FIRST PERFORMANCE AT THE PUBLIC THEATRE, NEW YORK April 16, 1975 CAST OF CHARACTERS } (in alphabetical order) | ROY =» Scott Allen 1 KRISTINE. vseees Renee Baughman SHEILA . Carole Bishop VAL. Pamel Blair MIKE. . Wayne Cilento BUTCH .. « Chuck Cissel LARRY. . « Clive Clerk MAGGIE Kay Cole i RICHIE. Ronald Dennis TRICIA +. Donna Drake ToM.. - Brandt Edwards JUDY. Patricia Garland LoIs . Carolyn Kirsch DON... Ron Kuhlman Naney Lane Baayork Lee Priscilla Lopez - Robert LuPone MARK ° Cameron Mason CASSIE . . Donna McKechnie Aue Don Percassi FRANK... - Michael Serrecchia GREG . - Michel Stuart BOBBY - Thomas J. Walsh PAUL. Sammy Williams VICKI. « Crissy WilzakSCENE. An Audition Time: Now. Place: Here. ‘The characters portrayed in ‘A Chorus Line” are, for the most part, based upon the lives and experiences of Broadway dancers. This show is dedicated to anyone who has ever danced in a chorus or marched in step anywhere. A CHORUS LINE IS PERFORMED WITHOUT AN INTERMISSION ORCHESTRA, REEDS: I, Alto Sax, Flute, Piccolo, Clarinet, Alto Flute IL, Alto Sax, Clarinet, Bass Clarinet, E Flat Clarinet, Flute IIL. Tenor Sax, Oboe, English Horn, Clarinet, Flute IV. Bari. Sax, Bassoon, E Flat Contra-Bass Clarinet, Flute, Clarinet ‘TRUMPETS I, If, 111 (All Double Flugelhorn) | 1 TROMBONES I, II, TROMBONE III (Bass Trombone) PERCUSSION: Timpani, Xylophone, Vibes, Grande Casa, Bell Plate, Bell Tree, Bells, Drums, Harp, Bass (Doubles Fender Bass), Guitar/Banjo KEYBOARD I: Piano, Electric Fender Rhodes Piano, Celeste *KEYBOARD II: Yamaha Y-30 Organ + Leslie Speaker, Baldwin Harpsichord (Electric) ‘Keyboard Is played by the conductor. “The purchase of this score does not constitute permission to perform. Applications for per- formance of this work, whether legitimate, stock, amateur, or foreign, should be addressed to the licensing agent, Any inquiries should be directed to Flora Roberts, Inc., 65 East $Sth Street, New York, N.Y. 10022 and Jack Lenny Associates, 140 West S8th Street, New York, N.Y. 10019,22a, 24, 2s, MUSICAL NUMBERS Opening, I Hope Get It “Morales"” — Underscore. After “The Opening”’ (The Line) Intro — 1 Can Do That 1. Can Do That Introduction Amd Introduction — At The Ballet . At The Ballet. . Introduction — Sing And...” Sing! oe : Montage — Part 1 (Hello Twelves” Mark Connie) eo Montage—Part2 (“Nothing”) ......-0000ee00eeeeeee eres 85 Montage — Part 3 (Don, Judy, Mother”) .. 7 Montage — Part 4 (Judy (cont.), Greg, Richie) = 108 Dance: Ten; Looks: Three....-.. +++ 127 Short ‘Paul’ Scene....... 138 ‘The Music And The Mirror . 139 After Music And Mirror . ++ 156 End Of Paul's Scene 157 One... 157 Tap Dance. - 188 Alternatives 5 196 New — What I Did For Love — wn. 201 After — What I Did For Love oo cece cesses 208 BOWS o00cccccccccceeeeeeeeee sees eeee eet eeen esse ences 209A CHORUS LINE a Lyrics by EDWARD KLEBAN ‘Music by MARVIN HAMLISCH | No.1 OPENING Moderato (not too fast) Cue: From Stage Manager 5 1/2 SETTING ON FENDER; Organ: Preset #1 Plus Pec, ZACH: 1 o oO | ‘Acgaint Step, eck, Kick, leap, kick, touch, A-gain! eae Sol) oF a . (Plano) step, kick, kick, leap, lek, toueh, Again! Step, kick, kick, leap, kick, touch, A-gain! hick, kick, leap, kek, touch, Right! ‘That con-nects with ura, turn, out, in, touch, step, Step, Beseturn, touch, down, back, step, piv-ot, step, walk, walk, wall, the whole combination facing sway trom the mirror, Fromthetop, 6 - @ - 7 - 29 2tempo uy (Brass aust) AVocal - Tempo co (SLOTEVED) 7 O.k, Tim going to ut you into your __groups now, When 1 call_ovt your number, Fl tell _you where you're gonna be in the formation, Dialogue continues ~ | NOTE: Cassie doos not cing in the | pening number. Bebe, Vieky,, Lots: ; ees On Cue: {Do not sing "til oat of purple: ncin Mambes $7. Number 60, upstage. ste 2 wf [vam] ros mean AEH Got, Te T ge 1 hope t get 3 eat.)BOVE . eres How man-y peo-ple does he need? Tire Hows) How many peo-ple does he need? 2 mts: Howman-y boys, how man-y.. pore, How man-y boys, how man-y girls? "fF P Look at all the peo- ple! How man-y peo-ple doeshe (ocal Coes Only) (Tons) girle? How man -(RT ART THT! 7 ex 7) | aan | i | ropT ey | Te got to get this job, —______— J eaPanoy rots, /8x8.) ic ee Creer pr pr ore vit | ont] ZACH: ‘Third group of boys. Number "63" downstage... ete, First group of girls. © 1-2 1 Second group follow. 4 - 8 = Dre.) (On Cus: 12t Grow Ballet Girls tor wees t creel) Baas)db. tr r [ i ‘han, you're dancing with your tone aga = ACH: "You! Any ballet? ae eae ae ip ; cot t r 7 Next groupfand)ome rd aed oatt--.,? 2° ad HR Ie We z Brees) (Pimp) oa ‘rd Group Ballet Girls i r eT fa py tae es LH) » (simile) WS nyAst Group of Bors vel wl Up! *55 uns, soll) mt ic (Dre Bn) Hold it, Hold it, Stop! (toRoy) How many BF (S010 Piano} ZACH: (to Roy) Ro. act: 369 years ballet? One! ‘Any Broadway shows? No. ArmsAst Group of Boys aguln 371 (Teas, a0) ' nf (Bese +B. .Dr8.) 1 (time) Next Growp:(And) (tim)ZACK: Boy in the head band: Keep your head up, oa _—— ; 19s ww.svu) Head band, (oTimp.) vel ant Group of Boys (Timp)UWL I 7 we) aL (toys on 12) ALL: God, I real-ly blew it! How could 1 do a thing likepoys; How could I do ating like. ..? 206 ists Walsh ‘that? NowT'lnev-er make It. Tilnev-ermakett! He does-n't lke the way vate woos Cues Ons) (Pedal)| ys £ WT cna vad ‘Tempo di Funk iris fh: look He does-n't like the way I dance, He does-n'tlike the way 1 a oxgany(Ad 1b.) cma at eeera ela| ZACH: Girl in brown, ‘Boa (ate. .8x8,) (@iss0) 1d itt Hold ttt ‘ZACH: Hold it! ‘much better but still too much tension, face, houlders, Relax, (Pender, Plana) (Gass) a= (Dr) & ali oll 8 oy oy oy 8 (to Fender) ZACH ‘but could you have someone do it in front please? Larry. wu 2. os oy oy Y ey ‘2nd Group of Girls 230 (Org. aust) (Sree, © it Piao) cea) r C r |‘rd Group of Gis fore Fd a a a ance out (ete.) x x os a ‘ZACH: fo Vay r ptt Hold it. stop! ‘ sa (ott) ny (gender Rhodes) (org. ,Gte- with wacws & suze) cot @ 8 ll(cry. nts.) 254 ras.) (aust, Sx.) (org. 04 ub) 288 Aut Group of Boys ocracway (Fende® Rhodes) 269 (0rg), Shella, do you know the combination? PP (Plane 6a) knew it when T'was in front, ZACH: Okay, boys. 5 ~ oe 2122 zach: Aer wold, stop! (Pago) 62 AD Te step is down stp, pivot step, Not pivot a = = = step, plvot step, right? chewing gum? Get_ rid of it ftom. the - Again, (ro Baten) 1 ep. BLE, By _ (Fender Rhodes) 5 = 6-7-8 let Grow of Boys:as 3 ere aig tnd Group: Riche overdoed i) Ly | (pute wats.) | Plans) a roFP OF Rich) « Listen, that's really great, and tone it down. Relax, Boy in the headband, sen ek tay tn hf "he (Plame only) ai ail ‘nd Group of Boys Again we, ea] ob el scutsaT on melody (wa-wa) (era) _ * Sexe, Br ore, 6a)24 ° foeo a 4 a aA ToBar dite ast Grow of 3 ‘3106 (Render Rhode > ote. — } PP (Piano Only) ” 1 realy 9 — Ta (simitey (x64) (@va bassa) || |, (eas) &25 ¥ ie ie ae ZACH: (to Vicks) vicki: ZACH: | Qo Tricia) ‘mica: (in2) Any Broadway shows? No. | Broadway shows? ‘Touring company, a8 TT. I i (Ww, & Balls only) subito pp Ed Acti: Ocay, I'm eliminating down. When I call out your number please form aline, Girls first, — (Ww. cues) mn pee pene soy od dS ca Cs.) (Plane tacet) | Slowly op)«+ 148, 152, 179 - - = Cassie, Other girls, thank you very rx much for coming. I'm sorry. —> ‘S ao (Plane Solo) t (Base) Slow 2 | aap CUE: ZACH: Boys, ~ Number 8...» (rote) A A A my PP (Plano teoot) esx. tebe.) >| —— GasslY (Cymbal Roll Cut off on Cue 3 Q At and 84, The other boys, thank you Tempo TaCH Larry..]