Authorized for use by Samuel French for Ken Getz only CHICAGO A Musical Vaudeville Book Fred Ebb and Bob Fosse Music John Kander Lyrics Fred Ebb Based on the play “Chicago” by Maurine Dallas Watkins Piano/Conductor Copyright © 1978 by Unichappel Music, Inc & Kander-Ebb, Inc. All Rights Reserved. FOUNDED 1830 SAMUELFRENCH.COM SAMUELFRENCH-LONDON.CO.UKAuthorized for use by Samuel French for Ken Getz only 3516Authorized for use by Samuel French for Ken Getz only TABLE OF CONTENTS ACTI 1. Overture Orchestra Page 1 2 And All That Jazz Velma, Company Page 9 3. Funny Honey Roxie Page 27 4. Gell Block Tango ‘The Merry Murderesses Page 36 5. When You're Good to Mama Matron Mama Morton Page 58 6. Tap Dance Orchestra Page 71 7, All Care About is Love Billy and Ensemble Girls Page 74 8. $5,000 Cue Orchestra Page 87 9. ALittle Bit of Good Mary Sunshine Page 88 10. Roxie’s Story Orchestra Page 97 11. We Both Reached For the Gun Billy, Roxie & Company Page 99 12, Ist Newspaper Headlines Orchestra Page 117 13. Roxie Roxie, Ensemble Men Page 118 14, 2nd Newspaper Headlines Orchestra Page 133 15. [Can't do it Alone Velma Page 134 16. I Can't do it Alone - Tag Velma Page 149 17. Chicago After Midnight Orchestra Page 150 18. 3rd Newspaper Headlines Orchestra Page 152 19. My Own Best Friend Roxie & Velma Page 153 20. First Act Curtain Velma Page 162 ss16Authorized for use by Samuel French for Ken Getz only ACT IT 21. Entr’acte Orchestra Page 163 22, [Know a Girl Velma Page 170 23. Me and My Baby Roxie, Ensemble Page 177 24. Mister Cellophane Amos Page 192 25. When Velma Takes the Stand Velma, Ensemble Men Page 204 26. Velma Takes the Stand Exit Ensenble Men Page 214 Music 27, Hungarian Hanging Orchestra Page 215 28, Razzle Dazzle Billy, Ensemble Page 216 29, Courtroom Scene Company Page 226 30. NBC Chimes Orchestra Page 237 31. Class Velma & Matron Page 237 32. Billy's Speech Orchestra Page 245 33, The Verdict Orchestra Page 247 34. Nowadays Roxie & Velma Page 248 35. Hot Honey Rag Velma & Roxie Page 258 36. Finale Ensemble Page 266 37, Bows Orchestra Page 269 38. Exit Music Orchestra Page 275 ss16Piano / Conductor CHICAGO _ Lyrics by FRED EBB The Musical Music by JOHN KANDER Orchestrations by RALPH BURNS comsmmenensers: NO, 1 Overture and dear to our hearts. Thank you. (Orchestra) ondu Blues, ad lib. Son és % x SOT" Trumpet Solo: growl, wah-wah, ete uf a Brightly (in 2, straight Js) A Brass & Vin. a Sopr. Saxes fFPiano / Conductor 2 #1.Overture Tpts. ——. GY a, a7 8 oe ag = Tis. © POF ves wel 21 # « FI ydbi ia, Sop. Both Pros. Eb Bhes) Brass rt obtain ~ eko/0b ehmin/tb | phosus He rPiano / Conductor oe #1.Overture Tis. = % Saxes rey d Com J me) | Om Bey Fy FT BbrPiano / Conductor oe #1.Overture [a] __ TP Solo- quasi Cote Wins Tits Sem rer pr p fF EP’ pop tr pr p ft “., a, et 49 Wak > Bari Soloquasi| <> Uy Harry Carey | — = repr p f EP? PO? CEPERPEPreela, ne EA > ————— |» [32] Beri soto ot 2 =Piano / Conductor 6 21-Overture se Brass tw TF roe FP Tre P T gr sPiano / Conductor = a #1.0verture [S) | saxes eo aPiano / Conductor —s- #1.Overture 4 Tutti 7a (Steady vamp aot fe pSigae3 #32 ¢ Rim shots 4 "SeguePiano / Conductor oo CHICAGO, No.2 And All That Jazz (Velma and Company) Bluesy vamp (L'istesso tempo) : Vamp -3X 2 ‘ dim. poco a poco +Pno.1 Last time ‘Come on, babe, Why don‘twe paint the town, And all thatjaze?_I'm gon-na A EGS) rouge my knees And roll my stock-ings down, aPiano / Conductor —10— #2- And All That Jaze Start the ca I know a gin is cold But the pi Pno. 1+ Banjo = a — an-o’s hot. Its just a moi-sy hall Where there's a night-ly_brawl_ And Pra?Plane Conductor 2 12-And Al That Jae a (ENSEMBLE enter,Piano / Conductor 2 #2- And All That Jaze z & Banjo ? all that jazz I hear that Fath - er Dip_ Is gom-na__blow the bluesPiano / Conductor 3S #2- And All That Jaze ca] RA ( as-pir - in Down at Un - i- ted Drug_ In case we shake a-part_ And want a WatPiano / Conductor ue #2- And All That Jaze ‘VELMA a re ee - ENS.#2: 4, VELMA: And all that jazz. + Tel VELMA: (Sung) Hah. It's just, Sey, Ses + Tpts, Tb. 1 S* mf ETPiano / Conductor —15— #2- And All That Jaze a 2 s oo noisy hall Where there's a night- ly brawl [] Slight push = Z aq, Emp lockPiano / Conductor 16— #2- And All That Jaze (cue) VELMA: No, her husband Vamp -2X Vamp isnotathome.. (ENSEMBLE laughs) + Tits oti = FF Ps) veuma: n n ENSEMBLE: Finda ask Were phay-ing fast mean And Clarinet growl and smear, $$$, = + TubaPiano / Conductor 7 #2- And All That Jaze 82 as ] vetma: Luck-y Lin - dy Nev-er wa wa wawa 9 Wawa flew so high,— ‘Cause in the strat - o-sphere,— How could he lend an ear £ sh Aim. poco a pocoPiano / Conductor #2. And All That Jazz 90 VELMA: ; ‘car = . you're gon-na see your She-ba shim-my shake. a oe ENSEMBLE: * ‘Oh,______ she’s gon-na shim-my till herPiano / Conductor —19— #2- And All That Jazz i VELMA: 01 ENS: Show. her where to park her gir-dle. _—_________ heer moth-er's blood-’d_cur-dle VELMA tog (Stage whisper 1 100 ENS 100 If she'd hearPiano / Conductor —20- #2. And All That Jazz m mm, ms Drums.on rims ge. Pno.t Cline gro nd scr tng Heavy Burlesque) me m crese, poco a poco ib, 2 Grow! slidePiano / Conductor 