT!I CAN’T STAND IT!

MARY(Overlapping)

LISTEN TO THAT!THAT’S OBSCENE!

MARY, JOE(Overlapping)

THAT IS A NOISE,THAT IS REALLY A —LISTEN TO THAT!WILL YOU LISTEN TO THAT?GOLLY, I CAN’T — LISTEN TO THAT!WILL YOU LISTEN TO THAT?

CHARLEY(Simultaneously)

LISTEN TO THAT!FELLAS, THAT IS A NOISE,THAT IS REALLY A NOISE!I CAN’T STAND IT!WILL YOU LISTEN TO THAT!WILL YOU LISTEN TO THAT!

BETH(Simultaneously)

LISTEN TO THAT!DID YOU LISTEN TO THAT?

Act II Scene 1

I CAN’T STAND IT!DID YOU LISTEN TO THAT!LISTEN TO THAT!WILL YOU LISTEN TO THAT!

FRANK(Simultaneously)

LISTEN TO THAT!THAT IS THE NOISE I’VE BEEN WAITINGMY LIFE TO HEAR!LISTEN TO THAT!WILL YOU LISTEN TO THAT!WILL YOU LISTEN TO THAT!

ALLTHAT’S THE SOUND OF AN AUDIENCELOSING ITS MIND!IT’S THE POPE ON HIS BALCONYBLESSING MANKIND!

JOEFOLKS, IT’S “FUNNY GIRL,” “FIDDLER”AND “DOLLY” COMBINED!

ALLIT’S A HIT!IT’S A HIT!IT’S A PALPABLE HIT!

FRANK, CHARLEYIF IT ONLY EVEN RUNS A MINUTEAT LEAST IT’S A WEDGE,IT’S THE THEATER AND WE’RE REALLY IN IT,NOT JUST ON THE EDGE!

JOE(To FRANK and CHARLEY)

IF YOUR SPIRITS EVER NEED IMPROVING,YOU CAN DROP IN ANY NIGHT FOR FREE!

FRANKBUT THE THING THAT’S POSITIVELY MOVING —

CHARLEYYOU COULD HAVE FOOLED ME —


FRANK, CHARLEYIS WE’RE STILL OLD FRIENDS!NOTHING CAN KILL OLD FRIENDS!

FRANK, CHARLEY, MARYWHERE THERE’S A WILL, OLD FRIENDSDON’T NEED SUCCESS TO SURVIVE!

TRIO, BETHAND US, OLD FRIENDS,WHAT’S TO DISCUSS, OLD FRIENDS?

ALLWE’VE GOT A SUREFIREGENUINEWALKAWAYBLOCKBUSTERLINES DOWN TO BROADWAYBOFFOLASENSATIONALBOX OFFICELALAPALOOZAGARGANTUAN —HIT!

(OVATION as THEY open the door again)

IT’S A HIT!

(And again)

IT’S A HIT!IT’S A HIT!IT’S A HIT!IT’S A HIT!

JOEThis is the moment everybody lives for. Now we go in and we fake being modest.

(EXITS into the theater)

CHARLEYNo, no. I’m having a baby.

Act II Scene 1

FRANKWe’re coming.

MARYMe, too.

BETHWhat about the opening party?

CHARLEYYou two go to the party.

(Hands the tape recorder to FRANK, starts to EXIT, turns back)Frank, I’ll do one more for Joe Josephson. But just one more.

FRANK(Puts tape recorder down at the side of the stage)

One more. And then it’s our time.

(FRANK, CHARLEY, MARY and BETH huddle and jump)

CHARLEYOne more.

(THEY hug. BETH cheers. CHARLEY, EXITING STAGE LEFT, toMARY)

Come on.

MARYIn a minute.

BETH(After CHARLEY EXITS, to FRANK)

Frank, I was there for Evelyn’s last baby and I want to be there for this one, too. Butyou go on ahead.

FRANKNo, honey, absolutely not. No, no, no.

BETHYes, yes, yes. I am so proud of you. If I don’t see you at the hospital, I’ll see you athome.

(A slight pause)Oh, I love you so much.


(SHE kisses him and pushes him into the theater. HE EXITS through thestage door and RE-ENTERS UPSTAGE where he is visible backstagethrough the scrim wall)

MARY(Stopping BETH)

Beth, with Gussie there, I urge you to go with Frank.

BETH(Moving)

Sometimes you have to trust, Mary.

MARY(Stopping her again)

And sometimes you don’t.

BETHI would never want a man I couldn’t trust.

(BETH EXITS STAGE LEFT, with MARY following. JOE comes uponFRANK ENTERING from behind the scrim)

JOEHey, Big Man! You got a ride to this fancy–schmancy party?

FRANKI can only stay one or two minutes.

GUSSIE(ENTERING, seeing them, calling down from a level above)

Oh, was that not why we do all this? Was that not just heaven?

JOEI gotta go make nice with the backers. You two take our car.

(EXITING, calling to GUSSIE)I won’t be able to afford this Big Man now, you watch!

GUSSIEOh, what a blessing it’s been to find another pure artist. So often I have just wantedto thank you. But Franklin Shepard, I think there has been a conspiracy to keep youfrom me.

FRANKMiss Carnegie, I owe you so much.

Act II Scene 1

GUSSIEDidn’t I tell you a few years ago, it’s Fate that brought us together.

(Kisses the single rose, throws it down to FRANK)

Now you, all you have done these past months is work, work, work. Tonight let meshow you how divine it is to be number one. Everyone is waiting to meet the man ofthe hour.

(GUSSIE EXITS downstairs as FRANK starts to EXIT in anotherdirection. Then HE remembers CHARLEY'S tape recorder, crosses over,picks it up, starts to EXIT again, but stops. He stands still CENTERSTAGE and presses the ‘Play’ button. the APPLAUSE sounds. FRANKcloses his eyes tightly, swallows, then bows to his imaginary audiencebefore he runs off)

#11A Transition 4 (Company)

COMPANY(Variously)

DREAMS DON’T DIE,SO KEEP AN EYE ON YOUR DREAM,’CAUSE BEFORE YOU KNOWWHERE YOU ARE,THERE YOU ARE.TIME GOES BYAND DREAMS GO DRY,BUT YOU CAN’T GIVE UP ON YOUR DREAMS…

SOLOTEND YOUR DREAMS...

GROUP ISOME ROADS ARE EASY ––

SOLODREAMS TAKE TIME...

GROUP ISOME ROADS ARE ALL UPHILL.

SOLOTIME GOES BY.

GROUP IISOME ROADS YOU PLOD ALONG


WITH A WILL.SOME ROADS YOU TRAVELJUST FOR THE THRILL.

SOLOBEND YOUR DREAMS ––

GROUP IIISOME RIDES ARE BREEZY.

SOLOWITH THE ROAD.

GROUP IIISOME RIDES ARE FULL OFJIGGLES AND BUMPS.

ALLCAN’T LET IT GET YOUDOWN IN THE DUMPS.DON’T LET IT GET YOUDOWN IN THE DUMPS!

SOLONINETEEN SIXTY-FOUR…

SOLONINETEEN SIXTY-THREE…

SOLONINETEEN SIXTY-TWO…

END OF SCENE ONE

Act II Scene 2

SCENE TWO

#12 The Blob –– Part 1 (Company)

(GUSSIE and JOE’S brownstone on Sutton Place, complete with pianoand cocktail pianist. Door panels UPSTAGE lead to an adjoininggreenhouse. A huge PARTY is going on. The slide reads “SUTTONPLACE 1962”)

GUESTS (GROUP I)(Solos variously)

HAVE YOU SEEN — ?HOW WAS IT — ?YOU’RE NOT SERIOUS!DO YOU MEAN — ?THAT DOES IT!YOU’RE NOT SERIOUS!


DARLING!WE BOUGHT THE MOST — !DARLING!WE HAD THE BEST — !DARLING!WE SAW THE FIRST —DARLING!WAS THAT THE WORST — ?

GROUP III(Overlapping)

DID YOU READ — ?IT’LL NEVER — !WE SAW THE FIRST — !WHAT THEY NEED — !DID YOU EVER — !WAS THAT THE WORST — ?IT’S THE —

ALL GUESTSBEST — !IT’S THE FIRST — !IT’S THE FINEST — !IT’S THE LATEST — !IT’S THE LEAST — !


IT’S THE WORST — !IT’S THE ABSOLUTELY LOWEST — !IT’S THE GREATEST — !IT’S THE SINGLE — !IT’S THE ONLY — !IT’S THE PERFECT — !IT’S THE —

GROUP IHI!

GROUP IIDREADFUL!

GROUP IIIFABULOUS!

(Loud BABBLE fading under dialogue as FRANK and BETH ENTER)

BETHFrank! Frank!

(FRANK looks at her. SHE points to someone OFFSATGE)

It’s the Mayor. God.

FRANK(Impatient)

I know. I know.

BETH(Gasps. Gasps again)

Frank! Look! She’s my favorite actress.(Points OFFSTAGE again, very excited)

FRANK(Wanting her to stop this)

I see. I see.

BETHBut did you see who she’s with?

FRANK(Embarrassed)

Beth, I’m not looking for celebrities. I’m looking for Charley.

Act II Scene 2

BETHWell, Frank, you can do both. I never saw so many famous people.

(Suddenly SHE lets out a loud squeal, points UPSTAGE and all theblasé GUESTS stop and look UPSTAGE)

ALLWHAT?WHO?WHERE?

(The GUESTS see the ENTERING CHARLEY, at whom they stare indisappointment)

OH…

(The CROWD turns away. Very loud BABBLE, continuing more softlyunder the dialogue; MUSIC continues under throughout the scene, exceptwhen noted)

CHARLEY(Crossing to FRANK)

What did he say?

FRANKI haven’t talked to him yet. But it’s obvious he didn’t invite us here because we’d fitin so well. I’m more sure than ever that he wants to option our show.

CHARLEYI’m sure, too. But let’s not be too sure.

(Showing his inner pockets filled with pastries)I just have the pastry concession, you’re the one who’s supposed to handle thebusiness.

FRANKI’m handling it, Charley. You watch. All this time we’ve put into our writing, it isfinally going to pay off.

BETHI don’t care what he asks, you just say ‘yes.’ All I want is for us to be rich as long aswe’ve been poor.

FRANK(Quieting her)

Beth, there are a lot of sophisticated people here.


BETH(Teasing)

Oh, God. If I’d known that, I would have worn earrings.

FRANK(Seeing something across the room)

Come on. Let’s go.

CHARLEYWhat’s going on?

FRANKThose people over there. They’re smoking marijuana.

BETHI’ve smelled that before. In the Village. I thought it was autumn.

#12A The Blob –– Part 2 (Company, Gussie)

FRANKCome on.

GUESTS(In small groups)

DARLING!WE SAW THE NEW — !DARLING!WE HAD THE MOST —!BAD,WAS IT GOOD?IT’S THE BIGGEST!HE’S A GENIUS!WELL, HE CAN’T —BUT HE USED TO!IT’S THE DUMBEST —SHE’S A GENIUS!IT’S THE — !

FRANK(Spotting GUSSIE, puts his hand out)

Hi. I don’t know if you remember me. I’m Franklin Shepard. That’s CharleyKringas, who writes my lyrics.

Act II Scene 2

(GUSSIE gives CHARLEY a big hug, squashing all the pastries)

And this is Beth. My wife, Beth.

GUSSIERemember you? You’re the reason we’re giving this bash. According to ouraccountant, anyway.

(To BETH)Do you write songs too?

BETHNo, right now I’m the family breadwinner.

GUSSIEYou don’t mind if I kidnap him, do you?

(Without waiting for a reply, GUSSIE whisks FRANK to one side.CHARLEY EXITS to clean up all the pastry mess from GUSSIE’S hug)

I have invited the richest and the most influential people in this town tonight. Notone of whom is as rich or influential as you’re going to be. I call them the Blob. Theyabsorb everything.

MEET THE BLOB,THE BODIES YOU READ ABOUT.THE ONES WHO KNOW EVERYONETHAT EVERYONE KNOWS.

GROUP IIIHI!

GROUP IDREADFUL!

GROUP IIFABULOUS!

GUSSIEMEET THE BLOB.NOT MANY AND YET —

GUESTS(To each other)

OH.RIGHT…


GUSSIE— YOU NEVER SEE ONE —

GUESTSWHAT?NO!

GUSSIETHEY COME AS A SET.

GUESTSWHO? —HIM?

GUSSIEAND WE’RE IN THEIR DEBT —

GUESTSBUT WHAT DID YOU THINK?

GUSSIE’CAUSE, HONEYBUNCH,THEY WRITE THE BOOKSAND PUT ON THE SHOWSAND RUN THE SALOONSAND DESIGN THE CLOTHES.THEY KEEP US NATIVES ON OUR TOES.

GROUP IIIALBEE!

GROUP IIWARHOL!

GROUP IKUROSAWA!

GUSSIETHEN THEY READ THE BOOKSAND GO TO THE SHOWSAND SWAMP THE SALOONS,WEARING ALL THE CLOTHES…WHAT YOU MIGHT CALL A GLUT,BUTTHEY’RE THE MOST IMPORTANT PEOPLE

Act II Scene 2

IN THE MOST IMPORTANT CITYIN THE MOST IMPORTANT COUNTRYIN THE YOU-KNOW-WHAT!

GROUP IIIHEAVY!

GROUP IIMILTOWN!

GROUP IGESTALT!

(PARTY NOISE. GUSSIE brings FRANK back to his friends)

#12B The Blob –– Part 2 (Underscore) (Off-stage piano)

GUSSIE(Grabbing two wine glassesfrom a passing WAITER)

Beth, darling, you don’t have any hooch.

(Turning to give a glass to BETH, GUSSIE in her haste, or perhapsdeliberately to get rid of her, spills it all down the front of BETH'S dress)

Oh, no. I’m going to open my veins.(GUSSIE turns to find JOE)

BETHIt’s okay.

(Quietly, to Frank)It better be. Since now I own it.

GUSSIEJoe. Joe. Hurry up. We have a gigantic catastrophe.

(To BETH)Oh, this is scandalous.

(JOE leaves a Group, crossing over, leaning in to kiss GUSSIE'S cheek.She pulls away in irritation)

Joe, take this gorgeous person up to my closet and she is going to choose some rag ofmine. Move, Joe, please. I am paralyzed with shame.

JOEDid you talk to my wife? We got something in mind. Maybe for Broadway.


GUSSIEJoe, if you don’t hurry I am going to throw myself down the garbage disposal. Nowmove!

(JOE EXITS, BETH hurrying to stay close behind to conceal the spot. ToFRANK)

Your new songs are just beautiful.

FRANK(Taking out some lead sheets)

I brought over some newer ones.

GUSSIE(Laughing)

You’re wonderful.

FRANKI just admire people like you so much. You seem to know everyone and doeverything.

GUSSIEYes, I do. One day I just made myself up. Now I never change. Instead I change thepeople around me.

(Behind FRANK'S back SHE has waved SCOTTY over)Scotty!

(As SCOTTY hurries to her)Precious, this is your new client, Franklin Shepard.

SCOTTYYou can give me a holler tomorrow. Or I can yell on you.

(Indicating phone to ear)I’m in the book.

FRANK(Indicating phone to ear)

So am I.

GUSSIESee, look how much you two have in common.

(Throws SCOTTY a kiss; moving away with FRANK)I just found you an agent.

(GUSSIE and FRANK cross UPSTAGE through a Door Panel;GUSSIE opens the door to the greenhouse and they ENTER. When she

Act II Scene 2

shuts the door behind her, the PARTY SOUNDS and MUSIC stop,though the party continues in pantomime)

Joe gave me this greenhouse as a wedding present. He has a tendency to worship me.

FRANKIt’s great.

GUSSIEIf you like it, take it home. I married Joe because he liked me and I liked this life. Imarried the one before him because, well I believed him when he said he could write.And the first one? Well, I don’t think first ones really count, do you?

FRANKThis greenhouse seems as out of place in New York as I do.

GUSSIE(Meaning more)

Only at first, darling. Now I find it the best thing about this dump. How old areyou?

FRANKTwenty-five. Which doesn’t bother me. Then I think, “I’m a quarter of a century”and I panic. There’s so much I want to do and I can’t get started. I can’t —

(Stops himself)

GUSSIEHere’s something I do when I want to get to know somebody very well, very fast. It’sa game. I tell you something honest about me and you answer me right away withsomething honest about you. I call it ‘Trading Hostages.’ I’m not very happy.

(Pause)Go on. ‘I’m not very happy.’

FRANKI’m very happy.

GUSSIEHmm. I’m inches away from the top.

FRANKI’m miles away from the top. Make that hundreds of thousands of miles away.

GUSSIEPerforming is my life.


FRANKComposing is my life.

GUSSIESuccess is not happening fast enough.

FRANKSuccess is not happening at all.

GUSSIEI’ve been in five Broadway shows.

FRANKI’ve seen the second act of every one.

GUSSIESomeone’s cheating. I’ve done five Broadway shows.

FRANKMe, I can’t get started. I can’t —

GUSSIEMy first love is singing.

FRANKMy first love is music.

GUSSIEMy second love is acting.

FRANKMy second love is music.

GUSSIEI believe it’s Fate that brought us together.

(A pause)Anyhoo, I did all those Broadway shows, most which didn’t last as long as thisconversation, and Joe has just optioned a vehicle that can change my life. And yours.We both want you and your partner to do the score.

(Big smile. FRANK doesn’t smile back)Do I see disappointment on that sweet face?

FRANKWe were hoping he wanted to do “Take A Left.” The show Charley and I auditionedfor him.

Act II Scene 2

GUSSIEOh no, darling, not at all.

FRANKIt’s just that we’ve been working on it for three years.

GUSSIEWell, you can do this one much faster. But he wants me to make sure youunderstand we want it fast, loud and funny.

#12C Growing Up (Gussie)

I need a hit. What do you say?(No reply. A long beat. MUSIC begins underneath, slow and sinuous.GUSSIE sings quietly, with understanding)

LIFE IS KNOWING WHAT YOU WANT, DARLING,THAT’S THE THING YOU HAVE TO KNOW.YOU’LL GET EVERYTHING YOU WANT, DARLING,HAVE A LITTLE PATIENCE.

CLIMBING MOUNTAINS CAN BE SLOW, DARLING,TAKE IT EASY AS YOU CLIMB.I’D SAY YOU’RE A WINNER,ALSO A BEGINNER —ONE STEP AT A TIME.

GROWING UP,IT’S WHAT THEY CALL GROWING UP.IT’S WHEN WE’RE ALL STARTING OUTAND STARTING TO SWAY.

GROWING UP,YOU HATE THE DELAY,BUT AFTER TODAYYOU’LL BE ON YOUR WAY.SO WHAT DO YOU SAY?…HMMM?

(MUSIC continues underneath)

FRANK(A long, painful, agonizing decision. Then quietly)

Okay.


GUSSIENow this is not a show about subtle and it’s not big on depth. It’s flash, bam,curtain. It’s fun, it’s opulent, it’s Broadway.

FRANK(Unhappy)

Okay.(FRANK closes his eyes very tightly and swallows)

GUSSIE(SHE smiles, turning to leave)

What was that? A second thought?

FRANK(Surprised by her presence)

Oh, that’s just something I do when I want to hold onto a moment. I close my eyesvery tight and I swallow. Like I take a picture that I can treasure.

GUSSIE(Not understanding at all, smiles)

You’re a treasure.

(THEY cross UPSTAGE, EXIT the Greenhouse, and RE-ENTER theparty. The loud BABBLE and MUSIC burst upon them)

#12D The Blob –– Part 3 (Company)

GUESTS(As before)

IT’S THE BEST, IT’S THE FIRST,IT’S THE FINEST, IT’S THE LATEST,IT’S THE LEAST, IT’S THE WORST,IT’S THE ABSOLUTELY LOWEST,IT’S THE GREATEST, IT’S THE SINGLE,IT’S THE ONLY, IT’S THE PERFECT,IT’S THE…

GUSSIE(Sitting on the piano keys, her rump bouncing up and down, to getattention)

Shhhh. Shhhhh. Now I want everyone who hasn’t drunk, smoked or gorged toomuch to hurry over here. Chop chop.

Act II Scene 2

(As the GUESTS start to gather around the piano, SHE heads back toFRANK. BETH, pushing her way through the GUESTS, is modelingone of GUSSIE’S dresses for FRANK)

BETHFrank! Oh, Frank, will you look at this — !

FRANKOh, honey, it’s beautiful.

(To MARY, who has ENTERED close behind)Mary, where have you been?

MARYI had to borrow a dress. From the guy upstairs.

(FRANK laughs, kisses MARY on the cheek)

GUSSIE(To BETH)

Oh, darling, it looks wonderful on you. Keep it. I’m too fat to wear it anyway.

BETHOh, Gussie, this is our friend Mary Flynn. Mary’s a copy editor, but real soon she’sgoing to have her first book coming out.

MARY(To GUSSIE)

I’m sorry I’m late. So glad you didn’t wait.

BETHMary, Charley and Frank are these totally inseparable friends.

FRANKWell, I have to separate for a minute. I’ve got to go find Charley.

GUSSIE(Stopping him)

Oh, no. I’ve got plans for you.(To MARY)

Mary Flynn, would you be as sweet as you look and go get him Charley. Thank youthis much.


(Kisses her finger and puts it on MARY'S nose. As the smiling GUSSIEturns to BETH, MARY follows her with clawed hands, then crosses awayto find CHARLEY)

Your husband is the most talented composer I’ve ever heard. I hope it’s all right thatI’m crazy about him.

BETH(Smiling back, happily)

I hope it’s all right, too.

(THEY share a big, girlish laugh, as the GEUSTS jabber away. GUSSIEcrosses and sits up and down on piano keys again quieting the crowd)

GUSSIEAll right, quiet everybody. Please quiet. Listen now, because one day you are going tobe able to say, “I was there when.”

(MARY brings CHARLEY over)

I have next to me the most exciting composer ever, ever, ever, and he is going to playa song he’s written, and when he finishes you are all going to want to swallow poison,because there will be nothing more to live for.

(From the brief exchange which follows between FRANK andCHARLEY, which we see but do not hear, it is clear FRANK welcomesthis opportunity and that CHARLEY has, at best, mixed feelings aboutit)

So find a place to park it, fermez all those bouches, and I am honored to now presentFranklin Shepard and Charles… some funny name…

(GUSSIE makes a face, curtseys, and pretends to shoot herself forforgetting)

Anyway, this song is from a little show that they want to do, that we hope will be in abig show we want to do.

CHARLEYIn a big show? Frank, what the hell is she talking about?

FRANKLater. Sing.

Act II Scene 2

#13 Good Thing Going (Charley, Frank)

(FRANK starts to play the intro on the piano)

CHARLEY(Rattled and nervous at first, but gradually becoming calmer and moreconfident as he receives encouraging glances and signs from MARY andBETH and a sense that the listeners are enthralled)

IT STARTED OUT LIKE A SONG.WE STARTED QUIET AND SLOW,WITH NO SURPRISE.AND THEN ONE MORNING I WOKETO REALIZEWE HAD A GOOD THING GOING.

IT’S NOT THAT NOTHING WENT WRONG:SOME ANGRY MOMENTS, OF COURSE,BUT JUST A FEW.AND ONLY MOMENTS, NO MORE,BECAUSE WE KNEWWE HAD THIS GOOD THING GOING.

AND IF I WANTED TOO MUCH,WAS THAT SUCHA MISTAKEAT THE TIME?YOU NEVER WANTED ENOUGH —ALL RIGHT, TOUGH,I DON’T MAKETHAT A CRIME.

(A few wordless bars, during which HE and FRANK exchange a warmand happy look)

AND WHILE IT’S GOING ALONG,YOU TAKE FOR GRANTED SOME LOVEWILL WEAR AWAY.WE TOOK FOR GRANTED A LOT,BUT STILL I SAY:IT COULD HAVE KEPT ON GROWING,INSTEAD OF JUST KEPT ON.WE HAD A GOOD THING GOING,GOING,GONE.


(Much APPLAUSE and OOHING and AHHING follows)

GUSSIE(Leading the applause, yelling)

Wait, wait, wait! Keep them there. We want to hear it again. Tell them. Wouldn’tyou all just like to live your entire life to that music? Down, everybody, down, down,down. They’re going to do it again. One mo’ time!

(Said as SHE moves around organizing PEOPLE, so they can see better)

CHARLEYFrank, no. Say ‘no.’

MARYCharley’s right.

BETHThey loved it.

FRANKThey thought we were great.

CHARLEYAnd you know what true greatness is? It’s knowing when to get off.

FRANKI’ll sing with you. Come on.

#13A The Blob –– Part 4 (Charley, Frank, Dory, Gussie, Joe, Guests)

(THEY start again, clearly to CHARLEY’S discomfort)

CHARLEY, FRANKIT STARTED OUT LIKE A SONG.WE STARTED QUIET AND SLOW,WITH NO SURPRISE.AND THEN ONE MORNING I WOKETO REALIZE —

DORY CHARLEY, FRANK(To two other guests, stage whisper)

I SAID, ‘JOE, — WE HAD ATHIS SHOW GOOD THING GOING.WILL BE A WATERSHED.’

Act II Scene 2

GUSSIESHHH!

CHARLEY, FRANKIT’S NOT THAT NOTHING WENT WRONG:SOME ANGRY MOMENTS —

SCOTTY CHARLEY, FRANKDID YOU HEAR — ? — OF COURSE,

GUESTNO KIDDING –– !

2ND GUESTYOU’RE NOT SERIOUS! BUT JUST A FEW,

MARYSHH!

GUEST CHARLEY, FRANKSHH! AND ONLY MOMENTS,

JOE(Loudly humming along out of tune)

DADADADADA —

GUESTS CHARLEY, FRANKIT’S A CLEAR CASE OF NO MORE,TAMMANY POLITICS… BECAUSE WE KNEW —

(CHARLEY and FRANK continue singing, but the GUESTS’ attentiongradually splinters; THEY start singing to each other, gradually ignoringFRANK and CHARLEY)

CHARLEY, FRANK–– WE HAD A THING GOOD THING GOING.

GUESTS(Simultaneously, variously)

WE WERESTUCK IN THE TUNNELTILL HALF PAST SIX!

CHARLEY, FRANKAND IF I WANTED TOO MUCH


WAS THAT SUCHA MISTAKEAT THE TIME?

GUESTS(Simultaneously, variously)

IT’S A SHOW THAT’LL MURDER ’EM IN THE STICKS.DID YOU READ — ?IT’LL NEVER — !WHAT WE NEED — !DID YOU EVER — !TILL HALF PAST SIX!IT’S A CLEAR CASE OF TAMMANY POLITICS…DID YOU READ — ?IT’LL NEVER — !THEY JUST DON’T MIX!WHAT WE NEED — !DID YOU EVER — !TILL HALF —

CHARLEY, FRANK(Simultaneously)

YOU NEVER WANTED ENOUGH ––ALL RIGHT, TOUGH ––

GUSSIESHHHHHHHHHHHHHH!

(The NOISE stops completely for a minute, as a shouting FRANK andCHARLEY self-consciously lower their voices)

FRANK, CHARLEYI DON’T MAKE THAT A CRIME…

(There is a loud LAUGH from one group of GUESTS. CHARLEY slamsdown his music on the piano and EXITS as FRANK, MARY and BETHhurry after him, leaving the GUESTS, who don’t notice)

GROUP I GROUP IIDARLING!WE SAW THE NEW —DARLING!WE HAD THE MOST —BAD, DID YOU READ — ?WAS IT GOOD? IT’LL NEVER —IT’S THE BIGGEST, THEY JUST DON’T MIX.HE’S A GENIUS! WHAT WE NEED —

Act II Scene 2

WELL, HE CAN’T — DID YOU EVER —BUT HE USED TO! TILL HALF PAST SIX!IT’S THE DUMBEST, IT’S A SHOWSHE’S A GENIUS! THAT’LL MURDER ‘EMIT’S THE BEST, IN THE STICKS…IT’S THE FIRST, IT’S A CLEAR CASEHE’S A GENIUS! OF TAMMANY –– POLITICS…IT’S THE LEAST,SHE’S A GENIUS!IT’S THE ABSOLUTELY LOWEST!THEY’RE A GENIUS!

ALLIT’S THE GREATESTIT’S THE SINGLEIT’S THE ONLYIT’S THE PERFECTIT’S THE ONEIT’S THE REALIT’S THE TRUEIT’S THE FINALIT’S THE…

#13B Transition 5 (Company)

COMPANYTRAVELLING’S THE FUN,FLASHING BY THE COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,CATCHING AT DREAMS.

YESTERDAY IS DONE.SEE THE PRETTY COUNTRYSIDE,EVERYBODY MERRILY,MERRILY…

NINETEEN SIXTY-ONE…

SOME ROADS ARE EASY,SOME RIDES ARE BREEZY,SOME ROADS THE RIDE GETS OUT OF CONTROL,GRINDS TO A HALT AND ENDS IN A HOLE,SOME ROADS YOU STALL BEFORE YOU CAN ROLL…


END OF SCENE TWO

Act II Scene 3

SCENE THREE

#14 Bobby and Jackie and Jack (Charley, Frank, Beth, Pianist)

(The set has become The Downtown Club, a small night club —checkered tablecloths, candles in Chianti bottles, where FRANK, BETH,CHARLEY and a PIANIST are performing their act to a very sparseAUDIENCE which includes JOE JOSEPHSON and GUSSIE. Theslide reads: THE DOWNTOWN CLUB 1960)

CHARLEYNINETEEN SIXTY…

BETHIT’S NINETEEN SIXTY…

FRANKAND GOSH, WHAT A SWELL YEAR IT’S BEEN!

ALL THREESO MANY BLESSINGS,SUCH WONDERS IT HAS BROUGHT,YOU HARDLY KNOW WHERE TO BEGIN:THERE’S XEROXAND LASERS,THE TWIST AND THE “PILL,”A CITY IN BRAZIL…

BETH…THAT NO ONE WANTS TO FILL…

ALL THREEKHRUSHCHEV STOPPED SCREAMINGAND LIBRIUM CAME IN.

CHARLEYAND NIXON DIDN’T WIN.

ALL THREEGOODBYE THEN TO IKE AND THE BRASS,TO YEARS THAT WERE COZY BUT CRASS.

FRANKIT’S TRUE IKE WAS ICKY,


CHARLEYBUT BETTER HIM THAN DICKY —

ALLNOW MEET THE FIRST FIRST FAMILY WITH CLASSEN MASSE.

(THEY exit behind a rain curtain. The pianist plays an Irish jig andthey reappear with Kennedy wigs and accoutrements. FRANK andCHARLEY now sing in broad Harvard accents, BETH in whispers)

CHARLEYTHERE’S BOBBY —

BETHAND JACKIE —

FRANKAND JACK —

ALL THREEAND MYRIADS MORE IN THE BACK:THERE’S ETHEL AND TEDDY AND PAT ALONE,

CHARLEYPLUS EUNICE

BETHAND PETER

FRANKAND JEAN

PIANISTAND JOAN

CHARLEYAND WHAT’S-HIS-NAME — ?

BETHSTEPHEN.

FRANKAND HOLD THE PHONE —THE ONE IN THE ARMY —

Act II Scene 3

BETH, CHARLEYONE IN THE ARMY?

FRANKCAPTAIN… MAJOR…

CHARLEYSARGENT!

FRANKTHAT’S IT!

ALL THREESO MANY CARDS IN THE PACK.YOU WANT TO KNOW HOW TO KEEP TRACK?WELL, ONE IS GOOD-LOOKINGAND YOUNG AND RICHWHILE ONE IS GOOD-LOOKINGAND YOUNG AND RICH,THE REST ARE GOOD-LOOKINGAND YOUNG AND RICH —THERE ISN’T A LOT THAT THEY LACK,NOT BOBBY AND JACKIE AND JACKAND ETHEL AND TED AND EUNICEAND PAT AND JOANAND STEVE AND PETERAND JEAN AND SARGE —THERE’S PROBABLY DOZENS OF OTHERS AT LARGE,GOD KNOWS —AND JOE AND ROSE.