| | Plane) (+ Organ) fi | ae bth (otags ole oti ste Il a ae God, I think I'vd got tt, {Almoat whtepered)27 jal ee acon: Bal =| __Iwant your pictures and resumés, please, What's com = ing SUL, it Isva't o- ver. { IKE: amis: | 382 next? What. hap = pens now? I can't im-ag -ine what he... — —————— ore ee Teme line agcine wha be wana | sus i God, 1 hope T get it! I hope T get sti T've come this far, but ¢ - ven i (Wooal uae Only) fear , it could be no, How man-y peo-ple does he. . cxs-spoas Ct Gan wad28 Offotage stngers plus Mike, Diana. Jody. Richie, Al need this job. ‘zach: Larry, 0 (tn rotates) Task ord [vont] ster Fach, A ‘Bobby, Connle, Al, Val, Vick!,Barbara and other offstage volces 1 knew! td it from the atart, My uneemeploy-ment is gone. ‘Aut: nr Ft OTHERS: Please God,I need this Job. “eBar.Se.) culM Ao $AEh conmct we plctures and réeuné, PLEABE (compli)i a plc = ture! of a ee rn Por. = ta —_, ta The) PO Pes tea tn) aa What does he want What should 1 a= round, and here need this, job, (ws. [tap = P \ } | | cau“MORALES” - UNDERSCORE ZACH: Go on, Diana. CUB: DIANA: Go on... what? 1g Bright 2—Fast ots) (Piano) PP mf omy si i (Wood looky cra 5 (tpt) mudd cre (@Wood Block) ZACH: ‘Tell me about the Bronx. aa | ‘i 7 oy d I tart dancing oul” (eee, Pia (Ph, Tinan a J “ iy 1 oud (bate ta basen t (oa0t, timbales 2 a (Beta) (ip) 32 Slow DIANA: Can't be the first... please?. (chy, ‘Sure I want the job. a (iw, Hp.) a P (Plano taees) eEQUK #832 xe AFTER “THE OPENING” (The Line) ZACH: Betore we do anymore dancing... Zach continues - = ~~~ = = 5 -=~ Moderato ‘ oy wie (7109) (PP) ate Heavy (Bs. Baaech) ‘Talk and be yourselves b Jast relax, as ‘much as you can,Na ¢ | Intro - 1 CAN DO THAT | i | ite cbs: \ 1 |i Steal-1 eon ayn started en nt. eee (eoun oteve lobe 2 pay ab b b _ ww “) UWL (ells, FL) (Piano solo) eve —— tT) ki i: germ) | Twas an accident. Ww ‘Oh, that was the sister, a cmsoiobd DJ) od dd hws.) 2 «eh cae ied ‘SEGUE as one to #5 FE eens arseI CAN DO THAT 1 QUKE:) Faster in 2 sand T'd sit there all perky and. . VAMP osalle-~ She was ete. ‘MIKE: (tast time) Mm watch -int eres, PP @. char.) (Bass) on cue: a consol” ote 02| fab Hen ha iris Hf 9 aha | One morn-ing Sis won't goto dance 4s (clare, ba: Sr Ene i | r roe I. grab her shoes and tights and all, but my foot's too small, So, a (Orch, tecet) (er)1 stuff her shoes. with ex-tra_ socks, run sev-en blocks. L (Char. Teng tn notheint flat Hell, 1 can do that. (cuteny 2 o (8r./ren. fa) (wibes) = f (ctr) Bho fas b —== rae ob, pe emt Ld Sid t ds banee foro OPT sen) — 1d, oe (en (RED HOT?A | 1 got to clas and had it made and so 1 stayed. | (CL Vibes, gtrsbuss) (ten — the rest of my life AML thanks to Sis (ts. ,Teny cree. Bae.) bts t (este. a8 . Ady AlysS Chpat chro, o; (now mar-ried and fat), I can do this. [tba 44 FF er obo chmaytav/eh Z. Z 27 ZL ztBS 12_(@ance Break (c.Byp, 0.8) 7 a owns) SPY my - er, (er. /ww.) i : Ber THE 9, (ara basen) And then everybody: ‘started calling me || A AM Twinkle~Toes." || (TGrendceen) a jcrimp.) A x IF ‘ 4 7 & | (reacitou} ea Slow 4 ++ couple of dance lessons, tall PP 5 jane ¥ 7 iporu) 39 | | | No'é INTRODUCTION “..AND...” | OVE: BOBBY: Welt, actually, don't. Moderato (in 4) ‘Bobby continues. FENDER VOLUME 31/2 Fender Pg7 gtag? Tis Tom P Ben 44 Continue at Cues ZACH: Bobby, gre you gonna do a routine? © ug. 1/Thos, /e. Ha. /vibes ‘te. /Base/Dr.) (fo Fender) (FENDER)40 i a) ag Genser) (an., va bases) (BaserBsn) He was 0.K, strange one. 1 (ote) Continue at CUE: BOBBY: Bizarre recitals a (Flug. ¢Bsn.) (Plano. Tb.) (oft Pedal) a9 CUE: } Frankenstein. (Coen SEGUE to "AND" 6041 weet “AND.” | i CUE: ‘BOBBY: Pores can't breathe. RICHIE, J oO Tempo! wand. 6, sary (FENDER RHODES) What if T'm next? Whatif I'm next? What am T gon-na do? Lhave-n't got aclue— (arpa) (ws. ip) (FENDER RHODES) (W. /Lows) 1 got=ta think of some-thing, What does he want? What does he want? Stor-les from_the 2 = a42 7 mronild i = wase) nour 1: 141, MAGGIE, GREG, RICHIE, 1 2, VAL, BEBE, PAUL PP What Tper FF TOF ‘a tempo (Wiarpal, /Vibes/ tip) (electric Plano) (eu) I 20 25(Piane) (¢Flug. /Tons. ip.) i/o Ea * TE: BOBBY: Rearrange the furniture,43 Aad. (Or-phan at three. Or-phanat three.» -Moth-erandDad_— both gone. Guapsn = a vines, | ENDER Hp. Gee} [mnoDE8) owe | | (Ba-7Be.Cl. 70m.) (Be) (C.8.Cl) i (Trem i 4 I Ralsedbyasweetex - con Ted up and raped_at sev-en. Ser-L-ous-ly! bet-tor keep— it clean. r 4 GROUP u 1. DIANA, CONNIE, RICHIE: 2. VAL, SHEILA, DON: What should 1) say@— (Bolla) tel him? — (ToElee.Plano)45 a or ‘And... SUDY: + Mmp for him, De & crenpen RHODES) a a God, I'm a wreck. God, I'm awreck. I don’t know where to start. T'm gon-na fall a-part,— (pe Bells) co) What were my toys? Where are my child- hood mem~ ‘ri Alternate yc for JUDY (measures 64 — 72) ‘© 1 ne acres playing JUDY i ot especialy al, but instead i evemely te God, Fm a wreck Goa Fins wreck. Won't nom were to start Fm gonna fall spar. Where are my clildhood memes? ‘Thar may you won't be merous Sees Rast Rey ES eine hose my eye and smile, (Does so)Gone be-yond- re = call! And is wine ahr “Alternate melody for end of "try to be calm” Verse, gee 1, CONNIE, MAGGIE, DIANA, JUDY, RICHIE: ta VAL, MIKE: ‘va basea What should 1 ____ What can (nella) 5. Heo ome (toes, (Bas Sa, bases) a Continue st CUE: ‘And... CONNIE, MAGGIE: tox BOBBY: .-. te redundant, i RICH: And... VAL, DIANA: (FENDER RHODES) Wo Lowe) (Plano) soll, an OW. /Mp.s Bells) ‘TURN FENDER i il ‘TO VOLUMESa INTRODUCTION-AT THE BALLET | as cum (| Ree fe Se — i ‘a Cust SHEILA: | [wat * Tranted to fF ve | Witt aitometeeua, tay ee Van) - T @resempre) (id ont apt r vaue wm i (Cont, at ove) sorta! aa is |* Fees eatutonyonr lap? 0) nee ieee) » anf Sane ». Aon all we aout your prone, (ass) 2 SHEILA/My parents? ZACH: Your father. SHEILA: My mother was raised Like a little a # —| ach48 Bot.cut to 5) i (CUE: SHEILA: You don't like it, z fa (re, t90et) (opt. svabanea) PP suet: Better? 