21 #2- And All That Jaze ‘VELMA: Come on, babe, Why don't we paint the town, And all that jazz?. you're gon-na see your She-ba_shim-my shake. And.Piano / Conductor vr va vo #2. And All That Jazz Vm gon-na rouge my knees And roll my stock-ings. down, she’s gon-nashim-my till her 1 a (2] Start the car I know aPiano / Conductor Be #2- And All That Jaze cS her If shedPiano / Conductor a a7 FREI Tess s ts ‘sss, Yeah, I'm afraid so, Roxie. #2- And All That Jaze ENS. GIRLS: Oh, Fred. 6 = FRED: ROXIE But, ROXIE: Dont FRED: ENS, #2: Whoopee Yate’ Nobedy walks swear. seta Roxie, please. EN 1 ofabitcht ' ENS. #4: ' ! i ROXIE: gotta pee! A A A A A a \ a \ A . st = st + = > e Gunshots, Rim shots a AttaccaPinna / Conductor 5 Piu mosso G8) verma: Drums play straight 8 feel loco = FT Gaim7 FT Bb coat TN KK (alt, Chita notes) #2. And All That JazzPiano / Conductor 26 #2- And All That JazePiano / Conductor = caneaco No.3 Funny Honey (cue) AMOS: Why just last week, (Roxie) Sah ane cileeaaliss CONDUCTOR: .. sing a song of love and devotion dedicated to her dear husband, Amos. Gentle Blues Vamp Some-times I'm right. Some-times I'm wrong. But he does-n't care.— Vi Solo + Ten, (subtone) Hell string along He loves me 50, = ‘That fun-ny hon-ey of minePiano / Conductor 23 +#3-Funny Honey ” v Some-times 'm down, And some-times I’m up, But he fol-lows ‘round Like some Vin + ch ———~ = Ss 6 3 " 8 droop-y eyed pup. That fun-ny hon-ey of mine sae oe Sera +#3-Funny Honey That's no great phy-sique. And Lord knows he ain‘t got the tell ya, That whole —————_—_Piano / Conductor 30 +#3-Funny Honey Poco rit. Eb7a5) =] vineciye What if the world dered my name? Why, _he'd_be right there,Piano / Conductor 31 +#3-Funny Honey u ‘Tak- ing the blame. And it all suits me =Piano / Conductor 6 He loves me so, ” ‘That fun-ny hon-ey of mine. =p He loves me so, oe ‘That fun-ny hon-ey of mine Th. —S>=_s +#3-Funny HoneyPipa onder —33e +#3-Funny Honey sa * @ Lord knows he ain't got the Ye i iT * Now he’s shot off his trap,+#3-Funny Honey Rat - tin’ on me.+#3-Funny Honey 35Fiene/Conduce 6 cattcaco No.4 Cell Block Tango (The Merry Murderesses) ROXIE: Amos, did you hear what he said? (AMOS exits) FRED CASELY: And now, the six merry Ue Seals igh ad ay al fn tls pye eae accer tee cs Fi their rendition of "The Cell Block Tango.” at a 2 fasPiano / Conductor u ‘+4 Cell Block Tango ANNIE: ‘VELMA: MONA: a 0 uz: JUNE: VELMA: — MONA: 20" ANNIE: HUNYAK: 2! Pop. Six. Squish. Uh-uh. Ci-ce-ro,Lip-shitz. —=+ (ee) —a=—-~—38— ‘+4 Cell Block Tango LIZ: ANNIE: JUNE: HUNYAK: VELMA: MONA: ALL uf ‘Tbs. & Tuba39 ‘+4 Cell Block Tango VELMA: been there, Bb LIZ: ANNIE: JUNE: a ——3— 2 ALL HYNYAK: VELMA: MONA: ag (except LIZ & HUNYAK):Piano / Conductor [He] Repeat untitcue) [LIZ tells her story. +Vin 36 10 ‘+4 Cell Block Tango He on-ly had him - self to blame. If you'd have been there, (Orch, stops on cue): You pop Si: aa szthat gum one more time. ie) LIZ:_So1 took the shotgun off the wall land I fired two warning shots into his head. Pro ds Wes. 6 Br, ie Rim shot‘+4 Cell Block Tango Fibs, 6 Tuba If you'd have been there, If you'd have heard it, TM bet-cha ALL +Clar‘+4 Cell Block Tango &] ANNIE tells her story. He on-ly had him - self to blame. If you'd have heard it, VII bet-cha (Orch. stops on cue) Imixed his drink as usual. (cue) ANNIE: You know, some ‘guys just can’t hold their arsenic. a Wows. & Brssno / Conductor Be ‘+4 Cell Block Tango Tal LIZ, ANNIE, JUNE & MONA: in its prime. > Pop. Six. Squish, Uh-uh. Ci-ce-ro, Lip-shitz. Pop. Six. Squish. v And then he used it, > Uh-uh, Ci-ce-ro, Lip-shitz.Piano / Conductor Te ‘+4 Cell Block Tango o ‘Stop on cue the 2nd time JUNE says: Vamp, stop on cue You've been screwing the milkman. ANNIE: 1» HUNYAK: 19 VELMA: «0 MONA: a1 UZ: Lip-shitz. Pop.Piano / Conductor 5 ‘+4 Cell Block Tango e 5 ALL: (cue) JUNE: And then he ran into my Janie. He ran into my knife 10 times. i youd have Vl bet-cha you would have done the HUNYAK tells her story. iPiano / Conductor o ‘+4 Cell Block Tango (2), Repeat untit cue) if (cue) HUNYAK: Uh-uh. Not guilty. 95 (except VELMA): ‘VELMA tells her story.Piano / Conductor 1m ‘+4 Cell Block Tango VIL bet - cha 1 was a (ump cue) VELMA: .. Veronica and Charlie loin’ Number 17 -The Spread Eagle.Piano / Conductor as ‘+4 Cell Block Tango ma > aa VERMA: ‘VELMA: Wel, wae in such a state of shock 1 completely backed out, Teant remember a thing! I wae’ antler" when Iwao = They kad) ik Maing the bod of my hands Teven knew they were end! wine) 37+ Vin, m9Piano / Conductor 19 #4 Cell Block Tango v0 m Bart Tis. 6 Taba y V v y v V v veuMa: © + Bari ALL OTHERS:Piano / Conductor 50 #4 Cell Block Tango 16 How could you And then they used it.Piano / Conductor =o ‘+4 Cell Block Tango 0 ALL (except MONA & HUNYAK): PP He Vn. = onus MONA tells her story. (except HUNYAK): 155 14 ns He on-ly had himself to blame. FE # ¢‘+4 Cell Block Tango I bet-cha you would have done the same. D ct Fin Vamp 10 a 10 GROUPT: # The dir - ty GROUP I: (Gua) MONA. .guessyou” (covlinue fer) MONA: f ‘could say we broke up ‘He saw himself as alive. The dir - ty Facmee fartatc Albreneen And Tw el. das Wor. Brs (Repeat untit ue) VampPiano / Conductor oe ‘+4 Cell Block Tango 7%] GROUPE ‘ti, ®™ bum, crese, poco a poco = Tm = € é HUNVAK (pon ad ib gh. 166):Bum. Bum, Bum, (led dip, bum, bum. unis,Piano / Conductor Si #4 Cell Block Tango Ds) GROUPE: ong — They had it com- inv, They had it comin’ oe Pine? # Tits “Cause if they used us— And they a - bused us How could you "Cause if they used us And they a-bused us, Could youPiano / Conductor 35 ‘+4 Cell Block Tango36 #4 Cell Block Tango you'd have been there, od you would have done the you would have done If you'd have seen it, Bet-cha TotPiano / Conductor 7 ‘+4 Cell Block Tango ANNIE: Single, my ass! JUNE: Ten times. HUNYAK: Mier! csulot!