(CHARLEY plays a tin whistle while FRANK and BETH dance.BETH’S parents, MR. and MRS. SPENCER ENTER DOWNSTAGE,speak to the WAITER [TYLER] and sit at an empty table)

ALL THREEWE’RE BRINGING BACK STYLE TO THE WHITE HOUSE.

BETHI’M PAINTING IT BEIGE FOR A START.

ALL THREEWE’RE MAKING IT INTO A CULTURAL LIGHTHOUSE


CHARLEYFOR GLAMOUR

BETHAND BEAUTY

FRANKAND ART.

BETHEVENINGS OF THE BUDAPEST PLAYING VIVALDIAND MUNCH DOING BITS OF RAVEL.I’LL GET LEONTYNE PRICE TO SING HERMEDLEY FROM “MEISTERSINGER”AND MARGOT FONTEYN TO DANCE “GISELLE.”

CHARLEYTogether?

BETHWON’T IT BE PERFECTLY SWELL?

FRANKWE’LL HAVE BERNSTEIN PLAY NEXT ONTHE BECHSTEIN PIANO —

CHARLEYAND AUDEN READ POEMS AND STUFF.

BETHAND GALINA —

(Making a lot of the pronunciation)— VISHNEVSKYA,

FRANK, CHARLEYGESUNDHEIT!

BETHTHE RUSSIAN SOPRANO —JUST PRONOUNCING HER NAMEIS REFRESHING ENOUGH!

ALL THREEWE’RE BRINGING BACK STYLE TO THE WHITE HOUSE,WITH CASUAL CULTURE THE RULE.

Act II Scene 3

FRANKLET’S HAVE TEBALDI —

CHARLEY(Nods)

SHE MAKES A GUY FEEL GOOD.

BETHAND OLEG CASSINI —

(As FRANK and CHARLEY and PIANIST look at her)

WELL, I THINK HE’S REAL GOOD.

CHARLEYAND HOW ABOUT HEIFETZ?

BETHAND CALLAS!

FRANKAND GIELGUD!

ALL THREEAND LATER WHEN EVERYTHING’S COOL,WE’LL PUSH THEM ALL INTO THE POOL.

(Another Irish jig. The BOYS toss a football at each other while BETHtakes pictures of them; CHARLEY jumps on FRANK’S back)

FRANKO.K., Bobby. I’ll make you Attorney General. Just get off my back.

CHARLEYWITH BOBBY

BETHAND JACKIE

FRANKAND JACK,

ALL THREETHE WHITE HOUSE IS UNDER ATTACK.


FRANKEIGHT YEARS IS THE LIMIT BUT EIGHT WILL DO,

CHARLEYBY THEN THERE’LL BE BOBBY —

PIANIST— AND TEDDY, TOO —

BETHOR PETER OR STEPHEN —

FRANK, CHARLEY, PIANIST(To BETH)

OR EVEN YOU —

BETHOOH!— AND THEN THERE’S THE COLONEL —

FRANK, CHARLEYCOLONEL?

BETHMAJOR?

FRANK, CHARLEYMAJOR?

BETHYOU KNOW!

FRANKSARGENT.

BETHYES…

ALL THREEDOZENS TO TAKE UP THE SLACKIF ANYTHING GOES OUT OF WHACK.

FRANKAND SOME DAY ELECTIONS WILL BE UNKNOWN

Act II Scene 3

BETH’CAUSE EACH OF OUR KIDS WILL ASCEND THE THRONE

CHARLEYAND THEIR KIDS HAVE MORE KIDS WITH KIDS OF THEIR OWN

—

FRANK— IT’S SORT OF A FAMILY KNACK —

ALL THREETILL MOST OF THE NATION’SMADE UP OF RELATIONSOF BOBBY AND JACKIE AND JACKAND ETHEL AND TED AND EUNICEAND PAT AND JOANAND STEVE AND PETER AND JEAN AND SARGEAND JOE AND ROSE AND ROWS AND ROWSAND ROWS AND ROWS AND ROWS AND ROWS —THE DECADE IS STARTING ANEW,

(Crossing their fingers)AND MAYBE THE COUNTRY IS, TOO.

#14A Bobby and Jackie and Jack Playoff (On-stage piano)

(The PERFORMERS bow left and right. BETH and CHARLEY EXITbehind the rain curtain)

FRANK(As Master of Ceremonies)

Ladies and gentlemen, the cast of our revue, “Frankly Frank,” now in its fifthsuccessful, not quite record-breaking month, thanks you for coming to the UpstairsRoom at the Downtown Club, where we do two shows every night. With theexception of tonight.

(CHARLEY runs across the stage with a “Just Married” sign, from whichdrag the old shoes and tin-cans tied to it, indicating FRANK is gettingmarried tonight)

Cut that out. Anyway, please come back and bring a friend. Or come back and makea friend. Or just come back and be a friend. Thank you.


(FRANK EXITS BACKSTAGE. The lights come up on TYLER crossingto JOE JOSEPHSON, who sits next to a much younger GUSSIE)

TYLERExcuse me, but I got really excited when I saw your name on the reservation list, Mr.Josephson. Me, I’m just a waiter here. Well, actually, I’m holding down threedifferent jobs, but only until I can get my invention launched. See, I have invented abrand new machine that can answer your telephone if you’re not at home. Or even ifyou are. But somehow I just cannot get all the investors I need.

JOEKid, kid, I’m sorry, but there are answering services with operators already that, guesswhat, do exactly for people what you want this vercockte machine here to do.

TYLERMr. Josephson, I’m looking for only four thousand dollars and for that I will rightnow sign a contract giving you fifty percent of the return.

JOEWhoooa. I live in a penthouse, kid, not in an asylum. Now I will invest my last redcent you come up with a sound idea, something like this new 3D movie process.

(To GUSSIE, as TYLER gathers his papers, puts JOE’S check on thetable and EXITS S.L.)

When the hell am I ever going to meet a waiter who’s just a waiter?

MARY(Crossing to the SPENCERS, who are clearly not happy)

Hello, Mr. and Mrs. Spencer. I’m Mary Flynn. Frank and Beth’ll be out in less thana minute.

(MARY sits)I bet you’re excited about the wedding.

MRS. SPENCER‘Excited’ is not the word.

MARYYou cannot imagine how important Frank is going to be someday.

MR. SPENCERNo, we can’t.

MRS. SPENCERDo you work in the show business too?

Act II Scene 3

MARYI’m just a fan. But I have never heard music like Frank’s.

MR. SPENCERUs neither.

MARY(Letting that pass)

I work for “Look” magazine.

MRS. SPENCERSee, now there’s a steady, secure job.

MARYI hate it.

MRS. SPENCERWell, maybe that’s why they call it ‘work.’

(MARY joins them now in sitting in silence. FRANK and BETH emerge frombackstage, holding hands and silently wish each other luck. Then BETH crosses toHER PARENTS as FRANK crosses to JOE JOSEPHSON)

FRANKMr. Josephson, do you remember me? I’m Frank Shepard. Our whole cast is justoverwhelmed is what they are, that an important man like you would actually comedown to see our little revue.

JOEAnd you recall Shirley Molinsky here? Now Gussie Carnegie? She fixed the nose, shefixed the clothes, she fixed the name, and take a look what was underneath all that.

GUSSIEOh you. I used to work part time as his secretary to pay for classes.

FRANKWe’ve all seen and admired you on stage so much.

JOEA big talent wasted in little shows, up until me. But you boys must be doingsomething right, because the fiancée here is going through one hell of a divorce andyou guys made her laugh.

GUSSIEJoe, Joe, Joe.


(Hits JOE, then to FRANK)I thought it was just peaches.

FRANKOh, see, us, we’re usually light years better. But everybody was just, God, so nervousthat the two of you were here. And this is a pretty nervous night for me, anyway. I’mgetting married.

JOEIs it the girl in the show?

FRANK(Nodding)

Beth —

JOEYou’re awfully young. Marry in haste, repent in Reno.

FRANKI’m twenty-three. The guy who does the lyrics is my age and he’s got a babyalrea —

(CHARLEY joins FRANK)

Excuse me, Mr. Josephson, you remember Charley Kringas from the time weauditioned for you? My collaborator?

CHARLEYYeah, I collabor him and he collabors me.

(CHARLEY proceeds to wilt as no one laughs)

JOE(Getting ready to leave)

Mazeltov. Your stuff’s getting more commercial, which is good because, trust me, ifyou’re going to get married you’re going to need bucks. But ask me, I say unless thegirl is pregnant, get out of it.

(CHARLEY and FRANK look at each other, then CHARLEY looksdown and FRANK looks away. After watching them for a tense moment,JOE gets it and drops his smile)

Have a good wedding.

GUSSIE(Crossing to FRANK)

I don’t forget talented people, Hank.

Act II Scene 3

FRANKFrank.

(GUSSIE kisses her index finger, puts it on Frank’s nose, EXITS withJOE)

CHARLEYFrank, you know unless you really want to you don’t have to.

FRANKI want to, Charley.

(MARY leaves BETH, who has been miming arguing with her parentsand crosses to FRANK and CHARLEY)

MARYFrank, if there’s any truth at all that we turn out like our parents, you’re in bigtrouble.

FRANKMary, do you think I’m making a wrong decision?

MARYIf you really want to know what I —

BETH(Arriving; interrupting)

Frank, now don’t faint, but my parents want to speak with us before the ceremony.

(MARY and CHARLEY standing between them, simultaneously backup, leaving FRANK and BETH alone)

Frank, I’m not pregnant.

FRANKWhat?

BETHDo you still want us to get married?

FRANKDo you?

BETHBefore, my reason was the baby. Now my reason is you.


FRANKAnd my reason is you.

BETHI am pregnant.

FRANKBeth!

BETHI just wanted to be sure.

(THEY cross to the SPENCERS)

MRS. SPENCERElizabeth.

BETHMomma, how do I look?

MRS. SPENCERYour father and I just want to say one thing, Elizabeth.

BETHMomma, you’ve said it all. For two days.

MRS. SPENCERThe man doesn’t even have a real job!

(To FRANK)My daughter told me she was going back to being a legal secretary just to supportyou.

BETHMomma, now I told you that in private!

FRANKMrs. Spencer, what I want to do with my life isn’t to play in this club. I want towrite music. And to be able to do that I play here, I accompany singers at auditions, Iplay for dance classes, I do arrangements, I do anything I can so I can just keep onwriting music.

MR. SPENCERBoy, we’re prepared to give you two thousand dollars right here, right now.

Act II Scene 3

BETHDaddy!

MR. SPENCERJust call this sorry excuse for a wedding off.

FRANKMr. Spencer, Beth and I are getting married. We hope it’s with your blessing, but weare getting married.

CHARLEY(Crossing in)

The minister just got here.

BETHWhere’s Evelyn?

MRS. SPENCERWho’s Evelyn? The minister, I suppose.

CHARLEYEvelyn is my wife. She’s way in the back of the room. See, often they have to stopweddings right in the middle because of her sobbing. Which I try not to takepersonally.

BETHLet’s start.

MRS. SPENCERElizabeth?

(Stopping BETH, taking off a ring)

Here’s Grandma’s ring.

BETHOh, thank you, Momma.

(Hugging MRS. SPENCER, then hugging MR. SPENCER)Daddy.

(BETH and FRANK cross into positions. THE SPENCERS are leftalone)

MRS. SPENCERWell, at least he’s not black.


(The MINISTER, who is black, walks through the rain curtain)

MR. SPENCERAnd at least she’s not pregnant.

(MRS. SPENCER sees the MINISTER and does a huge ‘take’)

MINISTERMy dear friends, good evening. Before the marriage vows, Frank and Beth have eachasked to speak. Frank?

#15 Not A Day Goes By –– Act 2 (Beth, Mary, Frank)

(MUSIC under)

FRANKBeth, I am so happy to be marrying you in the very place where I met you and grewto love you. And I would like very much to thank our dear, close friends for beingwith us on this, the most important moment in both of our lives.

MINISTERBeth?

BETH(Turns to FRANK)

NOT A DAY GOES BY …

(LIGHT on MARY crossing to DOWNSTAGE table)

MARYNOT A SINGLE DAY …

MARY, BETHBUT YOU’RE SOMEWHERE A PART OF MY LIFEAND IT LOOKS LIKE YOU’LL STAY.

FRANK, MARYAS THE DAYS GO BY,I KEEP THINKING, WHEN DOES IT END?

BETHTHAT IT CAN’T GET MUCH BETTER MUCH LONGER.BUT IT ONLY GETS BETTER AND STRONGERAND DEEPER AND NEARER

Act II Scene 3

FRANK, BETHAND SIMPLER AND FREE-ERAND RICHER AND CLEARER…

TRIOAND NO,NOT A DAY GOES BY,

MARYNOT A BLESSED DAY ––

BETH, MARYBUT YOU SOMEWHERE COME INTO MY LIFEAND YOU DON’T GO AWAY.

TRIOAND I HAVE TO SAY,IF YOU DO, I’LL DIE.

FRANK, BETHI WANT DAY AFTER DAYAFTER DAY AFTER DAY

FRANK, BETH, MARYI’LL DIE

TRIODAY AFTER DAYAFTER DAY AFTER DAYAFTER DAYTILL THE DAYS GO BY,

(FRANK puts wedding ring on BETH’S finger)

FRANK, BETHTILL THE DAYS GO BY,

(FRANK and BETH kiss)

MARYTILL THE DAYS GO BY!


(The LIGHTS fade and go out)

#15A Transition 6 (Tyler, Dory)

SOLO IHOW DOES IT HAPPEN?ONCE IT WAS ALL SO CLEAR.HOW DID YOU GET SO FAR OFF THE TRACK?WHY CAN’T YOU TURN AROUND AND GO BACK?

SOLO IIHOW DOES IT HAPPEN?WHERE IS THE MOMENT?WHEN DID THE ROAD BEHIND DISAPPEAR?

SOLO IWHERE DID YOU LET THINGS SLIP OUT OF GEAR?

BOTHHOW DID YOU EVER GET TO BE HERE?NINETEEN FIFTY-NINE…

END OF SCENE THREE

Act II Scene 4

SCENE FOUR

#16 Opening Doors (Charley, Frank, Mary, Joe, 1st Girl, Beth)

(The slide reads: NEW YORK CITY 1957-1959. CHARLEY is at atable with a portable electric typewriter; FRANK is at a piano, pencil inmouth, manuscript paper spread in front of him)

CHARLEY(Types)

FRANK(Picks out a phrase on the piano)

CHARLEY(Types)

FRANK(Plays the phrase, changing two notes)

CHARLEY(Types, a bit more energetically; the MARGIN BELL rings; HE returnsthe carriage, rolls it up, starts to read what he has written)

FRANK(Changes another note)

CHARLEY(Grunts in displeasure)

FRANK(Tries another note)

CHARLEY(Rolls the carriage down)

FRANK(Tries another note, getting desperate)

CHARLEY(X’s out what he has written)

FRANK(Tries the phrase again, changes another note, finally slams his fist downin the bass and throws the pencil down in disgust. MUSIC under. Thefollowing lines are spoken)


FRANKHOW’S IT GOING?

CHARLEYGOOD. YOU?

FRANKFAIR.

CHARLEYYEAH, TELL ME.

(The PHONE RINGS; FRANK answers)

FRANKCHINESE LAUNDRY.

(LIGHT on MARY at her desk, phoning)

MARYHI.

FRANK(To CHARLEY)

MARY.

CHARLEYSAY HELLO.

MARY(Sings)

I THINK I GOT A JOB.

FRANK(Spoken)

WHERE?

MARYTRUE ROMANCES.

FRANKPOSING?

MARYTHANK YOU, WRITING CAPTIONS.

Act II Scene 4

FRANKWHAT ABOUT THE BOOK?

MARYWHAT ABOUT THE BOOK?

FRANKNOTHING, ARE YOU WORKING ON THE BOOK?

MARYYES…

FRANKGOOD.

MARYNO…

FRANK(Admonishing)

MARY —

MARYRIGHT, I KNOW, YES, ME AND BALZAC...

CHARLEY(Types)

FRANK(Adds a chord to the tune)

MARY(Types slowly, looking up at the carriage after each letter)

CHARLEY(Types with enthusiasm)

FRANK(Tries two chords)

CHARLEY(Rolls the carriage up and reads)

FRANK(Tries another chord combination)


MARY(Types)

CHARLEY(Rolls the carriage down and starts X’ing out what he has written asMARY continues typing)

FRANK(Plays the phrase with two new chords, then whistles it while writing itdown)

MARY(Reads what she has written, groans, slumps in despair)

CHARLEY(Slumps in despair)

FRANK(Sighs, puts the pencil down, slumps)

(MARY, FRANK and CHARLEY cross DOWNSTAGE, each in aseparate light)

CHARLEYI FINISHED THE ONE-ACT.

FRANKI GOT AN AUDITION —

MARYI STARTED THE STORY.

FRANK— REHEARSAL PIANIST.

CHARLEYSO WHERE ARE WE EATING?

MARYI’M MOVING TO PLAYBOY.

FRANKTHE PUBLISHER CALLED ME.

CHARLEYI’M DOING A REWRITE.

Act II Scene 4

MARYMY PARENTS ARE COMING.

FRANKI SAW “MY FAIR LADY.”

CHARLEYI REWROTE THE REWRITE.

FRANKI SORT OF ENJOYED IT.

MARYI THREW OUT THE STORY.

CHARLEYI’M MEETING AN AGENT.

ALLWE’LL ALL GET TOGETHER ON SUNDAY.

WE’RE OPENING DOORS,SINGING, “HERE WE ARE!”WE’RE FILLING UP DAYSON A DIME.THAT FARAWAY SHORE’SLOOKING NOT TOO FAR.WE’RE FOLLOWING EVERY STAR.THERE’S NOT ENOUGH TIME!

(MUSIC continues under; the stage becomes alive with activity:CHARLEY being interviewed by an AGENT; FRANK playing the samebars of rehearsal music over and over while DANCERS rehearse; MARYmeeting a musician on a subway.

FRANK suddenly gets an idea, plays his phrase in the middle of the“rehearsal” and writes it down excitedly, then crosses, as do CHARLEYand MARY)

FRANKI CALLED A PRODUCER.

CHARLEYI SENT OFF THE ONE-ACT.


MARYI STARTED THE STORY.

FRANKHE SAID TO COME SEE HIM.

CHARLEYI DROPPED OUT OF COLLEGE.

MARYI MET THIS MUSICIAN.

FRANKI’M PLAYING A NIGHTCLUB.

CHARLEYTHEY’RE DOING MY ONE-ACT.

MARYI’M WORKING FOR REDBOOK.

FRANKI REWROTE THE BALLAD.

MARYI FINISHED THE STORY.

CHARLEYWE STARTED REHEARSALS.

MARYI THREW OUT THE STORYAND THEN THE MUSICIAN,I’M MOVING TO POPULAR SCIENCE.

ALLWE’RE OPENING DOORS,SINGING, “LOOK WHO’S HERE!”BEGINNING TO SAILON A DIME.THAT FARAWAY SHORE’SGETTING VERY NEAR!WE HAVEN’T A THING TO FEAR —WE HAVEN’T GOT TIME!

Act II Scene 4

(ALL THREE throw themselves simultaneously into activity as MUSICcontinues under; CHARLEY and MARY type ferociously while FRANKwhistles and hums as he tries out a different vamp for his tune. After abit, HE hits a chord triumphantly, turns, and looks over at CHARLEYas MARY picks up her phone and starts to dial)

FRANK(Spoken)

HOW’S IT COMING?

CHARLEYGOOD. YOU?

FRANKDONE.

CHARLEYONE MINUTE…

(The PHONE RINGS)

FRANK(FRANK answers)

HAMBURG HEAVEN…

MARYHI.

FRANK(To CHARLEY)

MARY.

CHARLEYSAY HELLO.

MARY(Sings)

I GOT ANOTHER JOB.

FRANK(Spoken)

WHERE?

MARYCHIC.


FRANKWHAT’S THAT?

MARYA BRAND NEW CONCEPT:POP-UP PICTURES.

FRANKWHAT ABOUT THE BOOK?

MARYWHAT ABOUT THE BOOK?

FRANKDID YOU GIVE THE PUBLISHER THE BOOK?

MARYYES…

FRANKGOOD…

MARYNO…

FRANK(Admonishing)

MARY…

MARYLOOK, I NEVER —

CHARLEY(Ripping the paper out of the typewriter)

FINISHED!

FRANK(Into phone)

LET ME CALL YOU BACK.

MARYRIGHT.

Act II Scene 4

(SHE hangs up; LIGHT out on her)

CHARLEY(Coming to FRANK)

THIS IS JUST A DRAFT.

FRANKRIGHT.

CHARLEYPROBABLY IT STINKS.

FRANKRIGHT.

CHARLEYI HAVEN’T HAD THE TIME TO DO A POLISH…

FRANKWILL YOU SING?

CHARLEYRIGHT!

WHO WANTS TO LIVE IN NEW YORK?WHO WANTS THE WORRY,THE NOISE, THE DIRT, THE HEAT?WHO WANTS THE GARBAGE CANSCLANGING IN THE STREET?SUDDENLY I DO.

(During the following, JOE JOSEPHSON is wheeled in by hisSECRETARY [GUSSIE] and starts to listen judiciously, as GUSSIEwaits behind the chair; FRANK and CHARLEY are auditioning forhim; CHARLEY sings, as FRANK accompanies him)

THEY’RE ALWAYS POPPING THEIR CORK —

I’ll fix that line —

THE COPS, THE CABBIES,THE SALESGIRLS UP AT SAKS.YOU GOTTA HAVE A REAL TASTE FOR MANIACS —SUDDENLY I DO!


JOE(Interrupting them, all smiles)

THAT’S GREAT! THAT’S SWELL!THE OTHER STUFF AS WELL.IT ISN’T EVERY DAYI HEAR A SCORE THIS STRONGBUT FELLAS, IF I MAY,THERE’S ONLY ONE THING WRONG:

(To FRANK'S tune)THERE’S NOT A TUNE YOU CAN HUM.THERE’S NOT A TUNE YOU GOBUM-BUM-BUM-DI-DUM —YOU NEED A TUNE TO GOBUM-BUM-BUM-DI-DUM —GIVE ME A MELODY!

WHY CAN’T YOU THROW ’EM A CRUMB?WHAT’S WRONG WITH LETTING ’EMTAP THEIR TOES A BIT?I’LL LET YOU KNOW WHENSTRAVINSKY HAS A HIT —GIVE ME SOME MELODY!

OH, SURE, I KNOW,IT’S NOT THAT KIND OF SHOW.BUT CAN’T YOU HAVE A SCORETHAT’S SORT OF IN BETWEEN?LOOK, PLAY A LITTLE MORE,I’LL SHOW YOU WHAT I MEAN…

(FRANK resumes at the piano)

CHARLEY(Overselling)

WHO WANTS TO LIVE IN NEW YORK?I ALWAYS HATED THE DIRT, THE HEAT, THE NOISE.BUT EVER SINCE I MET YOU, I —

JOE(Shaking his head, still smiling)

LISTEN, BOYS,MAYBE IT’S ME,BUT THAT’S JUST NOT AHUM-MM-MM-MM-MM-MM-MM-ABLE MELODY!

Act II Scene 4

WRITE MORE, WORK HARD,LEAVE YOUR NAME WITH THE GIRL.LESS AVANT GARDE —LEAVE YOUR NAME WITH THE GIRL.JUST WRITE A PLAIN OLDMELODEE-DEE-DEE-DEE-DEE-DEE…

(HE is humming “Some Enchanted Evening” — incorrectly)DEE-DEE-DEE-DEE-DEE-DEE…

(GUSSIE wheels JOE off S.R. FRANK and CHARLEY standDOWNSTAGE dejectedly for a moment; MARY joins them)

CHARLEYTHEY’RE STOPPING REHEARSALS,THEY RAN OUT OF MONEY…

MARYWE LASTED ONE ISSUE.MY BOOK WAS REJECTED…

FRANKTHE NIGHTCLUB WAS RAIDED.I HAVE TO START COACHING…

MARYMY PARENTS ARE COMING.

CHARLEYTHEY SCREWED UP THE LAUNDRY.

FRANKMY WALLET WAS STOLEN.

MARYI SAW THE MUSICIAN.

CHARLEYWE’RE BEING EVICTED.

MARYI’M HAVING A BREAKDOWN.

ALLWE’LL ALL GET TOGETHER ON SUNDAY.


THEY’RE SLAMMING THE DOORS,SINGING, “GO, AWAY!”IT’S LESS OF A SAILTHAN A CLIMB.THAT FARAWAY SHORE’SFARTHER EVERY DAY.WE’RE LEARNING TO RICOCHET…WE STILL HAVE A LOT TO SAY…

(A beat)

FRANKYOU KNOW WHAT WE’LL DO?

CHARLEY(Spoken)

WHAT?

FRANK(Sings)

WE’LL DO A REVUE.

CHARLEY(Spoken)

WHAT?

MARYWHAT?

FRANK(Sings)

WE’LL DO A REVUE OF OUR OWN!

MARY(Spoken)

WHAT?

CHARLEYWHERE?

MARYWHY?

CHARLEYWHEN?

Act II Scene 4

FRANKNOT JUST SONGS BUT STORIES,SCENES, PIANO PIECES, MIME —

CHARLEYYEAH!

MARY(Pantomiming a sign)

“FRANKLY FRANK”…

FRANK(Sings)

A SHOWCASE OF OUR OWN!

CHARLEY(Spoken)

WHERE?

FRANK(As the scene changes to the audition)

THE CLUB’S REOPENING.

MARYWE’LL WRITE A LOT OF NEW STUFF —

CHARLEYREWRITE OLD STUFF —

FRANKWHAT ABOUT THE GIRL?

CHARLEYWHAT ABOUT THE GIRL?

FRANKONLY THAT WE’RE GONNA NEED A GIRL.

CHARLEYWELL, MARY —

MARYTHANKS, I DON’T PERFORM EXCEPT AT DINNER.


(During the above, TWO GIRLS hold rehearsal copies of music, ready toaudition. The FIRST GIRL starts, singing shrilly and off-key as a pianistaccompanies her)

FIRST GIRLWHO WANTS TO LIVE IN NEW YORK?WHO WANTS THE WORRY,THE NOISE, THE DIRT, THE HEAT?WHO WANTS THE GARBAGE CANS CLANG —

I can sing higher!

FRANKThank you for coming. Next eight, please.

SECOND GIRL (BETH)THEY’RE ALWAYS POPPING THEIR CORK —

FRANKUp a tone.

BETH— THE COPS, THE CABBIES,THE SALESGIRLS UP AT SAKS —

FRANK(Exchanging a look of approval with MARY and CHARLEY)

Up a tone.

BETH— YOU GOTTA HAVE A REAL TASTE FOR MANIACS —

FRANKThank you. You’re hired.

BETH(Offers her hand)

I’M BETH.

FRANKI’M FRANK.

BETHI REALLY THOUGHT I STANK.

Act II Scene 4

MARY(Offers her hand)

I’M MARY.

CHARLEY(Offers his hand)

CHARLEY.

FRANKBY THE WAY,I’M TOLD WE OPEN SATURDAY.

(Pause)

OTHERSWHAT?!

MARYYOU’RE NOT SERIOUS!

CHARLEYNOBODY’S READY!

FRANKAPPARENTLY SOMEBODY CANCELED A BOOKING.

CHARLEYTHE SONGS AREN’T FINISHED.

MARYAND WHAT ABOUT COSTUMES?

BETHAND HOW DO I LEARN ALL THESE NUMBERS?

FRANKI’LL BRING YOU THE COPIES OF EVERYTHINGLATER THIS EVENING.

BETH(Simultaneously)

OKAY, BUT I’LL HAVE TO HAVEALL OF THE MUSIC ANDSATURDAY I’VE GOT TO SING AT A WEDDING.OH GOD, IS THERE DANCING, ’CAUSE I’M NOT A DANCER…


CHARLEY(Simultaneously)

NOT TO MENTION I STILL HAVEN’T FINISHEDTHE SYNANON SONG OR THE KENNEDY NUMBER,AND WHAT’LL WE DO ABOUT GETTING PUBLICITY,RUN AROUND TOWN PUTTING STICKERS ON WINDOWS?…

FRANK(Simultaneously)

YOU DON’T HAVE TO, WE’LL SEGUE THE END OF IT INTO THEDANCE WE CUT OUT —

NO, WE’LL USE IT BUT NOT WITH THE LONGINTRODUCTIONS…

MARY(Simultaneously)

AND HAVE WE DECIDED OR NOT ON THE RESTAURANTSKETCH?

I NEED TWO OR THREE DAYS AT THE LEAST TO REPLACE IT…

ALLWE’LL WORRY ABOUT IT ON SUNDAY!

WE’RE OPENING DOORS,SINGING, “HERE WE ARE!”WE’RE FILLING UP DAYSON A DIME.THAT FARAWAY SHORE’SLOOKING NOT TOO FAR.WE’RE FOLLOWING EVERY STAR —THERE’S NOT ENOUGH TIME!

WE’RE BANGING ON DOORS,SHOUTING, “HERE AGAIN!”WE’RE RISKING IT ALLON A DIME.THAT FARAWAY SHORE’SLOOKING NEAR AGAIN.THE ONLY THING LEFT IS WHEN.WE KNOW WE SHOULD COUNT TO TEN —WE HAVEN’T GOT TIME!WE HAVEN’T GOT TIME!

Act II Scene 4

#16A Transition 7 (Beth, Frank Jr., Mrs. Spencer)

BETH, FRANK JR.BENDING WITH THE ROADGLIDING THROUGH THE COUNTRYSIDE.MERRILY WE ROLL ALONG,ROLL ALONG,CATCHING AT DREAMS.

BETH, FRANK JR., MRS. SPENCERDREAMS THAT WILL EXPLODE,WAKING UP THE COUNTRYSIDE,EVERYBODY MERRILY,MERRILY,SING ‘EM YOUR SONG,ROLLING ALONG!

BETH, FRANK JR.ROLLING ALONG!

FRANK JR.ROLLING ALONG!

END OF SCENE FOUR


SCENE FIVE

(The time is five-thirty AM, just before dawn on New York City’s 110thStreet. We are on the rooftop of an old tenement building.

FRANK is in his Army uniform, sitting reading a script. It is very cool.When FRANK hears the sound of CHARLEY coming he tucks the play inthe rear of his belt and looks out over the city. The slide reads: AROOFTOP ON 110th STREET 1957)

CHARLEY(Having just woken up; binoculars on a strap around his neck)

What are you doing up on the roof?

FRANKI dunno. I just came up here.

CHARLEYWell, you could have told a person.

FRANKYou were asleep.

CHARLEY(Looks at watch)

The alarm just went off. You see anything?

FRANKUh-uh.

CHARLEYIs something wrong?

FRANKNo.

CHARLEYWhat are you doing up here so early?

FRANKI couldn’t sleep.

(Takes out the plays)Charley, I read your two plays last night. They were so wonderful I couldn’t sleep.

Act II Scene 5

CHARLEYI thought you were mad. I have to tell all the people who stay over to always wake mewhenever they think I’m wonderful.

FRANKI tossed and turned and kept thinking about wasting these last two years in theArmy. Then to come back and read your plays —

CHARLEYWasting? What about that music you played for me? Talk about wonderful.

FRANKReally?

CHARLEYYes! Frank, you don’t just write what you know…

(Points to his head)… you write what you know.