2 st Eact' Deut ce ‘And then I eaw The Red Shoes. iizi—J— Slightly Quicker Loy Fj os Fade on Cue: Twas only six. a ee ‘Almost SEGUENo.9 1 Rock-strong four 1 When AT THE BALLET ‘CUE: ZAGH; Sure, you're strong enough. Begin Vamp) SHEILA Well las face It. My family acene was not go0d. 0 Dad-dy are toh hat ho married be nat im ‘That's whathe said, that's what he poy ees Rfere ALL FENDER (Volume 6) hhe pro-posed he in- formed my moth - er he was ‘And though shewas twen-ty two, though she was twen-ty-two,— (Tone) 49Life with my Dad was-n't ev-er a ple~ nic. ‘More like a "Come as you are. (Rass) When Iwas five I re-mem-ber my moth-er dug ear- rings out of the ear, 1 knew that they were. some-thing you'd want to dis~ cuss, He wasn't cvwe,) ui laceWell,not to hen, A(Ch. sp. Vibes) ov = 'ry-thing (¥15.,0b. Bra ev = ‘ry-thing. atthe ‘bat - tet. loco (ip. Vibes) eu)p..cte wasn't par = Up a steepuand ver-y nar-row stair - way. Spoken ‘That's when 1 started class... (ow. Bellg > (rons. Hoo) SHEILA & BEBE: To thevoice— like a metro. Up a steep—and ver-y nar- row stair - way. BEBE: SHEILA & BEBE: was-n't par = a-dise,— It was- n't par - (Plane, Hp.) FOF | rons.)é é a 5° pepe. i Moth-er al-ways sald I'd be when T grew up, when grew up, i a A (orona.) ‘ "Dit- front," she said, very, ver-y per-son-al (wwe ‘though I was eight oF nine,though I was eight or fine; (obch) (Gte., Tons.) oneal” z = spi= trent” is nice, but it sure is-n't pretty. pret - ty" is what it's a-bout.— 1 nev-er met an-y-one who was "dif-f'rent" who couldn't fig-ure that out,——— Butstwas clear, Mnotto her, well, then to (wwe. Tb a &nm nn nam wu “tit Uw "Th + HAO tA . 55 MAGGIE & BEBE: Ene) ev = 'ry-one. (no ataceato) #8 ri cont ruber 8 r honSHEILA: — Tepe = + Mee ea Mins ee (rons, (cL. Belly) (Change Fender Volume to6)] 2° £5 *QUAGGHE + BEBE on tap voloe when only two parts) ! ‘TRIO MAGGIE, BEBE, SHEILA: to the volce— like a met=ro- Up a steep_and ver-y nar- row stair ~ | f Up ‘a steep—and ver-y nar - rowwas=n't par - 8 rite std) T don't know what they were for or against really... . « we ee a ! gut) /MscorE: ... Fantasy Ife MAGGIE: .., Indian Chief, and he'd say es a(Tpts, -cup, Vibes BEBE: SHEILA: MAGGIE: But tt was clear... =e : help their mar- rlageand when.. ses That's what he said.... wu 59 jue SHEILA: Macon: sel used to dance a - round the Iiv-tng room... sesHe was-a't warm... euectiay » NEES cr Tes MAGGIE: te was an In-dian chief and he'd SHEILA & BEBE: "Mag-gle, do— you wan ~ na Anat say, “Dad-dy, 1 would love nt (Bells, Hp Gte.) ES Po yy (Hoy127 MAGGIE: beau ti ful ret, ww. nent some-one's al | there, —_—__________—_— (ww. Betts) J 2 {tip cont. stmlle) beau ti = ful ee (Timp. roy b+on62 an ri ° MAGGIE SHEILA: MAGGIE: Hey! (FENDER) (Tons. tP)63 Now INTRODUCTION-SING (CUE: ALs Telt him how you started. Perky and Light (in 4) | 2 wd py | (Piano tacet tl 28) =p \ t 7 7 ceaiyh F KRISTENE: This litle girl could be a star. CBA. i 4 TR Oke qsnpry Dy Ady drt Tp, moire 2‘nt: "Bd Sullivan" (vibes tr tp.) (ass) (Celeste in ootaves (haBene bee, 7 (chy —] a=) | on dowabest (KRISTINE: Doris Day.) | paring "Except Ihad this little. AL: Problem. ‘KRISTINE: See, real-ly couldn't ‘SEGUE a8 one to "Sing (par 12)65 ae SING! Moderately (in 2) 32 pusTINE: sing. ‘I could nev-er real-ly ing, What I could-n’t do was... + ‘Brans Casa) Piano) © Ben.) Thave trouble witha... ‘Tt goes all a-round my... It's a ter-ri-fy-ing (Ww. Bells) (Bsn, Be (Plano) (2B. Hp)See, I real-ly couldn't Which is why I dis~ ap Hey, when I be -gin to... hear which note was iret 3 ¢ says "Let's start a pear if some-one eeecho = in” (Ww. ,BE Hp — ips Bane) T's a cross bet-ween a... and aquiv-er oF (0¥ws., Bree) be 5 + FyOe tlh It's a litte like a... Or the rec-ord play-er .., What it does-n't have is ... 67 a (Ben. (Hip Ban) | (Dan. Ba) (Bene) know you're think-Ing Hie Eye is (Bs0.,Hpd vl Cos 4, a tempo bat Treal-ly could-n’t,., Teould nev-er real-ly... WhatT could-n't dowas... tempo (Plano, +Timp..Bs.,Dre.)KRISTINE: (Sings off piten 2) pQRISTINE: (Glngs off itty, (Spoken ‘Three blind mice. Three blind mice, ‘She's do-Ing her best. Jin-gle bella, Jin-gle Tt isn’t in = tenction-al, (isso) i (ings oft-ptety~ KRISTINE® ~1Spoken) Jingle bells, Jin-gle belis. Ttsepow + er! (iano, Hp.) ty ‘poken:) | “ (sings otto) friends say 1 am per-fect for the (Gpokeny St... I'm ter-rl-fle at a, (we. Hp Guys are comain' in their... (Wwe. Be, cue) 4 i E » — lana} © (an, poh eeBut when T be-gin to... +++ 80> In! ‘Pong’ in-stead a... ——— (Phan) (Ben, 469 / " ‘And when Christ-mas comes and all my friends go car Ping’? ooh (Wy Tt 3, 870) nf figs Bele, Br (ip. .Ba, Bes. Tone)really could-n't -.. Darling, please stop an-swer ... Teould nev-er really «++ svalng. 51 Pia mowo omnis: BOYS: (Piapo, Bs..Ban) oral Do re mi fa sclla ti do, = (WwaHpe Celeste, Belle) Do Do re mi fa gol la ti do, (bck), What 1 could-n't do was . GIRLA, KRISTINE: lasol fa mire do. La, La, (rip.—<$<$—$<_$<—$—<—_—_———— - 7. 97 Gms: KRISTIE: GIRLS. fee) (FLCL 0B) Er) note. Please nev - er, es 4, ety 105 ALL: 106 + Sing! x > ~——————— . ———, ———.. ——— > a Beno, ge csight ove) ‘Almost SEGUE to #12ee MONTAGE - PART 1 (Hello Twelve”, Matk, Connie) 3 | iy) ours ae MARK: We ling ... ote. np ell, 1 got the feeling (els. ere) —— 5 > = = ———F Cw eal a q R 8_rall, MARK: No, 1 T vate (Piao oniP a , (tavo sot pedal) 5 9 Tempo Rock 4 MIKE: [PAUL AND sub¥: MAGGIE: fpoken) doubt. To break out, Gt'sa mess.) | Time to grow— (w./tp.) 2 Feu) (FENDER RHODES guna [ona ‘Time to go (FENDER RHODES) a Alte ‘Too young_to take 0 = a T'm al-most read ‘Too old_to ignore. Aue for? there's 2 Hel-lo tot ‘Dwelve,-76 sa ea na 34__tto bar 30) teen, Next day I went to cute ap- pen dll - el tis! rushed me right to the hos - pl = tal, (Bn 4DEy figured this book cov = oF ev = ‘ry-thing (rs? (ty (el) Dr) 48 VAMP ~TALK on CUE ‘When Iwas 13 Thad my first wet dream ... milky discharge coy re Gon-or-rhe~a, Cosy ‘VAMP =TALK TALK. a all Teould do was {vane (ote Harp-vibe.)drank Like twenty glass ~ (Tot/ Wwe. /Mar.) 01 For three weeks . almost drowned confession ... Finally I went to (eWwe.) P @.. Gtx.) 65 In 1(Stowly) ‘and I told the priest that I had gonorrhea! ....He was in shock, tos. "Who have you been with, my (7, Ba (Chimes) [wwe [PPP agin. s0n?"