_ VELMA: Number 17, MONA: Artistic Uncle Sam bortonbe. the Spread Eagle, differences m m2 1Piano / Conductor 58 CHICAGO, No.5 When You're Good To Mama eee (Matron Mama Morton) And now, ladies and gentlemen, the Keeper a the Keys, the Countes of the Clink, the Mistress of Murderers Row: Matton Mama Morton Rubato con moto Gym. — P 1 Bsa Tin, 2 mtn 3 MATRON, MAMA MORTON: of the chick-ies in my pen. They'll the big gest moth - er iz a erPiano / Conductor = ‘#8. When You're Good To Mama 8 PRE re, Baial Gh sys - tem works, The sys - tem call “Re - ci - pro - ci - ty!¥ a, A aT Fin int “ch cam gp ica] Moderato, in 2 Accord, | |-sme through.Piano / Conductor 61 ‘#8. When You're Good To MamaPiano / Conductor 62 ‘#8. When You're Good To Mama [s] say that is “tit for tat” and that's the way I Tuba F ¥ Don't you know that this hand Wash-es that one, Clare —<— FainPiano / Conductor 63 ‘#8. When You're Good To Mama “ &] Molto rubato ‘VELMA: Look at this, Mama. (dialog continues)Piano / Conductor 61 ‘#8. When You're Good To MamaPiano / Conductor ‘#8. When You're Good To Mama 7” MATRON: You know how I feel about you. You're like family. (cut-of) MATRON: Tl do, it for fifty bucks, ‘VELMA: Fifty bucks for a phone call! You ust get a lot of wrong, susmbers, Mama, (attacca) af slow Piano ™$ arpege. wy (Hola for dialog.)Piano / Conductor 66 ‘#8. When You're Good To Mama Bl MATRON,Piano / Conductor 67 ‘#8. When You're Good To Mama TubaPiano / Conductor 68 ‘#8. When You're Good To Mama boost me up my — lad-der, kid, and _—_‘FIl_ boost you up ‘ Let's all stroke to-geth — — Like the Prince-ton Tits Vin sone +Bonjo FE Tr Piano 1 nfPiano / Conductor 0 #8. When You're Good To Mama When you're strok-in’ Ma-ma‘s strok - in’ you Piano +Cm. i aps +Bajo D7 Chas) F bring this num - ber Piano Solo (with voicings quasi Ted Shapiro) siiPiano / Conductor 70 ‘#8. When You're Good To Mama ‘A tempoPiano Conductor ae catcaco No.6 Tap Dance (cue) MATRON: (Orchestra) Tbehappy tomaiethe ROXIE: ENSENINLE MEMBER +: phone cl for you dene, $500 Now wherein ellamt gonna get $5000? Ladierand genie tap dance TBs (lina) Vin. pizz.Piano / Conductor i #6 -Tap Dance o » 2 2 Jo sme AMOS: .... You did? (continues) ge erie 26 zm 3Piano / Conductor 73 #6 -Tap Dance Bl ae 2 2 SormeCom Z ROXIE: It's my hour AMOS: Tl get, of need, for Christ's sake! (cut-off) it for you, Roxie. TH gett. Accord, ah sles, ow that Segue as onePiao / Conductor ma CHICAGO No.7 All I Care About Is Love (Billy and Ensemble Girls) ENSEMBLE MEMBER #6: Ladies and gentlemen, presenting the Silver Tongued Prince of the Courtroom the one, the only Mr. Billy Flynn. Very sexy -slow 4Piano / Conductor 3B 57- All 1 Care About Is Love GIRLS: ® We want Bil yy Where is Bill - y? Vin. —— ir : % ee Pt FaF . fof t % 5 F 7 FF Give us Bil y. il yy 2 2 2 DEF? EF » RE "EF PER ge RLF 2 FPiao / Conductor ? —T6— #7- All [Care About Is Love » ——— kind of a i 4 i a ai BILLY: Is everybody here? Is everybody ready? Hit itPiano / Conductor 7 57- All 1 Care About Is Love I don't care a-bout ex - pen-sive— things, — Don’t mean a thing, eaePiano / Conductor 78 57- All 1 Care About Is Love GS] emu: I don’t care for wear-ing silk era - vats, sa- tin spats, Don't mean a thing, AIL I care a-bout isPiano / Conductor a 57- All 1 Care About Is Love GIRLS: BILLY: “I need you."__ stand-ing_ there And € hon - est, mis - ter, I'mPiano / Conductor —s0— 57- All 1 Care About Is Love I don't care for an-y fine at - tire — lar, B.C All he cares a - boutPiano / Conductor si 4#7- AIL Care About Is Love Billy's Recitation cits: + Vin. 800 oo 8 se (cue) BILLY: That's the kind of love Fm talkin’ about. (Rim shot) And physical love aint so bad either. AL” A tempo BILLY & GIRLS: _ 68 o » (Weise) Te,Piao / Conductor 2 57- All 1 Care About Is Love BILLY: n <—, R a (Sung) Tt may sound odd, All I care a-bout is love. GIRLS: © may: * a) That's what he’s here — for. (ad lib. Bing Crosby crooning)Piao / Conductor 57- All 1 Care About Is Love love. All he cares a-bout is love. [=] (No tempo change) BILLY: ae marcato Flow - ing down a (Spoken) Keep your mon - ey, That'sPiao / Conductor si #7- All Care About Is LovePiao / Conductor a 57- All 1 Care About Is Love do-in’ the guy ritardPiao / Conductor —86— 57- All 1 Care About Is Love SlowerPiano / Conductor (oisoi14) (cue) BILLY FLYNN: You see, it's like this~ cither I get the entire five thousand. Solo Trombone 87 No. 8 $5,000 Cue (Orchestra) VS. CHICAGO,Piano / Conductor 88 CHICAGO, No.9 A Little Bit Of Good (Mary Sunshine) (cue) BILLY: Now, look: In afew minutes there'll bea whole bunch of photographers and reporters; and that sob sister from the Evening Sun is coming. I don't figure we'll have trouble with her. Rubato — cy 7 a MARY SUNSHINE: — a 5 mae o She'll swallow hook, line and sinker... a .