(Points to his heart)

FRANKOkay, this play — “Pretty Politics?” About the Senate pages. What do you thinkabout making it into a musical?

CHARLEYGo on.

FRANKI got a better title — “Take A Left.”

CHARLEYThat’s a better title?

FRANKI think it’s important.

#17 Our Time –– Part 1 (Frank, Charley)

(MUSIC under)Musicals are popular. They’re a great way to state important ideas. Ideas that couldmake a difference. Charley, we can change the world.

SOMETHING IS STIRRING,SHIFTING GROUND…IT’S JUST BEGUN.


EDGES ARE BLURRINGALL AROUND,AND YESTERDAY IS DONE.

FEEL THE FLOW,HEAR WHAT’S HAPPENING:WE’RE WHAT’S HAPPENING.DON’T YOU KNOW?WE’RE THE MOVERS AND WE’RE THE SHAPERS.WE’RE THE NAMES IN TOMORROW’S PAPERS.UP TO US, MAN, TO SHOW ’EM…

IT’S OUR TIME, BREATHE IT IN:WORLDS TO CHANGE AND WORLDS TO WIN.OUR TURN COMING THROUGH,ME AND YOU, MAN,ME AND YOU!

(MUSIC continues under. MARY ENTERS: very young, in slippers andpajamas, with rollers in her hair, carrying binoculars. SHE sees the twomen and with an “Oh” starts back inside)

CHARLEYHi!

FRANK(To MARY)

Hi! It’s just about time.

MARYWe just wanted to see. My roommate and — excuse me.

(Turns abruptly and hurriedly EXITS)

CHARLEYShe’s probably from Barnard. Barnard girls are dippy.

FRANKWhat time is it now?

CHARLEYQuarter to six. You ever think about getting married?

FRANKNo.

Act II Scene 5

CHARLEYMe either.

(Shrugs)When I’m a lot older, maybe.

#17A Our Time –– Part 2 (Frank, Charley)

(MUSIC)

FRANKFEEL HOW IT QUIVERS,ON THE BRINK…

CHARLEYWHAT?

FRANKEVERYTHING!GIVES YOU THE SHIVERS,MAKES YOU THINKTHERE’S SO MUCH STUFF TO SING!AND YOU AND ME,WE’LL BE SINGING IT LIKE THE BIRDS,ME WITH MUSIC AND YOU THE WORDS,TELL ‘EM THINGS THEY DON’T KNOW!

BOTHUP TO US, PAL, TO SHOW ’EM.

OUR TIME, BREATHE IT IN:WORLDS TO CHANGE AND WORLDS TO WIN.OUR TURN, WE’RE WHAT’S NEW,ME AND YOU, PAL, ME AND YOU!

FEEL THE FLOW, HEAR WHAT’S HAPPENING:WE’RE WHAT’S HAPPENING!LONG AGOALL WE HAD WAS THAT FUNNY FEELING,SAYING SOMEDAY WE’D SEND ’EM REELING,NOW IT LOOKS LIKE WE CAN!…

CHARLEYSOME DAY JUST BEGAN.


BOTHIT’S OUR HEADS ON THE BLOCK.GIVE US ROOM AND START THE CLOCK —OUR TIME COMING THROUGH,ME AND YOU, PAL,ME AND YOU!ME AND YOU!

(MUSIC fades under. CHARLEY looks up to see MARY, rollers out anda robe over her pajamas in the doorway)

MARYI didn’t mean to be so overdressed before. Am I too late?

FRANKNo, not at all. Just about now.

MARYMy roommate is coming up, too.

CHARLEYI’m Charley Kringas and this is Frank Shepard.

MARYI’m Mary Flynn.

CHARLEYWe just took the apartment on five.

FRANK(Interrupting, trying to get her to stay)

I’m not officially moved in until I’m discharged from the army next week.

CHARLEYFrank just got a weekend pass to help us move in. A lot to move in. A typewriter,two mattresses and a piano.

MARY(Surprised, to FRANK)

Are you the one playing the piano the last two days?

FRANK(To CHARLEY)

We’re evicted.

Act II Scene 5

MARYOh, no. You’re wonderful. Sincerely wonderful.

FRANKI’m sincerely grateful.

MARYI even came up here on the roof to hear you better.

(Awkward; blushing)I tell everything, then go home and suffer.

(To CHARLEY, teasing)Are you sincerely wonderful, too?

CHARLEYI write.

FRANKHe is…

CHARLEYMe Columbia. Him Julliard.

MARYThat’s what I want to do. Write.

(To FRANK)How does anybody compose music though? To me that is the gift of gifts.

FRANKI just met the girl I ought to marry. Did anybody ever tell you, you say all the rightthings?

MARYNever. But I really want to know.

FRANKWell, writing music is not about words. It’s about sounds and feelings and… To me,music is about everything.

(CHARLEY mockingly laughs and points at FRANK)

MARYAnyway, it’s so creative.

FRANKIf I didn’t have music, I’d die.


CHARLEYSome day Frank is going to be a very important composer.

MARYHe is.

(To FRANK)I think you already are.

(Suddenly MARY'S roommate runs in, her hair in pin-curls, wearing herrobe)

MARY’S ROOMMATEMary, are you —

(Sees them all)Oh! You’re with guys!

(Squealing, she turns and runs out)

MARYEvelyn! Evelyn!

(MARY turns to them)

That was Evelyn.

CHARLEY(Checking his watch)

We better look now. It’s supposed to be right now.(CHARLEY and MARY look through their binoculars)

FRANKSee anything?

CHARLEYI hope we didn’t miss it. It should come right over…

(HE looks and spots it)

There! There it is!

MARYI see it!

FRANKWhere?

Act II Scene 5

MARY(Giving FRANK her binoculars and pointing)

There it is. There.

FRANKIt’s just phenomenal.

MARYPhenomenal.

CHARLEYDon’t you wish it was ours.

FRANKIt’s everybody’s.

MARYDo you call it, Sputnik —

(short “u”)or Sputnik?

(long “u”)

CHARLEYYou call it a miracle. God.

(FRANK gives the binoculars to MARY; she and CHARLEY lookthrough them)

FRANKWe’ve got to be the luckiest people who ever lived.

(Reverentially, HE closes his eyes tightly and swallows, ‘taking a picture’)After this moment… This moment that the three of us are sharing here together…Nothing’s ever going to be the way is was, not ever again. Do you guys realize thatnow we are going to be able to do anything? I mean anything we ever dreamed of.What a time to be starting out. What a time to be alive.

#17B Our Time –– Part 3 (Frank, Charley, Mary, Company)

(MUSIC begins. During the following, the rest of the COMPANY driftson, singly and in pairs, dressed in pajamas, bathrobes, hastily thrown-oncoats, etc., some with binoculars, some not, but all coming to witness thebirth of a new era in the sky)

SOMETHING IS STIRRING,SHIFTING GROUND…IT’S JUST BEGUN.


CHARLEYEDGES ARE BLURRINGALL AROUND,AND YESTERDAY IS DONE.

MARYFEEL THE FLOW,HEAR WHAT’S HAPPENING:

MARY, CHARLEY, FRANKWE’RE WHAT’S HAPPENING.DON’T YOU KNOW?WE’RE THE MOVERS AND WE’RE THE SHAPERS.WE’RE THE NAMES IN TOMORROW’S PAPERS.UP TO US NOW TO SHOW ’EM…

ALLIT’S OUR TIME, BREATHE IT IN:WORLDS TO CHANGE AND WORLDS TO WIN.OUR TURN COMING THROUGH,ME AND YOU, PAL,ME AND YOU!

FRANK, CHARLEY, MARYYEARS FROM NOW,WE’LL REMEMBER AND WE’LL COME BACK,BUY THE ROOFTOP AND HANG A PLAQUE:“THIS IS WHERE WE BEGANBEING WHAT WE CAN.”

ALLIT’S OUR HEADS ON THE BLOCK.GIVE US ROOM AND START THE CLOCK.OUR DREAMS COMING TRUE,ME AND YOU, PAL,ME AND YOU!ME AND YOU!ME AND YOU!ME AND YOU!ME AND YOU!ME AND YOU!ME AND YOU!ME AND YOU!

Act II Scene 5

(The LIGHTS come up stronger on FRANK, who puts a hand out forCHARLEY to shake. Suddenly, instead, FRANK raises his pinky fingerfor CHARLEY to link his pinky finger to it. CHARLEY does. ThenFRANK indicates MARY should join in, and MARY links her pinkyfinger to theirs. It is a bond of friendship.)

#18 Bows (Orchestra, Company)#19 Exit Music (Orchestra)#19A Exit Music (Orchestra)

THE END

? b 44 .. ..Moderato

1jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ

!2 ! 3

jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!

4 Œ ‰ jœœœ Ó! &

5 Ó SOLO 1:

œ œ œ œYes - ter - day is

& b6

˙ Ódone.

7 Ó œ œ œ œSee the pret - ty

8 œ œ œ Ócoun - try - side.

9 Ó SOLO 2:

œ œ œ œMer - ri - ly we

& b 10 œ œ œ œ œ œroll a - long, roll a - long,

11 œ Œ œ œ œ œburst - ing withdreams,

12 w 13 Ó SOLO 3:

œ œ œ œTra - vel - ing's the

& b14

˙ Ófun…

15 Ó SOLO 4:

œ œ œ œFlash - ing by the

16 œ œ œ Ócoun - try - side…

17 Ó SOLO 5:

œ œ œ œEv - 'ry - bo - dy

& b 18 œ œ œ SOLO 6:

œ œ œmer - ri - ly, mer - ri - ly,

19 ÓALL SIX: œ œ œ œcatch - ing at dreams…

20 w 21 Ó œœ œœ œœœœ

Roll - ing a - long…

& b22 ww 23 Ó œœ œœ œœ

œœroll-ing a-long…

24 ww 25 Ó œœ œœ œœœœ

roll-ing a-long…

26 ww 27 !

& b28 GROUP 1:jœ ‰ jœ ‰ œ œ ‰ jœ

Dreams don't die, so keep

29 ‰ jœ ‰ jœ ‰ jœ œan eye on your

&

&

b

b

30 (GROUP 1)wdream.

ŒGROUP 2: 3œb Jœb 3œ Jœ 3œ JœAnd be - fore you know where

31 ˙ jœ ‰ Œ

œ œb œ œb ‰ jœ œbyou are, there you are.

32 jœ ‰ jœ ‰ œ œ ‰ jœTime goes by and hopes

!

—2—Vocal

2

Merrily We Roll Along

(Revised 1/95) (6/28/02)


&

&

b

b

33 !

‰(GROUP 1)jœ ‰ jœ ‰ jœ œgo dry, but you

34 !

œ œ ‰ jœ ‰ jœ œstill can try for your

35 !

wwwwwdream…

36 Ó SOLO 7:œ# œTend your

œœœœœ Œ Ó

&

&

b

b

37 (SOLO 7)

wdream…

(GROUP 1 & 2)œ œ œ Jœ .œHow does it hap-pen?

38 œ Œ œ# œDreamstake

˙ Ó

39 wtime…

œ œ œ Jœ œ jœOnce it was all so clear.

40 œ Œ œ# œTime goes

˙ Ó

&

&

b

b

41 wby.

œ œ œ Jœ œ jœHow can you get so far

42 !

œ œ# œ œ œ Œoff the track?

43 !

œ œ œ Jœ œ jœWhy don't you turn a - round

44 Ó œ# œBend your

œ œ# œ œ œ Œand go back?

&

&

b

b

45

wdream

œ œ œ Jœ .œHow does it hap - pen?

46 œ Œ œ# œwith the

œ œ œ Jœ .œWhere is the mo - ment?

47 wroad…

œ œ œ Jœ œ jœHow can you miss it? Is -

& b 48

-

œ œ# œ œ œ Œn't it clear?

49 œ œ œ Jœ œ jœHow can you let it slip

50 œ œ# œ œ œ Œout of gear?

& b n #51ALL:œ œ œ Jœ œ jœHow did you ev - er get

52 œ œ# œ œ ˙there from here?

53

˙ jœ ‰GROUP 1:œbYou

Merrily We Roll Along—3—Vocal

&

&

&

#

#

#

54(GROUP 1)w

roll,

GROUP2

œ œ œ jœn .œHow does it hap - pen?

!

55 ˙ œn œNyou just

œ Œ Ó

œ œ œ jœn .œHow does it hap - pen?

56 wroll.


œ Œ Ó

57 .œ Jœn œ œ œ œEv - 'ry - bo- dy

.˙ jœ ‰

œ œ œ Jœ œ jœIs - n't it al - ways clear?

&

&

&

#

#

#

Più Mosso58 wroll!

œ œ œ Jœ œ jœHow does it start to go?

œ Œ Ó

59 w

œ œ œ œ# œ œ œDoes it slip a - way slow

Œ œ œ œ# œ œ œDoes it slip a - way slow

60 Œ œ œ œ œ œ œSo you nev - er ev - en

œ œ œ œ œ œ œso you nev - er ev - en

œ œ œ œ œ œ œso you nev - er ev - en

61 œ œ œ œ œ œ œno - tice it's hap - pen - ing!

œ œ œ œ œ œ œno - tice it's hap - pen- ing?

œ œ œ œ œ œ œno - tice it's hap - pen- ing?

& #62 jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!63 ‰ CHARLEY:

Jœ œ œ œ œ œ œHow did you get to be here?

64 jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!

& #65 ‰ALL EXCEPT CHARLEY:

Jœ œ œ œ œ ŒWhat was the mo-ment?

66 jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!67 ‰ MARY:jœ œ œ œ œ œ œ

How did you get to be here?

& # 68 !Jœœœ ‰

Jœœœ ‰ œœœ œœœ ‰

Jœœœ69 Ó MARY & CHARLEY:

œ œ œ œPick your - self a


& #70 (MARY & CHARLEY)

wroad,

71 Ó œ œ œ œget to know the

72 œ œ .˙coun - try - side.

73 Ó œ œ œ œSoon e - nough you're

& # 74 œ œ œ ALL:

œ œ œmer - ri - ly, mer - ri - ly

75 œ Œ œ œ œ œprac - tic - ing dreams,

76 w 77 Ó œ œ œ œdreamsthat will ex -

& #78

wplode…

79 Ó œ œ œ œWak - ing up the

80 œ œ .˙coun - try-side…

81 Ó œ œ œ œMak - ing you feel

&

&

#

#

# # # #

# # # #

82 œ œ œ œ œ œmer - ri - ly, mer - ri - ly,

!

83 Ó œ œ œ œWhat can go wrong

!

84 w

!

85 Ó œ œ œ œroll - ing a - long?

Ó Œ ‰GROUP: jœSome

&

&

# # # #

# # # #

86

w

œ œ œ jœ œ jœroads are soft and some

87 !jœ œ jœ jœ .œ

are bum - py

88 !

œ œ œ jœ œ jœsome roads you real - ly fly.

& # # # # 89 ! 90 (GROUP)œ œ œ jœ œ jœSome rides are rough and leave

91 jœ œ jœ jœ .œyou jump - y,

& # # # # 92 œn œ œ Jœ œ JœWhy make it tough by get -

93

Jœ œ Jœ Jœ .œing grump - y?

94 œ œ œ œ œ œ œPlen-ty of roads to try.

95 !


&

&

# # # #

# # # #

96

(GROUP 1)˙ .œ JœOne trip,

(GROUP 2)œ œ œ jœ œ jœSome roads are soft and some

97 Œ ‰ Jœ œ œ œ œall you get is

jœ œ jœ jœ .œare bum - py

98 ˙ .œ Jœone quick ride.


&

&

# # # ## # # #

99 Jœ ‰ œ œ œ œ œLook a-round a bit.

œ Œ Ó

100 ˙ Jœ œ JœOne quick ride

œ œ œ jœ œ jœSome rides are rough and leave

101˙ Jœ œ Jœnthroughthe coun -

jœ œ jœ jœ .œyou jump - y,

&

&

# # # ## # # #

87

8744

44

102

- - -

˙ Jœ œ Jœtry - side.

œn œ œ Jœ œ JœWhy make it tough by get -

103œ Œ œ œ jœStay on the

Jœ œ Jœ Jœ œing grump - y?

&

&

# # # ## # # #

44

4487

8744

44

104 jœ ‰ Œ Ótrack.

œ œ œ œ œ œ œPlen-ty of roads to try.

105Œ Œ œ œ œNev-er look

!

106 jœ ‰ Œ Óback,

jœ œ jœ œ œ œ>Someroads you real - ly fly.

107Œ œ# œ œ œnev - er look

œ Œ Ó

& # # # # n n n n b b b b b b108

(GROUP 1)

œ ‰ Jœ# œ œ œback, nev - er look

109 œ ‰ Jœ# œ œ œback, nev - er look

110 œ ‰ Jœ# œ œ œback, nev - er look

111 œ ‰ Jœ# œ œ œback, nev - er look…


& b b b b b b112

jœœœ ‰jœœœ ‰ œœœ œœœ ‰

jœœœ!

113 ‰ GROUP:

Jœ œ œ œ œ œ œHow did you get to be here?

114

jœœœ ‰jœœœ ‰ œœœ œœœ ‰

jœœœ!

& b b b b b b 115‰ Jœ œ œ œ œ ŒWhat was the mo - ment?

116 jœœœœ ‰ jœœœœ ‰ œœœœ œœœœ ‰ jœœœœ!117‰ Jœ œ œ œ œ œ œ


& b b b b b b 118 jœœœœ ‰ jœœœœ ‰ œœœœ œœœœ ‰ jœœœœ!119Ó ALL:

œ œ œ œBend - ing with the

& b b b b b b120

˙ Óroad,

121Ó œ œ œ œglid- ing through the


123Ó œ œ œ œMer - ri - ly we

& b b b b b b 124œ œ œ œ œ œroll a - long, roll a - long,

125œ Œ œ œ œ œcatch - ing at dreams!

126w 127Ó œ œ œ œDreams that will ex -

& b b b b b b128

˙ Óplode,

129Ó œ œ œ œwak - ing up the

130œ œ œ Ócoun - try - side!

131Ó œ œ œ œEv - 'ry - bo - dy

& b b b b b b 132 œ œ œ œ œ œmer - ri - ly, mer - ri - ly

133Ó œ œ œ œsing 'em your song,

134w 135Ó œ œ œ œRoll - ing a - long!

& b b b b b b136 w 137Ó œ œ œ œRoll - ing a - long!

138w

& b b b b b b 139Ó œ œ œ œRoll - ing a - long!

140w 141Ó œ œ Jœ(Babble)‰

Roll - ing a -


& CModerato (h = 72)

1

œœœœ œœœœjœœœœ œœœœ

jœœœœ!f Babble.

2 ‰ œœœœjœœœœ

‰ jœœœœ œœœœ!3 œœœœœ œœœœœ

jœœœœœœœœœ

jœœœœœ!TYLER and SCOTTY enter.

4 ‰ œœœœjœœœœœ ‰ jœœœœœ œœœœ!

& 5

œœœœ œœœœjœœœœ œœœœ

jœœœœ!F Babble. 6 ‰ œœœœ

jœœœœ ‰ jœœœœ œœœœ!7 œœœœœ œœœœœ

jœœœœœœœœœ

etc.jœœœœœ!RU enters.

8 Ó Œ TYLER:

œ œI said,

&9

œ œ jœ œ jœ"Frank, this picture is

P Babble.10 jœ œ Jœ œ œ jœ ‰

a wa - ter-shed…"

11 !f Babble.12 Ó Œ TERRY:

œ œI said,

& 13

œ œ jœ œ jœ"Frank, one day you'll run

P Babble.14 jœ œ Jœ œ œ jœ ‰

my stu - di - o…"

KATE enters. 15 !f Babble.16 Ó Œ SCOTTY:œ œ

I said,

&

&

17(SCOTTY)œ œ œ œ œ œ œ"Frank, will you lis - ten to that

P Babble.

!

18

Jœ œ jœ œ Œre - sponse?"

Ó Œ DORY:œ œI said,

&

&

19 !(DORY)œ œ œ œ œ œ œ

"Frank real - ly knowswhat the pub -

20 Ó Œ TYLER:

œ œI said,

Jœ œ jœ œ Œlic wants."

21

œ œ jœ œ jœ"Frank, this pic - ture is

!

—8—Vocal

3Merrily We Roll Along

That Frank

(Revised 1/95) (6/28/02)

&

&

22 (TYLER)jœ œ Jœ œ œ jœ ‰a wa - ter - shed…"

!

23 Ó Œ RU:¿What?

MARY:

¿ ¿ ¿ ¿ ¿ ¿ ŒKnowwhat I'm hav - ing?

24 Ó Œ ¿Oh.

j¿ .¿ ¿ ŒNot much fun.

&

&

(Babble)25

FRANK:œ œJœœœœ œœœœ J

œœœœPar - ty!

Ó

!

26 !‰ œœœœ J

œœœœ ‰ Jœœœœ œœœœ

JEROME enters.

!

27 œœœœœ œœœœœjœœœœ

œœœœœjœœœœœ!

!

28 ‰ œœœœjœœœœœ Ó

!Ó Œ GROUP 1:œ

That

& 29 (GROUP 1)œ Œ ÓFrank…

30 ‰JEROME:

œ jœ œ œ œThe guy is too

31 œ Œ Ómuch.

32 Œ GROUP 2:.˙That

&

&

33

!FRANK: You like the picture?

(GROUP 2)œ Œ ÓFrank…

34 ‰ TERRY:

œ jœ œ œ œThe pla - ti - num

!

35 œ Œ Ótouch.

FRANK: How about champagne?

!

36 !

Ó Œ SCOTTY:œ œHe has

&

&

37 Ó Œ TERRY:

œ œIs he

(SCOTTY)œ œ œ œ œ Œtaste, he has tal-ent.

38

Jœ œ jœ jœ Œ ‰the best?

Ó Œ TYLER:œ œPlus a

39 Ó Œ KT:

œ œThe man

œ œ œ œ œ Œfine head for bus- 'ness.

40

Jœ œ jœ jœ ‰ ALL:œis blessed. That

Ó Œ ALL:œThat

That Frank—9—Vocal

& .. ..41

(ALL)œ Œ ÓFrank…

(Cue Out) TYLER: And people live in fear I'll invent something else.

42 !Vamp—vocal last time

43 !œœœ œœœ J

œœœ œœœ Jœœœ

44 Ó ŒGROUP 1:œThat

&

&

45

!(GROUP 1)œ Œ ÓFrank…

46 Œ JEROME:

œ œ œ œ œHe'sfull of ad -

!

47 œ Œ Óvice.

!

48 !

Œ GROUP 2:.˙That

&

&

49 !RU: No, what do you really do?

(GROUP 2)œ Œ ÓFrank…

50 !

Œ ALL:

œ œ œ œ œAnd,God is he

51 !MARY: I really drink.

œ Œ Ónice.

52 Ó Œ KT:œ œWhat a

!

&

&

53(KT)œ Œ ‰ BUNKER:œ œ œ

friend! And his work

Œ MEG:œ œ Jœ Œ ‰What a host!

54

Jœ œ jœ jœ Œ ‰is great!

Ó Œ TERRY:œ œHas a

&

&

55 (TERRY)œ œ œ œ œ Œwife who is gor - geous,

Ó Œ MEN:

œ œa son

56 Ó Œ ALL:œ œHe's the

Jœ œ Jœ Jœ Œ ‰who's straight.

&57 (ALL)œ œ œ œ œ œ œtype you could eas - i - ly learn

58

Jœ œ Jœ œ œto hate, that

59 œ Œ ÓFrank!

60 !


&61

FRANK:˙ ˙Who says,

62 jœ œ jœ œ œ"Lone - ly at the

63 œ(Babble)Œ Ó

top?"

64 !

& 65 ˙ ˙#I say

66

Jœ œ jœ œ œ"Let it ne - ver

67 œ(Babble)

Œ Óstop!"

68 Ó Œ œIt's

& 69 ˙ ˙#our time

70

Jœ# œ Jœ œ Œcom - ing through,

71 jœ# œ# Jœ œ Œall our dreams

72 jœ# œ# Jœ œ Œcom - ing true.

&

&

73(FRANK)jœ# œ jœ œ Œ

Work-ing hard,

!

74 jœ# œ jœ œ Œget - ting rich,

!

75 œ# œ jœ# .œbe - ing hap - py,

!

76 œ œ œ# Œthere's a switch!

Ó ŒGROUP 1:œnThat

&77

(GROUP 1)œ Œ Ósmile,

BUNKER: Don't you miss writing music?

78 Œ œ œ œ œ œhe's hot but he's

79 œ Œ Ócool.

FRANK: That was the old Frank Shepard.

80 ŒGROUP 2:.˙What

& 81(GROUP 2)œ Œ Óstyle…

JEROME: This guy's the American Dream.

82 Œ MEG:

œ œ œ œ œAndwhat a great

83 œ Œ Ópool!

84 Ó Œ GROUP 1:œ œIf you

& 85(GROUP 1)

œ œ œ œ œ œ œhad no i - dea what char - is - - -

86

Jœ œ jœ jœ ‰ (GROUP 2)œ œma meant,… And you

&87 (GROUP 2)œ œ œ œ œ œ œ

just can't be jeal - ous, he's such

88

Jœ œ Jœ œ ‰ ALL:œ œa gent… He's the


& .. ..89(ALL)œ œ œ œ œ œ œkind of a man that you can't

90

Jœ œ Jœ Jœ ‰ œre - sent, that

Vamp—vocal last time

91 œ Œ ÓFrank.

(Cue Out) "There's an orchestra and dancing inside."

92 Ó Œ TYLER:

œ œI said,

&93

(TYLER)

œ œ jœ œ jœ"Frank, you're com-ing down

94 jœ œ Jœ œ œ œto Mex - i - co…"

95 ! 96 Ó Œ JEROME:

œ œI think

& b b b b97 (JEROME)

œ œ jœ œ jœFrank is mov - ing back

98 jœ œ Jœ œ œ œto Par - a - mount…

99 œœœœœ œœœœœjœœœœ

œœœœœjœœœœœ!

100‰ œœœœjœœœœœ ‰ jœœœœœ œœœœ!

& b b b b101MARY:

œ œ œ œ Jœ œ ‰These are themov - ers,

102

œ œ œ œ jœ œ ‰theseare theshap - ers,

103

œ œ œ œ Jœ œ Jœtheseare the peo - ple that

104œ œ œ œfill the pap - ers.

&

&

b b b b

b b b b

105Ó (MARY)

œ œ ‰ jœThese are the

GROUP 1:œ œ œ ÓMex - i - co…

106

œ œ œ œ Œfriends of Frank.

Œ ‰GROUP 2:jœ œ œ œ œMov - ing back to

107Ó œ œ ‰ jœEach one a

œ œ œ ÓPar - a - mount…

108

œ œ œ œ Œper - fect blank…

Œ ‰ALL:jœ œ œ œ œWhen you see a

&

&

b b b b

b b b b

109 !(ALL)œ œ Jœ œ Jœmov - ie that suc - cess -

110 !

Jœ œ Jœ œ œ œful, what can you

111 !

.œ (to Frank)

J¿ J¿ ¿ J¿say? Con - grat - u - la -

112Ó FRANK:¿ ¿Thank You.

¿ ¿ Œ Ótions.

& b b b b n n n n # # # #113 MARY:

œ œ œ œ Jœ .œThese are the mov - ers,

114

œ œ œ œ jœ .œthese are the shap - ers,

115

œ œ œ œ Jœ œ Jœthese are the peo - ple that

116œ œ œ œgive you vap - ors…


& # # # #117

FRANK:jœ œ jœ œ œ œTwen - ty years a - go

118 jœ œ Jœ œ Œwho'd have guessed,

119 jœ œ Jœ ˙who'd have guessed

120 Jœ œ Jœ œ œ œwe'd be stand - ing here?

&

&

# # # ## # # #

121 (FRANK)jœ œ jœ œ œ œGod, we would have been

!

122 jœ œ Jœ œ Œso im - pressed.

!

123 Jœ œ Jœ œ œ œNow we'rehere with the

!

124

œ Œ Ómost

Ó GROUP 1:œ œ œMex - i - co…

&

&

# # # ## # # #

n n n #

n n n #

125 (GROUP 1)

Jœ œ Jœ œ œ œbril- liant minds on the

!

126

œ Œ Œ œcoast and

Œ ‰GROUP 2:jœ œ œ œ œMov - ing back to

127 Jœ œ Jœ œ œ œno- tice who is their

œ œ œ ÓPar - a - mount…

128

œ Œ ten.Óhost.

ten.!

&

&

#

#

129(GROUP 1)œ œ jœ ‰ Ó

Mex-i-co,

Ó(GROUP 2) œ œ œ œBeau - ti-ful, Frank!

130Œ ‰ jœ œ œ œ œAc - a-pul -co,

!

131 œ œ œ ÓMex-i - co.

Ó œ œ œ œBeau-ti-ful, Frank!

132Œ ‰ jœ œ œ œ œWhen you'vemadea

Œ ‰ jœ œ œ œ œWhen you'vemadea

&

&

&

#

#

#

n

n

n

133 !(GROUP 1)œ œ Jœ œ Jœ

mov - ie that suc - cess -(GROUP 2)œ œ Jœ œ Jœ

mov - ie that suc - cess -

134 !

Jœ œ Jœ œ œ œful, where do you

Jœ œ Jœ œ œ œful, where do you

135 !

œ Œ Ógo?

œ Œ Ógo?

136FRANK:

¿ ¿ ¿ ÓPar - a-mount.

!

!


& .. ..137 œœœ œœœ

jœœœ œœœ jœœœ!

Stop vamp on: "No pool."Start on: FRANK: Let's have some coffee, Mary.

MARY: I never drink coffee.

138Ó Œ ALL:œPoor

139 œ Œ ÓFrank.

140‰ œ jœ œ œ œHe han - dledthat

&141 (ALL)œ Œ Ówell.

MARY: Caffeine isn't good for you.

142ŒGROUP 2:.˙That

143 œ Œ ÓFrank.

FRANK: I'm aware this was just a formula movie.

144‰ JEROME:

œ jœ œ œ œHe's loy - al as

&

&

145 (JEROME)œ Œ Óhell.

FRANK: But my next picture—just wait.MARY: I gave up waiting.

!

146 !

Ó Œ ALL:f œ œHe's po -

147 !

œ œ œ œ œ œ œlite and con-sid-er - ate rain

148Ó Œ MARY:œ œIt be -

Jœ œ jœ jœ ‰ Œor shine.

&

&

149(MARY)œ œ œ œ œ œ œ

gan when I tast - ed com - mun -

!

150

Jœ œ jœ jœ ‰ Œion wine.

Ó Œ ALL:œThat

151 !

œ Œ ÓFrank!

152 !

!

&153

FRANK:˙ ˙Who says,

154 jœ œ jœ œ œ"Must - n't go too

155 œ(Babble)Œ Ó

far?"

156 !

& 157˙ ˙#I say,

158

Jœ œ jœ œ œ"Look at where we

159 œ(Babble)Œ Ó

are!"

160Ó Œ œIt's

& 161 ˙ ˙#our time

162

Jœ# œ Jœ œ Œcom - ing through,

163 jœ# œ# Jœ œ ŒI say, "Good,

164 jœ# œ# Jœ œ Œme and you!"


&

&

165 (FRANK)jœ# œ jœ œ ŒI say, "Roll!"

!

166 jœ# œ jœ œ ŒI say, "Ride!"

!

167 œ# œ jœ# .œI say, "Hey, there's

!

168 œ œ œ# Œfood in - side!"

Ó Œ ALL:œNThat

& 169 (ALL)œ Œ ÓFrank.

170Œ œ œ œ œ œYou'd think he'd re -

171 œ Œ Ólax.