("Nobody, Nobody)"Then\\ | | 79 | a tempo I « temPe a about tha book's __lagnoela formally discharge and he get mo stra) @ Janay 4 Ca | ‘CONN: Ind ! {H's the only time the church ever helped me out, Well, Iwas Four-foot - ten,— a tee.) oy —— 35 If. wut aff ” ‘That's the sto ry four foot = ten—— Zo 0b) aN re-mem -ber when ev = try-bod = y was my i80 ‘Boy, was that great! But then everybody started moving wp, and... there Twas stuck at (subitoP) (Brass) (9 (Be.,Ban.,Dee VOCAL ON CUE! rast time Four foot ten, (But T kept hoping Tused to hang from el ‘and praying. ) Four foot ten! noord J if timp, Toot fo? fo? fF , roe 2 par - el = lel bar Va streten a eB tip.) A Toe ous bar PP ‘orchestra) P stra) Slower gust an inch more, {nto dancing then | and Twas good and I wanted so much to i ' omy a H{ a (heer louder ~ lke yet grow up to be a prima ballerina. ‘Then I went out for ‘And they told me: (ew. Br HE) Pl tehd a a (Be co) March Tempo (th 108 "No dice, You'd get lost fn the football fala. ‘The pompoms are bigger than you." (0b.,chy 7 VAL: Int ute! hen am 1. gon-na grow Tepent my whole childhood waiting to grow .. wi piorarED, ot Gee (-tp., Bette) | Slowly 109 In PAUL: MIKE: One litle fart... Sec-ret, my whole life was aee 82 12 Tempo Bright ALL: (Connle does not sing) and they "STINKY" three years. Ohhhh! Good-bye Twelve galled me ‘) ws PP tatty as Robert Gou-let, my 2 yor jprit RICHIE: va Playing doe-tor with | Eve - lyn. you show me yours, iia in (Coton. Ho, Cong a crouse = =, em) Tr eS7 i \NUM \ (Timp. Tons. Gtr) Mom and Dad were doing it. ro ‘A la) (Bells 6a) Bet you ona the cy thng |) T'was aera gon- an be ime that grew was my desir t FS (Tne) Eira gEzach: ‘RICHIE: ‘CONNIE: ‘Ancnan, the year of the Chicken, ... thirty-two? Puck-puck-puck-puck girl! So T got caught! But I don't [Atternate linet (or non-Orlental CONTE, GaChe "Thirty-two? 1 thought you said you were born in 1955. (RICHTE line omg) ae (CONNTE:) last time look it, and 1 shouldn't knock it, ‘eause I've always been able to work. From\ 85 * Atarnate lyre for non-Oriental CONNIE, 151 [VAMB) (af necessary) ‘ON CUE time Twas five in "King. and Ly "cing and eSinm-mer —_ sook Bimmer stock Wea ip tt fam? | (Piano, Ben.) Up ‘tilnow —T've never stopped, ‘cause what - ever fam, = Tam... a 2 oad a eat (.) (@Timp,) £ SEGUE as one to Part-2 es) No. 13 MONTAGE - PART 2 { Easy 2 - Rock Feel oe DIANA: So excited. . « . etc. 1d 2 = 4 g ete Latland it's snowing out. And It's cold... m~ (Plano) (Sleigh Belle) Thos, (ip, bre. /Te1. /Famb.) for a week we would try to Pros ait)Every day fora. week we wouldtry to ‘was. Tote) “dug Fight down to the bot-tom of my soul to see——— what! hadin (%p.,Toos.)og Fgh down to the bol-tom of my oul and 1 trl) aa (ae yeryone is going: "Woosh tried, +, feel the snow, = Ge. Dee) ¥ Gandy "0, K. Morales, what (Sings) And T sald, ‘did you feel? feel the cold... the air." And Mr, Karpturns to me and ea nt te ae Soaget feel -ing that this, xy, We Tots) (Plaso) {ret week, Maybe it's genetic. ony oy bull-shit was ab - surd! ‘But sald to myself: 89 ‘4 girl trans - ferredt” “Hey! it's only the (Papo ve) ‘They don't have bob eleds in San Juan," tes. yt wre) byBe 90 Zein, tread vanced ia wont be * nee. Tee) ~ a oun or tT) OT ports car... fee cream cone. wat 2d Weer eee he would say,"'Ver-y good, ex - cent ea Ng — ed, Mester Karp, mp =e _ fe — Ty aLfelt, — (Be.,CL) l ‘Thekids yelled ori) ‘They called me “Notheing!'\ Jy -Feal- ly makes me burn, (F1,0b) bd — ‘pokeny turn! And Karp kept saying: “Morales, aso ova) think you should transfer to ‘girls’ high. You'll never be anA _ cont at cus: Never!" Jesus Christi | gy, x91) Went fo church pPay-ing, Ps (4a.).- << Lat, a ant inte ganz Mani - a, send Sects Ment aso (etls, Hp cad fens Ter? © oF F Wentto ruven _pPartng, guld ~ ance." | co hae ~=l a vgan- Mi Maret - 2, help ‘Sencar ste (Bells) cAnd a ¥wa.)8¥e = === pPet & please? oe 7a botstom of my soul came wp. head, ‘And the voice from down at the bot-tom of my soul, here is (De cre Frio faiatal‘This course i2 nothing! ‘gure you that's what | fin ‘lly came to pass. Co)And 1 heard that Karp had dled. Six months lat -er 1 eves.) (p. Bell) dag right down to the Tone, E Hore, /Bsm.) wes.) mp. ea) 1m a tempo = PP? oe padMONTAGE - PART 3 | (Doo, Judy, “Mother") cur: DIANA: didn't want him to dle or anything, but... DON: (Tell) The eummer Iturned fifteen Tligd about my age #0 I could Join AGVA, i imo Easy Four fon) = _ i omy | (Be) ; un- ion, 'eause could make sixty dollars a week (Piano + ca) outside of Kan- sas city. T worked this (Plano +Cls,) SSSne club for about eight weeks atraight and I. realvly be- came friend-ly with (his (iano +Cla.) strip-per, (Tag Her name was ‘and her dynamic twin forty fours. Lola Latores: ; (oct B P (crow) Well, she really took tome, I'mean, we did share the only dressing room and (ors) te Ay, she aed to come and pick—me wp amd drive me to work night. (ro Bey (crythe) neigh-bore would all be hang-ing out-side of their win- dow drive up in ber big pink Cad ~ il-lac (se) @ar-cue A wm te 2g Tempo (Slightly Faster -In 4) DOW: And I'd come tripping ... ete. smile. (Alto THE) (Bart Tons.) ss tn the wind, Honus: Twelve, Good-bye Thir - teen, Hel-lo (2 Tye, Teed (Timp.100, Dance for Gran'- mal Dance for Gratt-mal why do 1 pay for | all those le (Chorus) 43. BEBE: My God, that Steve Me- | Queen'sreal)sex - ¥, curorus { Ba (ct. Basso) ‘You can-not ‘un-til you fin- ish your | home-Wwork, f ‘cnonus:‘top pickin’ your nost on dar-ling, | you're not bed oo > & ay tc) 4 You'vegot noth-ing to | holdit wp. Ba dah dah,Tr, Moderato ‘Tits! When) am I gon-na grow tits? it Troy| Don-a-hue couldbe a mov-ie_star, a im, |_ Plano +B. Cla.) ror? wir PTR TF DON: Continues monologue «+. then] 1 could be a mov-te—star.. he: P) (Bs) case but actually she was going with this...picraTED A, GBicrare) fs tmdte lene El Pas-o and we wound up in St, Lou~ ie, Mis- ' be father lost his Job 60 we es) subito P (Piano x00) (WEIR) was the | fur-thest thing from my mind to be a danerer, but my ww) 2,Fee 104 thcer woudem-bar-rass me ao whonahddcome to plck me wp ‘at achool with all those great big yel-low } (wean eT (inno te” (ett. ave) (@Hootloek) ‘stn her halr no mat-ter how muchT beggeanher and she'd eoxyly 90 Eary Waltz Tempo hingthat made my dad-dy laugh so much was whenT used to Jump and dance a-round the If-'ng room (rc. 30) (Phang) RH. (OBE, st) (ae, 92 MAGGIE:Dadwouldtake Mom— to Rose-land, Ma-ma fat, she'd come home_with her shoes ——— sl-ways in the kifeh=en cook-Ing all the can tell you now.107 MAGGIE: mrmotn-er, oh | Moth - er, Sweet vs VAL: Your facther went thru life with an o~pen fly. ‘Titel Where are my tits? (PLcln,Bells) (Plano) ¢Cle., Thm. Hp) loco) (Ove bases) stage and