-Her name's Mary Sunshine. 4 >Piano / Conductor 39 +£9-A Little Bit Of Good ia] When T was a ti-ny tot of maybe two or three T can still re-mem-ber what my Vie. ee moth-er said to me, col-ored glass-es on yourPiano / Conductor 90 Os] in the tense and tang - led web our co ‘Tempo Moderato a 7 +£9-A Little Bit Of GoodPiano / Conductor 91 +£9-A Little Bit Of Good 2 _Piano / Conductor (ss) +VIn ritard 2 8 4 Concerto Style ae [4] a tempo iy) Poco ritardPiano / Conductor 93 +£9-A Little Bit Of Good (2) ritard a tempo little bit of good. Vo pic #Piano / Conductor 9 +£9-A Little Bit Of Good so good. ritard @Piano / Conductor 95 49. Little Bit Of Good & Rubato - quasi operetta iPiano / Conductor 96 £9-A Little Bit Of Good a ) ritardPiano / Conductor CHICAGO No. 10 Roxie's Story (Underscore) (cue) BILLY: “From convent to jail” Get this...(continues) Moderato 7 Vin. (cue) BILLY: .. Bewildered by what's happened. ‘Young, full of lif,..(cont.) i D Slightly slower, bluesyPiano / Conductor 98 #10 Roxie's Story (cue) BILLY: lonely, you ‘were caught up... (cnt) Car, Solo ata Barney Bigard. (Stop on cue) BILLY: butterfly crushed on the wheel, naPiano / Conductor s CHICAGO, No. 11 We Both Reached For The Gun (eu) BILLY: Andget Billy, Roxie & Company) this you both reached forthe gun. ‘Thats your grounds: self defense. MATRON! Me Flynn, BILLY: Let ‘em in, the reporters arehere, Butch. (lg continues) a I a SuDr MATRON: Me. Billy Flynn sings the Press Conference Rag. Notice how his mouth never moves~ almost a - a § ;Bright2 ENSEMBLE: i BILLY BILLY a (as ROXIE): rz (@ ROXIE: 13 Miss - is - sip - pi Tos ‘SeePiano / Conductor —100— #11 - We Both Reached For The Gun (as BILLY): (spoken) BILLY ENS: 1% 15 @ ROXIE: ” (as ROXIE): w 0 ag a she was grant-ed one more start, The pity & ENS: a 5 oe =Piano / Conductor —101— #11 - We Both Reached For The Gun BILLY 2% ENS: a 2 (as ROXIE): a) [] an seearenth a And he stole my heart a- way, Con - vinced me to e - lope one day.Piano / Conductor —102— E] » © (MARY SUNSHINE speaks) Wem 7 * BILLY 48 (as ROXIE): #11 - We Both Reached For The Gun aano tor a 5 \ched For The Gun Piano / Conduct — #11 - We Both Reached For The G © ENS: " s2 (as ROXIE): 8 ity & : she was do - in’ wrong.Piano / Conductor Scene #11 - We Both Reached For The Gun [a] BILLY ENS: SI & (as ROXIE): - By BILLYPiano / Conductor a #11 - We Both Reached For The Gun (as BILLY: (as ROXIE): 14 (Spoken) (sung) 7% He had strength and she had none, And yet we both reached for the gun. fl Liistesso tempo (No tempo change) wn ‘Oh yes, oh yes, oh yes, We both, oh yes, we both oh yes, We both reached for the gun, the gun, the gun, the gun Oh yes, we both reached for the gun, For the gun, TinPiano / Conductor —106— #11 - We Both Reached For The Gun {s ENS: . 3 — They both reached for the gun, the gun, the gun,____the gun Oh yes, they Ts ss Bart Bai F tC This. This 4, BILLY. 2 ) 4 as BILLY): 7 gun,Piano / Conductor a. #11 - We Both Reached For The Gun Moderately bright (in one) =) % ” * * 1» 1 1 1 105 108 hen - si - ble,Piano/ Conductor 108 £11 We Both Reached For The Gun G2) eNseMBLe: fa 14 Gs ROXIE): ns ROXIE: ye ENS: ” 8 (infer own voice) ad fib," 1 Pan ww 122 (as ROXIE):Piano / Conductor a #11 - We Both Reached For The Gun 0 16 v6 wa Though my jumped the track, Vd give my life to bring him back. + Rhythm: pnuty (as ROXIE): 120 130 1m Stay, ENSEMBLE:Piano / Conductor in #11 - We Both Reached For The Gun [es] = t= Moderately cas 55 i ug Pright (in one) MARY SUNSHINE:Piano / Conductor —u— #11 - We Both Reached For The Gun us us ws BILLY: (MARY SUNSHINE):Piano / Contactor an #11 We Both Reached For The Gun 02) enum: 1 ut 1s e hen sible, (MARY SUNSHINE): hen - si - ble,Piano / Conductor — #11 - We Both Reached For The Gun Slow accel. ¢ crese. poco a poco Oh yes, oh yes, oh yes,— They both, oh yes, They both oh yes, They both reached for Te PP crese. poco| a poco (accel.) the gun, the gun, the gun, the gun Oh yes, they both reached forthe gun, For the gun. BILLY: [es] Allittle louder! yo i Py ‘Oh yes, oh yes, oh yes,— They both, oh yes, They both oh yes, ‘They both reached for Sexes FF s—Piano / Conductor a #11 - We Both Reached For The Gun BILLY: Now you got it! m oy us the gun, the gun, the gun, the gun Oh yes, they both reached forthe gun, For the gun. [a] accel. ecresc. poco a poco 7 vm 1 Oh yes, oh yes, oh yes, They both, oh yes, They both oh yes, They both reached for Tot the gun, the gun, the gun, the gun Oh yes, they both reached for the gun, For the gun.Piano/ Conductor 5 #11 - We Both Reached For The Gun [Ce] A tempo 5 106 107 ‘Oh yes, oh yes, oh yes, They both, oh yes, They both oh yes, ‘They both reached for Ti+ 0 + 9 + © zPiano / Conductor —1s— #1 We Both Reached For The Gun [im] Adib. 195 Ee A tempo ‘The gun, the gun, the gun, the gun, the gun, the gun, the gun,— the gun, the