172Œ .˙Not

& 173 œ Œ ÓFrank…

174Œ œ œ œ œ œHe's lay - ing new

175 œ Œ Ótracks.

176Ó Œ œ œIf you

&177

œ œ œ œ œ œ œhad no i - dea what char - is -

178

Jœ œ jœ jœ ‰ œ œma meant, And you

179 œ œ œ œ œ œ œjust can't be jeal - ous, he's such

& 180

Jœ œ Jœ Jœ ‰ œ œa gent… He's the

181 œ œ œ œ œ œ œkind of a man could be pres -

182Jœ œ Jœ Jœ ‰ œbi - dent, that

& 183 œ Œ ÓFrank!

184Œ .˙NThat

185 œ Œ ÓFrank!

186Œ .˙That

& 187 œ Œ ÓFrank!

188 2 190‰ .œ Jœ ‰ ŒThat Frank!


Tacet

Tacet

Tacet

—16—

Incidental

Incidental (Good Thing Going)

3A

3B

3C


(Revised 1/95) (6/28/02)

Vocal

Incidental

& b b 44 1jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!

2 ! 3jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!

& b b 4 ‰ SOLO 1:Jœ œ œ œ œ œ œHow did you get to be here?

5jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!

6 ‰ Jœ œ œ œ œ ŒWhat was the mo - ment?

& b b n b7 !Jœœœ ‰ J

œœœ ‰ œœœ œœœ ‰ Jœœœ8 ‰ jœ œ œ œ œ œ œ


9 !Jœœœ ‰ J

œœœ ‰ œœœ œœœ ‰ Jœœœ10 !

& b11 GROUP 1:jœ ‰ jœ ‰ œ œ ‰ jœ

Dreams don't die, so keep

12 ‰ jœ ‰ jœ ‰ jœ œan eye on your

&

&

&

b

b

b

13 (GROUP 1)wdream…

GROUP2

Œ 3œœbb Jœœbb 3œœ Jœœ3

œœn jœœb…or be - fore you know where

!

14 ˙ jœ ‰ Œ

ww‰ jœœb œœb œœb ‰ jœœb œœb

you are, there you are.

&

&

b

b

15 !(GROUP 1)œ œ jœ œ jœRoads may wind and you

16 !jœ œ jœ œ œ œmay find what you

17 !jœ œ jœ œ œ œ

left behind is your

18 !

wdream.

19 Ó SOLO 1:œ# œTend your

˙ Ó

—17—Vocal


(Revised 1/95)

Transition 1

&

&

b

b

20

(SOLO 1)wdream,GROUP:œ œ œ Jœ .œ

How does it hap-pen?

21 Ó œ# œdreams take

w

22 wtime,


23 Ó œ# œtime goes

œ Œ Ó

&

&

b

b

24 wby.

œ œ œ Jœ œ jœHow can you get so far

25 w

œ œ# œ œ œ Œoff the track?

26 !

œ œ œ Jœ œ jœWhy don't you turn a - round


œ œ# œ œ œ Œand go back?

&

&

b

b

28(SOLO 1)wdream,(GROUP)œ œ œ Jœ .œHow does it hap-pen?

29 ˙ œ# œwith the

œ œ œ Jœ .œWhat is the mo-ment?

30 wroad.SOLO 2:œ œ œ Jœ œ jœWhen did the road be - hind

31 ˙ Ó

œ œ# œ œ œ Œdis-ap-pear?

& b 32(SOLO 2)

œ œ œ Jœ œ jœWhere did you let things slip

33 œ œ# œ œ œ Œout of gear?

34 œ œ œ Jœ œ jœHow did you ev - er get

35 œ œ# œ œ ˙U

to be here?

&

&

b

b

36 GROUP 1:

œ œ œ œb œ œNine - teen sev - en - ty five…

Ó Œ ‰ GROUP 2:jœNine -

37 .˙ ‰ jœNine -

œ œ œ œb œ œteen sev - en - ty four…

38

œ œ œ œb œ œteen sev - en - ty three…

w

39 wU

!U

Transition 1—18—Vocal

& # # CModerately—In 2 (h = 80)

1 MARY:

œ Œ œ ŒHey, old

2

œ ‰ jœ œ œ œfriend, what do you

3

œ Œ œ Œsay, old

4

œ ‰ jœ œ œ œfriend, make it o -

& # # 5

œ Œ œ Œkay, old

6

œ ‰ jœ œ œ œfriend, give the old

7

œ ˙ œfriend-ship a

8 ˙ Óbreak.

& # #9

œ Œ œ ŒWhy so

10 œ ‰ jœ œ œ œgrim? We're go - ing

11 ˙ ˙on for -

12 ˙ ˙ev - er.

& # # 13 ˙n ˙nYou, me,

14 .œn jœ œ œ œhim, too man - y

15

œ œ œn œlives are at stake.

16

œ Œ Ó 17 !

& # #18

œ Œ œ ŒFriends this

19

œ ‰ jœ œ œ œlong has to mean

20

œ Œ œ Œsome - thing's

21

œ ‰ jœ œ œ œstrong, so if our

& # # 22

œ Œ œ Œold friend's

23

œ ‰ jœ œ œ œwrong, should - n't an

24

œ ˙ œold friend come

25 ˙ Œ œthrough? It's

& # #26

œ Œ œ Œus, old

27 .œ jœ œ œ œfriend. What's to dis -

28 ˙ ˙cuss, old

29

˙ ˙friend? Here's

& # # 44 n n b b30

œ œ ŒUœ

to us, who's

31

œ œ ŒU CHARLEY:

œlike us? Damn

Moderato—In 4 (q = 112)32

wfew.

33

w34 2

—19—Vocal


Old Friends—Like It Was

(6/28/02)(Revised 1/95)

& b b36MARY:

œ .˙Char - ley,

37

œ œ œ œ œ œ œwhy can't it be like it

38

˙ ˙was? I

39

œ œ œ œ œ œ œliked it the way that it

& b b 40

˙ jœ .œwas. Char-ley,

41 jœ œ jœ œ œ œyou and me, we were

42 jœ œ jœ ˙nic - er then.

43 !

& b b44

jœ œ jœ ˙We were nice,

45 jœ œn jœ œ œ œkids and cit - ies and

46 jœ œ jœ ˙trees were nice,

47 jœ œn jœ ˙ev - 'ry - thing…

& b b 48 jœ œn jœ œ œ œ# œI don't know who we are

49

œ œ œ œ œ œn œan - y - more, and I'm

50 jœ œn jœ# œ œ œstart- ing not to care.

51 ˙ œ œ# œnLook at us,

& b b52

œ .˙Char - ley,

53

œ œ œ œ œ œ œno-thing's the way that it

54

˙ ˙was. I

55

œ œ œ œ œ œ œwant it the way that it

& b b 56 ˙ jœ .œwas! Help me

57 jœb œ Jœ œ œ œstop re - mem - ber-ing

58 wthen.

59 Œ ‰ jœb œ œ œDon't you re -

& b b60

œn .˙mem - ber?

61 jœA œ jœ œ œ œIt was good, it was

62 jœ œ jœn ˙real - ly good.

63 Ó œ œn œHelpme out,

& b b 64 œ .˙Char - ley,

65 œ Œ œ œn œ œmake it like it

66

wwas.

67 Œ ‰ jœb œ œ œ!

& b b68

œn .˙!

69 jœA œ jœ œ œ œ!70 jœ œ jœn ˙!

& b b 71 ˙ œ œn œ!

72jœ ‰ .˙

!73 ˙ .œ ‰

!

Old Friends—Like It Was—20—Vocal

& b b74MARY:

œ .˙Char-ley,

75

œ œ œ œ œ œ œno - thing's the way that it

76

˙ ˙was. I

77

œ œ œ œ œ œ œwant it the way that it

& b b 78 ˙ jœ .œwas. God knows,

79 jœb œ Jœ œ œ œthingswere eas - i - er

80 wthen.

81 Œ ‰ jœb œ œ œTrou - ble is,

& b b82

œn .˙Char - ley,

83 jœA œ jœ œ œ œthat's what ev - 'ry - one

84

wdoes:

85

œ Œ œ œ œn œBlames the way it

& b b 86 wis

87 Œ ‰ jœ œ œ œn œon the way it

Ritard88 wwas,

89 Ó œ œ œn œon the way it

& b b A Tempo90 wnev -

91

wner

Ritard92 w

ev -

93

wner

& b b A Tempo94

wwas.

95 5 100 !U

Old Friends—Like It Was—21—Vocal

& # # # # 44Rubato

1CHARLEY:

¿ ¿He goes…

CHARLEY: May I answer that? How do we work together?

2

Ó ‰ j¿ ¿ ¿And I go…

3 Ó ‰ jœ œ œnAnd soon we're

& # # # # A Tempo4

œ œ œ œ œ Jœ œn>Jœ

hum - ming a - long… mm mm

5 œ œ œ œmm… and that's called

& # # # # 6

œ œ œ œ œ Jœ œn >Jœ

writ - ing a song… mm hm

7 œ œ œ œhm… Then he goes…

& # # # #Rubato8

Ó ‰ jœ œ œnAnd I go…

9 Ó ‰ œ œ œ œnAnd the phone goes

A Tempo10 6

œb œ œ œb œ œb Jœb ‰ ‰ jœ œb œDrrrr - ing! And he goes

& # # # #11

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿"Mutter mutter mutter mutter Yes, Jer-ome… Mutter

12 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿No, Jer - ome… Mutter mutter mutter mutter…"That's his

& # # # # 13 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿law-yer, Jer-ome "Mutter mutter mutter mutter mutter

14 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Do it, Jer - ome (click) Sor - ry, Char- ley…"

& # # # # 15 Ó ‰ jœ œ œnSo I go…

16 Ó ‰ jœ œ œnAnd he goes…

17 Ó ‰ jœ œ œnAnd I go…

18 Ó ‰ jœ œ œnAndsoonwe're

& # # # # A Tempo19

œ œ œ œ œ Jœ œn Jœtap - ping a - way… mm mm

20 œ œ> ¿ ¿ ¿ ¿hm… Bzzz! "Sor - ry, Char - ley."

Vocal —22—


(Revised 1/95) (6/28/02)

Franklin Shepard, Inc.

& # # # # 21 œ " ¿ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ ¿ ¿Bzzz! The sec - re - tar - y… Bzzz! On the in - ter - com…

& # # # #22

¿ ¿ ¿ œn œ œn œ œ"Yes Miss Bzzz." "It's a mes - sen - ger."

23

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿"Thanks, Miss Bzzz. Will you tell him to wait? Will you

& # # # # 42 4424

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿or - der the car? Will you call up the bank? Will you

25

¿ ¿ ¿ ¿ ¿ ¿wi - re the coast? Will you…"

& # # # # 4426

6

œb œ œ œb œ œb Jœb ‰ ¿ ¿ ¿ ¿Drrrr - ing! "Sor - ry, Char - ley…

27 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Mutter mutter muttermutter Sell the stock. Mutter

& # # # # 28 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Buy the rights. Mutter mutter mutter mutter mutter…"

29 œ ¿ ¿ ¿ ¿ ¿ ¿ œBzzz! "Let me put you on hold…" Bzzz!

& # # # # 30

¿ ¿ ¿ œn œ œn œ œ"Yes, Miss Bzzz." "It's the in - ter - view…"

31

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿"Thanks,Miss Bzzz. Will you tell him to wait? Will you

& # # # # n n n n b32

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿wi - re the car? Will you or - der the coast? Will you

33

¿ ¿ ¿ j¿ ‰ Œ ‰ œn œsend up the bank?…" And the

& b34

œ œ œ œ œ œ œ œ œ œ œtel - e-phonesblink and the stock gets sold and the

35 œ œ œ œ œ œ œ œ œrest of us he keeps on "hold" and he's

& b 36 œ œ œ œ œ œ ‰ œ œ œ œ œ œin - to mak-ingmov - ies andhe'snow a cor-por -

37

Jœ .œ ¿ ‰ œ œa - tion. Right? So I

& b 38 œ œ œ œ œ œ œ œ œ œplay at home with my wife and kids and I

39 œ œ œ œ œ œ œ œ œwait to hear the mov - ie bids and I've

Franklin Shepard, Inc.Vocal —23—

& b n40 œ œ œ œ œ œ ‰ œ œ œ œ œ œgot a lit - tle sail - boat and I'm in - to med - i -

41

Jœ .œ ¿ Œta - tion. Right?

&42

Jœ œ Jœ œ œ œ œHe flies off to Cal - i -

43 jœ .œ Ófor-nia.

44

Jœ œ Jœ œ œ œ œI dis - cuss him with my

45 œ Œ Óshrink.

& # # # #46

Jœ œ Jœ œ œ œ œThat's the stor - y of the

47

Jœ œ Jœ œ Œway we work,

48 œ œ œ œ œ œ .œme and Frank - lin Shep-ard,

49 jœ ‰ Œ ÓInc.

& # # # #50 (Dialogue)

!UTALK SHOW HOST: Oh, that sounds like you think making money is a bad thing for a artist.

Rubato51

¿ ¿ Œ ‰ j¿ ¿ ¿Mon - ey? Did I say

52 ¿ ¿ Œ ‰ jœ œ œnmon - ey? No, I like

& # # # # A Tempo53


mon - ey a lot mm mm

54 œ œ œ œhm… I mean it's

& # # # # 55


bet - ter than not, mm mm

56 œ œ œ œmm… But when it's

& # # # # Rubato57

¿ ¿ ¿ ¿ ¿(grunt) MON - EY (grunt, grunt)

58 ¿ ¿ ¿ œ œ œ œMon - ey (snort) When you're in - to

& # # # # 59

¿ ¿ ¿ œ œ œ œ(snort) MON - EY and you should be.

60

6

œn œn œ# œ œ œ jœ# ‰ ÓU!

& # # # # .. .. n n n n bA Tempo(Dialogue)

61

3 Vamp—vocal last time64 Ó Œ œn œStill the

CHARLEY: Frank does the music thing very well. And you know what? No one does it better.


& b65

œ œ œ œ œ œ œ œ œ œ œtel - e - phonesblink and the buzz - ers buzz and I

66 œ œ œ œ œ œ œ œ œreal - ly don't know what he does, but he

& b 67 œ œ œ œ œ œ ‰ œ œ œ œ œ œmakes a ton of mon - ey, and a lot of it for

68 œ Œ ¿ ‰ œ œme. Right? So I

& b 4269 œ œ œ œ œ œ œ œ œ œthink "o - kay," and I start a play, and he

70 œ œ œ œ œ œ œ œsome - how knows,'cause right a - way it's

& b 42 n # # # # 4471

6

œ œ œ œ œ œ Jœ ‰Drrrr - ing!

72

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿"Hi - ya, bud - dy, wan - na write a show? Got a

& # # # # 73 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿great i - dea, we'll own all the rights with a

74

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿two-week out and a turn - a - round on the

& # # # # 42 n n n # 4475

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿guar - an - tee plus a gross per-cent of the

76

¿ ¿ ¿ ¿ œbill - ing clause…" And

& # 4477 jœ œ jœ œ œ œ œ

there I am in Cal - i -

78 jœ .œ Ófor-nia,

79 jœ œ jœ œ œ œ œtalk - ing deals and turning

80

œ Œ Ópink,

& # n81 jœ œ jœ œ œ œ œback in bus - 'ness, and I

82 jœ œ Jœ œ Œmean just that,

83

Jœ œ Jœ œ œ œ .œback with Frank - lin Shep-ard,

84 œ Œ ÓInc.

&85

Jœ œ Jœ œ œ œ œVer - y sneak - y how it

86 jœ .œ Óhap- pens,

87

Jœ œ Jœ œ œ œ œmuchmore sneak - y that you

88 œ Œ Óthink.

& #89

Jœ œ Jœ œ œ œ œStart with noth - ing but a

90 œ œ œ œ Œsong to sing,

91

Jœ œ jœ œ œ œ œnext you're Frank - lin Shep - ard…

(Dialogue)92 !U


& # .. ..Vamp—vocal last time93 jœ œ jœ œ œ œ œ

Noth- ing per - ma - nent has

CHARLEY: I miss it and I want it back.

94 jœ .œ Óhap - pened,

95 jœ œ jœ œ œ œ œjust a tem - po - ra - ry

& # 96

œ Œ Ókink.

97 jœ œ jœ œ œ œ œFriend - ship's some - thing you don't

98 jœ œ Jœ ˙real - ly lose…

(Dialogue)99 !U

CHARLEY: …and tell that man to get back to his piano.

& #100 jœ œ jœ œ œ œ œVer - y sneak - y how it

101 jœ .œ Óhap-pens,

102 jœ œ jœ œ œ œ œev' - ry day you're on the

& # 103

œ Œ Óbrink.

104 jœ œ jœ œ œ œ œFirst the pri - zes, then the

105 jœ œ Jœ œ Œin - ter - views…

& # Tempo Primo106 jœ œ jœ œ œ œ œOh my God, I think it's

107 jœ .œ Óhap- pened,

108 jœ œ jœ œ œ œ œstop me quick be - fore I

109

œ Œ Ósink.

& # n110 jœ œ jœ œ œ œ œOnemore tri - umphthat I

111 jœ œ Jœ œ Œcan't re - fuse…

112 !CHARLEY: In case you didn't notice…

113Ó Œ œNo,

&114

Jœ œ Jœ œ œ œ œhere's the point, what - ev - er

115 jœ .œ Óhap- pens,

116

Jœ œ Jœ œ œ œ œthen we'll all go have a

&117 œ Œ Ódrink…

118

Jœ œ Jœ œ œ œ œThat's the guy I love, the

119

Jœ œ Jœ ˙fel - la who's


&120 ˙ ˙

in - side.

121

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿"Mut - ter mut - ter mut - ter mut - ter quick, Jer - ome, get the

& 42 44122

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Pres - i - dent, there's a cra - zy man on my

123

¿ ¿ ¿ j¿ ‰T. V. screen…"

& 44124 ˙ ˙In - side

125 œ# œ 6

œ# œ œ œ œ œ Jœ ‰Bzzz Bzzz Drrrr - ing!

126 ˙ ˙In - side

&127œ œ œ œFrank - lin Shep - ard,

128 !CHARLEY: Just write to him care of Any Bank U.S.A!

129Ó Jœ ‰ ŒInc.


& # 44 # # # #Feroce (q = 144)

1 œœœœœœœœ

jœœœœœœœœ

jœœœœ!2 ‰ œœœœ

jœœœœ ‰ jœ œ œb!3 œœœœ

œœœœjœœœœ

œœœœjœœœœ!

4 ‰ œœœœjœœœœ ‰ jœ œ œb!

& # # # #5 GROUP:fœ œ œ jœ œ jœ

Some roads are soft and some

6 jœ œ jœ jœ .œare bump - y,

7 œ œ œ jœ œ jœsome roads you real - ly fly.

& # # # # 8 Œ ˙##œœ!

9 œ œ œ jœ œ jœSome rides are rough and leave

10 jœ œ jœ jœ .œyou jump - y.

& # # # #11 œn œ œ Jœ œ JœWhy make it tough by get -

12

Jœ œ Jœ Jœ .œting grump - y?

&

&

# # # ## # # #

13 !(GROUP)œ œ œ œ œ œ œPlen - ty of roads to try.

14 SOLO 1:

œ œ œ œ œNine - teen sev - en - ty -

w

15 wtwo…

SOLO 2:

œ œ œ œ œNine - teen sev - en - ty -

&

&

&

# # # #

# # # ## # # #

16

(SOLO 2)˙ .œ ‰one…

GROUP 1:f ˙ .œ Jœ

One trip,GROUP 2:

fœ œ œ jœ œ jœ

Some roads are soft and some

17 !

Œ ‰ Jœ œ œ œ œall you get isjœ œ jœ jœ .œ

are bump - y,

18 !

˙ .œ Jœone quick ride.


Vocal —28—

6AMerrily We Roll Along

(Revised 1/95) (6/28/02)

Transition 2

&

&

# # # #

# # # #

19(GROUP 1)

Jœ ‰ œ œ œ œ œLook a - round a bit.

(GROUP 2)

œ Œ Ó

20 ˙ Jœ œ JœOne quick ride

œ œ œ jœ œ jœSome rides are rough and leave

21 ˙ Jœ œ Jœnthrough the coun -

jœ œ jœ jœ .œyou jump - y.

&&

# # # ## # # #

87

8744

44

22

- - -

˙ Jœ œ Jœtry - side.œn œ œ Jœ œ Jœ

Why make it tough by get -

23 œ Œ œ œ œStay on the

Jœ œ Jœ Jœ œting grump - y?

&&

&

# # # ## # # ## # # #

44

44

44

87

87

87

44

44

44

24

!(GROUP 1)jœ ‰ Œ Ó

track.

(GROUP 2)œ œ œ œ œ œ œPlen - ty of roads to try.

25SOLO 1: F

œ œ œ œ œNine - teen sev - en - ty…

!

!

&&

# # # ## # # #

44

4442

4244

44

26 !(GROUP 2)jœ œ jœ œ œ œ>Some roads you real - ly fly.

27SOLO 2: Fœ œ œ œ œ

Nine - teen six - ty -

œ Œ Ó

28 ˙nine…

!

& # # # # 4429

ALL: cresc.œ œ œ jœ œ jœHow does it start to go?

30 œ œ œ œ# œ œ œDoes it slip a - way slow,

& # # # # 31 œ œ œ œ œ œ œso you nev - er ev - en

32 œ œ œ œ œ œ œno - tice it's hap - pen-ing?

33ƒœœœ# œœœ jœœœ œœœ jœœœ

Nine - teen six - ty - eight…

Transition 2Vocal —29—

&

&

#

#44

44

Ad Lib.

1MARY:O Œ œHey!! Here's

CHARLEY: …You listening? No, no, no! Never, ever… No!

!

2

œ œ Óto us…

Ó ŒFRANK:

œWho's

3 Ó ŒCHARLEY:œbDamn

œ œ Ólike us?

4 ˙ Ófew.

!

Moderato (h = 84)5 2

2

& #7FRANK:œ Œ œ ŒHey, old

8 œ ‰ jœ œ œ œfriend, are you o -

9 œ Œ œ Œkay, old

10 œ ‰ jœ œ œ œfriend? What do you

& # 11 œ Œ œ Œsay, old

12 œ ‰ jœ œ œ œfriend, are we or

13 œ œ Œ œare we u -

14 ˙ Ónique?

& #15 ˙ ˙Time goes

16 .œ Jœ œ œ œby, ev - 'ry-thing

17 ˙ ˙else keeps

18 ˙ ˙chang - ing.

& # 19 ˙b ˙bYou and

20 .œb Jœ œ œ œI, we get con -

21 œ œ œn œtin - ued next week.

22 !

& #23

œ Œ œ ŒMost friends

24 .œ jœ œ œ œfade or they don't

25 ˙ ˙make the

26 .œ jœ œ œ œgrade. New ones are

& # 27 œ Œ œ Œquick - ly

28 .œ jœ œ œ œmade and in a

29 œ œ Œ œpinch, sure, they'll

30 .˙ œdo. But

& #31 ˙ ˙us, old

32 .œ jœ œ œ œfriend, what's to dis -

33 ˙ ˙cuss, old

Ritard34 ˙ ˙

friend? Here's

—30—Vocal


(Revised 1/95)

Old Friends

(6/28/02)

& # 35

œ œ ŒUœ

to us… Who's

36

œ œ ŒU œlike us? Damn

A Tempo37 wfew.

38 !

& #A Bit Bouncier

39CHARLEY:

œ Œ œ ŒSo, old

40 .œ jœ œ œ œfriend, fill me in

41 œ Œ œ Œslow, old

42 .œ jœ œ œ œfriend… Start from hel -

& # 43 œ Œ œ Œlo, old

44 .œ jœ œ œ œfriend, I want the

45 œ ˙ œwhen, where, and

46 .˙ Œhow.

& #47

˙ ˙Old friends

48 .œ Jœ œ œ œdo tend to be -

49 ˙N ˙come old

50 ˙ ˙ha - bit…

& # 51 ˙b ˙bNev - er

52 .œb Jœ œ œ œknew how much I

53 œN œ œn œmissed you till now.

54 œ Œ Ó

& #55

ALL 3:œ Œ œ ŒMost friends

56 œ ‰ jœ œ œ œfade or they don't

57 œ Œ œ Œmake the

58 œ ‰ jœ œ œ œgrade. New ones are

& # 59 œ Œ œ Œquick - ly

60 œ ‰ jœ œ œ œmade, some of them

61 œ ˙ œworth some - thing

62 .˙ œtoo. But

& # # # # #63

˙ ˙us, old

64 .œ jœ œ œ œfriends, what's to dis -

65 ˙ ˙cuss, old

66 .œFRANK:jœ œ œ œ œ

friends? Tell you some - thing:

& # # # #Più Mosso (q = 132)67

˙ ˙Good friends

68

œ œ œ œ œ œ œpoint out your lies, where - as

69

˙ ˙old friends

70

œ œ œ œ œ Œlive and let live.

& # # # # n n n n b b b b b71 MARY:

˙ ˙Good friends

72

œ œ œ œ œ œ œlike and advise, whereas

73

˙ ˙old friends

74

œ œ œ œ œ ‰FRANK:jœlove and for-give. And

Old Friends—31—Vocal

& b b b b b75 (FRANK)˙ ˙

old friends

76 œ œ œ œ œ œlet you go your own

77 wway…

& b b b b b78CHARLEY:

œ œ œ œ œ œHelp you find your own

79 wway…

80 MARY:œ œA œA œ œ œLet you off when you're

&

&

b b b b bb b b b b

n n n n n # # # #

n n n n n # # # #

81 (MARY)œ Œ Ówrong…

Œ FRANK:

œ œ œCHARLEY:

œ œIf you're wrong…When you're

82 Œ œ œ œ œ œ œRightor wrong, the point is

œ Œ Ówrong…

& # # # #83(MARY)˙ ˙

Old friends

84 œ œn œn œ œ œshould - n't care when you're

85 wwrong…

&

&

# # # ## # # #

n # # #

n # # #

86FRANK:

œ œ œ œ œ œShould, but not for too

!

87 œ Œ Œ œ œlong… If you're

Œ CHARLEY:

œ œ œ ŒWhat's too long…

88 œ Œ ‰ MARY:jœ œ œwrong… The thing is,

Œ œ œ jœ ‰ ŒWhen you're wrong…

& # # #89(MARY)

˙ ˙Old friends

90 œ œ œ œ œ œ œ œdo leave their brands on you, but

91 ˙ ˙old friends

& # # # 92(MARY)

œ œ œ œ œ Œshould-n't com-pete.

93 FRANK:˙ ˙Old friends

94 œ œ œ œ œ œ œdon't make de - mands on you…

&&

# # ## # #

95 Ó Œ ‰ (FRANK)jœWell,CHARLEY:

œ œ œ œ œ œ œShould make de - mands on you…

96 œ œ œ œ œ œ œdon't make de - mands you can't

!


&&

# # ## # #

97(FRANK)

œ Œ Ómeet.

Œ (CHARLEY)œ œ œWell, what's the

98 !

œ œ œ œ œ œ œpoint of de - mands you can

99 Œ MARY:œ œ œWell, there's a

œ Œ Ómeet?

& # # # .. .. n n n b b b b100 œ œ œ œ œ œ œ œtime for de-mands, wheth-er you

CHARLEY: Look, if he was right…

101 œ œ œ œ Ómeetthem ornot…

Rall.102 2

& b b b bPiù Mosso (h = 100)104

ALL 3:œ Œ œ ŒHey, old

105 .œ jœ œ œ œfriends, how do we

106 œ Œ œ Œstay old

107 .œ jœ œ œ œfriends? Who is to

& b b b b 108 œ Œ œ Œsay, old

109 .œ jœ œ œ œfriends, how an old

110 œ ˙ œfriend-ship sur -

111 .˙ Œvives?

& b b b b112

˙ ˙One day

113 .œ Jœ œ œ œchums, hav - ing a

114 ˙ ˙laugh a

115 ˙ ˙min - ute,

& b b b b 116 ˙n ˙none day

117 .œn Jœ œ œ# œcomes and they're a

118 œA œA œb œpart of your lives.

119˙ Ó

& b b b b120

˙ ˙New friends

121 .œ jœ œ œ œpour through the re -

122 ˙ ˙volv - ing

123 .œ jœ œ œ œdoor… May - be there's

& b b b b 124 ˙ ˙one that's

125 .œ jœ œ œ œmore, if you find

126 œ ˙ œone, that - 'll

127 .˙ œdo. But

& b b b b128 ˙ ˙

us, old

129 .œ Jœ œ œ œfriends, what's to dis -

130 ˙ ˙cuss, old

& b b b b n n n n # # #Ritard131 ˙ ˙

friends? Here's

Meno Mosso132

œ ˙ œto us! Who's

133

œ ˙ Œlike us?


& # # #Poco Con Moto (h = 112)134

˙ ˙Two old

135 .œ jœ œ œ œfriends, few - er won't

136˙ ˙do, old

137 .œ jœ œ œ œfriends. Got - ta have

& # # # 138 ˙ ˙two old

139 .œ jœ œ œ œfriends, help - ing you

140œ ˙ œbal - ance a -

141 wlong.

& # # #142FRANK:˙ ˙

One up -

143 .œ Jœ œ œ œbraids you for your

144 ˙ ˙faults and

145˙ ˙fan - cies,

&

&

# # #

# # #

146MARY:˙n ˙n

one per -

!

147 .œn Jœ Jœ ‰ Œsuades you

Ó ‰CHARLEY:Jœ œThat the

148 Ó Œ+FRANK:œWrong.

œ œ œn œoth - er one's wrong.

149w

w

& # # #150ALL 3:˙ ˙Most friends

151 .œ jœ œ œ œfade or theydon't

152 ˙ ˙make the

153 .œ jœ œ œ œgrade. New ones are

& # # # 154 ˙ ˙quick - ly

155 .œ jœ œ œ œmade, per - fect as

156 œ ˙ œlong as they're

157 .˙ œnew. But

& # # #158 ˙ ˙us, old

˙ ˙ 159 .œ jœ œ œ œfriends, what's to dis -

.œ Jœ œ œ œ 160 ˙ ˙cuss, old

˙ ˙ 161 ˙ ˙friends? Here's

˙ ˙

& # # # Molto Rubato162

œ .˙to us!

163 Ó ˙Who's

164

œ .˙like us?

165 Ó ˙Damn

&

&

# # #

# # #

166 wfew!

œœ ˙ œœfew!

167w

œœ œœ ˙

168w

w œ .˙

169œ Œ Ó

œœ Œ Ó


& b b 44 43 441 2FRANK: I miss him already.

3 2Rall.

5 ! 6 !

& b b Larghetto—Poco Rubato7

œœ œœ œœ œœ!8 œœ œœ œœ œœ!

9 œœ œœ œœ œœ .œ!

10 ‰FRANK:jœ œ œ œ œ œ œ

(whistle)

11 ˙ œ œ œ œThanks, old friends…

& b b 12 ‰ jœ œ œ Jœ œ Jœ(whistle)

13 .œ Jœ œ œ œ œ œ œKeep re-mind - ing me…

14 !

& b b 15

œn œ œ œ œb œ œ œ œ œFrank'sold friends al-ways seem to come

16 ˙ Óthrough…

Molto Rall.17 jœ œ jœ œ Œ

Frankwill too…

& b b A Tempo18

œ œ œ œ œ œ œ œ œ œSo, old friends, now it's time to start

19

œ œ œ œ Ógrow - ing up.

& b b 20

œ œ œ œ œ œ œ œ œ œTak - ing charge, see - ing things as they

21 œ Œ Óare.

22

œn œ œ œ œb œ œ œ œ œFac-ing facts, not es - cap - ingthem,

& b b b b b b b b C23 œ œ œ œ œ œ œ œ œ œstill with dreams, just re - shap - ing them.