moy-te peo-ple got there be-cause they're spe-cial. Lis-tento your mother. Those (rH) (Cle Ton. 8)Slowly 114 MAGatE: ‘Swear to God and hope to die. a Watt un-til your fath-er gets home. | FAW, Th. vibes, Hp) (Crm. awipe) nm #108 No. 15 MONTAGE - PART 4 (jy (con). Greg, Richie) Trish In 2 nig JUDY: body. ‘But then when I was fif-teen the most firat time I'd ev-er seen a dead r22 BieraT2] In3 s ‘a-macteurho-ur heldau - ditions in St, ter-ri-blething hap-pened. The Ted Mack (Piano s0l0) 2 * enim) il sian tear acto |) af-ter they'd gone and T his1 tried to walk in front of @ speed-ing ‘near-ly killed my-self. a a rh (we. Gtr near-ly killed my- sell. (pe marimba, FL) ibe (Phang Gte.,Bay 4 first time. d = memeber no-tie- ing boys for the be = ae Ce) ‘At ouet KRISTINE: Judy? Cut Vamp . Brighter (poken) Anyeay, remember... ote, UDY! Did you, ltl oe KeTINe: Yeah. But just a couple ofthmes. VAMP. practicing kizeing with another girl... So that whenthe time cameyou'dknow how to? (Listens) (Spaken:) No... Ob, eL,clk i 3], j (Bsns, Tos.) q SHETLA: Count me tn. | A Tempo: Moderate 4 } ‘uD¥: Thank God! ‘GREG: I, ‘Anyway, Ido remember, ‘The worst thing in school was everytime the teacher 1) oa eT (+0te,.B8.,0r8) (Pine) Slowly aPS 110 Vd be hard. — . Td have to lean up against the desk Like this! Drs.) 4 2 2 stand wp straight." "I can't,‘ T have a pain in my —slde!’ “ "Stand up straight" (chimes) (¢Plao ww, Hp) ‘oleatay by byt ur (Or walking down the halls. You have to walk like this, with all your books stacked up in 3————————— SS ate..Bs Ps 5 ‘CONNIE & MAGGTE: I thought twas me, I thought Iwas a sex maniac, (wee |continue st usr GREG: 18 159 Play 4 Times ute look at a bus and .{. (Phusget.te, Ses.) Pid Coat 1 (@poken:) 158 And I;was feeling her boobs, and tse Aud'then there was |.,ele, after an hour or eo she sald:"Onh... (ON CUE Don't you want to teal —— ‘And t sud-den-ly thought to my. Slowly ‘oREO:..being gay meant being a bum the rest of “Gee, I'll ney-er get to wear alce Dialogue ~ my life, Ana I $$$ (Gis, Tos) 7 or =Honus (orbs (Gtr, /Bs. /Dre. ‘Tempo: Faster Rock Ear-ly to bed, 0MaKe: poke) gua basa ~ 1P# _———» phragm was wp bore, ————————nere Jou breathe. i ow: I pot leaving this house til you're i ock= jaw of the Te cliwest boy aakedaeyy pe _ fo the Prom. weda ma shit, 14 - cal ‘Ann-a~ bel's Madeft thru high school with - out ccHonus: I grow-ing tts. RICHIE: ‘Your broth - e's pepe: 8 ‘steve Me - Queen out. ‘Al: 1 got_Nan=cy's plo-ture, Bd ov wate 2 he ‘school, and arop-ping out to be a you're Nu - re-yev lock. Cynthia's ring and‘AML you run a-round with are Aue I a ue _ 2: Head- on col = Mo RICHIE: forte. G0) aA189 guDY (VICKY-offstoge) cence, my on - ly ad- o- les-cence, My only ad-o-les-cence, my on-ly ad-o- let BEBE, DIANA (BARBARA~offstege) Whore dia it go? It was 50 Where did it go? It was s0.. (BARBARA -ofetage) BOBBY, GREG, MIKE: im re) ae (ral org wth f sottetage singers fil In all votees. casmE+ : 4 Stheore: Sud - den - ly I'm kaise Myon IY ToT Tes cence on ty ad = 0 = Ies- cence, |” Sud= don - ly Tim sev - en - teen and Where dia it go? it 7 Where aid it Fresh = man, sopb-‘more, jun - for, sen - for. | Fresh-man, soph-'more, [MAGGIE (+TRICIA-offstage) Sit T teen. _Thir- teen, fourteen, fifteen, eit "Thirteen, four - teen, fit ~ teen, MAM + CONIES ‘AL PAUL, fe, LARRY: Sud - den ~|lyTm seveen teen and, ..Sud-den-ly I'm sey-en-teen and Tm sev-en-teen and,..Sud-den -ly im Sud-den-ly I'm sev- en-teen and, ..Sud-den-ly I'm sev -en- teen and Tm seventeen and, ..Sud-den -ly T'm sev-en-teen and Sud=den-ly I'm sev-enrteon and, .. Sud -den=ly I'm sev-erteen and (Tote. S289 = cor-tain of. (oxen A 7 Plantat-Piay Roek | [exe Gbmrbs 29 egies fae nae emg rtm? hig TT | Fa tng Masts [poems ‘sud-den-ly, ‘sud-den-iy, ‘sud-den-ly| ‘sud -don-ly sud den-ly there's @ there's a there's a there's a there's a(hn orteage) coms: Dee dudee du deo du, deedee du. Dee dudeeds dee du, deedee du Boys 00, __doodoo doo doo, {800 do0do0doo, (Gtr col. Top Volees) em) cand aFTF J (org ® Bs) ” cms: Dit dit’ doo Dit «ait «doo, Dit_— dit doo, Dit, dit doo,~ Deedudee du deeds, dee dee du Dee du deedu dee du deedee duit, povs: att, 400 490 dooan, Doo, doodoodoodoo, 400 do0doo ah, afait) doo, it ait — doo, Dit_ lt doo, Dit ait doo, ‘omy: Deedudgedu deeds, doodu du ait, Deedu deedu dee du, deedee du Bors: Jt ait, wat, wahwah wall, Wah Boys: 400 doo doo ah, uu __uiy doo, Dit dit doo, it Deedudeedu dee au, deedee du ait, Dee dudee du dee du, Deedeedu — 4400 doo 400 doo, L(Gtr, wa. way Gim-me the ball, gim-me the ball, gim-me the ball.— ‘rine, Sxa.) (cloned eck) B come Gim-methe ball, — glm-me the ball, gim-methe ball.| 121 0800 > | fal- ways runnin! a-Found—— shout-in’, “Clm-methe ball, — glm-me the Pall igim-me the ball. — a : fev ~!ny thing. The year-book is filledwith my pie — ‘and I wasluck-y ‘couse = T @ achol-ar~ ship 10 ma‘A schol-ar-ship t col - lege! 0 1 went (Ph otfstage) cute: 249 CHORUS: loco) CHORUS: (loco) (So he went.) Yes, I went, (ves, be went.) Tm gon-na be this kin - pte ‘Fines B + = der-gar- ten teach-er. Im-ag-ine me this kin - der-gar-tenteach-er. ‘And thought, (Bee) oy Shit. een shit... What are you gon = na be? (Plus oftetage) I Shit, Rich-te, Shit, Rich-te, | shit, Rich -te.Shit, Riche te. Shit Rich- le. schol-ar- ship to ain't no-bod-y gon-na be Shit, Rich te, Shit, Rich-le, Shit, Richy fe.(MRL: (ftetage through end of number) Seas 9 loco Boys, Scared!! Scared!!! My | braces gone. My Shit, Rich-ie Shit, Rich-te, (Tots Thn255.) A pim-ples gone. My child-hood gone, good-bye. Good-bye Twelve. Good-bye Thir - | F =eres9 Good-bye Ra (Piano)‘ite real-ly_be- gins. (rpts.s0)p te real-ly be- gins.now Iifé real-lybe-ginsij 17 DANCE: TEN; LOOKS: THREE ! [BicraTEs}underiined words are cues to play chord, Ri CUB: VAL; And headed for the big " didn't give a~--abost for two hours New York, New York, ._ "The Red SHOES" . ,. in the RAINete,... "Here 1 COME" 5) eause T wanted to be a Rockette ete... 1 | (music out) iP = 4 (tate continues)+++Radlo Clty and the Rockettes, ier EP UP aa Se ae Pregenns tance on oe For dance: Ten, TPO: Bright 2 ! BROADWAY etc. ... other REJECTS etc. ... For LOOKS: Three. Well, Pp fe 241 And T'm still on (Bar, $8.7) own enjoyment. Thatain't it, Kid, That aln't | tle. "Dance: — ten; (xy10 (ea) Li (oBar.,B. Thm)le lke to diel. Left the thea - tre and (Ato, Ten. 7 ’ ¢ a \qtr-+Xylo, Harpaty cealled the doc = tor for | my ap-polnt = ment to buy... Getta, Harp) | — (rons.ee | 10 that goes with it, (Trbe) orm) FS Had (Fis, 8 7 z, F Ts (celesta) wet13h (to Bar 80) sex life, lth - er Did - n't hurt my 