gun, the gun, the gun,— — “the gun, the gun, the gun, the gun, the gun, Both reached for the Applause seguePiano / Conductor —u7— CHICAGO, No. 12 1st Newspaper Headlines (Underscoring) Bright2 an (Last time vamp A ¥ only, on cue) + Hihat Vay el ee ‘i a AiPiano / Conductor —us— CHICAGO, No. 13 Roxie ss cris {oxie Ensemble Men) that, Charlie? Right, SI SE aN i eS ‘ Vamp RTs P Pno.1 Ty es (cue to continue) Bos [a] ROXIE: Usly guys lke todo that. (cont) (Cla, Soto quasi Barney BogartPiano / Conductor —119— Vamp #13 -Roxie 6 eo (cue to continue) [%] ROXIE: But no! No! No! (cont.) a 2 2 ‘Tp. Solo w/PlungerPiano / Conductor 170 #13 -Roxie “cue fo continue) [2] ROXIE: Tove ya, honey, Hove ya! (continues) FA Tpt. 2 w/Hlarmon mute, ‘Shavit grow! Tb. 1 w/Slotone mute Wan oe ____— mp (st time only) (cue to continue) ROXIE: I could have my own act.Piano / Conductor 11 #13 -Roxie “ a « © Sain Inbar br ep FFT? sailly “I wu ity. That means some-bo-dy ev - ‘ty- my <4 Tight Hi hat hair, my teeth, my boobs, my nose. — JFL Ree Tp Wake q Db7 Ebdim Edim Fdim | Ghdim Gdim —Abmin? Db7Piano / Conductor 12 #13 -Roxie Sl « ® = From just some dumb mech-an-i¢s wife I'm gon - na be Ht de) = Who says that mur-der’s not an art?. tor BCL, Ti. ——. che say she start ed with a bang? — ke) alePiano / Conductor 1B #13 -Roxie og mp A chain abminnbsy dbo S rs a Slightly brighter temy tam ae (cue to continue) ROXIE: Think big, Roxie, (ENS. MEN enter) big- Tmgonna get mea whole bunch of b0¥5. pray times Pno,, Bs. Cl. & Bs. Pro., Bs. Cl. 6 Bs. +Tibs. ) pox: a e a3 ENS. MEN: (Whisper) @ % ROXIE: % oo a7 ENS. MEN: (Whisper)ano / Conducts 124 ens. men, "2-Roe 5. MEN): a [a] Ging) » ROXIE: a ‘Yeaht = > She’s gon-na be acel_- eb-ri-ty. That means some-bo-dy ev - ‘ry-one knows. sat = Emin(6) (ENS. MEN): se _(Sung) % They're gon-na re-cog - nize her eyes, her__ hair, her teeth, My boobs, my nose.— 7 D7 Edim Fdim Ffdim) Gaim Gfdim Amin? D: 7 Ein Fin Fh ta 7 D7 Tight Hi hatPiano / Conductor 15 #13 -Roxie ENS. ROXIE: vo wwe 103 MEN: ~ Sing itt Rox -iet te + toy ROXIE: % ei i ENS. MEN: mur - der’s not an sxe w ROXIE: 4Piano / Conductor —126— ‘noni enil #13 -Roxie ” 1 113. MEN: chuh chuh chuh— chub chuhPiano | Condadioe a7 #13-Roxie ROXIE and ENS. MEN: a = 12 ENS. MEN: 124 ROXIE: ws 6 vr Think of those au - to-graphs I'll sign___ "Good luck to you, Ab ab And Tl ap-pear in a la va-liere— that goes all the way down to myPiano / Conductor —128— #13 -Roxie 132 ENS. MEN: 1 ROXIE: 134 135 Here a ring. There aring. —_Ev-‘ry-where a ring-a-ling. But al-ways in the best of taste. cad Paw? retina | FR FB ees H nist, got woh % ee ENS. MEN: | Oh, yeah.Piano / Conductor 129 #13 -Roxie 7 ENS. ENS. MEN: 0 160 ROXIE: 181 MEN: She's giv-ing up. her hum-drum life. I'm gon - 152 Whisper) 1 (Sung) 154 15 ROXIE: She made a scan-dal Soph-ie Tuck-er-‘Il shit, T_ know, see her name get billed be-low— ENS. MEN: Piet 2 gg EePiano / Conductor #13 -Roxie FS chun nk cath hh ch (ac) lar, Smear rrr ana vet 165 166 187 Chuh chuh chuh chuh chuh— chuh chuh. Chuh chuh chuh chuh chuh—_ chuh chuh, Tpt.1 Grow! —3—, Ty? Grout =o . ws we oa huh chuh chuh chuh chu chuh chuh Chuh chuh chub chuh chuh___chuh chuh A t Pno.1 Tpt.2 assPiano / Conductor 31 #13 -Roxie m wm m Gra i” = chuh chuh — chuh— chuh chuh chu chuh chuhPiano / Conductor —132— #13 -Roxie a 10s [ee] Vamp adit ay =, = SeguePiano / Conductor 13 CHICAGO, No. 14. 2nd Newspaper Headlines (Underscore) Bright 2 A iin ‘ : Yume asst only Tutti Xyio. sft mf A + Hihat st time) ENS. MEM. #8: Roxie Rocks Chicago! & Qnd time) ENS. MEM. #3: Fans Riot At Roxie Auction! ‘6 7 (Eade afer) MATRON: Roxie's nightie &) Vamp raises two hundred bucks! (continues) = y 2Piano / Conductor a3 CHICAGO, No. 15 I Can't Do It Alone (Velma) (cue) VELMA: Hey, Mama, Ive got an idea, (continues) Rubato Tib.1, Cup mute Bs Clar. MATRON: Ladies and gentlemen, Miss Velma Kelly in an act of desperation. VELMA: 6 G 7 Mm ND Crs, PP Bs. Clar flop My_sis-ter and I were head-ed straight for the 2, St mute page ne colla vocePiano / Conductor 135 #15-1Can't Do It Alone e a u (Sung) (Gpaken) least. Oh, yeah! But my * B(6)/FE Ghmin/FZ EB 6 6 + (Sung) ‘Gpoken) sis-ter is now un-for-tun-ate-ly de - ceased. Tknow, IWs_ sad of course but a fact is still aPiano/ Conductor —136— #15-1Can't Do It Alone Moderately bright 4 & (Spoken) Look, why don’t I show you some of the act, huh? Watch this! Su Dy a ATO5) (Spoken) Now, you have to imagine it with two people. It's swell with two people. cur AT65) lal 30 (Imitates drums) a x (Sung) First fd Drs int + TubaPiano / Conductor 137 #15-1Can't Do It Alone xa Clmitates Sax) u 36 (Sung) 36 (Imitates drums) (Spoken) Saxophone! A “Hot style a Imitates Sax) se (Sung) 2 (Spoken) Together!Piano / Conductor 1338 #15-1Can't Do It Alone “What's your si Td say, "Men." Yak, yuk, yuk. zbmun(e) “Rin St Ebmin(6) Bee ahPiano / Conductor 139 #15-1Can't Do It Alone Then we'd wow the crowd a - gain when Vind ar Both Pros.Piano / Conductor —140— #15-1Can't Do It Alone 6 * a o ding, dong dad - dies Frnin(6) stamped on the floor is beg- ging for more. Wes, Yroa A Bros,Piano / Conductor [es] i (Spoken) And we'd