Rall.24 œ œ œ Œ Ó

Growing up.

& b b b b b b C 46 CA Tempo( h = q )

25

œ œ œ œb œ œn ŒChar - ley is a hot head.

26 œN œ œ œb Ó ÓChar - ley won'tbudge.

Vocal —35—


(Revised 1/95) (6/28/02)

Growing Up—Part 1

& b b b b b b C 27 œN œ œ œb œ ŒChar - ley is a friend.

28 ! 29 œN œ œ œb œ œn ŒChar - ley is a scream-er,

& b b b b b b n n n n n n #30 œN œ œ œb ÓChar-ley won'tbend.

31 œ œ œ œN œb œ ŒChar-ley's in your cor - ner.

32 Œjœ ‰ Ó

!

& #33

œ œ œ œn œ œ# ŒMar - y is a dream-er,

34 œa œ œ œn ÓMar - y's a friend.

35 œa œ œ œn œ ŒMar - y is a nudge.

36 !

& # 37 œa œ œ œn œ œ# ŒMar-y is a pur - ist,

38 œa œ œ œn ÓChar-ley's a judge.

39 œ œ œ œa œn œ ŒChar-ley is a drop - out,

40 œ œ œ œa œn œ Œev- 'ry-thing's a "cop-out."

& #41

œ œ œ œ# œn œa ‰ jœnWhy is it old friends don't want

42 ‰ jœ Œ œn œ Œold friends to

& # 4643 wchange?

44 ! 45

Jœ# œ Jœ œ œ œ œ œEv - 'ry road has a turn - ing,

& # C # # # 4446 jœ œ Jœ# œ œ œ œ œthat's the way youkeep learn - ing.

47 œ# œ# œ œn œ œn Œ!

Ritard48 !œ œn Œ œ œn Œ

& # # # 44A Tempo( q = h )

49

œ œ œ œ œ œ œ œ œ œSo, old friends, don't you see we can

50

œ œ œ ˙ Œhave it all,

& # # # 51

œ œ œ œ œ œ œ œ œ œmov - ing on, get - ting out of the

52 ˙ Ópast?

Growing Up—Part 1Vocal —36—

& # # # 53 œ œ œ œ œ œ œ œ œ œSolv-ing dreams, not just trust - ingthem,

54 œ œ œ œ œ œ œ œ œ œtak-ing dreams, re - ad - just - ingthem,

& # # # 55 œ œ œ Œ Ógrow - ing up,

56 œ œ œ Œ Ógrow - ing up.

& # # #57

œ œ œ œ œ œ œ œ œ œTry - ing things, be - ing flex - i - ble,

58

œ œ œ œ œ œ œ Œbend-ing with the road,

& # # # 59

œ œ œ œ œ œ œ œ œ œadd - ing dreams when the oth - ers don't

60 ˙ Ólast.

& # # #61

œ œ œ œ œ œ œN œ œ œGrow-ing up, un - der - stand - ing that

62 œ œ œ œ œ œ œ Œgrowing nev - er ends.

& # # # 63

œ œ œ œ ÓLike old dreams,

Poco Rit. & Dim.64

œ œ œ œ Ósome old dreams,

& # # # A Tempo65

œ œ œ œ Ólike old friends.

66 2

& # # # 68 ‰ jœ œ œ œ œ œ œ(whistles)

69 ˙ Ó


& b b b 441 !w

FRANK: My friends are waiting.2 !

w#

& b b b(q = 144)

3 GUSSIE:3

œ jœ 3

œ jœb3

œ jœb3

œ jœLife is know - ing what you want,

4 Ó œn jœ ‰darling.

5 3

œ jœ 3

œ jœb3

œ jœb jœ ‰That's the on - ly thing to

& b b b 6 Œ ‰ jœ œ Œknow.

7 3

œ jœ 3

œ jœb3

œ jœb3

œ jœAs I told you moons a - go,

& b b b n n n # # # #8 Œ ‰ jœn œ œdar - ling,

9 3

œ jœ 3œ jœ3

œb jœ œnoth - ingwrong with want - ing.

10 Œ œœœ

b Ó!

& # # # #113

œ jœ 3

œ jœn3

œ jœ#3

œ jœnNoth - ing wrong with want-ing me,

12

œ ‰ jœ# œ œdar - ling.

13 3

œ jœ 3

œ jœn3

œ jœ# œAl - so noth - ing wrong with

& # # # # n n n n b C14 Œ œN Ónot.

15 3

œ jœ 3

œ jœn3

œ jœ# œThoughit's on - ly fair that

16 3

œN jœ 3

œ jœ#3

œn jœ œyou should be a-ware that

& b C17

œ œb œ œ œ ŒI want you a lot.

18 3

& b Tenderly21

jœ œ jœ ˙Grow - ing up

22 jœ œ jœ œ œ œmeans ad - mit - ting the

23 jœ œ jœ œ œ œthings you want the most.

24

˙ Ó

Vocal —38—

7BMerrily We Roll Along

(Revised 1/95) (6/28/02)

Growing Up—Part 2

& b 25(GUSSIE)

jœ œ jœ ˙Can't pur - sue

26 jœ œ jœ œ œ œev - 'ry pos - si - ble

27 wline.

28 !

& b29

jœ œ jœ ˙Fold- ing tents,

30 jœ œ jœ œ œ œmak-ing choi - ces, ig -

31 jœ œ jœ ˙nor - ing all

32 jœ œ jœ œ œ œoth - er voi - ces, in -

& b 33 jœ œ jœ ˙clud - ing mine.

34 ! 35 jœ œ Jœ ˙You're di - vine…

36 !

& bPoco Meno Mosso37

œ œ œ œb jœ .œbYou de - cide on what you

38

œ Œ œn œwant, dar - ling,

39

œ œ œ œb jœ .œbnot on what you think you

& b 40 Œ œ Óshould.

41

œ œ œ œb jœ .œbNot on what you want to

42

œ Œ œn œwant, dar - ling,

& b 43 œ œ œ œ jœb .œnot from force of hab - it.

44 ! 45 œ œ œ œ jœb .œOnce it's clear - ly un - der -

46

.œb jœ œ œstood, dar - ling,

& b 47 œ œ œ œ œb œ Œbet - ter go and grab it.

48 ! 49 œ œ œ œ jœb .œThings can slip a - way for

& b 4450

.œb jœ œ œgood, dar - ling,

51

œ œ œ œb jœ .œbwhat is it you real - ly

52 Œ ¿ Óhm?

& b 44A Tempo—Languidly( h = q )

Segue

53

8


& b b 44 1 wwwwbb U

!2 wwwwbb

U

!3 wwww#nn# U

!4 wwww#n##

U!

5 wwwwn##nU

!

& b b 6

wwww#nn#U

!7 wwwwbb

U!

8

wwwwbbU

!9

wwwwnnU

!10 Œ BETH:

œ œ œ œNot a day goes

& b b 46Slowly11

wby,

12

œ œ œ œ œnot a sin - gle

13

wday

14 Œ œ œ3

œ œ œbut you're some - where a

& b b 46 4415 3

œ œ œ ˙ œ œ œpart of my life and it

16 3

œ œ œ ˙looks like you'll stay.

17 Œ œ œ œ œAs the days go

& b b18

wby,

19

œ œ œ œ œI keepthink - ing,

20 3œ œ œ ˙when does it end?

21 œ œ œ œ œ œWhere's the day I'll have

& b b 22 3

œ œ œ 3

œ ˙start - ed for - get - ting?

23

œ œ œ œ œ œBut I just go on

24 3

œ œ œ3

œ œ œthink - ing and sweat - ing and

& b b n n25 3

œ œ œ3

œ œ œcurs - ing and cry - ing and

26 3œ œ œ 3œ œ œturn - ing and reach - ing and

27 3œ œ œ 3œ œ œwak - ing and dy - ing and

Vocal —41—

8


(Revised 1/95) (6/28/02)

Not a Day Goes By

&28

wNo,

29 œ œ œ œb œbnot a day goes

30 wby,

& 4631 œ œ œ œN œbnot a bless - ed

32 wday

33 3œ œ œ3

œ œ œbut you're still some - how

& 46 4434 3

œ œ œ .˙ œ œpart of my life and you

35 3œ œ œ ˙won't go a - way.

36 Œ œ œ œ œSo there's hell to

&37

wpay,

38 Œ œ œ œ œNand un - til I

39 wdie,

40 œ Œ œ œI'll die

&41 3

œ œ œ 3

œ œ œday af - ter day af - ter

42 3

œ œ œ 3


&43 3

œ œ œ 3


44

œ œ œ œ œday till the days go

&45

wby!

46

œ œ œ œ œTill the days go

47

wby!

&48

œ œ œ œ œTill the days go

49

wby!

50 U Ó

Not a Day Goes ByVocal —42—

& # # # # 44 .. ..Vamp—vocal last time

Alla Marcia

1 !TYLER: Living well is the best revenge!

2 Ó Œ ‰ SCOTTY:

œ œSo you've

&

&

# # # ## # # #

3(SCOTTY)

œ œ œ œ œ œ œ œ œ œ œ œmade a mistake, so you're sing-ing the blues, so you'll

!

4 œ œ œ œ œ œ œ œ œtake some time, go vis - it some plac - es…

Ó Œ ‰ . MARY:jœYou've

&

&

# # # ## # # #

5 !(MARY)

œ œ œ œ œ œ œn œ œ œ œ œgot to be some-where wherethere's noth-ing to re -

6 Ó Œ ‰ TYLER:

œ œWhatyou

œ œ Œ J¿ ‰ Œmind you… Right?

&

&

# # # ## # # #

7(TYLER)

œ œ œ œ œ œ œ œ œ œ œ œneed is a break, I'll ar-range a nice cruise,you'll re -

!

8 œ œ œ œ œ œ œ œ œlax a bit and see somenew fac - es…

Ó Œ ‰ .CHARLEY & MARY:jœYou've

&

&

# # # ## # # #

9 !(CHARLEY & MARY)

œ œ œ œ œ œ œn œ œ œ œ œgot to do some - thing, but just nev - er look be -

10 !

œ œ Œ Œ +TYLER:

J¿ ‰hind you… Right?

Vocal —43—


Now You Know

(6/28/02)(Revised 1/95)

&

&

# # # ## # # #

11

SCOTTY & TYLER:œ œ œ œ œ œBest thing that ev - er could

!

12 œ .˙have

!

13 Jœ .œ Œ FRANK:

J¿ ‰hap - pened! Right.

Ó Œ ‰ JOE:

œ œSo you'll

&

&

# # # ## # # #

42

42

14 !(JOE)

œ œ œ œ œ œ œ œ œ œ œ œsit in the sun, you'll come back with a tan, then we'll

15 Ó Œ ‰ .SCOTTY:jœThe

œ œ œ œ œ œ œ œ œdo that show you've al - ways been talk - ing.

&

&

# # # ## # # #

42

4244

44

16(SCOTTY)

œ œ œ œ œside is re - tired,

!

17

œ œn œ œ œ œ œso we start an - oth - er

!

18 jœ .œinn - ing…

!

19 Œ J¿ ‰Right?

Œ ‰ TYLER:

œ œOn a

&

&

# # # ## # # #

44

4442

42

20

Œ ‰JEROME:

œ œ œ œ œ Jœ ‰you'll come back a changed man…

(TYLER)

œ œ œ Jœ ‰ Œ ‰ œ œboat it's such fun… I've had

21 !

œ œ œ œ œ œ œ œlots of guests and no one's squawking

& # # # # 42 4422CHARLEY & MARY:œn œ œ œ œFeels like an end - ing,

23 œ œ œ œn œ œ œbut it's real - ly a be -

24 Jœ .œgin - ning…

25

J¿> ‰ Œ

Right?

Now You KnowVocal —44—

&

&

&

&

# # # ## # # ## # # ## # # #

44

44

44

44

26 SCOTTY:œ œ œ œ œ œ œBest thing that ev - er could have

Ó TYLER:œ œ œBest thing that

!

!

27 jœ .œ œ œhap - pened, I say,

œ œ ˙ œev - er could have

JOE:œ œ œ œ œOne more thing not to

Ó Œ JEROME:œ œIt was

&&&

&

# # # ## # # ## # # ## # # #

n n n #

n n n #

n n n #

n n n #

CCC

C

28 œ œ œ œ œ œ œbest thing that ev - er could have

˙ jœ .œhap - pened!œ œ .˙

think a - bout…œ œ œ œ œall get - ting much too

29 jœ .œ Œ "U MARY:

œ œnhap- pened! All right,

œ Œ ÓU

Ó FRANK:

J¿ ‰U ŒRight!œ œ œ œ ÓU

com - pli - cat - ed…

& # CL'istesso Tempo30

(MARY)

œ œn œ ˙now you know

31

œ œn œ œ œ œlife is crum - my. Well,

32

œ œn œ ˙now you know.

& # 33 Ó ‰ jœ œI mean

34

œ œn ˙big sur - prise!

35

œ œn œ œ œ œPeo - ple love you and

& # 36

œ œn ˙tell you lies.

37

œ œn œ œ œ œBricks can tum - ble from

38

œ œ ˙clear blue skies.

& # 39

œ œ œ œ œ œPut your dim - ple down,

40


41 Ó ‰ jœ œO - kay,


& #42(MARY)

œ œn œ ˙there you go…

43

œ œn œ œ œ œThat's the sum of it,

44


45 Ó ‰ jœ œIt's called

& # 46

œ œn œ œ œ œflow - ers wilt, it's called

47

œ œn œ œ œ œap - ples rot, it's called

48

œ œn œ œthieves get rich and

& # 49

œ œn œ œ œ œsaints get shot, it's called

50

œ œ œ œGod don't ans - wer

51

œ œ œ œ œ œprayers a lot, o - kay,

& # 52

œ œ œ ˙now you know.

53 w 54 .˙ Œ 55 Ó œ œO - kay,

& #56

œn œ œ ˙now you know,

57 Œ œ œ œ œn œnow for - get it. Don't

58

œ# œ œ œ œ œfall a - part at the

59 œ Œ œ œ#seams. It's called

& # 60

œ œn œ œ œ œlet - ting go your il -

61 ˙N œ œ#lu - sions, and

62 œa œN œ œ œ œdon't con - fuse themwith

63 œ Œ œ œdreams. If the

& #64

œn œ œ ˙go - ing's slow,

65 Œ œ œ œ œn ‰ jœdon't re - gret it, and

66

œ# œ œ œ œ œdon't let's go to ex -

67 œ Œ œ œtremes. It's called

& # 68

œ œb œ œ œ œwhat's your choice? It's called

69

œ œb œ œ œ œcount to ten. It's called

70

œ œb œ œburn your brid-ges,

71

œ œb œ œ œn œstart a-gain. You should

& # 72 œ œb œ œburn them ev - 'ry

73 œ œN œ œ œ œnow and then or you'll

74 jœ œ jœ ˙nev - er grow!

75 ˙ œ œ œBe - cause


& #76

(MARY)

œ œn œ ˙now you grow.

77

œ œn œ œ œ œThat's the kil - ler is,

78

œ œn œ ˙now you grow.

& # 79 Ó ‰ jœ œAll right,

80

œ œn œ œ œ œnoth - ing's fair, and it's

81

œ œn œ jœ œ jœall a plot, and to -

& # 82

œ œn œ œmor - row does - n't

83

œ œn œ jœ œ jœlook too hot… Right, you

84

œ œ œ œbet - ter look at

& # 85

œ œ œ ˙what you've got:

86 œ Œ Ó 87 Ó Œ œ œO - ver

& # 88

œ œ œ ˙here, hel - lo?

89 w 90 ˙ Ó 91 Ó ‰ jœ œO - kay,

&

&

#

#

# # # ## # # #

44

44

92 (MARY)

œ œ œ ˙now you know.

!

93 w!

94 Ó Œ ¿Right?

!

95 !

Ó Œ JOE:

œ œSo you'll

&

&

# # # ## # # #

44

4442

42

96

!

œ œ œ Jœ+SCOTTY:

œ œ œ œ œ Jœ+JEROME:

œ œfind a new gal… So you'll write a new play, in a

97 Ó Œ ‰ . MARY:jœYou

œ œ œ œ œ œ œ œ œmonth or two you're go - ing to thank us.

& # # # # 42 4498(MARY)

œ œ œ œ œmay have missed one road,

99

œ œn œ œ œ œ œbut there's plen - ty more to

100 jœ .œfol - low.

101

J¿ ‰ ‰ TYLER:

œ œRight? We'll go


&

&

# # # ## # # #

44

4442

42

102

!(TYLER)

œ œ œ œ œ œ œ œ œ œ œ œthrough the can - al, up the coast to L. A. You'll come

103Ó Œ ‰ . CHARLEY:jœYou

œ œ œ œ œ œ œ œ œsee the place I'm build-ing at Tran - cas.

& # # # # 42 104 (CHARLEY)

œ œ œ œ œhang a-round here, pal,

105

œ œn œ œ œ œ œand you're on - ly gon - na

106 jœ .œwal - low.

107Œ J¿ ‰Right?

&

&

# # # ## # # #

108 KT, SCOTTY, BUNKER, JOE & TYLER:œ œ œBest thing that

!

109œ œ œev - er could

!

110

Jœ .œhave

!

111˙

Œ " MARY:

œ œI mean

&

&

&

# # # ## # # ## # # #

112

(KT, SCOTT, BUNKER,JOE & TYLER)˙

(MARY)œ œn œ œ œ œyou'll come back, I mean,

!

113 ˙

œ œn œ Jœ ‰what's the fuss?

Œ "CHARLEY: œ œI mean,

114 ˙

!

œ œn œ œsea and sun and

115 ˙

!

œ œn œ œcom - fortplus.

&

&

# # # ## # # #

116

(KT, SCOTT, BUNKER,JOE & TYLER)

Jœ .œhap - pened!

Œ ‰ CHARLEY & MARY:

œ œI mean,

117 !

œ œn œ œaf - ter all, you've

118 !

œ œn œ Œstill got us.


&

&

&

&

# # # ## # # ## # # ## # # #

119

GROUP 1:œ œ œBest thing that

!

!

!

120 œ œ œev - er could

GROUP 2:œ œ œBest thing that

!

!

121 œ œhaveœ œ œ

ev - er couldGROUP 3:œ œ œ

Best thing that

!

122˙

œ œhaveœ œ œ œ

ev - er could have

Œ GROUP 4:œ œIt was

&

&

&

&

# # # ## # # ## # # ## # # #

123 Jœ .œhap - pened!œ œ œ œhap - pened! It was

Jœ .œhap - pened!œ œ œall get - ting

124 œ œ œIt wasœ œ œ

all get - ting

!

œ œmuch too

125 œ œ œall get - ting

œ œmuch too

!œ œ œ œ

com - pli - cat - ed

126 œ œmuch too…œ œ œ œcom - pli - cat - ed…

!œ œ œan - y - how…

&

&

&

&

# # # ## # # ## # # ## # # #

n n n n bn n n n bn n n n bn n n n b

127ƒœ œ œBest thing thatƒœ œ œBest thing thatƒ œ œ œBest thing thatƒ

œ œ œBest thing that

128œ œ œ œev - er could have

œ œ œ œev - er could have



129 Jœ .œhap - pened!

Jœ .œhap - pened!jœ .œhap - pened!

jœ .œhap - pened!

130œ ‰ FRANK:

œn œRight! You've

œ Œ

œ Œ

œ Œ


& b131 (FRANK)

œ œ œ œ œ œgot-ta let go, got-ta

132œ œ œ œ œ œdo it fromscratch, take a

133 œ œ œ œlong deepbreath, go

134 œ œ œ œ œ œback to yoursour - ces. A

&

&

b

b

135(FRANK)

œ œ œ œ œlit - tle va - ca - tion,

!

136

œ œ œ œ œ œ œwhich is all a - bout for -

!

137œ œ J¿ ‰getting…Right?

!

138 Œ J¿ œ œRight! Then we'll

GROUP:

J¿ Œ ‰Right!

& b139 (FRANK)

œ œ œ œ œ œdo a new show… No, we'll

140œ œ œ œ œ œdo a whole batch, may-be

141 œ œ œ œone that's all a -

142 œ œ œ œ œbout di - vor - ces! I

&

&

b

b

n #

n #44

44

143

(FRANK)

œœbb œœ œœ œœ œœmean, a di - vorce court,

!

144œœ œœ œœ œœbb œœ œœ œœwhat a fas-cin - at - ing

!

145œœ œœ J¿ ‰set - ting! Right?

!

146 Œ J¿> ‰

Right!

GROUP:

J¿ Œ ‰Right!

&

&

#

#44

44

147GROUP 1:œ œ œ œ œ œ œ

Best thing that ev - er could have

!

148 jœ .œ Óhap - pened.

Ó GROUP 2:œ œ œ œYes - ter - day is

&

&

#

#

149 œ œ œ œ œ œ œBest thing that ev - er could have

wdone.

150 jœ .œ œ œ œhap - pened. I say,

.œ jœ œ œ œ œSee the pret - ty


&

&

&

#

#

#

151 (GROUP 1)œ œ œ œ œ œ œbest thing that ev - er could have(GROUP 2)œ œ .˙

coun - try - side.

Œ ‰ GROUP 3:

œ œ œ œ œ œ œ œSo you'll sit in the sun, you'll come

152 jœ .œ œ œhap - pened. I say,

˙ œ œ œ œSoon e - nough you're

œ œ œ œ œ œ œ œ œ œback with a tan, in a month or two you're

&

&

&

#

#

#

153 œ œ œ œ œ œ œbest thing that ev - er could have

œ œ œ œ œ œmer - ri - ly, mer - ri - ly

œ œ œ œ œ Ógo - ing to thank us.

154 Jœ .œ Óhap - pened.

˙ 3œ œ œroll - ing a -

Ó 3Œ Œ œIt's

155 Ó Œ 3‰ ‰ JœIt's

wlong!˙ ˙your time!

&

&

&

#

#

#

C

C

C

156 ˙ ˙your time,

Ó 3œ œ œRoll - ing a -

Ó 3Œ Œ œIt's

157 wyour

wlong!

wyour

158 wtime!

ww

time!

& # CDance159

Œ œœœœbbnbjœœœœ

....œœœœbbb!

160 ....œœœœbbbbjœœœœbbN œœœœ

œœœœbbb!

161 ....œœœœbbbbjœœœœbbN ˙

!162 ˙ ....œœœœ ‰

!

& # n b b163Œ œœœœ##jœœœœ

....œœœœn!

164 ....œœœœ#jœœœœ## œœœœ

œœœœn!

165 ....œœœœ#jœœœœ## ˙!

166˙ ....œœœœ ‰!


& b b167

ALL:

œ œb œ œ œ œWhat's your choice? It's called

168

œ œb œ œ œ œcount to ten. It's called

& b b 169

œ œb œ œburn your brid - ges,

170

œ œb œ œ œn œstart a - gain, you should

171 œ œb œ œNburn them ev - 'ry

& b b 172 œ œN œ œ œ œnow and then or you'll

173

Jœ œ Jœ ˙nev - er grow!

174˙ ‰ jœ œBe - cause

& b b175

œ œb œ ˙now you grow.

176 œ œb œ œ œ œLife's a kil - ler so,

177 œ œb œ ˙now you grow.

178˙ ‰ MARY:jœ œYou're right,

&

&

b b

b b

179(MARY)

œ œb œ ‰ jœ œnoth- ing's fair, and it's

!

180œ œb œ ‰ œ jœall a plot, and to -

!

181 œ œb œ œmor-row does - n't

!

182 œ œb œ Œ ‰ jœlook too hot… You

Ó ‰ ALL:¿ ‰Right!

& b b183(MARY)

œ œ œ œbet - ter look at

184 œ œ œ ˙what you've got:

185w 186 .˙ œ œO - ver

&

&

b b

b b

187 (MARY)

œ œ œ ˙here, hel - lo?

!

188 wGROUP 2:œœ œœ œœ Ó

Now you know,

189 w

œœ œœ œœ Ónow you know,

190 ˙ ‰GROUP 1:jœ œO - verœœœ œœœ œœœ Ó

now you know.


&

&

&

b b

b b

b b

191(GROUP 1)œ œ œ œ Œ

here, hello?

Ó Œ(GROUP 2)¿Right!

ŒGROUP 3:œ jœ .œNow you

192 œ œ œ œ ŒHere, hel-lo?

Ó Œ ¿Right!

.œb jœ Óknow it!

193 œ œ œ œ ŒHere, hello?

Ó Œ ¿Right!

Œ œ jœ .œNow you


Ó Œ ¿Right!

.œb jœ Óknow it!

&

&

&

b b

b b

b b

195 œ œ œ œ ŒHere, hel - lo?

Ó Œ ¿Right!

Œ œœb jœœ ..œœNow you


Ó Œ ¿Right!

..œœb jœœ Óknow it!

197 œ œ œ œ ŒHere, hel - lo?

Ó Œ ¿Right!

Œ œœb jœœ ..œœNow you


Ó Œ ¿Right!

..œœb jœœ Óknow it!

&

&

b b

b b

199 ¿ Œ ¿ ŒRight! Right!

!


!


Œ ¿ Œ ¿Right! Right!


Œ ¿ Œ ¿Right! Right!

& b b203

œœœœœœœœbbb œœœœn ˙

!204 wwww !

205

œ œ œ œ œ œ œ œ!End of Act 1

206 ALL:¿ ¿ ¿ ÓNow youknow!


& b b C .. ..Vamp—gradually slower (vocal last time)

1 Ó Œ ‰GUSSIE:jœHe's

Curtain rises, GUSSIE paces.

2 œ œ œ œ ˙on - ly a boy…

3 ! 4 œ œ œ œ œ œWhy do I think he loves

5 œ .˙me?

& b b 6 œ œ œ œ œMay - be he loves what

7 œ œb œ œ œ œI can do for him.

8 œ œ œ œ œMay - be he thinks that

& b b 9 œ œ œN œ œ œI'll comethrough for him…

10 œ œ œ œ œ# œnMay - be the moon is cheese!

11 ˙ œ œ œnAnd yet

& b b12

˙ œ Œmay - be,

13 .œ jœ jœ ‰ Œmay - be

14 œ œ œ œ œsome - thing real is hap -

15 œ œ œ œ œpen - ing here… But

& b b n n # # # #16 ˙ jœ œ jœ#ba - by,you're a

17 .œ jœ jœ ‰ œ œ#ba - by, and the

18 œ œ œ# œ œ œnman I'mmar - ried to

"19 œ œ œ# Œneeds me near…

Vocal —54—

10

10A


(Revised 1/95) (6/28/02)

Entr'acteTacet

Act 2—Opening

& # # # # 81220(GUSSIE)jœ œ jœ œ œ

O - kay, the moon is

21 wcheese!

22 wMolto Rall.

23 œ Œ œ œAnd I

& # # # # 812(h = qk) Slow 424

œ Jœ œ jœ Jœ œ œ œ œlove the guy I should-n't and I

25 œ Jœ œ jœ .œ œ œ œdon't the one I should, ah, but

& # # # # 26 œ Jœn œ œn œ œ œ œ œ œ œlove is blind and I go for the kind that I

Rall.27 œ œ œn œ œn œ .˙fin - al - ly find is no good…

& # # # # Grandioso28

‰ ‰ jœ œ jœ œ jœ œ jœIt start - ed out like a song,

29 .w

& # # # # 30 ‰ ‰ jœ œ jœ œ jœ œ jœit start - ed qui - et and slow,

31 .œ œ jœ œ jœ .œnwith no sur - prise.

& # # # # 32 ‰ ‰ jœ œ jœ œ Jœ œ JœAnd then one morn - ing I woke

33 .œ œ jœ œ œ œn .œto re - a - lize

& # # # # 34 ‰ ‰ jœ œ jœ .œ .œwe had a good thing

35 œ Jœ .œ .˙go - ing.

& # # # # 36 ‰ ‰ jœ œ jœ œ jœ œ jœIt's not that noth - ing went wrong…

37 .w

& # # # # .. ..38 2(Dialogue)40 !U

Act 2—OpeningVocal —55—

&

&

# # # # ## # # # #

83

83

1 JOE:

œ œ œ œLis - ten to that!

!

"

"

U

U

2 ‰ œn œnWill you

CROWD:

(Ovation)

J¿ ‰ ‰

3 œa œ œ œlis - ten to that!

!

"

"

U

U

4 ‰ FRANK:

œn œnDo you

(Ovation)

J¿ ‰ ‰

& # # # # #5

œ œ œknow what that

6 œ œ œmeans? Let me

7 œ œ œ œtell you what that

8 œ œ œmeans… Wait, no,

&

&

# # # # ## # # # #

n n n n n b b bn n n n n b b b

9 œ œ œ œ œ œan - y - one who e - ven

!

10 œ œn œnthinks it, don't

!

11 œa œ œsay it, you'll

!

"

"

U

U12 œn œn ‰

jinx it.

‰ ‰(Ovation)

J¿>

&

&

b b b

b b b

13CHARLEY:œ œ œ œ

Lis - ten to that!

!

"

"

U

U14 ‰ JOE:œ œ

Did you

(Ovation)

J¿ ‰ ‰

15 œ œ œ œlis - ten to that?

!

"

"

U

U16 ‰ FRANK:œ œ

Does that

(Ovation)

J¿ ‰ ‰

& b b b 17 œ œ œmake you feel

18 œ œ œproud? Well, feel

19 œ œ œmore than just

20 œ œ œproud… O - kay,

21 œ œ œwait, I'll tempt

&

&

b b b

b b b

22 œ œ œfate and I'll

!

Ritard23 œb œ œ

state it out

!

"

"

U

U24 œ ‰

loud:

‰(Ovation)

¿

Molto Rit.25

‰pœn

Uœ

UThat's the

!

26

œnU

œnU

œbU

sound of a

!

Vocal —56—


(Revised 1/95) (6/28/02)

It's a Hit

& b b b

LargoPoco a Poco Accel.

27 (FRANK)œ œn œhit! It's a

28 œn œn œhit! Gang, I

29 œ œn œthink this is

30 œn œn œit! No more

& b b b 31 œ œ œ œ œ œwrit - ing clev - er lit - tle

32 œ œn œshows for those

33 œ œ œbase - ment sa -

34 œ œ œloons, no more

&

&

b b b

b b b

35 œ œ œ œ œ œpro - cla - ma - tions from the

!

36 œ œn œpros that "You

!

37 œ œ œcan't hum the

!

38 jœ ‰ ‰tunes."

‰ CHARLEY:

œn œNo more

&

&

b b b

b b b

39

!(CHARLEY)œ œ œ œ œ œsneaking in at in - ter -

40 !

œ œ œn œmis - sion to the

41 !

œ œ œ œ œ œplays you wish you could af -

42 ‰ MARY:

œn œOr pro -jœb ‰ ‰

ford.

&

&

b b b

b b b

43 œ œ œ œ œ œdu - cers hav - ing you au -

!

44 œ œ œdi - tion when -

!

45 œ œ œev - er they're

!

46 jœ ‰ ‰bored.

‰ CHARLEY:

œ œAnd who

& b b b47 (CHARLEY)

œ œ œsay right a -

48 œ œ œway as you

49 œ œ œplay the first

50 .œchord:

It's a HitVocal —57—

&

&

b b b

b b b

.. ..

.. ..

51

!(CHARLEY)

Jœ ‰ ‰

Vamp52 !

‰ CROWD:

(Ovation)

¿

53 ‰MARY, FRANK& CHARLEY

œn œWe're a.¿

&

&

b b b

b b b

Più Mosso54

œ œn œhit! We're a

!

55 jœn ‰ ‰hit!

‰ JOE:

œn œStand-ing

56 !

œ œn œup, the whole

57 ‰ FRANK:

œn œNo morejœn ‰ ‰

bit.