1 would get the strays and los - ers. Beg - gars real-ly can't be choo mhatain't i,——kid, | Thatain't it,— kid. ony (ere)Tne Life turned in = 10 Fixed the Tits and ory ror you knock and enue end-lees med - ley of 11x ery way} ‘some-one's there, —— CELESTA (Fle) (rts. /p How do you dol [Flavo PLays TOP CHORDS, ON CELESTA ALSO] (cutptey a "Gee, it had__.to be. you." Why? (¥o Plano) 02x 20: ax Where the cup-board once was bare, fy bli UP ‘You have got—!em, hey: mo» RF (rhe r ‘Top to bot - tom. Hey,der Ao 10x. pus Tine) rd 19x and you're fine! Shake your new ma - Fs. ba) ” Sey er ea i ‘ons. 249)$ mx te. (pecs fo(Plano tacet) (ren T008) teas (ass) VAL: You're all Jodking at my tits 132 gw, aren't you? i (Piatogue continues) (Brann)i coxnte: wouldn't mind having just one of yours. ‘vats Well, go out and buy ther, 172 Slowly (otip,/Bells/Celesta) (ober 17) Hon-ey, take my word. See the wiz - ard on os) (Ht solo —g—> Grab 2 eab,— et mon. (Tet) ‘Lush; In Basy 4 Tempo r-ches-tra bal - co > (ip. sua. chords)————————————————————————————————— 136 ‘tampo t tne what cha see, Keep the best of you. what they want ae (Brass) A A (De, Dey § the rest of you. Pits, fea. 5 (ews, BE i) 1 haveney- er seen it we.) 14 i pi id eee r r Tr a chorus girl or wit. —— (Breas)Tm 9:SHORT “PAUL” SCENE (Applause Fades) 1. CUR: 2ACK: Paul... PAUL: Ab, Sir? ... ete, Not Slow ———o Purse 2 2 st ~ a | ORE) Neigh. ae. ost aa BS ee ft ot ‘Almost SEGUE 118Net THE MUSIC AND THE MIRROR | | | | emt ca aye lan ‘Slowly (in 2) <2 lane (tenderly) PP ribet, Ho) Yeo. | i Ass: Well, this audition . iy id. , bo ZACH: In the chorus’? a (1a bar 25) +cetesta (Celoata Te0et ‘CASSEE; Too good? I did a couple of dance parte (Celeste tv lower) ber be (Plane) (Hp) — the truth is I never came close... ete, a. Z womrsn—_ —<—<—<—<—_—— Ho 1 far) But I'm not, I'm a dancer. ON CUE: Give me some-bod - y to dance for. Give me some-bod - y to ms 2. 1D (vibes, Fp.) ad (Vibes. tp, tat time ony) (6tipe, Lat time only) Lan, (simile) cy ' ' (Plane) HDD, rall, ZACH: So you're going (toes, Hp) bad (Plana) a tempo b 7 an CH), ‘through a slow period. ... ete, ‘subitoPP a. ae dr bg em bdrm gk CASSIE: Tean't act, a “ bdo (Plane only)141 Got to SQUEEZE A ROLL... loco sua, jets) Jee CASSIE: §0-SO FILM... part ended up getting cut (Coles) ge THE Mamsing Bana te A Beane OF Piano) we We had an Earthquake ... ete. ooo (ame rin neo (CUE to continue; CASS 2 need a fob, (vibes. La. 9Te ne rc 190 18 agstte ‘To have some-thing that To ‘have some - one to 22 es, tn Use me. crime) aa bes)” Plano) eww I [vers iene) hf 9. Jd ‘@Celeata (CASSIE: Who doosn't? But I don't need ... ete. Gn om a (aa = aap! oo do a (CASSIE: So .,.1'm putting myself on the line... ? 2 (Piano) J 1m ih t143 {UU mm 1 Ww ox sex -ewhat T should be doing myself. | ox 102 Le God,t'm a danc-er, a danc-er dane-es! . Laie | B00. ava. woo ii id dd 3} | bva, edd dee — : ad id Jaimie \eww.v ? 10™%Blowe RubatoZ) Give me a place—— tot ik Give me some-bod - y to ery mn Moderate 4 a_i tempo. ety mo re-turn to the world of the v-ing, by showing me now to be tae = (Br, aust) Give me the chance-to come (outps Gtr Tons. Celeste,and the mir = ip.) (Harpsl, Brass) je fob, — and you in (Qiarpel., Xplo Gl) eae (Breas)give me a job—— thenthe r of the crap will get (arpa, Xylo.,Gtr,) imu: 4 0s Put me to work,— you would think — Glarpa., 9, 2 (Bras0) ua (Fig. Has. 0. (Fle Hn tarpsiy (Ton.(cles) Throwme 2 rope to grab on — of EET CEL Freon) strong. 1is- ten, they'replay ~ = my Give me the chance to look for = ‘Help me to prove——that I'm ward to say - in!"Hey,|Glveme the chance tocome through. A I ev-erneed - ed wasthem - sic, and the mir ue salen ad wom LJ I 4 dd tere. Fim. 150 (amy a1 182 Dance | (1988 @ (iano) CBr) CBSE JoJo od og tod tod sysock soo) od sb b vee td cor f p : : Br, Ww)q A (@lano tacet) (Timp vind wate TO Gar. Timp.) (Ton,20le) Ra. ‘Angry (Pisn0) (Bar. Bass, Gir.,-Hampel) 80a, (Tota. uate, Plano) (Tons. 2 & 3 (60a. bassa)19 196 casstes —:— —-— Play, ells) Br) (CL, Bar.) | 4 1 Give me the chance— to fue. 5, | Ds ee:creme. atv.) coarad (Fig. Ha.) and the mir > £2 (Tae) =a vr ar 7 svat basea.3 ns) (Pianoy(+Tons.)NU exo mcf aae i 0a, bassa aid Slower (Piano,Ongan,sDes, only) 28 Ta iP (eAstuchey ots? tt (B.D) (ym)'Dr.,Pero) font. ad I 252 (Organ and oleate) (arp Silla bar with arpeggion 61x ee # (vivre cnet (eBase) 260% 250 ded L'ktemo Tempo 259x earn) Dhiad Em (ip) __ (Sood Btotky t (ip 280x (Hp. expos) co F (eont)anax arox TiWOboe anx Brass, Bart,2o1x Pull Beck Tempo A ‘Tons.Bart Poort,> as ee me (hase BSG ay atte ee ee 2 0c iz SS aonAFTER MUSIC AND MIRROR xem You cant go back... Moderato (in 2) saa Pian Sol) A ives, Hp) ime) op A (Piano tacety Cassie: By all means. Well, who is here ... ete fds bab. ZACH: You don't fit in... ete, In 13 yet 0 CUR: ZACH: CASSIE: CASSIE EXITS . Send Paul in. ...ete, Thank you = = _——— CASSIE: Please, just give me a chance . (Clesolo) (besttpy Move In 4 New Tempo Slower fPialogue continues) en a ey ad PAUL: Youwanted to F [peat r aa Ca PAUL: Why, I'm not exactly proud of my past... im ete. ad oyNo. 20 END OF PAUL'S SCENE UE: PAUL: Take care of my son. ... That was the first time he ever called me tha. Starts another line... breaks down, ars om I ——~J () = Tar, [overlap 9 Bars of "One a 3 2d De eee z = te A hey aH Lat, trek (p30 Piano) ne Poors. ~cups) 5 | (G.F1,B.cl) Be ——« oft Pedal) = No. 21 ! Ec | CUE: ZACH: "Alright, bring ‘em in.” ONE a | 1 (Qvertap from #20) 3 Ue ee (Plans) WL worn) Ld | Lid toon) ‘ mur > Lu[ay | [ro Bar 42 oa cus] One change walk walk ZACH gg 8 . (asi time) per, pr 4 Zach talks throughout chorus. ZACH: Let's do it again « MIKE, At, DON, & AGGIE ZACH: continues tak trom "Singular sensation." (And) start singing bees” nt gaia times stu) ssvalne guetar sea = sation ov ="ry I~ Ue stop she taken ‘thrilling com - bl ~ na-tionfev = ‘ry move that she makes. I bb, ‘You know you'll nev-er be lone - ly with mo-ment in her pres-ence v ede For the girl it sec-ond best ‘and you ean for-get the rest ——Give her your at-ten-tion, DoT eal-ly have to men-tion (To Celeste) ZACH: (Last time)2 GREG: MARK: ance: BEBE: PAUL: "Singular sen-sa - ton. Point... and... Shoul-der up... Stay pulled up (Plan) (etl Tre9) eae Fol Piao) vhAasT step, Kick . Hat to the head ... Lead with the hip. Fol-low thru . ites (ott Tree)i joms/zb RICHIE: @va_Uf possible) "Sud-den-ly no ~ body.(Wibesyt — GROUP 1-omLs ‘SUD, DIANE, KRISTINE, CONNIE, VAL! Lift, _el-bows straight, pose, Tgle to thelett — and ‘GROUP m: MAGGIE, SHEILA, BEBE: Back, back katt, lift, ‘aft, change, MIKE, GREG, DON, AL: ‘mo-ment in her pre-sence, Wises) te faa £2 (Cel wes. oP my 4: bye 9 mn, (change to the right, palm cross, back, | front, step, ‘and you can for-get the rest ‘So 4 eves front, down, point, down, point, | back, cross, down, point, down, point, For the girl is sec - ond best. noo bod ystraight, hat - cross, back, step, ball change,The head, other side, | stay pulled up, shou-der wy touch, step, touch, Give her your 5, 6 tip the hat, tip the hat, ick, pl-é, ick, ball | change, kicks real - ly have to men-tlon 5, 5. 1 8, tip ‘the hat, tp ‘he hat, ick, pit é, ‘ick, pll- step, ick, step, kick,‘ZACH: Let's do it in groups of four. (Piano, *Cla,,E-Ha.) —————_~,_ 3” a wT (Baas,+B. Ton) zach: First (@Ball) 2a0 GMEG, DON, AL: (Louth Sry little step she tak sin- gular sen sa-tion MAGGIE, BEBE, CARSIE, SHEILA: (Loud) | (Qulet) One, change, step, step, PAUL, MARK, BOBBIE, RICHIE: (Low (att Teep) (ps elise.) (rw.colves,) (Celeste) (celeste) (Piano) (autety tril - ing com = bi = na-tion (ques kick, | toven, change, Gout) point, point, fick, step, (quien 5-6 - 7-8 foe Pode JUDY, KRISTINE, VAL, DIANE: (Loud Quenshe | makes. ‘ry move that point, dows, point, down, up, down, up, down, Low) (owt) 5 hat to the chest,an-gle right, read with the hip, faeesenenn tenet eeerec ere a (hms) r le sud-den-ly no - bod-¥ (Lowa step, brush, step, brush, | step, Drush.back,back, | stem, fick, step, t ; TG 3cu be tone - y with hat, ick, 183 cauten . mo- ment in her pres-ence (Love (quien step, brush, step, brush, | step, brush, back, back, | Itt, (toe) beady Hick ue a Ehmast a i186 ‘and You can for -get fll thephrase, down, point, down, point, ‘change to the right, pull (teva) the rest. For the girl is sec-ond best. step and step, up| cross, back, — front, step, ee ue) an-gle to the left and "4000) el bow straight,pose, (Guteter) back, cross,back, back,| cross, back, step, ball change, down, point, down, point (Lousy for 2-3-4- os (Lot) fe up, hat - head, and hat right, hat - chest, hat right, hat - chest, otis.)wea yen Give her your real = ly have to men-tion step. touch, step, touch, step. up, pl Kick,plt - 6, Gown to the head, oth - er side, ,—kickypli-é, Kick, ball eu change. kick,step, Kick,| step, kick, step, kick,| step, kick, step, kick, ‘ay pulled wp, shoulder wy, ip the hat, tip the hat, tip the hat, ip the hat, hat ~ up, hat~ hold, abrSS Give her your at = ten-tion, step. touch, step, touch, right, eyes front. step. quien w, bod - y straight, hat step. up, pit w, real - ly have to men-tion lek. oth = er side, b. down to the head, be bs SS = ve, wick,ph-é, Kickball] change. Rickstep. leks] ey eke Hes kick, | step. kick, step, ek ean See | be oe Bef br a 5 -6-7-8 (Load) = 5 —s SS ‘STre uip the tat, tipthe hat, ip the at hat = wp Tat Bee(Pause sranTy 4 zactt Right... let me see the girls... eto. 5 6 B® Pear ae ae leas ae ms (rAtse START) GIRLS: (Plus offtge etm) CASSIE: Idon't have a hat. ... etc, One sin = gu-lar sen saction Cont. at CUE: ZACH: Larry, abhat, 5-6-7 ~ @- (one yey, (Plano simile, fv try it tle step she takes, one © foe) ey olen igi sx at Syed ‘ry move that she makes. thrilling com-bin ~ a- tion, w- 4 >, mae tyeYou know you'll nev- er be lone - ly with voydidy ‘who. td vans mo-mentin her pres-ence ‘and you can for- get the rest. ——— eld 2 atJU Ww uu Give her your at-ten~ ton, — —.E real- ly have to men-tion = up yy ‘one? i ote cis ik dpe aesBOYS: (Plus otfatnge bors) sin gular sen- sa-tion ev -'ry it - te step she tab (Prepare Organ Preset #1 plus Pereuselon) (Organ tacet) (one) ev ‘ry move that she makes,You know you'lL ‘mo-ment inher pres-ence For the girl is se-cond—best___ to rf } P ivr? Oooh! Give her your at-ten- tion, sigh! nev-er be lone - Iy with you know who. ‘and you can for -get the rest. (Tena) Do | I real-ly have to men-tion (Hone. Ta.)ea ZACH: O.K.everybody smile and sing. (Tons) # i al 241 ALL: including offstage stngers) ci) sins gular sen~sa-tion ‘ov ‘ry lit tle step she takes. (one ans) a5 —— H thrill-ing com-bin= a tion i sud-den-ly mo = bod- ¥real=ly have to men-tion ‘and you can for-get the rest. ‘mo-ment in her pr Give her your at-ten-tion. is e-cond best. For the girlAsan: i What's wrong? What are you doing? one? (Organ tact) (E) 219° ZACH: My job... etc. Spoken Softly Over Dialogue one gular sen-saction ev = 'ry_Iit-tle atep she takes, (Piano) Rec (Dre. Gtr, tacet) thrill ~ ing com-bi ~ na-tion ZACH: Tknow you did « One smile and sud-den-ly no ~ bod-y else will =CcAsste: You know that's your problem... - ++ fallure? ‘You know you'll ney- er be lone - ly with you——— know who. iF Casa ZACH: Why did you leave me? Oh, #0 we are gonna got Into that. ‘ZACH: Why did you leave me? wy did you lve 6? ZACH: Very funny. — 1ett, CASSIE: You'd already left mo weeks beforise, cuonrs 895 zactt: You know how important that was to me... cont. a CASSIE: ... You really get off on it, don’t you? ss coer a (Dray BT acta) — —— — rr >a 321 CASSIE: and not belng able to keep wp with you ... etc. ona (On Repeat) (CASSIE: That's not a decision, that’ — iad sesThate tt... (cont,) CHORUS LARRY: (Agate) 122-824 = 5 2 Be Te CASSIE: Are you gonna go from one show. bad LARRY:(Agais) LARRY: (Again)awe, n Who are you doing it for? conus ‘CHORUS MOUTHS, ‘sin = guelar sen-sa-tion... “Ev'ry little step she takes. ai (Piano) a9 CASSIE: We must be over this by now !Aren'twe? i y ‘CHORUS MOUTHS. | thelll- ing com-bi-na-tion... "Ev'ry move that she make One smile and sud-den-ly no bod=y37 cacth ‘tam. ‘CHORUS MOUTHS: “You know you'll never be Lonely with you know w z iiolnah tats teehee he (8.Dr) > (Ww) (+Brass), fe GCl.,Ta.8x) Qo Gtr) i (ron. L # ‘Gbarl) Tae + (CHORUS: (Sung with otfatage singers) One t, (Br ke cue) (Bs. Ton) ‘and you can for-get the rest. (simile) on (Anetl continues) 861 (Game Register For Al) For the girl is sec-ond besGive her your at - ten- tion Tonk Bra, Bassay Feal-ly have to men-tionTAP DANCE CUE: LARRY: Okay, the tap combination, - (a)5-8- (cont. atv.) 1 Soft-Shoe Tempo + = os be, Cores tg, 2% Fs (@atarimbay cree) tg? (ease) {Bhp —— pS, SHEILA: es God, when it's = ver do n ences 3s He's got~ ta know! Who he | wants by now. oy, i Hip i189 f Oh Je-sus, have 1 got a head-ache! \ { a a 2 | | } | Ym not sure 1 can os 2 —— Ws! oa ‘smile much long ~ erMf George -Ham-il-ton can be a mov - le star, then, -imi: movele star, (we) TH. Frons) ALAN: ae g— gS, 8 What am 1 do-ing in show bust-ness? (Plano 2010)‘Gass) oor 2m) / (eMarimbs) ¥ Cotes (Plano Solo) J teteaty c ,58 LARRY: (ast time) = (pts.,Marimbs) (Piano, 15a.) (oonk dt) gy (Ba, a8 before) (Pinso, Celeste) ‘Tpte. out) (Tote, Marin (Plano)198 Tote) (Bella, cont- atv.) (Vibes, 99 (Vamp ad ub) 78 LARRY: (ast time) (Br.,Ci6.)14 I ag (vives, te) b Betts, Hp. obs. Tony 9 Cont. om CUE: LARRY: £0 Co ne ne pte. Ww. Bye{ont atv) 3 ot Tbs) 1 ne (Pisso) molto rit. 195, [vst fade as Pent salts dow)196 No. 22a ALTERNATIVES From Stage Manager. » sev yo = eee nn { = ens | (eiette Plano VOLINE 91/3 I zAcH: What do when ... ete. RICHIE: | ao \CH: What do you do wh i : (tp, Balin } i (Fi, /Plano) (%p. /pone) i 1RICHIE: There's no promotion . 