58 œ œ œ œcoach-ing those so -

!

59 œ œn œpra - nos with

!

&

&

b b b

b b b

60 œ œ œvoic - es like

!

61 jœ ‰ ‰bees.

‰ CHARLEY:

œ œNo more

62 !

œ œ œ œse - cond hand pi -

63 !

œ œn œa - nos with

64 !

œ œ œsix broken

65 ‰ MARY:

œn œNo more

jœ ‰ ‰keys.

& b b b66

(MARY)œ œ œ œ œ œa - gents giv - ing you o -

67 œ œ œn œpin - ions as they

68 œ œ œ œ œ œturn you o - ver to their

69 œ œ+FRANK& CHARLEY

œn œmin - ions… Just for

& b b b n n n # # # #70 œ œ œthese guar - an -

71 œ œ œtees we should

72 œ œ œplease thank the

73 œœ œn

Lord. It's a


&

&

# # # ## # # #

Ancora Più Mosso74

(FRANK & CHARLEY)œ œ# œhit! It's a

!

75 jœ# ‰ ‰hit!

‰ BETH:

œ# œWill my

76 !

œ œ# œfolks have a

77 !

œ# œ# œfit! Af - ter

& # # # #78(BETH)œ œ œ œ

all of that bal -

79 œ œ# œo - ney they've

80 œ œ œmade me go

81 œ,

œ œthrough, all that

& # # # # 82 œ œ œ œ œ œ"Hon - ey, not that he's a

83 œ œ# œphon - y, but

84 œ œ œwhat does he

85 œ,

œ# œdo?" Will their

& # # # #86

œ œ œfac - es be

87 œ œ œ# œston - y when they

88 œ œ œsee on their

89 œ œ œ# œSon - y some-one

& # # # # n n # #90 œ œ œhand - ing the

91 œ œ œphon - y the

92 œ œ œTon - y a -

93 .œward!

& # # .. ..94 !Play 4 times

95 !FRANK: I would like to begin by thanking all the hundreds of people who have turned down…

96 3

&

&

# ## #

# # #

# # #89

89

99 4…every show I have ever written so that I could win tonight for this one.

4

103 !UFRANK:Thank you.

(Ovation)

CROWD:Ï .¿U


& # # # 89Agitato ( qk = 126 )104

FRANK:

œ œ œ œ ‰ ‰ œ œLis-ten to that! Willyou

105

œ œ œ œ ‰ ‰ œ œlis - ten to that? Tell me,

106

œ œ œ œ œ œ œ œ œis that a noise, or is that a noise?

& # # # 107 œ œ œ œ œ œ œ œ œThat is a noise we've been wait - ing the

108 œ œ œ œ jœ .œwhole of our lives to hear.

&

&

# # #

# # #

109

Œ . Œ . (FRANK)

œ œ œLis-ten to

BETH:

œ œ œ œ ‰ ‰ œ œLis-ten to that! Did you

110 œ œ œ œ œ œ œ ‰that! Will you lis - ten to that?

œ œ œ œ ‰ ‰ œ œlis - ten to that? Hon - ey,

111 .œ .œ Œ .I can't

œ œ œ œ œ œ œ œ œis that a noise, or is that a noise?

&

&

# # #

# # #

n n n b b

n n n b b

112

.œ .œ Œ .stand it!

œ œ œ œ œ œ œ œ œThat is the lov - li - est noise for a

113 !

œ œ œ œ jœ .œbread - win - ning wife to hear.

&

&

&

&

b b

b b

b b

b b

114

!

!MARY:œ œ œ œ ‰ 2œ œ

Lis - ten to that! That's ob -

!

115 !

Œ . Œ . BETH:

œ œ œLis - ten to

.˙ Œ .scene!

JOE:œ œ œ œ ‰ ‰ œ œLis - ten to that! Fel - las,


&

&

&

&

b b

b b

b b

b b

116 FRANK:œ œ œ œ ‰ Œ .Lis - ten to that!

(BETH)œ œ œ œ œ œ jœ ‰ ‰that, did you lis - ten to that?

MARY & CHARLEY:

œ œ œ œ œ œ œ œ œThat is a noise that is real - ly a…

(JOE)

œ œ œ œ œ œ œ œ œthat is a noise that is real - ly a

117

œ œn œ# œ œ œn œ œ œThat is the noise I've been wait - ing my

.œ .œ Œ .I can't

œ œ œ œn ‰ ‰ œ œLis - ten to that! Will you

.œ Œ . Œ .noise!

&&&&

b b

b b

b b

b b

n n # # # #

n n # # # #

n n # # # #

n n # # # #

118 œn jœ .œn œ œ œlife to hear. Lis - ten to.œn .œ ‰ œ œ

stand it! Did youœ œ œ œn ‰ ‰ œ œlis - ten to that? Gol - ly.œ .œ Œ .I can't

119 œn ‰ œ œ œ œ œ œthat! Lis - ten to that, will youœ œ œ œn ‰ Œ .lis - ten to that?.œ .œ Œ .I can't.œn .œ œ jœ

stand it! Will you

&

&

&

&

# # # #

# # # #

# # # #

# # # #

n n n n bn n n n bn n n n bn n n n b

83

83

83

83

120 f(FRANK)œ œ œ œ ‰ ‰ œ œ

lis - ten to that! Will you

CHARLEY:f œ œ œ œ ‰ ‰ œ œ

Lis - ten to that! Will you

MARY:f .œ .œ ‰ œ œ

stand it! Will youf (JOE)

œ œ œ œ ‰ ‰ œ œlis - ten to that! Will you

121œ œ œ œ ‰ 2œ œnlis - ten to that? That's the

œ œ œ œ ‰ 2œ œnlis - ten to that? That's the




& b 83L'istesso Tempo ( qk = e )122

ALL: œ œn œsound of an

123 œ œn œaud - i - ence

124œ œ œlos - ing its

125 œ œ œmind! It's the

126 œ œn œPope on his

127œ œn œbal - co - ny

& b 128 œ œ œbless-ing man -

129

JœJOE:

œ œkind! Folks,it's

130 œ œn œ"Fun - ny Girl,"

131 œ œn œ"Fidd-ler," and

Rall.132 œ œn œ

"Dol - ly" com -

"133

JœALL:

œn œbined!It's a

& bPesante—In 3

134 œ œn œhit! It's a

135 œn œn œhit! It's a

Accel.136 œ œn œ

pal - pa - ble

137

JœnFRANK& CHARLEY

œn œhit! If it

& bPiù Mosso—In 1

138œ œ œ œ œ œon - ly ev - en runs a

139 œ œn œmin - ute, at

140 œ œ œleast it's a

141 œ œ œnwedge, it's the

&

&

b

b

142 œ œ œ œ œ œthea - ter and we're real - ly

!

143œ œn œin it, not

!

144 œ œ œjust on the

!

145 jœ ‰ ‰edge.

‰ JOE:

œ# œIf your

&

&

b

b

Più Mosso146

!(JOE)œ œ œ œ œ œspir - its ev - er need im -

147 !

œ œ œ# œprov - ing, you can

148 !

œ œ œ œ œ œdrop in an - y night for

149 ‰ FRANK:

œ# œBut thejœ ‰ ‰

free!

&

&

b

b

n # # #

n # # #

150 œ œ œ œ œ œthingthat's pos - i - tive - ly

!

151 œ œ ‰mov - ing…

‰ ‰ CHARLEY:jœYou

Rall.152 !

œ œ œcould have fooled

153 ‰FRANK& CHARLEYœ œ

…Is we're

Jœ ‰ ‰me…


& # # #A Tempo

154 (FRANK & CHARLEY)

.œstill

155 .œold

156 .œfriends!

157 œ œ œNoth-ing can

158 .œkill

159 .œold

160 .œfriends!

161+MARY

œ œ œWhere there's a

& # # #162

.œwill,

163 .œold

164 .œfriends.

165 œ œ œDon't need suc -

166 œ œ œcess to sur -

167 .œvive!

168 .œ 169Jœ+BETHœ

And

& # # #170 .œus,

171 .œold

172 .œfriends,

173 œ œ œwhat's to dis -

174 .œcuss

175 .œold

176 .œfriends?

Ritard177 ALL:œ œ œ

We'vegot a

& # # #178 œ œ# œsure - fi - re

179 œ œ# œgen - u - ine

180 œ œ# œwalk - a - way

181 œ œ# œblock - bus - ter

& # # # 182 œ œ# œlines down to

183 œ œ# œBroad - way boff -

184œ œ# œo - la sen -

185œ œ# œsa - tion - al

& # # # 186 œ œ# œbox of - fice

Rall.187œ œ# œ

la - la - pa -

188 œ œ# œloo - za gar -

"189 œ œ# œgan - tu - an

& # # #190 .œhit!

191œ œ# œIt's a

192 .œhit!

193œ œ# œIt's a

194 œ œ# œhit! It's a

& # # # 195 œ# œ# œhit! It's a

196 œ œ# œhit! It's a

197 ...œœœUhit!

198

Jœœœ ‰ ‰


&

&

b b

b b44

44

Dreamily (q = 100)

1SOLO:œ œ jœ œ jœDreams don't die, so keep

!U

2 jœ œ jœ œ œ œan eye on your

!

&

&

b b

b b

3 wUdream.

ŒU MAN & WOMAN:3œ Jœb 3œ Jœ 3œ Jœ

"Cause be - fore you know where

4 w

œ œb œ œb 3œ jœ œyou are, there you are.

&

&

b b

b b

n bn b

5 !

œN œN jœ œ jœTime goes by and dreams


go dry, but you


can't give up on your

8 ÓU œ# œTend your

wUdreams.

&

&

b

b

Più Mosso9

(SOLO)wdream.

GROUP:œ œ œ Jœ .œSome roads are eas - y.

10 œ Œ œ# œDreamstake

˙ Ó

11 wtime.

œ œ œ Jœ œ jœSome roads are all up - hill.

12 œ Œ œ# œTime goes

˙ Ó

Vocal —64—


(Revised 1/95) (6/28/02)

Transition 4

&

&

b

b

13 (SOLO)wby.

(GROUP)œ œ œ Jœ œ jœSome roads you plod a - long

14 !

œ œ# œ œ œ Œwith a will.

15 !

œ œ œ Jœ œ jœSome roads you trav - el just


œ œ# œ œ œ Œfor the thrill.

&

&

b

b

17

wdreams…

œ œ œ Jœ .œSome roads are breez - y.

18 œ Œ œ# œwith the

˙ Ó

19 wroad…

œ œ œ Jœ œ jœSome roads are full of jig -

20 !

œ œ# œ œ œ Œgles and bumps.

& b 21 (SOLO)

œ œ œ Jœ œ jœCan't let it get you down

22 œ œ# œ œ œ Œin the dumps.

23 œ œ œ Jœ œ jœDon't let it get youdown

24 œ œ# œ œ ˙inthedumps.

&

&

&

&

b

b

b

b

25 (SOLO)

wœ œ 3œ Jœ œ

Nine - teen - six - ty - four,

GROUP: !

!

26

ww

œ œ 3œ Jœ œNine- teen - six - ty - three,

!

27

ww

w

œ œ 3œ Jœ œNine - teen - six - ty - two…

28

wU

wU

wU

wU

Transition 4Vocal —65—

& C 1 œœœœœœœœ

jœœœœœœœœ


jœœœœ ‰ jœœœœ œœœœ!3 œœœœ

œœœœjœœœœ

œœœœjœœœœ!

4 Ó Œ SOLO:fœ œ

Haveyou

&&

5

œ Œ Œ ‰ jœseen?… You're

Œ SOLO:fœ jœ .œ

How was it?…

6 jœ œ Jœ œ œ œnot ser - i - ous!

Ó Œ œ œDo you

&&

7 Œ œ jœ .œThat does it!

œ Œ Œ ‰ jœmean?… You're

8 Ó Œ œ œHave you

jœ œ Jœ œ œ œnot ser - i - ous!

&&&&

9


Œ œ jœ .œHow was it?…

SOLO:f œ œ ÓDar - ling!

!


Ó Œ œ œDo you

!Œ SOLO:f

œ œ œ œ œWe bought the most!…

Vocal —66—


(Revised 1/95) (6/28/02)

The Blob—Part 1

&&&&&



œ œ ÓDar - ling!

!!

12 Ó Œ œ œHave you


!Œ œ œ œ œ œ

We had the best!…

Ó ‰ SOLO:f œ jœDid you

&&&&&&

13


Œ œ jœ .œHow was it?…

œ œ ÓDar - ling!

!œ Œ Œ œ œ

read?… We saw

Œ SOLO:f œ œ Jœ œ ‰It - 'll nev - er!…


Ó Œ œ œDo you

!Œ œ œ œ œ œ

We saw the first!…

Jœ œ jœ œ Œthe first!…

Ó ‰ œ jœWhat they

The Blob—Part 1Vocal —67—

&&&&&&



œ œ ÓDar - ling!

!Œ œ œ Jœ œ ‰

Did you ev - er?…

œ Œ Œ œ œneed!… Was that

16 Ó Œ œ œIt's the


Ó ‰ œ jœIt's the

Œ œ œ œ œ œWe had the most!…

Ó ‰ œ jœIt's the

Jœ œ Jœ œ Œthe worst?

&17

ALL:œ œ œ œ œ œbest, it's the first, it's the

18 œ œ œ œ œ œ œ œfin - est it's the lat - est, it's the

19 œ œ œ œ œ œleast, it's the worst, it's the

&20 œ œ œ œ œ œ œ œab - so - lute - ly low - est, it's the

21 œ œ œ œ œ œ œ œgreat - est, it's the sin - gle, it's the

& 23 b b 4422 œ œ œ œ œ œ œ œon - ly, it's the per - fect, it's the…

23 ¿ Œ ¿ ¿ Œ ƒ¿ ¿ ¿ ŒHi! Dread-ful! Fab-u-lous!

& b b 4424

4


& b b28 !Stage Piano

œœœ œœ œ Jœ# œ Jœœœn

BETH: Frank… Frank…

29 !œœœ œ œ# œ ‰ ...œœœb

30 !œœœN œœœn œ œ# œœœb Œ

31 !

& b b 32 !œœœn œœ œ Jœ# œ J

œœœ#33 !

œœœ œ œ# œ ‰....œœœœbb

34 !œœœn œœ œ Jœ# œ J

œœœ#35 !

œœœ œ œ# œ ‰....œœœœbb

36 !wwww

& b b 37 !œœœn œœ œ œ#

œœœœbb Œ38 !UBETH squeals.

39 ALL:¿ Œ ¿ ŒWhat? Who?

40 ¿ Œ ¿ ŒWhere? Oh…

& b b ..3 times41 !Stage Piano

œœœ œœ œ Jœ# œ Jœœœn

42 !œœœ œ œ# œ

‰ ...œœœb43 !

œœœN œœœn œ œ# œœœb Œ 44 !œœœn œœ œ Jœ# œ J

œœœ#

& b b ..45 !œœœ œ œ# œ

‰ ....œœœœbb46 !

œœœn œœ œ Jœ# œ Jœœœ#

47 !œœœ œ œ# œ

‰ ....œœœœbb48 !

œœœn œœ œ œ#œœœœbb

ŒSegue

49 !U


& b b C 1 !œœœœ œœœœ Jœœœœ œœœœ J

œœœœ

BETH: I thought it was autumn.2 !

‰ œœœœ Jœœœœ ‰

Jœœœœ œœœœ

&

&

b b

b b

3GROUP 1:œ œ ÓDar - ling!

!

4 !

Œ GROUP 2:

œ œ œ œ œWe saw the new!…

5 œ œ ÓDar - ling!

!

6 Ó ‰ Jœ œThe most…

Œ œ œ œ œ œWe had the most…

&

&

b b

b b

7

!ALL (in groups):

œ œ œ œ œ œBad, it was good, it's the

8 Œ SOLO:

œ œ œ œ ŒHe's a gen - ius!

œ œ Œ Œ œ œbig - gest. Well, he

&

&

b b

b bn n

n n

9 !(ALL)œ œ œ œ œ œ œcan't but he used to, it's the

10 Œ SOLO:

œ œ œ œ ŒShe's a gen - ius!

œ œ Œ Œ œ œdumb - est, it's the…

& .. .. b b3 times11

4

& b b .. .. b b b bVamp15

2 17 2GUSSIE: You don't mind if I kidnap him, do you?

Vocal —70—


(Revised 1/95) (6/28/02)

The Blob—Part 2

& b b b b .. ..Long Vamp—vocal last time

19GUSSIE:

œ œ œ œ ŒMeet the blob.

20 Œ œ œ œ œ œThe bod - ies you

& b b b b21

œ œ œ œ Œread a - bout.

22 Œ œ œ œ œ œThe ones who know

23

œ œ œ œ Œev - 'ry - one

&

&

b b b b

b b b b

24 Œ (GUSSIE)œ œ œ œ œThat ev - 'ry - one

!

25

wknows.

Ó GUESTS:¿ ŒHi!

26 !

¿ ¿ Œ ¿ ¿ ¿Dread-ful! Fab - u - lous!

& b b b b n n n n27(GUSSIE)

œ œ œ œ ŒMeet the blob,

28 Œ œ œ œ œ œnot man - y and

&

&

29(GUSSIE)

œ Œ Óyet,

Œ GUESTS:¿ ¿ ŒOh, right.

30 Œ œb œ œ œ œyou nev - er see

!

31 œ Œ Óone.

Œ ¿ ¿ ŒWhat? No!

&

&

32 Œ œb œ œ œ œThey come as a

!

33 œ Œ Óset.

Œ ¿ ¿ ŒWho, him?

34 Œ œ œ œ œ œAnd we're in their

!

&

&

35

œ Œ Ódebt.

‰ . J#¿ ¿ ¿ ¿ ¿ .¿ ŒBut, what do you think?

36 Œ œ œ œ œ œ'Cause, hon - ey - bunch,

!


&37

(GUSSIE)jœ œ jœ œ œ œthey write the books and put

38 jœ œ jœ œ œ œon the shows and run

39 jœ œ jœ jœ œ jœthe sa - loons and de -

&40 jœ œ jœ œ Œsign the clothes.

41 jœ œ jœ jœ œ jœThey keep us na - tives on

42 jœ œ jœ ˙our toes.

&

&

43 !GUESTS:¿ ¿ ¿ ¿

Al - bee! War - hol!

44 Ó Œ ‰ (GUSSIE)jœThenj¿ ¿ J¿ ¿ ¿

Ku - ro - sa - wa!

&45

(GUSSIE)jœ œ jœ œ œ œthey read the books and go

46 jœ œ jœ œ œ œto the shows and swamp

47 jœ œ jœ jœ œ jœthe sa - loons wear - ing

& 48 jœ œ jœ œ Œall the clothes…

49

Jœ œ jœ œ œ œWhat you might call a glut.

50 Œ ‰ jœ# Œ œ œ#But, they're the

& 51 œ# œ œ œn œ œ# œ œ#most im - por-tant people in the

52 œ# œ œ œn œ œ# œ œ#most im - por-tant cit - y in the

53 œ# œ œ œn œ œ# œ œ#most im - por - tant coun - try in the

&54 jœ# œN jœ Óyou - know what!

55 GUESTS:¿ ¿ ¿ ¿Heav - y! Mil - town! Segue

56 Œ ¿ ¿ ŒGes - talt!


12BThe Blob—Part 2 (Underscore)

Tacet

& # # # # 441 U ˙‹U!

GUSSIE: We want it fast, loud, and funny. Allegro Non Troppo (q = 144)

2 GUSSIE:3

œ jœ 3

œ jœn3

œ jœn3

œ jœLife is know - ing what you want,

3 Ó œ# jœ ‰dar - ling.

& # # # # 4 3

œ jœ 3

œ jœn3

œ jœn jœ ‰That's thething youhave to

5 Ó ‰ jœ Œknow.

6 3

œ jœ 3

œ jœn3

œ jœn3

œ jœYou'll get ev - 'ry-thing you want,

& # # # # n n n n b7 Œ ‰ jœ# œ œdar - ling,

8 3

œ jœ 3œ jœ3

œn jœ œhave a lit - tle pa - tience.

9 !

& b10

3

œ jœ 3œ jœb 3

œ jœb3

œ jœClimb ing moun tains can be slow,

11

œ ‰ jœn œ œdar - ling,

12 3

œ jœ 3

œ jœb3

œ jœb œTake it ea - sy as you

& b b b b b b b C13 Œ œ Óclimb.

14 3

œ jœ 3

œ jœb3

œ jœb œI'd sayyou're a win - ner,

15 3

œ jœ 3

œ jœn3

œb jœ œal - so a be-gin - ner,

& b b b b b b C16

œ œb œ œ œ Œone step at a time.

17 3

Vocal —73—

12CMerrily We Roll Along

(Revised 1/95) (6/28/02)

Growing Up—Act 2

& b b b b b b20

(GUSSIE)jœ œ jœ ˙Growing up,

21 Œ œ œ œ œ œit's what they call

22 jœ œ jœ ˙growing up.

23 Œ œ œ œ œ œIt'swhen we're all

& b b b b b b 24 jœ œ jœ ˙start - ing out

25 Œ œ œ œ œ œand start - ing to

26

wsway.

27 !

& b b b b b b28

jœ œ jœ ˙Grow-ing up,

29 Œ œ œ œ œ œyou hate the de -

30 wlay,

31 Œ œ œ œ œ œbut af - ter to -

& b b b b b b n n n n b b32 wday

33 Œ œ œ œ œ œyou'll be on your

34 wway.

35 Œ œ œn œ œ œnSo what do you

& b b36

wsay?

37 3

& b b40Alto Sax—solo

œ œ œ ˙!41

œ œ œ œ œ œ!42

œ œ œ ˙!43

œ œ œ œ œ œ!

& b b 44

œ œ œ ˙!45

œ œ œ œ œ œ!46

w !47

w !

& b b n n # #48

œ œ œ ˙!49

œ œ œ œ œ œ!50 w !

51 œ œ œ œ œ œ!

& # # .. ..52

Alto Saxw !53 œ œb œ œ œ œ!

54 w !55 œ œ œ œ œ œ!

56

w !Segue

57

w !Cut on: GUSSIE: You're a treasure.

Growing Up—Act 2Vocal —74—

& 44 1 œœœœœœœœ

jœœœœœœœœ


jœœœœ ‰ jœœœœ œœœœ!3 œœœœ

œœœœjœœœœ

œœœœjœœœœ!

4 Ó Œ ALL:œ œIt's the

& ..5

œ œ œ œ œ œbest, it's the first, it's the

6 œ œ œ œ œ œ œ œfin - est it's the lat - est, it's the

&7 œ œ œ œ œ œleast, it's the worst, it's the

8 œ œ œ œ œ œ œ œab - so - lute - ly low - est, it's the

& ..9 œ œ œ œ œ œ œ œgreat - est, it's the sin - gle, it's the

10 œ œ œ œ œ œ œ œon - ly, it's the per - fect, it's the…

Cut on cue: When GUSSIE sits on the piano keys.

—75—

12DMerrily We Roll Along

(Revised 1/95) (6/28/02)

Vocal

The Blob—Part 3

& b 44Larghetto (q = 72)

1 œœ œœ œœ œœ!2

œœ œœ œœ œœ!3

œœ œœ œœ œœ.œ

!4 ‰CHARLEY:

pjœ œ œ œ œ œ œ

It start -ed out like a song.

5 .˙ Œ

& b 6 ‰ jœ œ œ Jœ œ jœWe start - ed qui - et and

7 .œ jœ œ œ œ#slow, with no sur-prise,

8 ‰ jœNpoco cresc.

œ œ Jœ œ jœand then one morn - ing I

& b 9 .œ JœA œ œ œbwoke to re - al - ize:

10 ‰ P jœ œ œ jœ œ JœWe had a good thing go -

11

Jœ .œ œ Œing.

& b 12 ‰ p jœ œ œ œ œ œ œIt's not that no - thing went wrong.

13 .˙ Œ 14 ‰ jœ œ œ Jœ œ jœSome an - gry mo-ments, of

& b 15 .œ jœ œ œ œ#course, but just a few

16 ‰ jœNpoco cresc.

œ œ Jœ œ jœand on - ly mo - ments, no

17 .œ JœA œ œ œbmore, be - cause we knew

& b 18 ‰ PJœ œ œ Jœ œ Jœ

we had this good thing go -

19

Jœ .œ œ Œing.

Vocal —76—


(Revised 1/95) (6/28/02)

Good Thing Going

& bStrict Tempo, Non Più Mosso

20

‰F Jœb œ œ œ œ œ œAnd if I want - ed too much,

21 œ œ œ œb œ œ œ œwas that such a mis - take

& b 22 ˙ œ œb œ œat the time?

23 ˙ Ó 24 ‰ Jœ œ œ œ œ œ œYou nev - er want - ed e - nough,

& b 25 œ œ œ œ œ œ œ œall right, tough, I don't make

26 ˙ œ œ œ œthat a crime.

Poco Rit.27

˙ Ó

& b A Tempo28

3 31 ‰ jœ œ œ œ œ œ œAnd while it's go - ing a - long,

32 .˙ Œ

& b 33 ‰ jœ œ œ Jœ œ jœyou take for grant - ed some

34 .œ jœ œ œ œ#love will wear a - way.

35 ‰ jœN œ œpoco cresc.

Jœ œ jœWe took for grant - ed a

& b 36 .œ JœA œ œ œblot and still I say:

37 ‰ FJœ œ œ Jœ œ JœIt could have kept on grow -

38

Jœ .œ œ Œing,

& b 39 ‰ fJœ œ œ Jœ œ jœin- stead of just kept on.

40 .˙ Œ 41 ‰ Jœ œ œ Jœ .œWe had a goodthing

42 Jœ .œ œ Œgo-ing…

& b 43 jœ .œ œ ten.Œgo - ing…

44 wgone.

45 !Poco Rit.

46 ! 47 !U

Good Thing GoingVocal —77—

& b 44Larghetto (q = 72)

1 œœ œœ œœ œœ!2

œœ œœ œœ œœ!3

œœ œœ œœ œœ.œ

!4 ‰CHARLEY & FRANK:

jœ œ œ œ œ œ œIt start-ed out like a song.

5 .˙ Œ

& b 6 ‰ jœ œ œ Jœ œ jœWe start - ed qui - et and

7 .œ jœ œ œ œ#slow, with no sur-prise,

8 ‰ jœN œ œ Jœ œ jœand then one morn - ing I

&

&

&

b

b

b

9 .œ JœA œ œ œbwoke to re - al - ize:

Ó Œ ‰ DORY:

œ œI said,

!

10 ‰ jœ œ œ jœ œ JœWe had a good thing go -

œ œ œ œ œ œ œ œ œ œ œ"Joe, this show will be a wa - ter - shed."

Ó Œ ‰ . GUSSIE:

J#¿SH!

11

Jœ .œ œ Œing.

!

!

& b 12 ‰ (CHARLEY & FRANK)jœ œ œ œ œ œ œIt's not that no - thing went wrong.

13 .˙ Œ

&

&

&

b

b

b

14 ‰ (CHARLEY & FRANK)jœ œ œ Jœ œ jœSome an - gry mo - ments, of

Œ ‰ SCOTTY:

œ œ jœ ‰ ‰ . 2nd GUEST:jœDid you hear?… You're

Ó ‰ GUEST:jœ œ œ "No kid - ding!

15 .œ jœ œ œ œ#course, but just a few

œ œ œ œ œ œ Ónot ser - i - ous!

Ó MARY:

J#¿ ‰ . GUEST:

J#¿ ‰ .SH! SH!

Vocal —78—


(6/28/02)

The Blob—Part 4

(Revised 1/95)

&

&

&

b

b

b

16 ‰ (CHARLEY & FRANK)jœN œ œ Jœ œ jœand on - ly mo - ments, no

‰ JOE:jœ œ œ Jœ œ ‰Da da da da da.

Ó Œ ‰GUESTS:œ œIt's a

17 .œ JœA œ œ œbmore, be - cause we knew

Ó Œ "GROUP 1:œ œWe were

œ œ œ œ œ œ œ œ œ œb jœ ‰ .clear case of Tam - man - y pol - i - tics.

&

&

&

b

b

b

18 ‰ Jœ œ œ Jœ œ Jœwe had this good thing go -

œ œ œ œ œ œ œ œ œ œ Jœ ‰stuck in the tun - nel 'til half past six.

Ó Œ ‰ GUESTS (variously):œ œIt's a

19

Jœ .œ œ Œing.

!

œ œ œ œ œ œ œ œ œ œb œ œ œshow that - 'll murder 'em in the sticks. Did you

&

&

b

b

20

‰F (CHARLEY & FRANK)

Jœb œ œ œ œ œ œAnd if I want - ed too much,

(GUESTS)œ œ œ œ œ œ œ œ œ œb œ œ œread?… It - 'll nev - er… They just don't mix!… What we

&

&

b

b

21 œ œ œ œb œ œ œ œwas that such a mis - take

œ œ œ œ œ œ œ œ œ œb œ œ œneed!… Did you ev - er?… 'Til half past six!… It's a


&

&

b

b

22(CHARLEY & FRANK)˙ œ œb œ œ

at the time?(GUESTS)œ œ œ œ œ œ œ œ œ œb œ œ œclear case of Tam - man - y pol - i - tics. Did you

&

&

b

b

23 ˙ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œread?… It - 'll nev - er… They just don't mix!… What we

&

&

b

b

24 ‰ fJœ œ œ œ œ œ œ

You nev - er want - ed e - nough,

œ œ œ œ œ œ œ œ ¿ GUSSIE:¿need!… Did you ev - er?… 'Til half… SH! SH!

25 ‰ Jœ œ œ œ œ œ œall right, tough, I don't make

!

&

&

b

b

n # # # # #

n # # # # #

26 ˙ œp

œ œ œthat a crime.

!

27

˙ Ó

!

&

&

# # # # ## # # # #

28GROUP 1:œ œ Œ ‰ œ œ œ œ œ

Dar - ling… We saw the new…

!

29 œ œ Œ ‰ œ œ œ œ œDar - ling… We saw the most

Ó Œ ‰GROUP 2: œ œDid you


&

&

# # # # ## # # # #

30(GROUP 1)

œ œ œ œ œ œ œ œ œ œ œ œ œ œbad… It was good. It's the big - gest!… He's a gen - ius! Well he

(GROUP 2)œ œ œ œ œ œ œ œ œ œ œ œ œread?… It - 'll nev - er… They just don't mix!… What we

&

&

# # # # ## # # # #

31 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œcan't. But he used to! It's the dumb - est!… She's a gen - ius! It's the

œ œ œ œ œ œ œ œ œ œ œ œ œneed!… Did you ev - er?… 'Til half past six!… It's a

&

&

# # # # ## # # # #

32 œ œ œ œ œ œ œ œ œ œ œ œ œbest!… It's the first!… He's a gen - ius! It's the least!… She's a

œ œ œ œ œ œ œ œ œ œ œ œ œshow that - 'll mur - der 'em in the sticks… It's a

&

&

# # # # ## # # # #

33 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œgen - ius! It's the ab - so - lute - ly low - est!… They're a gen - ius! It's the

œ œ œ œ œ œ œ œ œ œ œ œ œclear case of Tam - man - y pol - i - tics… It's the

& # # # # # 34 ALL:œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œgreat - est. It's the sin - gle. It's the on - ly. It's the per - fect. It's the

& # # # # #Segue

35 œ œ œ œ œ œ œ œ œ œ œ œ œone. It's the real. It's the true. It's the fi - nal. It's the…


& # CFeroce (h = 72)

1 !œœœœœœœœ

œœœœœœœœ ‰ J

œœœœ2 !