2 emer) a. Cpe soa) = (pT) "tase, F1) P cryigy ——_ = = DIN our looking for that kindof wecurity ... con, DIANA: Wall, what then? (Ben,) oy cy, ——— po A Tea (rbs.) p9 tape soy BEBE" On please. a a ee @ just got here. + JUDY: Well, T want to be ‘the one at unemployment! MARK: Ijust wanna ON CUE: JUDY: Well, (wAMP) get in one. Quickly] (tp, wes, cleat RICHIE: (Piano) (Bs. 8010) (sto,Ten.)f3= Db mfsomething. .-. ete, JUDY: OKAY ‘supy: Iwanna be the next .- Don't you just love her? oan “Gwen Verdon « - aa ot VAL: Who cares? 4 Sleary 4 {Wiano, Altos. Thns.) (Bers) as ox: ... But dreams don't pay the rent. «+ (@alls dy ey isd) anything about marriage. ime: Another thing 18 F a Slowly iq { BG wm K ] Hp.) td 4 Y yout tove it - VAL:Right! 7p (Bros Bells) talk too, Moderato, HoT! ) ‘Ben SHEILA: Oh, who doesn’t . SHEILA: She didn’t say /BOBRY: I'l do something (9.0)i Slowly j AL: ..-more actors out of work | ‘than dancers, DIANA: ... that's theatre! a (to Bar 96) ne nga: Life! Darlings. ons we're all here because We ‘aie hp) rons.) (rena) Bright 2 (Bass) (Celesta, Betts) 1 onea; ...Deal with, Ps (F1,00.,Cel, Blan Hi ‘Tempo (Cel,, Bells, Hp.) aT DON: ZACH: va-T have to go where the money 1s, What are you going to do?! eta) TonvaLe oN: Macom: : Boppy: 422 Hello. .....1'just have to see, Oh, T can't think of anything else 1d do, Well, if we ete (cls) (Br. Hp, Vibes) = ! connre: ‘when you grow up? I know what I'm gonna do... (cont.) 130 SHEILA: ‘Young! = ee mf (Plana soto) Moderato ae, mom 5 vo be CFL, CHES ecw ee able to get off my diet, ete. a I (Cs, (Cued Tots.) enjoy getting fat, KRISTINE: That sounds good. (etc.) oan ok gS suo (elena, ony \ | 4 Y a a soy nf be tis Slowly DIANA: You got somewhere, You're something. wey = frins,y 5 4) 4 (@B.Ch,Bs,) SEGUE to #23‘Tempo - Easy Rock bye, thesweet-ness and the sor-row. Wish me luck,the icone Friba) Va but I can't re - gret what I did for love, what 1 ‘did for love, Piano organ ‘Dom6/a(ma/7) Look, myeyes— are dry. ‘Tho git was ours to gwenew, ~~ owt raid tor Gone, wk and 1 won't for-get what 1 did for love ‘) we Dbme/s¢mayT) Dbm/ch love is nev- er204 ee As we travel aoe love's what we'll re ~ Abm6/2 ony | crass ry r Kiss to-day good - we Ss FT and point me t'ward to-morrow. (Fe, Bla. po) e+ Ab(s0 7) (cetente) eoWe did what we 205 ad what 1 Won't for-get,—— | can’t re-gret — love, foroup) Ws (loco) love ew. bo, Feo ‘Dip. gliss.) Bhm/tb ns lwhat 1 did for love, What Id for i (G20) toco (wse8rme abych206 f : 4VAL, BARBARA, CONNEE, JUDY, MIKE, RICHIE, AL, MAG z CONNIE, a ey SHEILA{ KRISTINE, MARK: Core VT Love is nev-er gone, ‘As we trav-el t i { rgb) Dba? Fm Abms/eatdbe) Lit — sgposu ere, onto, ; n DON Boa Free of Satage vetoes: Sp ‘ute love's what we'll re~ mem - ber. jo~day_good ~ cs femyr riba) lDbms/Bb Ebr/ab rar F —) ALL: Point me tward to = ——p bye, and point me tward to - mor7ew- (Wes, Be rye a i o pemc/ct — clnbay| wont torg 0, We did what we had to 22 in wt lola dak eel SES, tea basa 4 / oa SANA: SPPREFERRED ENDING ane iy) molt 1 cant regret —what Tid Won't for-get, en tg ey ‘molto rall.¢ dim. lemajr/ch Atma /D# Ditzdbs) chm otm/rt |otm/ek cant Fe-gret, BoaALTERNATE ENDING = pany a a simile BE AA amare) A DIANA: + COROUP) What 1 did for all ned. wey’) a) =o, AFTER-WHAT I DID FOR LOVE CUE: At peak of applause. VAMP « (not too Fast=Hold Back) (Fade as lights face) PPP PRP Pr Pt Pe Pe mp (Plane Only)Ii 200 Nos BOWS cur: raow staGE MANAGER Brightly [in 4) = a mAs 1 (cian, Soubadae =~ 2 = perenne cece nce eran nee anne ne ernnn reenact ns 28 povsiplus offstage bors) One sin-gu-lar sen- sation (Piano + Harpal (Brass)(hrilt-ing com bi- nation = "ry move that he = ort ‘You know you'll nev-er be lone - ly with One ‘mo-ment in his pres-ence Giarpat) pray and you can for-get the rest Ebmay? ‘cls, r makes,thrill-ing com~ bi-na~ tion ev = "ty move that he makes, - ere) One smite and sudeden-ly no ~ body you know vie? Fim ctryot One ™o-mentin his pres-ence fame) ‘and you ean for~ fara) er get the rest — Ebmait thyGive him your at-ten-tion.— Do real=ly have to men-tion he's (eras) et / rrr ee BOYS: omIs: girs) ‘Shewalks in - to a room and you know she's un - S (ClayBells, Hp.) (ore Pyramid 3 ama)r,s i oo, : : : 2 ALLi (Including otfstage) com-mon-ly rare,ver-y u-nigue, per-i-pa-tet- te, po-et=le and chle. | (cls cruey { ty ty — and you know from her mad-den-Ing poise, ef-fort-le (cles tng, can't help all of her qualities ex - (rut ok crm Load-ed with cha-ris-ma is ma‘She walks in - to a room_and you know_you must jaunt-{ =1y, saun-tor~ ing, am-bl-ing sham-bl~ er. a t dy ‘shuf- fle a-long, join the pa-rade, She's the quin ~ tes~ sence of mal ‘This is what ’cha call (cls Ob, strut your stuff! Can't get e-nough (cls) Brass)ind. (Bra88) New Brighter Tempo | 78 novs: She walks in - to a room—— and youknow_ she's un - com-mon-ly rare, ver-y u~ nique, {ls.,Bell Tree) - [pieces thritl-ing com-bi ~-na- tion "She walks in - lo "a room —— ‘and you know — ci Bet Tre) pa-tet-Ic,po-et- ie and chic, ‘om hershe's the spec- ial girl, sud-den-ly no - bod-¥ all of her qual-i- tes ex - eae Load-ed with cha-ris-ma is ma ¥mo-ment in her pres-ence Jaont-i-ly saunctereing,am-bl-ing sham-bl-er, She walksin - to a room — and you know youmust ~ ‘and you can for-get |For the girl is sec-ond best. 8 shuf-fles-tong, join the pa-rade, She's thequin-tes-senee of mak-ing the grade, ‘This is what ‘chacall ory ‘On, strut your atufft get enoughGive her your at - ten-tlon. real-ly have to men- tion(To Fender) eran re Fender) gu BH sin- gu-lar sensation ev = try Iit-te iarpst one ‘thrill ing com = bi = na - tion ev = ‘ry move that she (pe.9gOne smile and sud-den-ly no - bod-y else @r) a (Tuten A, ‘You know you'll nev-er be lone - ly with (ro Piano) chick rte \Plano “tpt ‘mo- ment inher pres-ence amps) (Htpet ebay? rf (eats) ‘and you can for- get the rest. Forthe girl is sec-ond best Toe Be ama)none, son, Oooh! Sight Give her your attention. ips.) aN. os Yo cra ho (Piero) bo seicly hee mention te Be = 4 , ae, 2 ee ' eee r ug ha 3) rir rrr [Git with Cue Stage MonageF] awl 80° Cyangtist Time Only) coe ott Flay vanp Aor om _—~ Eneaiiarpet