‰ œœœœ Jœœœœ Ó

3 !œœœœœœœœ

œœœœœœœœ ‰ J

œœœœ4 Œ ‰ ALL:jœ œ œ œ œ

Tra - vel - ing's the

& #5

˙ Ófun,

6 Œ ‰ jœ œ œ œ œflash - ing by the


8 Ó œ œ œ œMer - ri - ly we

& # 9 œ œ œ œ œ œroll a - long, roll a - long,

10 Ó œ œ œ œcatch-ing atdreams.

11 ˙ Ó 12 Ó œ œ œ œYes - ter -day is

& #13

˙ Ódone.

14 Œ ‰ jœ œ œ œ œSee the pret - ty


16 Ó œ œ œ œEv-'ry-bo-dy

17 œ œ œ œ œ œmer - ri - ly, mer - ri - ly…

&&

##

18 !GROUP 1:

œ œ3

œ jœ œNine - teen - six - ty - one…

19 DUET:œ œ œ Jœ .œSome roads are eas - y,˙ Ó

20 œ œ œ Jœ .œsome roads are breez - y,!

& # 21(DUET)œ œ œ Jœ œ jœ

some roads the ride gets out

22 œ œn œ# œ œ Œof con-trol,

23 œ œ œ Jœ œ jœgrinds to a halt and ends

24 œ œn œ# œ œ Œin a hole…

&

&

#

#42

42

n b b b

n b b b

44

44

25QUARTET:

œ œ œ Jœ œ jœSome roads you stall be - fore

!Segue

26 œ œn œ# œU

you can roll…

Œ ‰CHARLEY: jœUNine -

Vocal —82—


(Revised 1/95) (6/28/02)

Transition 5

&

&

b b bb b b

44

44

Rubato (q = 144)1 Ó Œ ‰BETH:jœ

nine -CHARLEY:œ œ jœ œ ‰

teen - six - ty… It's

2 œ œ jœ œ ‰teen - six - ty… And

Ó Œ ‰ FRANK:jœgosh,

3 !

œ .œ œ jœ œ Jœwhat a swellyear it's been!

4 !wSo

& b b b5 TRIO:œ .œ œ Jœ œ Jœman - y blessings, such won -

6 œ œ œ œ .œ jœders it hasbrought, you hard -

7 œ .œ œ jœ œ Jœly knowwhere to be-gin:

8 .˙ ‰ jœThere's xe -

& b b b 9 jœ œ jœ jœ œ jœrox and la - sers, the twist

10 jœ œ jœ .œ jœand the pill, a cit -

11 œ œ œ œ .œBETH:jœ

y in Bra - zil… That no

& b b b12 œ œ œ œ .œ ‰onewants to fill.Krush -

13 TRIO:jœ œjœ jœ œ

jœchev stoppedscream - ing and Lib -

14 œ œ œ œ .œCHARLEY:jœri - um came in. And Nix -

& b b b 15 œ œ œ œ ˙on did - n't win. Good -

16 Ó Œ ‰ TRIO:jœbye

17

œ .œ œ jœ œ jœthen, to Ike and the brass,

& b b b 18

˙ Œ ‰ jœnto years

19

œ .œ œ jœ œ jœthat were co - zy but crass.

20 ˙ Œ FRANK:

œIt's true

& b b b 21 œ .œ œ jœ œ CHARLEY:

JœIke was ick - y, but bet -

22

œ œ œ œ jœ œ TRIO:Jœter him than Dick - y… Now meet

& b b b 8623 .œ œn œ œ Jœ œ Jœthe firstFirst Fam - 'ly with class.

( )œ( )

jœ 24 œ Œ Œ œEn masse.

( )œ ( )œ 25 œ Œ(Dialogue)

ÓU

Vocal —83—


(6/28/02)

Bobby and Jackie and Jack

(Revised 1/95)

& b b b 86Irish Jig (qk = 132)




29 œ jœ .œ!30 œ œ œ œ œ œ

!31 œ œ œ œ œ œ

!

& b b b 32œ œ œ œ œ œ

!33 ‰ ‰ œ œ .œ

!34 ‰ ‰ œ œ .œ

!35 ! 36 Œ . ‰ ‰CHARLEY:jœ

There's

&

&

b b b

b b b

37

‰ ‰ BETH:jœ œ œ ‰and Jack - ie…

(CHARLEY)

œ œ ‰ ‰ ‰ FRANK:jœBob - by… and

38 Œ . ‰ ‰TRIO:jœAnd

œ ‰ Œ .Jack.

39

œ œ œ œ œ œmy - ri - ads more in the

!

40 œ ‰ ‰ ‰ Jœback: There's

!

&

&

b b b

b b b

41 œ œ œ œ œ œEth - el and Ted - dy and

!

42

œ jœ œ ‰Pat a - lone,

Œ . ‰ ‰CHARLEY:

Jœplus

43 ‰ ‰ BETH:jœ œ œ ‰and Pe - ter…

œ œ ‰ ‰ ‰ FRANK:jœEu - nice… and

&

&

b b b

b b b

44 ‰ ‰ PIANIST:jœ œ ‰and Joan…

œ ‰ ‰ ‰CHARLEY:

JœJean… and

45 Œ . BETH:œ œ ‰Ste - phen.

œ œ œ ‰ ‰ FRANK:jœwhat's his name? And

46 !

œ jœ œ jœnhold the phone… The

&

&

b b b

b b b

47 !

œ œ œ œ Jœone in the Ar - my…

48 CHARLEY & BETH:

¿ ¿ ¿ ¿ j¿One in the Ar - my?

!

49 !FRANK:¿ j¿ ¿ j¿Cap - tain, Ma - jor…

50 CHARLEY:

¿ j¿ Œ .Sar - gent!

Œ . ¿ j¿That's it!

Bobby and Jackie and JackVocal —84—

& b b b51 TRIO:

œ œ œ œ œ œSo man - y cards in the

52 œ ‰ ‰ ‰ jœpack. You

53

œ œ œ œ œ œwant to know how to keep

54 œ ‰ ‰ ‰ Jœtrack? Well,

& b b b 55 œ œ œ œ œ œone is good - look - ing and

56

œ jœ œ Jœyoung and rich. While

57 œ œ œ œ œ œone is good - look - ing and

& b b b 58

œ jœ œ Jœyoung and rich. The

59 œ œ œ œ œ œrest are good - look - ing and

"60 œ jœ Jœ ‰ jœyoung and rich… There

& b b b 61 œ œ œ œ œ œis - n't a lot that they

62 œ ‰ ‰ ‰ jœlack, not

63 œ œ œ œ œ œBob - by and Jack - ie and

64

œ jœ œ œ œJack and Eth - el and

& b b b 65

œ jœ œ œ œTed and Eu - nice and

66

œb jœ œn jœPat and Joan and

67

œ jœ œ œ œSteve and Pe - ter and

68

œb jœ œn jœJean and Sarge…There's

& b b b 69 œ œ œ œ œ œprob - a - bly doz-ens of

70 œ œ œ .œoth - ers at large,

71 Œ . .œGod

72 .œ Œ .knows…

73 ‰ ‰ jœ œ jœAnd Joe and

&

&

b b b

b b b

74

.œ Œ .Rose.

FRANK plays tin whistle.

œ œ œ œ œ œ!

75 !œ œ œ œ œ œ

!


!

77 !œ jœ .œ!


!


!

& b b b b b b b b b 4380œ œ œ œ œ œ

!81 ‰ ‰ œ œ .œ

!82 ‰ ‰ œ œ .œ

!83 ! 84 Œ . ‰ ‰TRIO:jœ

We're


& b b b b b b 43Poco Rubato (h. = 60)85

(TRIO)

œ œ œbring - ing back

86 ˙ œ œstyle to the

87 œ œ ŒWhite - house.

88 Œ Œ BETH:

œnI'm

& b b b b b b 89

œA œ œpaint - ing it

90 œ Œ œ œbeige for a

91 .˙start.

92 Œ Œ TRIO:œWe're

&

&

b b b b b b

b b b b b b

93 œ œ œnmak - ing it

!

94 œ .œ Jœin - to a

!

95 œ œ œncul - tur - al

!

96 œ œ Œlight - house,

Ó ‰CHARLEY:

Jœfor

&

&

b b b b b b

b b b b b b

97 Œ Œ BETH:

œnand

œ œ ŒGlam - or…

98

œ œ ŒBeau - ty…

Œ Œ FRANK:œnand

99 !

.Art.

100Œ œ œ œ œnEve - nings of the

!

& b b b b b b101 (BETH)

œA œ œBud - a - pest

ten.102

œn œn ‰ jœplay - ing Vi -

103œ œ Œval - di.

104Œ Œ œnAnd

& b b b b b b 105

œ œ œMünch do - ing

106 œb .œ Jœbits of Ra -

107 .˙vel.

108œ œ œnI'll get

& b b b b b bRubato109œ œn œ

Le - on - tyne

110 .œ œ œ œPrice to sing her

111 œ œn œmed - ley from

Rall.ten.112 .œ œ œ œ œ

Meis - ter-sing - er and


& b b b b b bA Tempo

113 (BETH)œA œ œMar - got Fon -

114 .œ œ œ œteyn to dance Gi -

115 .˙selle.

CHARLEY: Together?116 !

& b b b b b b117 œ œn œWon't it be

118 œ œ œper - fect - ly

119 .˙swell?

& b b b b b b 120 2 122Œ Œ FRANK:

œ œWe'll have

&

&

b b b b b b

b b b b b b

Meno Mosso, Rubato123

(FRANK)œ .œ JœnBern - stein play

!

124 œ .œ Jœnext on the

!

125Jœ .œA JœnBech-stein pi -

!

126œ œ Œa - no…

Œ Œ CHARLEY:œAnd

&

&

b b b b b b

b b b b b b

127 !œ .œA Jœ

Au - den read

128 !

œ œ ten.‰ Jœpo - ems and

129 !œ Œ Œ

stuff.

130 ŒU Œ BETH:œ œAnd Ga -

!

& b b b b b b131 (BETH)œ .œ Jœnli - na Vish -

132 œ œ# ten.‰ Jœnnev - skya, the

133 œ .œ JœnRus - sian so -

134 œ œ œ œnpra - no… Just pro -

& b b b b b b n n n n n n #135 œA œn œnoun - cing her

136 œn œ œname is re -

137 œ œ œnfresh - ing e -

138 œ Œ TRIO:

œnnough! We're


& # A Tempo139

(TRIO)

œ œ œbring - ing back

140 œ .œ jœstyle to the

141 œ œ ŒWhite - house.

142Œ Œ œbWith

& # 143

œ œ œca - su - al

144

œ# œn ‰ Jœcul - ture the

145 .˙rule.

146 !

&

&

#

#

Molto Rubato147

FRANK:

œ .œ# jœLet's have Te -

!

148œ œ Œbal - di…

Œ Œ ‰ CHARLEY:jœShe

149 !

œ œ# œ œmakes a guy

150 Œ Œ BETH:

œAnd

œ œN Œfeel good.

&

&

#

#

151

œ .œ# jœO - leg Cas -

!

152œ .œ jœsi - ni… Well

!

153

œ œ# œI think he's

!

154

œ œN Œreal good.

Œ Œ œAnd

&

&

#

#

155 !

.œ jœ# œhow a - bout

156 Œ Œ œand

œ œ ŒHei - fetz…

157

œN œ ŒCal - las…

Œ Œ FRANK:œand

158 Œ Œ TRIO:œAndœ œ Œ

Giel - gud?

& #159(TRIO)œ œ œ

lat - er, when

160œ œ œev - 'ry - thing's

161 .˙cool,

162Œ Œ œWe'll

& # n b b b 86A Tempo (hk = 132)163

œ œ œpush them all

164œ œ œin - to the

"165 œ Œ Œpool!


& b b b 86L'istesso Tempo (qk = 132)

166 œ œ œ œ œ œ!

167 œ œ œ œ œ œ!

168 œ œ œ œ œ œ!

169 œ jœ .œ!170 œ œ œ œ œ œ

!171 œ œ œ œ œ œ

!

& b b b .. ..172œ œ œ œ œ œ

!173 ‰ ‰ œ œ .œ

!

FRANK: Okay, Bobby, I'll make you Attorney General. Just get off my back.

174 ‰ ‰ œ œ .œ!

175 !Vamp—vocal last time

176Œ . ‰ ‰CHARLEY:jœWith

&

&

b b b

b b b

177

‰ ‰ BETH:jœ œ œ ‰and Jack - ie…

(CHARLEY)

œ œ ‰ ‰ ‰ FRANK:jœBob - by… and

178 Œ . ‰ ‰TRIO:jœThe

œ ‰ Œ .Jack,

179

œ œ œ œ œ œWhitehouse is un - der at -

!

180 œ ‰ Œ .tack.

Œ . ‰ ‰ JœEight

&

&

b b b

b b b

181 !

œ œ œ œ œ œyears is the lim - it but

182 Œ . ‰ ‰CHARLEY:

JœBy

œ jœ œ ‰eight willdo…

183 œ œ œ œ œ ‰then there'll be Bob-by…

Œ . ‰ ‰PIANIST:jœand

184 Œ . ‰ ‰BETH:

JœOr

œ jœ œ ‰Ted - dy, too.

&

&

b b b

b b b

185œ œ œ œ œ ‰Pe - ter or Ste-phen…

Œ . ‰ ‰FRANK, CHARLEY & PIANIST:jœor

186Œ . ‰ ‰ jœnAnd

œ jœ œœœ ‰ev - en you…

187 œ œ œ œ Jœthenthere's the Col - onel?

!

188 Œ . ¿ j¿Ma - jor?

¿ j¿ Œ ‰Col - onel?

&

&

b b b

b b b

189Œ . (BETH)

¿ j¿You know!

(BOYS)

¿ j¿ Œ .Ma - jor?

190Œ ‰ .¿Yes…

FRANK:¿ j¿ Œ .Sar - gent.

191 TRIO:

œ œ œ œ œ œDoz - ens to take up the

!

192 œ ‰ ‰ ‰ jœslack. If

!

& b b b193 (TRIO)

œ œ œ œ œ œan - y - thing goes out of

194 œ ‰ ‰ ‰FRANK:

Jœwhack. And

195 œ œ œ œ œ œsome - day e - lec - tions will


& b b b196 (FRANK)

œ jœ œ BETH:

Jœbe un-known… 'Cause

197 œ œ œ œ œ œeach of our kids will as -

198

œ jœ œCHARLEY:

Jœcend the throne… And

& b b b 199 œ œ œ œ œ œtheir kids have more kids with

ten. "200 œ œ œ œ FRANK:jœkids of their own… It's

& b b b201

œ œ œ œ œ œsort of a fam - i - ly

202 œ ‰ ‰ ‰TRIO:jœknack… Till

203 œ œ œ œ œ œmost of the nation'smade

204œ œ œ œ œ œup of re - la-tions of

& b b b 205 œ œ œ œ œ œBob - by and Jack - ie and

206

œ jœ œ œ œJack and Eth - el and

207

œ jœ œ œ œTed and Eu - nice and

208

œb jœ œn jœPat and Joan and

& b b b 209

œ jœ œ œ œSteve and Pe - ter and

210

œb jœ œn jœJean and Sarge and

211

œ jœ œ jœJoe and Rose and

& b b b 212 œ jœ œ jœrows and rows and

213 œ jœ œ jœrows and rows and

214 œ jœ œ jœrows and rows… The

& b b b 215œ œ œ œ œ œde - cade is start - ing a -

216 .˙new.

217 .œ Œ . 218 2

& b b b 220Œ . ‰ ‰ jœAnd

221 œ œ œ œ œ œmay - be the coun - try is

222

œ ‰ Œ .too.


14ABobby and Jackie and Jack Playoff

Tacet

& 44 1 ˙˙˙bbbU

˙˙˙bU

!2 ˙˙˙n##n

U˙˙˙bnb

U!

3 wwwwnnn U!

4 ŒU BETH:

œ œ œ œNot a day goes

& 46Slowly

5

wby,

6

œMARY:

œ œ œ œnot a sin - gle

7

wday…

8 ŒMARY & BETH:

œ œ3

œ œ œbut you're some - where a

& 46 449 3

œ œ œ ˙ œ œ œpart of my life and it

10 3

œ œ œ ˙looks like you'll stay.

11 Œ FRANK & MARY:

œ œ œ œAs the day goes

&12

(FRANK & MARY)

wby,

13

œ œ œ œ œI keepthink - ing,

14 3œ œ œ ˙when does it end?

15 œ BETH:

œ œ œ œ œThat it can't get much

&16 3

œ œ œ 3

œ ˙bet - ter much long - er,

17

œ œ œ œ œ œbut it on - ly gets

18 3

œ œ œ3

œ œ œbet - ter and strong - er and

& # #19 3

œ œ œ3

œ œ+FRANK:

œdeep - er and near - er and

20 3œN œ œ 3œ œ œsimp - ler and free - er and

21 3œ œ œ 3œ œTRIO:

œrich - er and clear - er and

& # #22

(TRIO)wNo,

23 œ œ œ œn œbnot a day goes

24 wby,

25 œ MARY:

œ œ œa œbnot a bless - ed

Vocal —91—


(Revised 1/95) (6/28/02)

Not a Day Goes By—Act 2

& # # 4626

(MARY)wday

27 œ +BETH:

œ œ3

œ œ œbut you some - where come

& # # 46 4428 3

œ œ œ .˙ œ œin - to my life and you

29 3œ œ œ ˙don't go a - way.

30 Œ TRIO:

œ œ œ œAnd I have to

& # #31

(TRIO)

wsay,

32 Œ œ œ œ œNif you do I'll

33 wdie,

34 œ Œ FRANK & BETH:

œ œI want

&

&

# #

# #

35 3

œ œ œ 3


!

36 3

œ œ œ 3


Ó 3ŒMARY:

œ œI'll die

37 3œ œ œ 3œ œ œday af - ter day af - ter

3

œ œ œ 3


&

&

# ## #

38 3œ œ œ 3œ œ œday af - ter day af - ter

3

œ œ œ 3


39



& # #40

(TRIO)

wby!

41 œFRANK & BETH:

œ œ œ œTill the days go

42 wby!

43 œMARY:

œ œ œ œTill the days go

& # # 44 wby!

45 œ Œ Ó 46 !Segue

47 !U

Not a Day Goes By—Act 2Vocal —92—

& b C 1 !œœœ œœœ Jœœœ œœœ J

œœœœ2 ! 3 TYLER:

œ œ œ Jœ .œHow does it hap - pen?

4 ˙ Ó

& b 5 œ œ œ Jœ œ jœOnce it was all so clear.

6 ˙ Ó 7 œ œ œ Jœ œ jœHow did you get so far

& b 8 œ œ# œ œ Óoff the track?

9 œ œ œ Jœ œ jœWhy can't you turn a - round

10 œ œ# œ œ Óand go back?

& b11

DORY:œ œ œ œ œ ŒHow does it hap-pen?

12 œ œ œ œ œ ŒWhere is the mo - ment?

13 œ œ œ Jœ œ jœWhen did the road be - hind

& b 14 œ œ# œ œ Ódis - ap - pear?

15 œ œ œ Jœ œ jœWhere did you let things slip

16 œ œ# œ œ Óout of gear?

& b17 DORY & TYLER:œ œ œ Jœ œ jœHow did you ev - er get

18 œ œ# œ œ ˙to be here?

19

wU Dictated

20

œ œ œ œ œU

Nine - teen - fif - ty - nine…

—93—


(Revised 1/95) (6/28/02)

Transition 6

Vocal

&

&

#

#44

44

Allegretto (q = 132)1 !

¿ ¿ ¿ " ¿ ¿ ¿ ¿ ¿ " ¿ ¿CHARLEY (at typewriter)

2 ‰[FRANK at Piano]

jœ œ œ œ œ œ œ!j¿ ‰ Œ Ó

3 !

¿ ¿ ¿ " ¿ ¿ ¿ ¿ ¿ " ¿ ¿

4 ‰ jœ œ œ œ œ œ œ!j¿ ‰ Œ Ó

&

&

#

#

5 !

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

6 Œ œ œ œ œ œ œ!¿ (Bell)¿

(CarriageReturn) (Reads).Oæ

7 Œ œ œ œ œ Œ!(Grunts)¿ Œ ¿ ¿ ¿ ¿ ¿(Rolls carriage)¿

&

&

#

#

8 œb œ œ œ Ó!Ó (Xs out the line)

¿ ¿ ¿ ¿

9 ‰ jœ œ œœb œ œ œ!

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

10 ‰ œn œb ‰ Ó!¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

&

&&

#

##

11

FRANK:¿ ¿ ¿ ¿ .¿ ÓHow's it go - ing?

Ó CHARLEY:J¿ ‰ J¿ ‰Good. You?

!

12

J¿ ‰ Œ Œ (Phone)¿æFair.

Œ ¿ ¿ ¿ ŒYeah, tell me.

!

13 ¿ ¿ ¿ ¿ Œ ¿ ¿Chi - nese laun-dry. Mar - y.

!Ó MARY:

J¿ ‰ ŒHi.

Vocal —94—


(6/28/02)

Opening Doors

(Revised 1/95)

&&&

###

14 !¿ ¿ ¿ Œ Ó

Say hel - lo.

Œ ‰ jœ œ œ œ œI think I got a

15 Œ ¿ ÓWhere?

!œ Œ ¿ ¿ ¿ ¿ .¿

job. True Ro - man - ces.

&

&

#

#

16(FRANK)¿ ¿ Œ Ó

Pos-ing?

Œ (MARY)

¿ ¿ ¿ ¿ ¿ ¿Thank you. Writ - ing cap - tions.

17 ¿ ¿ ¿ ¿ J¿ ‰ Œ ¿ ¿ ¿ ¿What a-bout the book? Noth-ing, are you

Œ ‰ ¿ ¿ ¿ ¿ ¿ ŒWhat a - bout the book?

&

&

#

#

18 (FRANK)¿ ¿ ¿ ¿ J¿ ‰ J¿ ‰ ¿ ¿work-ing on thebook? Good. Mar - y…

Œ ‰ (MARY)j¿ ‰ j¿ ŒYes… No…

19 !

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Right, I know, yes, me and Bal - zac…

&

&&

#

##

20

!

¿ ¿ ¿ " ¿ ¿ ¿ ¿ ¿ " ¿ ¿CHARLEY (Types)

!

21 ‰[FRANK at Piano]

jœ œ œ œ œ œ œ!j¿ ‰ Œ Ó

!

22 !

!

¿ ¿ Œ ¿MARY (Types)

23 !

!Œ ¿ ¿ Œ

Opening DoorsVocal —95—

&

&&

#

##

24 !

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿!

25 ‰ jœ œ œ œ œ œ œ!j¿ ‰

(CarriageReturn).Oæ

!

26 Ó œ œ œ œ!(Rolls carriage)¿ ¿ ¿ ¿ (Reads)Ó

!

&

&

&

#

#

#

27 !(CHARLEY)Ó (Rolls carriage)¿ ¿

(Types)(MARY)

¿ ¿ Œ ¿

28 œ œ œ œ Ó!Ó (Xs out)

¿ ¿ ¿ ¿

¿ ¿ ¿ ¿

29 œ œ œ œ Ó!¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

¿ ¿ Œ (Groans)

¿

&

&

&

#

#

#

30

[Orchestra]jœœœN ‰ ‰

jœœœ# Ó!

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

!MARY (Slumps)

31

jœœœN ‰ ‰jœœœ# Ó

!!

!FRANK (Sighs and slumps)

32

jœœœN ‰ ‰jœœœ# Ó!

Ó Œ 3‰ ‰CHARLEY:jœI

!


&&&

###

33

Œ 3‰ ‰FRANK:jœ 3œ œ œ 3œ œ ‰

I got an au - di-tion…(CHARLEY)

3œ œ œ 3œ œ ‰ Ófin-ished the one - act.

Ó Œ 3‰ ‰ MARY:jœI

34 Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰Re-hear-sal pi - an-ist.

Ó Œ 3‰ ‰ jœSo

3œ œ œ 3œ œ ‰ Óstart - ed the sto - ry.

&&&

###

35 Ó Œ 3‰ ‰ jœThe

3œ œ œ 3œ œ ‰ Ówhere are we eat-ing?

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰I'm mov - ing to Play - boy.

36 3œ œ œ 3œ œ ‰ Ópub-lish-er called me.

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰I'm do - ing a re - write.

Ó Œ 3‰ ‰ jœMy

&&&

###

37 Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰I saw "My Fair La-dy."

Ó Œ 3‰ ‰ jœI

3œ œ œ 3œ œ ‰ Ópar - ents are com - ing.

38 Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰I sort of en-joyed it.

3œ œ œ 3œ œ ‰ Óre-wrote the re - write.

Ó Œ 3‰ ‰ jœI

&

&

&

#

#

#

39 Ó Œ 3‰ ‰ jœWe'll

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ œI'm meet - ing an a - gent. We'll

3œ œ œ 3œ œ ‰ Œ 3‰ ‰ jœthrew out the stor - y. We'll

40 3œ œ œ 3œ œ œ 3œ œ œ#3

œ œ œall get to- geth-er on Sun-day. We're o - pen - ing

3œ œ œ 3œ œ œ 3œ œ œ#3


3œ œ œ 3œ œ œ 3œ œ œ#3



& #41

ALL:œ Œ œ .œ Œdoors, singing,

42 œ œ œ ‰ . jœ œ œ œ"Here we are!" We'refill- ing up

43 œ Œ œ .œ Œdays on a

& # 44 ˙ ‰ . jœ œ œ œdime. Thatfar a-way

45 œ Œ œ .œ œshore's look - ing

46 œ œ œ œ " œ œ œ œnot too far. We'refol-low-ing

&

&

#

#

47 œ œ œ œ " œ œ œ œev - 'ry star. There'snot e - nough

!

48 wtime!

!

49 ˙ Jœ ‰ Œ

Ó ‰ .Piccolo/Trumpet 1 jœœ œœœœ

œœ!

& #50 ˙ œœ..œœ œœ!

51 œœ œœ œœ ..œœ œœ œœœœ

œœ!52

˙ œœ..œœ œœ!

53 ˙ ..œœ œœ œœœœ

œœ!

& # 54˙ œœ

.

.œœ œœ!55 œœ œœ œœ ..œœ

œœ œœœœ œœ!

56 œœ œœ œœ ..œœœœ œœ

œœ œœ!

&

&

#

#

57

!œ œ œ œ ˙

!

58 œ œ œ œ œ ŒFRANK (Whistles)

œ œ œ œ ˙!

59 !jœ ‰ ‰ jœ ˙

!

60 Ó Œ 3‰ ‰FRANK:jœIjœ ‰ ‰ jœ ˙

!


&

&

&

#

#

#

61 (FRANK)3œ œ œ 3œ œ ‰ Ó

called a pro - duc - er.

Œ 3‰ ‰CHARLEY:jœ 3œ œ œ 3œ œ ‰

I sent off the one - act.

Ó Œ 3‰ ‰ MARY:jœI

62 Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰He said to come see him.

Ó Œ 3‰ ‰ jœI

3œ œ œ 3œ œ ‰ Óstart - ed the sto - ry.

&&&

###

n b bn b bn b b

63 Ó Œ 3‰ ‰ jœI'm

3œ œ œ 3œ œ ‰ Ódropped out of col - lege.

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰I met this mu - si-cian.

64 3œ œ œ 3œ œ ‰ Óplay - ing a night club.

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰They're do - ing my one-act.

Ó Œ 3‰ ‰ JœI'm

&&&

b b

b b

b b

65

Œ 3‰ ‰ Jœ3œ œ œ 3œ œ ‰

I re - wrote the bal - lad.

!3œ œ œ 3œ œ ‰ Œ 3‰ ‰ jœ

work-ing for Red - book. I

66 !Œ 3‰ ‰ Jœ

3œ œ œ 3œ œ ‰We start -ed re-hear - sals.

3œ œ œ 3œ œ ‰ Œ 3‰ ‰ jœfin - ished the stor - y. I

&&&

b b

b b

b b

67 !!

3œ œ œ 3œ œ œ 3œ œ œ 3œ œ œthrew out the stor - y and then the mu - si - cian, I'm

68 Ó 3‰ ‰ jœn3

œ œ œWe're o - pen- ing

Ó 3‰ ‰ jœn3

œ œ œWe're o - pen- ing

3œ œ œ 3œ œ œ 3œ œ œn3

œ œ œmov-ing to Pop - u - lar Sci - ence. We're o - pen- ing


& b b69ALL:œ Œ œ .œ Œ

doors, singing,

70 œ œ œ ‰ . jœ œ œ œ"Look who's here!" Be - gin-ing to

71 œ Œ œ .œsail ona

& b b 72 ˙ ‰ . jœ œ œ œdime. Thatfar - a-way

73 œ Œ œ .œ Œshore's getting

74 œ œ œ ‰ . J#œ œ œ œver - y near! Wehave-n't a

& b b n n #75 œ œ œ ‰ . J#œ œ œ œthing to fear… We have - n't got

76 wwwtime!

77 !

&

&

&

#

#

#

78

¿ ¿ ¿ " ¿ ¿ ¿ ¿ ¿ " ¿ ¿CHARLEY (Types)

!

!

79 j¿ ‰ Œ Ó

Ó ¿ ¿ ¿ ¿MARY (Types)

‰ jœ œ œ œ œ œ œFRANK (Whistles)

80 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

¿ ¿ ¿ ¿ j¿ ‰ ¿ ¿

œ Œ Ó

&&&

###

Molto Meno Mosso81 ¿ ¿ ¿ ¿ j¿ (Erases)‰ Ó

¿ ¿ ¿ ¿ 3¿ ¿ ¿‰ FRANK:jœ .œ œ œ œ ‰ jœ

Bum - bum - bu-bum - bum bum -

A Tempo82 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

(Bell)¿(CarriageReturn)¿æ

¿ ¿ ¿ ¿ ¿ ¿ j¿ ‰

˙ Óbum.


&&&

###

83(Types)(CHARLEY)

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(MARY)

¿ ¿ ¿ ¿(CarriageReturn)¿æ J¿> ‰

!

84 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(Bell)¿

(CarriageReturn)¿ (Types)¿ ¿

(Types)

¿ ¿ ¿ ¿ ¿ ¿ j¿ ‰‰ (FRANK)jœ .œ œ œ œ ‰ jœ

La - da - da-na - na na -

&&&

###

n b b b bn b b b bn b b b b

85 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿

(CarriageReturn)¿æ J¿> ‰

wna.

86 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(Bell)¿


(Dials)¿æ ¿æ Oæ!

&

&

&

b b b b

b b b b

b b b b

87FRANK:

¿ ¿ ¿ ¿ .¿ ÓHow's it com - ing?

Ó j¿ ‰ j¿ ‰Good. You?CHARLEY:

(Types)

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Oæ ¿æ ¿æMARY (Dials)

88 ¿ Œ Œ (Phone)¿æDone.

Œ ¿ ¿ ¿ ŒOne min - ute…

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(Bell)

¿(CarriageReturn)

¿(Types)

¿ ¿

Oæ Ó

&

&

&

b b b b

b b b b

b b b b

89 ¿ ¿ ¿ ¿ Œ (To Charley)

¿ ¿Ham - burg Hea-ven… Mar - y.

!¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Ó œ ŒHi.

90 !

œ œ œ Œ ÓSay hel - lo.

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(Bell)

¿(CarriageReturn)

¿(Types)

¿ ¿

Œ ‰ jœ œ œ œ œI got an - oth - er


&

&&

b b b b

b b b bb b b b

91 Œ (FRANK)

¿ ‰ j¿ j¿ ‰Where? What's that?

(CHARLEY)¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(MARY)œ Œ j¿ ‰ ‰ j¿

job. Chic. A

92 !

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(Bell)¿


¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿brand new con - cept: pop - up pic - tures.

&

&&

b b b b

b b b bb b b b

93 ¿ ¿ ¿ ¿ j¿ ‰ Œ ¿ ¿ ¿ ¿What a - bout the book? Didyou give the

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Œ ‰ ¿ ¿ ¿ ¿ ¿ Œ

What a - bout the book?

94 ¿ ¿ ¿ ¿ J¿ ‰ J¿ ‰ ¿ ¿pub - lish - er the book? Good. Mar - y…

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿(Bell)¿


Œ ‰ J¿ ‰ j¿ ŒYes… No…

&

&&

b b b b

b b b b

b b b b

95 Ó (FRANK)¿ ¿ ¿ ¿ J¿ ‰Let me call you back.

Œ(CHARLEY) ¿ ¿ ÓFin - ished!

¿ ¿ ¿ ¿ J¿> ‰ Ó(MARY)¿ ¿ ¿ ¿ Œ Œ ‰ J¿Look, I nev-er… Right.

96 Œ ‰ J¿ Œ ‰ J¿Right. Right.

¿ ¿ ¿ ¿ J¿ ‰ ¿ ¿ ¿ ¿ J¿ ‰This is just a draft. Prob - a-bly it stinks.

!

&&

b b b b

b b b b

97 Ó ‰ ¿ ¿ J¿ ‰Will you sing?

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ‰ j¿Have - n't had the time to do a pol - ish… Right!


& b b b bPiù Mosso, With a Swing (h = 92)

98

‰ .CHARLEY:jœ .œ œ .œ œ .œ œWhowants to live in New York?

99 œ Œ Ó 100‰ . jœ .œ œ .œ œ .œ œWhowants the wor - ry, the noise,

& b b b b 101 .œ œ .œ œ .œ œ œthe dirt, the heat?

102‰ . jœ .œ œ .œ œ .œ œWhowants the gar - bage cans clang -

& b b b b 103

-

.œ œ .œ œ .œ œ œing in the street?

104 .œ œ œ œ œ œSud - den-ly I do.

105œ Œ Ó

& b b b b106

‰ . jœ .œ œ .œ œ .œ œThey'real - wayspop - pingtheir cork.

107œ Œ Ó 108‰ . jœ .œ œ .œ œ .œ œThecops, the cab - bies,the sales -

& b b b b 109 .œ œ .œ œ .œ œ œgirls up at Saks.

110‰ . jœ .œ œ .œ œ .œ œYougot - tahave a real taste

111 .œ œ .œ œ .œ œ œfor man - i - acs…

& b b b b112(CHARLEY).œ œ œ œ œ œ

Sud - den - ly I do!

113œ Œ Œ JOE:œThat's

& b b b b114

œ Œ Œ œgreat! That's

115 œ Œ Œ œswell! The

116 œ œ Jœ œ Jœoth - er stuff as well.

& b b b b 117œ Œ Œ œIt

118 .œ œ .œ œ .œ œ .œ œis - n't ev - 'ryday I hear a

119 jœ œ jœ œ ‰ jœscore this strong. But,

& b b b b 120 .œ œ .œ œ .œb œ .œ œfel - las, if I may, there's on - ly

121

Jœn œ# Jœn œ Œone thing wrong:


& b b b b122

‰ . (JOE)jœ .œ œ .œ œ .œ œThere'snot a tune youcan hum.

123œ Œ Ó 124‰ . jœ .œ œ .œ œ .œ œThere'snot a tune you go bum -

& b b b b 125

-

.œ œ .œ œ .œ œ œbum - bum - di - dum.

126‰ . jœ .œ œ .œ œ .œ œYou need a tune to go bum -

& b b b b 127

-

.œ œ .œ œ .œ œ œbum - bum - di - dum.

128 .œ œ .œ œ jœ œ jœGive me a mel - o - dy!

129˙ Ó

& b b b b130

‰ . jœ .œ œ .œ œ .œ œWhycan't youthrow 'em a crumb?

131œ Œ Ó 132‰ . jœ .œ œ .œ œ .œ œWhat'swrong with let - ting'em tap

& b b b b 133(JOE).œ œ .œ œ .œ œ œ

their toes a bit?

134‰ . jœ .œ œ .œ œ .œ œI'll let you know when Stra - vin -

& b b b b 135

-

.œ œ .œ œ .œ œ œsky has a hit.

136

œ œ œ œ jœ œ JœGive me some mel - o - dy!

137˙ Œ œOh,

& b b b b138

œ Œ Œ œsure, I

139 œ Œ Œ œknow, it's

140 œ œ Jœ œ Jœnot that kind of show.

& b b b b 141˙ Œ œBut

142 .œ œ .œ œ .œ œ .œ œcan't youhave a score that'ssort of

143 jœ œ jœ œ ‰ jœin - be - tween? Look,

& b b b b 144(JOE)

.œ œ .œ œ .œb œ .œ œplay a lit - tle more, I'll show you

145

Jœn œ# Jœn ˙what I mean…


& b b b b146

‰ . CHARLEY:jœ .œ œ .œ œ .œ œWhowants to live in New York?

147œ Œ Ó 148‰ . jœ .œ œ .œ œ .œ œI al - wayshat - ed the dirt,

& b b b b 149 .œ œ .œ œ .œ œ œthe heat, the noise.

150‰ . jœ .œ œ .œ œn .œ œBut ev - er since I met you…

&&

b b b b

b b b b

151 .œ œ œ ÓI…

Œ ‰ . JOE:

J#œn .œ œ œLis - ten, boys,

152 !

œ œ œ œ ˙may - be it's me.

153 !˙ Œ œ

But

& b b b b154 (JOE)œ œ œ œ œthat's just not a hum -

155œ œ œ œ œ œ œ œmm - mm - mm - mm - mm - mm -

156œ œ œ Jœ œ jœma - ble mel - o - dy.

& b b b b157

.œ œ .œ œ .œ œ .œ œWrite more, work hard…

158 jœ ‰ .œn œ .œ œ .œ œleave your name with the girl.

159 .œ œ .œ œ .œ œ .œ œLess a - vant garde…

& b b b b 160 jœ ‰ .œn œ œ œ œ œleave yourname with the girl.

161 .œ œ .œ œ .œ œ .œ œJust write a plain

162 jœ ‰ œ œ œold mel - o -

& b b b b1635œ œn œ œ œ

dee - dee - dee - dee - dee -

164 wdee…

165w 166 !

& b b b b 167 5

œ œn œ œ œDee - dee - dee - dee - dee -

168 wdee…

169w "170 !


& b b b b 42171

! 172Ó Œ 3‰ ‰CHARLEY:jœ

They're

173 3œ œ œ 3œ œ œ 3œ œ œ 3œ œ ‰stop - ping re - hear-sals, they ran out of mon - ey.

&&

b b b bb b b b

42

4244

4442

4244

44

174Œ 3‰ ‰MARY:jœ

WeGourd¿ ¿ !

175 3œ œ œ 3œ œ œ 3œ œ œ 3œ œ ‰last - ed one is - sue, my bookwas re - ject - ed.

!

176Œ 3‰ ‰FRANK:jœ

TheGourd¿ ¿ !

&&&

b b b bb b b bb b b b

44

44

44

177(FRANK)

3œ œ œ 3œ œ œ 3œ œ œ 3œ œ ‰night club was raid - ed, I have to start coach-ing…

!!

178 !Ó Œ 3‰ ‰

MARY:jœMy

Gourd¿ ¿ ¿ ¿!&

&

&

b b b b

b b b b

b b b b

179 Ó Œ 3‰ ‰FRANK:jœ

My

Œ 3‰ ‰CHARLEY:jœ 3œ œ œ 3œ œ ‰

They screwed up the laun - dry.(MARY) 3œ œ œ 3œ œ ‰ Ó

par - ents are com - ing.

180 3œ œ œ 3œ œ ‰ Ówal - let was stol - en.

Ó Œ 3‰ ‰ jœWe're

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰I saw the mu - si - cian.

&

&

&

b b b b

b b b b

b b b b

181Ó Œ 3‰ ‰ jœWe'll

3œ œ œ 3œ œ ‰ Œ 3‰ ‰ jœbe - ing e - vict - ed. We'll

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ œI'm hav - ing a break - down.We'll

182 3œ œ œ 3œ œ œ 3œ œ œn3

œ œ œall get to - geth-er on Sun - day. They're slam - ming the






& b b b b183ALL:œ Œ œ .œ Œ

doors, singing,

184 œ œ œ ‰ . jœ œ œ œ"Go a - way!" It's less of a

185 œ Œ œ .œ œsail than a

& b b b b 186 ˙ ‰ . jœ œ œ œclimb. Thatfar - a-way

187 œ Œ œ .œ Œshore's farth-er

188œ œ œ .œ œ œ œ œev - 'ry day. We'relearn-ing to

& b b b b 189œ œ œ .œ œ œ œ œri - co - chet… We still have a

190œ œ œ .jœ FRANK:

J#œ œ œ œlot to say… You knowwhat we'll

&

&&

b b b b

b b b b

b b b b

191 œ Œ ‰ . J#œ œ œ œdo? We'lldo a re -

Œ CHARLEY:

J¿ ‰ ÓWhat?

!

192 œ Œ ‰ . J#œ œ œ œvue. We'lldo a re -

Œ ¿ ÓWhat?

Ó MARY:¿ ŒWhat?

193 œ œ œ œ ten.˙vue of ourown.

!!

&&&

b b b bb b b b

b b b b

A Tempo194

!Œ (CHARLEY)¿ Œ ¿

Where? When?(MARY)¿ Œ ¿ ŒWhat? Why?

195(FRANK)

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Not just songs but stor - ies, scenes, pi -!

!

&&&

b b b bb b b bb b b b

196¿ ¿ ¿ ¿ ¿ Œa - no piec - es, mime…Ó Œ ¿

Yeah!!

197 Œ ‰ jœ œ œ œ œA show - case of oour!

¿ ¿ j¿ ‰ Ó"Frank - ly Frank!"


&&&

b b b b

b b b b

b b b b

198 (FRANK)œ ‰ . j¿ ¿ ¿ ¿ ¿own. Theclub's re - op' - ning.

Œ(CHARLEY)¿ ÓWhere?

Ó Œ ‰ . (MARY)

J#¿We'll

199 !Ó ¿ ¿ ¿ ¿

Re - write old stuff…

¿ ¿ ¿ ¿ ¿ ¿ Ówrite a lot of new stuff…

&&&

b b b b

b b b b

b b b b

200 ¿ ¿ ¿ ¿ j¿ ‰ Œ ¿ ¿ ¿ ¿What a - bout the girl? On - ly that we're

Œ ‰ ¿ ¿ ¿ ¿ ¿ ŒWhat a - bout the girl?

!

201 ¿ ¿ ¿ ¿ j¿ ‰ Ógon - na need a girl.

Œ ‰ j¿ ¿ ¿ ŒWell, Mar - y…

Ó Œ ¿ ¿Thanks, I

& b b b b n n n b"202 (MARY)¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿don't per - form ex - cept at din - ner.

& b203

‰ FIRST GIRL:jœ œ œ œ œ œ œWho wants to live in New York?

204˙ Ó

& b 205‰ jœ œ œ œ œ œ œWho wants the wor - ry, the noise,

206 jœ œ jœ œ œ œthe dirt, the heat?

& b 207‰ jœ œ œ œ œ œ œWho wants the gar - bage cans clang…

208 jœ ‰ Œ ÓI can sing higher! 209 !FRANK: Thank you for coming. Next eight please.

210 !


&&

bb

n #

n #

211 !‰ BETH:jœ œ œ œ œ œ œ

They're al - ways pop - ing their cork.

212Ó FRANK:¿ ¿ j¿ ‰Up a tone.

˙ Ó

& # # # #213

‰ (BETH)jœ œ œ œ œ œ œThe cops, the cab - bies, the sales -

214 jœ œ jœ œ œ œgirls up at Saks…

FRANK: Up a tone.

& # # #215

‰ jœ œ œ œ œ œ œYou got - ta have a real taste

216

Jœ œ jœ œ œ œfor man - i - acs…

217 !FRANK: Thank you. You're hired.218Ó Œ œ

I'm

&&&

# # #

# # #

# # #

219

Œ ‰ FRANK:Jœ œ ŒI'm Frank.

!(BETH)œ Œ Œ ‰ JœBeth. I

220 !Ó Œ ‰ MARY:jœ

I'm

œ œ œ œ œ Œreal - ly thought I stank.

&&&

# # #

# # #

# # #

221 Ó (FRANK)

œ œ .œ œBy the way, I'm

Œ CHARLEY:œ œ ÓChar - ley.

(MARY)

œ œ Œ ÓMar - y.

"""

222 œ œ œn œ œ œ œ#told we o - pen Sat - ur - day.

!!


&&

&

&

# # #

# # #

# # #

# # #

223

Ó Œ 3‰ ‰(FRANK)jœ

Ap -

(CHARLEY)Jœ ‰ Œ 3œ œ œ 3œ œ ‰What? No - bo - dy's read - y!

(MARY)3œ œ œ 3œ œ œ Ó

What? You're not ser - i - ous!

(BETH)Jœ ‰ Œ ÓWhat?

224 3œ œ œ3

œ œ œ 3œ œ œ 3œ œ ‰par - ent - ly some - bod - y can - celled a book - ing.

Ó Œ 3‰ ‰ jœThe

!

!

&&&&

# # #

# # #

# # #

# # #

225 !3œ œ œ

3

œ œ ‰ Ósongs are - n't fin - ished.

Œ 3‰ ‰ jœ 3œ œ œ 3œ œ ‰And what a - bout cos - tumes?

Ó Œ 3‰ ‰ jœAnd

226 Ó 3‰ ‰ jœ 3œ œ œI'll bring you the

!!

3œ œ œ3

œ œ œ 3œ œ ‰ Œhow do I learn all these num - bers?

&&&&

# # #

# # #

# # #

# # #

227 3œ œ œ3

œ œ œ 3œ œ œ 3œ œ ‰cop-ies of ev-'ry - thing lat - er this eve - ning.

3‰ œ œ3

œ œ œ 3œ œ œ 3œ œ œNot to men-tion I still have-n't finished the

!Ó Œ 3‰ ‰ jœ

O -

228 Œ 3‰ œ œ 3œ œ œ 3œ œ œYou don't have to, we'll se - gue the

3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œSy - na - non song or the Ken - ne - dy num - ber, and

Œ Œ 3‰ ‰ jœ 3œ œ œAnd have we de -

3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œkay, but I'll have to have al of the mu - sic and


&

&

&

&

# # #

# # #

# # #

# # #

229(FRANK)

3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œend of it in - to the dance we cut out… No we'll

(CHARLEY)3œ œ œ

3

œ œ œ 3œ œ œ 3œ œ œwhat - 'll we do a - bout get - ting pub - li - ci - ty,

(MARY)3œ œ œ

3

œ œ œ 3œ œ œ 3œ œ œcid - ed or not on the res - tau - rant sketch? I need

(BETH) 3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œSat - ur - day I've got to sing at a wed - ding. Oh

&

&

&

&

# # #

# # #

# # #

# # #

230 3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œuse it but not with the long in - tro - duc - tion… We'll

3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œrun a - round town put - ting stick - ers on win - dows? We'll

3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œtwo or three days at the least to re - place it… We'll

3œ œ œ3

œ œ œ 3œ œ œ 3œ œ œGod, is there danc - ing, 'cause I'm not a danc - er… We'll

&

&

&

&

# # #

# # #

# # #

# # #

231 3œ œ œ3

œ œ œ 3œ œ œ#3

œ œ œwor - ry a - bout it on Sun - day! We're o - pen - ing

3œ œ œ3


œ œ œwor - ry a - bout it on Sun - day! We're o - pen -ing

3œ œ œ3



3œ œ œ3




& # # #232ALL:œ Œ œ .œ Œ

doors, singing,

233 œ œ œ .œ œ œ œ œ"Here we are!" We'refill-ing up

234 œ Œ œ .œ Œdays on a

& # # # 235 ˙ ‰ . jœ œ œ œdime. Thatfar - a-way

236 œ Œ œ .œ Œshore's looking

237œ œ œ .œ œ œ œ œnot too far. We'refol-low-ing

& # # # # # # # #238œ œ œ .œ œ œ œ œev - 'ry star… There'snot e - nough

239 wwwtime!

240˙ ‰ . jœ œ œ œWe'rebanging on

& # # # # #241

(ALL)˙ œ .œ Œdoors, shouting

242 œ œ œ ‰ . jœ œ œ œ"Here a - gain!" We'rerisk - ing it

243 œ .œ Œall on a

& # # # # # 244 ˙ ‰ . jœ œ œ œdime. Thatfar - a-way

245 ˙ œ .œ Œshore's looking

246 œ œ œ .œ œ œ œ œnear a - gain. The on - lything

& # # # # #247 (ALL)œ œ œ .œ œ œ œ œleft is when. We know weshould

248 œ œ œ .œ œ œ œ œcount to ten… We have-n't got

& # # # # # 249 wwwtime!

250˙ ...œœœ œ œ œ œWehaven't got

251 wwwtime!

252www 253 !


? b 44Moderato

1jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ

!2 ! 3

jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœ!

4 Œ ‰ jœœœ Ó! &

5 Œ ‰BETH & FRANK JR:jœ œ œ œ œBend - ing with the

& b6

˙ Óroad.

7 Ó œ œ œ œGlid - ingthrough the

8 œ œ œ Ócoun - try - side.

9 Œ ‰ SOLO 1:jœ œ œ œ œMer - ri - ly we

& b 10 œ œ œ œ œ œroll a - long, roll a - long,

11 œ Œ œ œ œ œcatch - ing at dreams,

12 w 13 Ó +MRS. SPENCER

œ œ œ œdreams that will ex -

& b14

˙ Óplode,

15 Œ ‰ SOLO 2:jœ œ œ œ œwak - ing up the

16 œ œ œ Ócoun - try - side…

17 Œ ‰ SOLO 3:jœ œ œ œ œEv - 'ry - bo - dy

& b 18 œ œ œ SOLO 4:

œ œ œmer - ri - ly, mer - ri - ly,

19 Ó œ œ œ œsing 'em your song.

20 w 21 Ó œœ œœ œœœœ

Roll - ing a - long…

& b22 ww 23 Ó

BETH & FRANK JR:

œœ œœ œœœœ

roll - ing a- long…

24 ww 25 Ó FRANK JR:œ œ œ œroll - ing a-long…

26 w

& b 27 œ œ Jœ œ Jœ 28 Jœ œ Jœ œ œ œ 29 wŒ3

œb Jœb3

œ Jœ3

œ Jœ30 wU

œ œb œ œb œ œ œbu

Vocal —113—


(Revised 1/95) (6/28/02)

Transition 7

& b b b b b 44 .. ..1 œ œ œ œ œ œ œ œ

!2 œ œ œ œ œ œ œ œ

!Vamp—vocal last time

3 FRANK:œ œ œ œ œ œ ŒSome - thing is stir - ring.

& b b b b b4 jœ œ jœ œ ‰ jœ

Shift - ing ground. It's

5 jœ œ jœ ˙just be - gun.

6

œ Œ Ó

& b b b b b 7 œ œ œ œ œ œ ŒEd-ges are blur - ing

8 jœ œ jœ œ ‰ jœall a - round and

9 œ œ œ œ œ œyes - ter - day is done.

10

œ Œ Ó

& b b b b b11

Jœ œ Jœ ˙Feel the flow,

12 Jœ œ Jœ œ œ œhear what's hap - pen - ing:

13 jœ œ jœ œ œ œWe're what's hap - pen - ing.

14

˙ Ó

& b b b b b 15

Jœ œ Jœ ˙Don't you know?

16 Jœ œ Jœ œ œ œWe're the mov - ers and

17 jœ œ Jœb œ œwe're the shap - ers.

& b b b b b 18 jœ œ Jœb Jœ œ jœWe're the names in to -

19 jœ œ Jœ Jœ .œmor-row's pap - ers.

20 jœ œ Jœ Jœ œ jœUp to us, man, to

Ritard21

œ œ ˙ ŒUshow'em…

Vocal —114—


(Revised 1/95) (6/28/02)

Our Time—Part 1

& b b b b bA Tempo22

! 23 Ó Œ (FRANK)

œIt's

24 .œ Jœ ˙our time,

25

Jœ œ jœ ˙breathe it in:

& b b b b b 26 jœ œ jœ œ œWorlds to change and

27 jœ œ jœ ˙worldsto win.

28 .œ Jœ ˙Our turn

29

Jœ œ Jœ ˙com-ingthrough,

& b b b b b 30 Jœ œ Jœ œ œme and you, man,

31 Jœ œ Jœ ˙me and you!

32 .˙ Œ

& b b b b b33

! 34 !35 jœ œ jœ ˙

!36 jœ œ jœ œ œ œ!

& b b b b b 37 jœ œ jœ œ œ œ!38

˙ ˙!

39 jœ œ jœ ˙!

& b b b b b 40 jœ œ jœ œ œ œ!41 jœ œ jœb œ œ!

42 jœ œ jœb jœ œ jœ!

& b b b b b 43 jœ œ jœ jœ .œ!44 jœ œ jœ jœ œ jœ!

Ritard

Segue

45

œ œ ˙ŒU

!

Our Time—Part 1Vocal —115—

& b b b b b 44 .. ..1 œ œ œ œ œ œ œ œ


!Vamp—vocal last time3 FRANK:œ œ œ œ œ œ Œ

Feel how it quiv - ers.

&

&

b b b b bb b b b b

4 jœ œ jœ œ ŒOn the brink.

Ó Œ CHARLEY:

œWhat?

5 jœ œ jœ ˙Ev - 'ry - thing.

!

6

œ Œ Ó

!

7 œ œ œ œ œ œ ŒGives you the shiv - ers,

!

& b b b b b 8 (FRANK)jœ œ jœ œ ‰ jœmakes you think there's

9 œ œ œ œ œ œso much stuff to sing!

10

œ Œ Œ ‰ jœAnd

& b b b b b11

Jœ œ Jœ ˙you and me,

12 Jœ œ Jœ œ œ œwe'll be sing - ing it

13 jœ œ jœ ˙like the birds,

& b b b b b 14 jœ œ jœ œ œ œme with mu - sic and

15

Jœ œ Jœ ˙you the words.

16 Jœ œ Jœ œ œ œTell 'em things they don't

&

&

b b b b b

b b b b b

17 wknow!

!

18 ˙ Ó

!

19 œ œ œ Jœ œ jœUp to us, pal, to

CHARLEY:

œ œ œ jœ œ jœUp to us, pal, to

Ritard20

œ œ .Ushow 'em…

œ œ .Ushow 'em…

Vocal —116—


(6/28/02)

Our Time—Part 2

(Revised 1/95)


! 22 !23

FRANK & CHARLEY:.œ Jœ ˙Our time,

24



26 jœ œ jœ ˙worlds to win.

27 .œ Jœ ˙Our turn,

& b b b b b 28

Jœ œ Jœ ˙we're what's new.

29 Jœ œ Jœ œ œMe and you, pal,


&

&

b b b b b

b b b b b

31FRANK:


Œ ‰ CHARLEY:

Jœ œ œ œFeel the flow,


Jœ œ Jœ œ œ œhear what's hap - pen - ing:

&

&

b b b b bb b b b b

33 Jœ œ Jœ œ œ œWe're what's hap - pen - ing!

Jœb œ Jœ œ œ œWe're what's hap - pen - ing!

34 œ Œ Ó

œ Œ Ó

35

Jœ œ Jœ ˙Long a - go

jœ œ Jœ ˙Long a - go

&

&

b b b b bb b b b b

36 Jœ œ Jœ œ œ œall we had was that

Jœ œ jœ œ œ œall we had was that

37 jœ œ Jœb œ œfun - ny feel - ing,

jœb œ jœ œ œfun - ny feel - ing,


&

&

b b b b bb b b b b

38(FRANK)jœ œ Jœb Jœ œ jœsay - ing some - day we'd

(CHARLEY)jœb œ jœ jœ œb jœsay - ing some - day we'd

39

Jœb œ Jœ Jœ .œsend 'em reel - ing.

jœ œ Jœb Jœ .œsend 'em reel - ing.

40 Jœ œ Jœ Jœ œ JœNow it looks like we

Jœb œ Jœ Jœ œ JœNow it looks like we

&

&

b b b b bb b b b b

41 wcan!

wcan!

42 ˙ Ó

˙n Ó

43 !

Jœ œ jœ œ œ œSome-day just be - gan.

44 !

wU

&

&

b b b b bb b b b b

45

!

!

46 Ó Œ œIt's

Ó Œ œIt's

47 .œ Jœ ˙our heads

.œ Jœ ˙our heads

48 Jœ œ Jœ ˙on the block.

Jœ œ jœ ˙on the block.

&

&

b b b b bb b b b b

49

Jœ œ Jœ œ œGive us room andjœ œ jœ œ œGive us room and

50 Jœ œ Jœ ˙start the clock.jœ œ jœ ˙start the clock.

51 .œ Jœ ˙Our time…

.œ Jœ ˙Our time…

52 Jœ œ Jœ ˙com - ing through!

Jœ œ Jœ ˙com - ing through!

&

&

b b b b bb b b b b


Jœ œ Jœ œ œMe and you, pal,


Jœ œ Jœ ˙me and you!

55 Jœ œ Jœ ˙Me and you!

Jœ œ Jœ ˙Me and you!

Rall.56 !

!

57 !U

!U


& b b b b b 44 .. ..Vamp

1 œ œ œ œ œ œ œ œ



!

& b b b b b .. ..Vamp—vocal last time

4 FRANK:œ œ œ œ œ œ ŒSome - thing is stir - ring.

5 jœ œ jœ œ ‰ jœShift - ing ground. It's

6 jœ œ jœ ˙just be - gun.

7

œ Œ Ó

& b b b b b8 CHARLEY:œ œ œ œ œ œ ŒEd-ges are blur - ing

9 jœ œ jœ œ ‰ jœall a - round and

10 œ œ œ œ œ œyes - ter-day is done.

11

œ Œ Ó

& b b b b b12

MARY:



14 FRANK, MARY & CHARLEY:jœ œ jœ œ œ œWe'rewhat's hap - pen - ing.

& b b b b b 15

˙ Ó 16

Jœ œ Jœ ˙Don't you know?

17 Jœ œ Jœ œ œ œWe're the mov - ers and

& b b b b b18 jœ œ Jœb œ œ

we're the shap - ers.

19 jœ œ Jœb Jœ œ jœWe're the names in to -

& b b b b b20 jœ œ Jœ Jœ .œmor - row's pap - ers.

21 jœ œ Jœ Jœ œ jœUp to us, now, to

Ritard22

œ œ .Ushow 'em…

Vocal —119—


(6/28/02)

Our Time—Part 3

(Revised 1/95)


! 24 Ó Œ ALL:

œIt's

25 .œ Jœ ˙our time,

26



28 jœ œ jœ ˙worlds to win.

29 .œ Jœ ˙Our turn

& b b b b b30

Jœ œ Jœ ˙com - ing through,

31 Jœ œ Jœ œ œme and you, pal,


& b b b b b33 FRANK, MARY & CHARLEY:

Jœ œ Jœ ˙Years from now,

34 Jœ œ Jœ œ œ œwe'll re - mem - ber and

35 jœ œ jœ ˙we'll come back,

& b b b b b 36

œ œ œ œ œ œbuy the roof - top and

37

Jœ œ Jœ ˙hang a plaque:

38 Jœ œ Jœ œ œ œ"This is where we be -

& b b b b b 43 4439 wgan

40 ˙ Ó 41 Jœ œ œ jœbe - ing what we

Ritard "42

wUcan."


&

&

b b b b bb b b b b

43

!

!

44 Ó ŒCOMPANY:

œIt's

Ó Œ œIt's

45 .œ Jœ ˙our heads

.œ jœ ˙our heads

&

&

b b b b bb b b b b

46

Jœ œ jœ ˙on the block.

jœ œ jœ ˙on the block.

47 jœ œ jœ œ œGive us room and

jœ œ jœ œ œGive us room and

48 jœ œ jœ ˙start the clock.

jœ œ jœ ˙start the clock.

&

&

b b b b bb b b b b

49 .œ Jœ ˙Our dream…

.œ jœ ˙Our dream…

50

Jœ œ Jœ ˙com - ing true!

jœ œ jœ ˙com - ing true!


Jœ œ jœ œ œMe and you, pal,

&

&

b b b b bb b b b b

52

Jœ œ Jœ ˙Me and you!

jœ œ jœ ˙Me and you!







&

&

b b b b bb b b b b










& b b b C b b b b 441 7

& b b b b 448 ˙ œœ

..œœ œœ!

9œœ œœ œœ ‰ . jœœ œœ

œœœœ!

10˙ œœ

..œœ œœ!

& b b b b 11˙ ‰ . jœœ œœ

œœœœ!

12

.

.œœ ‰ œœ..œœ œœ

!13

œœ œœ œœ..œœ

œœ œœœœ œœ!

& b b b b n n b b14œœ œœ œœ

.

.œœœœ œœ

œœ œœ!15 œ œ .œ œ œ œ œ

!16

œœ œœ ..œœ œœ œœœœ œœ

!

& b b17 ˙ œœ..œœ œœ

!18

œœ œœ œœ ‰ . jœœ œœœœ

œœ!19

˙ œœ..œœ œœ

!

& b b 20˙ ‰ . jœœ œœ

œœœœ!

21

..œœ ‰ œœ..œœ œœ

!22

œœ œœ œœ ..œœœœ œœ

œœ œœ!

& b b C23œœ œœ œœ ..œœ

œœ œœœœ œœ!

24œœ œœ œœ ..œœ

œœ œœœœ œœ!

Vocal —122—


(6/28/02)

Bows

(Revised 1/95)

& b b C25 ˙ œ œ

!26

jœ œ jœ œ œ!

27 .œ jœ œ Œ!

& b b 28 Ó œ œ œ œ!

29 ˙ œ œ!

30

jœ œ jœ œ œ!

& b bPull Back

31 .œ jœ œ œ!

32 .œ jœ œ œ!

33 .œ jœ jœ ‰ œ!

34 œ œ œ œ!

& b b35

ALL:œ Œ œ ŒHey, old

36 œ ‰ Jœ œ œ œfriend, are you o -

37 œ Œ œ Œkay, old

38 œ ‰ jœ œ œ œfriend? What do you

& b b 39 œ Œ œ Œsay, old

40 œ ‰ Jœ œ œ œfriend, are we or

41 œ ˙ œare we u -

42 ˙ Ónique?

& b b43 ˙ ˙Time goes

44 .œ Jœ œ œ œby, ev - 'ry - thing

45 ˙ ˙else keeps

46 ˙ ˙chang - ing.

& b b 47 ˙b ˙bYou and

48 .œb Jœ œ œ œI, we get con -

49 œ œ œb œtin - ued next week.

50 ˙ Ó

BowsVocal —123—

& b b51(ALL)œ Œ œ ŒMost friends

52 .œ Jœ œ œ œfade or theydon't

53 œ Œ œ Œmake the

54 œ ‰ jœ œ œ œgrade. New ones are

& b b 55 œ Œ œ Œquick - ly

56 .œ Jœ œ œ œmade and in a

57 œ œ Œ œpinch, sure, they'll

58 .˙ œdo. But

& b b59

(ALL)œ Œ œ Œus, old

60 œ ‰ Jœ œ œ œfriend, what's to dis -

61 ˙ ˙cuss, old

62 ˙ ˙friend? Here's

& b b 4463 œ .˙to us…

64 œ Œ ˙Who's

Ritard65 œ .˙

like us?

"66 œ Œ ‰ ‰U œUDamn

& b b 44In 467

wfew.

68 w 69 w 70 w 71 œ Œ Ó

BowsVocal —124—

19Exit MusicTacet

Merrily Script

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