say, “O.K. fellas, keep your socks up. You ain't seen nothin’ yet!” Vin, Saves & Tpis. tie 7 Bb Cmin Bhmin Bb #15-1.Can't Do It Alone 9 ~ Rin shots Bhmin Bb Bb _CminPiano / Conductor aw #15 -1.Can'tDo It Alone Va 0 ape [AS 2 i OK. OK. The first part can always be rewritten, ‘But the second part was really nifty. Watch this. = um (Las time oly) a 85 % 7 (cue) ‘Then she'd “Watch this!” me Cah) on — AB aPiano / Conductor 16 wo TwlG Sd wd Ten. Sax é ‘Growl and honk The. (Qui Ray Boucher) FS) + Tube (Slept) #15-1.Can't Do It Alone IS Bb min Bb CmintPiano / Conductor 1 #15-1Can't Do It Alone ma m 16. —Piano / Conductor 15 #15-1Can't Do It Alone va re ws 16 (a) Turkey Trot BrasPiano / Conductor —6— #15-1Can't Do It Alone (3) 5 ; a Vamp vo Meno mosso Opoken) ‘And we'd say, “O.K. boys, we're goin’ home, but here's a few more partin’ shots!” And this...this we did in perfect anizon, Rots afPiano / Conductor 7 #15-1Can't Do It Alone Cor] Bras we a 18 [7] Atempo aia aPiano / Conductor us #15-1Can't Do It Alone 10 181 + Taba a 1 cabd atk 4«Piano / Conductor CHICAGO, No. 16 1 Can't Do It Alone - Tag (Velma) Nothing’sever personal. ut : > her _wed- ding night shak- ing with fright With her brand new hub- by no-where in sight “I wuPiano / Conductor —150— CHICAGO, No. 17 Chicago After Midnight (Underscore) Duke Ellington time Allo Sax Oo Tet aS Di MPEP RF FRR TFPiano / Conductor 151 #17- Chicago After Midnight & a tempo Tp * beyPiano / Conductor —152— CHICAGO, No.18 3rd Newspaper Headlines (Underscore) (cue) KITTY: . What Ice. _ Bright 2 ee Xylo. 1 a 2 a 3 4 iyo. gfe + Vin. in 8th’s, pont, y+ Hihat (Fade on cue) BILLY: [=] ver g Centlemen, please, my client wil be Fade on cuePiano / Conductor 13 CHICAGO, No. 19 My Own Best Friend (Roxie & Velma) ROXIE: Pineapples. I got a feeling you're in trouble, Roxie. VELMA: Socialite. You lose again, Velma. ROXIE: There's only one person who can help you now, Roxie. ‘VELMA: There's only one person you can count on now, Velma CONDUCTOR: And now, Miss Roxie Hart and Miss Velma Kelly sing a song of unrelenting determination and unmitigated ego. With motion a ROXIE: and I've al-ways known = => Not Latin, (quasi Lou Alter’s “Manhattan Serenade“) ‘w/Clars.Piano / Conductor 15 £19 - My Own Best Friend 0 " 2 ® —Piano / Conductor 155 #19 My Own Best Friend ee they were scratch - ing.Piano / Conductor —156— £19 - My Own Best Friend ] woxt): (Laugh) » % that’s on-ly for fools, lid Bs. Cla.Piano / Conductor —157— £19 - My Own Best Friend 7 —>. = ® —s. a play in where I make the rules —3—, [=] wor: a —Piano / Conductor —158— #19 My Own Best Friend, “Three Mus - ke - teers. ENSEMBLE: stand - ing here this, = Miuoctaves) Fmin(6)Piano / Conductor 159 #19 My Own Best Friend, ee ROXIE: s SS L. + Mand a Vn = perrt; ENSEMBLE: Piano 2 in S'sPian Conductor 10 £19 My Own est end on: c . “ life isa school_____ TH pass ev - ‘ry test. ENSEMBLE: unis, —3— life is a gamePiano / Conductor 161 £19 - My Own Best Friend ‘© (BOTH: friend.Piano / Conductor con. No. 20 First Act Curtain Oh, don't worry about me, its just thal Tm going to have a baty. (Velma) ENSEMBLE: VELMA: Ababy! Shit ' BILLY: } want the best doctor ; inthe city for my poor ! client. Somebody pick CHICAGO, that giel up. A _VELMA: >Piano / Conductor 183— CHICAGO, No. 21 Entr‘acte (Orchestra) Bright vamp, in 4 ' 2 3 ‘ Ths . mm J ddd da By TA an omn...,Even Sth notes 221-Entr‘actePiano / Conductor —165— #21-Entvacte [=] __Liistesso tempo “TA RR A CBee pe camPiano / Conductor 166 — 221-Entr‘acte nn TPES—167— 221-Entr‘acte * Nos PR ee 2. 2.3.) 22. ah = Bb7Gs)_| Gaim7 Rag (in 4) ie es TPt Solo (Grow)Piano / Conductor 168 221-Entr‘acte (2) pt cwvah-wan o © ePiano / Conductor 169 221-Entr‘acte 2 Wn, 2 2 fat Tpt.1 TH Piano 2 ce Db Dosim, Dis) Dbr Dbdim EbmintT Db a7 abr Db ca Applause SeguePiano / Conductor —170— CHICAGO, No. 22 I Know A Girl (Velma) Moderate vamp (ala And All That Jazz) 3 CL, Ten, Brs. x + Bari & Tuba (Continue after cue)...have a baby. VELMA: Hello suckers, welcome back. (continues) eared dates Vamp mean, can you im-a-giPiano / Conductor a 222-1 Know A Giel iS view alga) agus. ima accep ear a ae = she'd come up smell -Piano / Conductor an #22-1 Know A Girl 20 1 [2] 2 ned SECOND REPORTER: heaven _knows.— Hold on everybody, she's comin’ out now. (Dialog continwes) ft Pa mim? mt rm} ny loco Ce] VELMA: x » I know a girl, a gil with so much tuck She could get run ov-er byPiano / Conductor 7 222-1 Know A Giel a two ton truck — ES — Ter i “ s &] 2 How she does it, could-n’t say BILLY: Doc, would you swear to that statement in court? e. . _ Vu wer poe +Vin BILLY: Good. Uh ... button your fly. abr G7 C16)Piano / Conductor am 222-1 Know A Giel Put my face in a pail of slop And Fas) L— 1 would smell like a pail of slop.Piano / Conductor 175 222-1 Know A Giel (a) » y-thing that's true would tra EyPiano / Conductor —176— Vamp 222-1 Know A Giel % o # ROXIE: Please, ladies and gentlemen of the press - leave the two of us alone so we can rest. (Cue to continue) VELMA: The two of us? + Tbs. ‘VELMA: © ‘THIRD REPORTER: 4 = Could I have one last picture please? Do you be-lieve it? I mean, do you be-lieve it? ROXIE: Sure, anything for the press. Ty So — pe rit. Segue as onePiano / Conductor =17— CHICAGO, No. 23. Me And My Baby (Roxie and Ensemble) VELMA: (imitating) Ad lib. a little baby. [=] AtempoPiano / Conductor —173— #23-Me And My Baby [is] Bright2 ” * 9Piano / Conductor 179 = ® 0 Fm caught in ® 3 “ = Cl vmto0 I don’t care, my __ba-by’s there And ba-by’s bound to keep me warm, We're stick-ing to-geth- Pi (800) 7 +Tpt, Te. oaPiano / Conductor —180— #23-Me And My Baby o “1 2 2 So much to- geth - er you'd count us as one. Pic (800) jf ji ™PT OF F PP PF OF OF OF Piano 2 “I Tell Old Man Wor r tt |Abmin(6)Bs. Cl. + Drums lightly o ot @ ePiano / Conductor () Vamp 182 ROXIE & n nENS. MEN: Yuck yuck cu “FOF P : Pines ch ehdin? £Piano / Conductor 1s3— shy +naaso (Opt. rest what I feel, 1 =~Piano / Conductor 1s * Fa % Ca dear lit - tlePiano / Conductor 185 #23-Me And My BabyPiano / Conductor —186— #23-Me And My Baby (cue) AMOS: That's my kid! That's my kid! Bari, TubaPiano/ Conductor —187— #23--Me And My Baby [so] Half-time feel ‘at 2 19 Look-a my ba-by, my ba-by and me Cla, grout 6 sce op Sou af. ‘ Noth-ing can stop us, so mo-bo-dy try ‘Cause_ba-by’s rough and full of stuff AndPiano / Conductor —183— #23-Me And My Baby Vin, Pies, Tpts., Temple Bits. Th + Taba ROXIE & ENS. MEN. =e Se ENS-MEN: & WOMEN: ‘Ma-ma, Ma-ma, Ma-ma, Ma-ma, Ma-ma,Ma-ma, Ma-ma Get Lfistesso tempo var us 9 out of our way__folks, andPiano / Conductor 189 #23-Me And My Baby 120 181 12 189 cas) (6) I S ‘© 161 My = dear lit-tle ba ~ 2 by, My oe od eresc. poco a pocoPiano / Conductor —190— #23-Me And My Baby Hit te ba Cmin(6) My — bald lit - le ba = ésPape { Conductor a1 £23 Me And My Baby “ptf 1 a tr, ROXIE: Look bs, Ky (LED Applause oegue Lo tua 2 FF 2 ; z March tempo Vamp (Opt.) 185 106 ‘er 188 109 ff mare. aa lib. onc a a 4 10 191 SeguePiano / Conductor —192— CHICAGO, No. 24 Mister Cellophane (Amos) (cue) AMOS: T'm the father! Papa! Dada! (cont) Lento rubato 1 2 a ‘ Pp (Cla 1 (ad ib till - not too fast) Clar.2 (cue) AMOS: ..When T came home, they'd moved. Gusicou) 5 6 1 a rt Gmin765)Piano / Conductor 193 #24. Mister Cellophane fs] |, Adib. “ 1% 6 some-one stood up ina crowd, And raised his voice up way out loud, And a AO A Aw) waved his arm, And shook his leg... You'd —_no- tice him. fee, Bmin/E E7 Bhdim7_B? +Vin Piano] &) ‘Sung | spoken ad lib. 7 a a” whole place is a pow -der keg!” — Yowd —_no-tice him. a Piano 1, 6 Tp. & Cs,Piano / Conductor [2] | Steady tempo ev-en with-out cluck-ing like "a of course, that per - son Ad lib. #24. Mister Cellophane Ev-‘ry-one gets no-ticed now and age should bePiano/ Conductor —195— 424 Mister Cellophane [7] _ Slow rag in 4 (swing 8th’s) Cel-lo-phane,— Mis-ter_Cel-Io- phane.__ Should have been my mame, Mister ee es -lo - phane,— ‘Cause you can look right through me, Walk right by mePiano / Conductor —196— #24. Mister Cellophane (s] “ ° Cel-lo-phane,— Mis-ter__Cel-lo-phane,— Should have been my name,—_—_Mis-ter Cel-1o- phane,— ‘Cause you can Jook right through me, Walk right by mePiano / Conductor a7 £24 Mister Cellophane Dialog Banjo Did od PP D7 (yg———=¢ Bs. Cla. a ° « o Ebr D7¢s) D7 b D7¢5) D7 c Eban Cah cated st 198 #24. Mister Cellophane Vin. Solo n n n u 8 % ” ” ~ (Cut-off on cue) AMOS: Well, that don't figure outright. Tcouldn't be the father BILLY: Divorce her? (MUSIC out; dialog continues) Eby (Cue to continue) AMOS: Yeah, Ymstill here. I think. Glock + © _AMos: Tpt, Vin + Cle. af A Tid, + Bass Bs. Clar * Ad lib. o Sung spoken ad ib. 8s aPiano / Conductor wed 199 £24 Mister Cellophane Sung! i Sung 8 ” ten, POKEH Went toto Hi ‘ pbaim_er/e SY? +Vin. mg. aan And sleep-in’ in a A#24. Mister Cellophane Piano / Conductor [mw] _ Steady tempo a a hu-man be-ing’s made of more than air. With all that bulk, you're bound to see him eco. << oo P Un - less that hu-man be - ing next to Ad lib. ZB yw om un - im - pres-sive, un - dis - tinguished you Accord Pino PianoPiano / Conductor 21 £24 Mister Cellophane ‘A tempo, (slow - smoothly, swing 2's) iw Should have been my name, Cel - lo-phane,— ‘Cause you can look right. through me, Walk right by mePiano / Conductor 202 #24. Mister Cellophane We] Cel - lo-phane, ‘Cause you canPiano / Conductor #24. Mister Cellophane Lento rubato ro va 9 (Spoken) AMOS: I hope I didn't take tup too much of your time. > osPiano / Conductor i CHICAGO, No. 25 When Veime Takes The Stand (Velma & Ensemble Men) VELMA: Yeah, tell me about it. Listen Flynn, [figure if Tam sensational in court I could get things moving again. ve been thinking a lot about my trial. Could Ijust show ‘you what I thought I might do on the witness stand? BILLY: Go ahead. ‘VELMA: Hit itt Moderate 2 - not too fast Tp Gans. = 345 VELMA: Well, when I got on the stand, I thought I'd take a peek at the jury, andl then I'd cross my legs like this. A 2 5 + 3 10 ENSEMBLEMEN: 2Piano / Conductor —205— +25—When Velma Takes The Stand (] “ 8 6 VELMA: Then when Harrison cross eamines me, I thought 'd give ‘em this. and then if he (cont.) yells at me I thought I'd tremble like this... “Ooo, no, please stop! High Tope BA. mf 20 ENSEMBLE MEN: 2 2Fiano Conductor —206— £25 When Velma Takes The Sand [3] ENS. MEN: x 5 =Piano / Conductor £25—When Velma Takes The Stand Bl 2 2 uD VELMA: Then, I thought Td let it all be too much for me, like real dramatic. f° (6.9) FO) ss Tutti 6 a = VELMA: Then, I thought Id get real thirsty and say, “Please, someone, could Ihave a glass of water?” or, 5 ie s 4{ ENSEMBLEMEN: © 6Piano / Conductor 208 25—When Velma Takes The Stand ENS. MEN: 2 0 Kel-ly girl jury whirl. —Piano / Conductor 200 #25—When Velma Takes The Stand Dance (2) Basse Piano? * o = ee After “Chair Push” G7 Abr AT Bb7 Dey A ON OA fil A 8. Ad “Mambo”Piano / Conductor —210— £25—When Velma Takes The Stand iS — Ebmin Dmin ab VELMA: Then, I thought Id cry. Buckets. Only I don't have a handkerchief - (cont.) 3 3Piano / Conductor = £25—When Velma Takes The Stand T really like that part. (cont) VELMA: (cont,) - and that’s when I have to ask you for yours! 2 — — Don't you? Then, I get up and try to walk, only I'm too weak, (cont.) s0 I slump and I slump and I slump (cont,) [) vamp and I slump and until finally, I faint! (SHE faints.) 5 + Tutti Vamp Both Pianos (+ 800) ++ Tor toms PPiano / Conductor —212— #25_When Velma Takes The Stand (#] ENS. MEN: e wa i rolls her eyes,— takes the prize When => Cmin(6) Fmin(6)Piano / Conductor 213 +25—When Velma Takes The Stand ENS. MEN:Piano / Conductor 2 CHICAGO, No. 26 Velma Takes The Stand Exit Music (cue) VELMA: Tm not hurt. TguessTllgonow. (Ensemble Men) But not quietly. May Ihave my exit music, please? Bright; rightly [2] ENS. MEN: i 4 BDr. + Tuba Cmin(6)—25— CHICAGO, psy, No. 27 Hungarian Hanging (Underscore) Be gon cane GOMATROR. = HUNYAK: Nee cil pallens inane Seay: AG peta, oa a eS ea Not... guilty, Uncle Sam. one....the only.... Katalin Hunyak and her famous ' Hungarian rope trick. (HUNYAK cit) +t a Very long a Rubato ENSEMBLE MEMBER #1: 1] Apt Soto w/tormon-qusi Henry Buse ‘Ate 47 years a Cook County precedent has been shattered, Katalin Hunyak (cont) p Wah-wah, etc. was hanged tonight for the brutal axe murder of her husband. The Hungarian woman's last words were, “Not guilty.” 6 i anwespaaime Sip — No. 28 Razzle Dazzle (cue) BILLY: (Billy & Ensemble) Tc ascnciyeboil Pa eae ee ee ee you're working with a star. The biggest! G) em: ‘ ? ® raz-zle daz-zle.Piano-Conductor —217— #28 Razzle Dazzle cS) “ a 6 ho- cus po-cus. Bead and feath - er ‘em. Tr 2, Boj, Acard SE, rep d Jd you're just dis-gus-ting?Piano-Conductor —218— #28 Razzle Dazzle (s) amv: = sy ENSEMBLE: » Raz-zle daz-zle ‘em.Piano-Conductor 219 #28 Razzle Dazzle BILLY: “ “ 2 Give‘em a show that’s so splen- Accord. [s] Bruty: “ 6 6 Accord. Give ‘em the old Fool and frac-ture ‘em. fis ENS.: a * Gris) Roar! © Rom! Roar! How can they hear the truth a-bove the roar? le Sex Rd Accord.Cmin(s) BILLY 5 BILLY: % ® &ENS: —— ‘And they'll beg you for ENS: (Sinister laugh) ENS.: (Sinister Iaugh) Tp, ———~ Caim Bho) Eb ‘Tits. by Tuba 4221 #28 Razzle Dazzle “Whisper Chorus” ENS.: Raz -zle dazzle ‘em. Full voices Back since the days of old Me-thu - sa-Ieh Ev-‘ry - one loves the big bam boo - za-ler Saxes ENSEMBLE. (BILLY opt): 7 n 2 three ring. cir-cus. Stun and stag-ger ‘em.Piano- Conductor #28 Razzle Dazzle S mi = Whispered ‘Though you are stif-fer than a gir-der They'll let ya get a - way with mur-der. a and you got a ro - mance. Vin. BaePiano-Conductor 223 #28 Razzle Dazzle ) omy: © o ® Give ‘em the old. Give ‘em an act that's un-as-sail - a-ble, They‘ll wait a year till you're a-vail - a-ble.Piano-Conductor 21 #28 Razzle Dazzle BILLY: o ® * dow-ble wham - my. Daze and diz-zy ‘em. 7 BILLY: * » 0 Show ‘em the first rate sor -cer- er youPiano-Conductor #28 Razzle Dazzle ENSEMBLE ee P = ss Long as you keep ‘em way off bal-ance How can they spot ya_—got__no_tal-ents? Accord. cn toe BILLY: 06 ENS.: 107 BILLY: ig SS. Raz-zle daz-zle ‘em. —-Raz-zle daz-zle ‘em. —-Raz-zle daz-zle ‘em. And they'll make you a 2 2 2 r r tT r r r fF t (ee) |, New tempo 0 te Segue as one to “Courtroom Scene” (in tempo)Piano / Conductor 226— CHICAGO, No. 29 Courtroom Scene (Company) JUDGE: The State of BILLY: Ladies and gentlemen, we present Ilinois versus Roxie it {justice Hart for the murder HARRISON: Lipton tempo. : i of Fred Casely., Thankyou. The State calls a a at aN a Clank Onstage gavel Tamborine (cue) ENS. (in rythm): Mr. Amos Hart. (Stop on cue) @ In2 : HARRISON: Ishot him booms he was walking out on me, the ase HARRISON: (ist time only) Exactly. Take the (CLERK: (Spoken in reythm) ™ AMOS: o we Witness Blah blah blah, Blah, blah blah. Truth truth truths‘ - helpyou God! certainly dotPiano/ Conductor Lento 4 (Repeat until cue for Cut-off) fa] 6 SS 229 Courtroom Scene fs] —__—_»_————__ (Ad lib. ewe) BILLY: Just jumped to a conclusion? (DRUMS: Low Tom-Tom roll) Do you call that playing, square? If Roxie Hart swore that you were the father of her child, which she does. (Cutoff: Jump to m.35) See AMOS: She does? ROXIE: Ido. BILLY: She does, Step down, Da ee m4Piano / Conductor 228 £29 - Courtroom Scene Fast I] (AMOS exits) 37 MW BILLY: (Cont'd) The defense calls Roxie Hart. ENS. (in rythm): Roxie Hart to the stand. CLERK (as tefore): Blah, blah, blah blah, blah... truth... truth.. (cue) ROXIE: do. truth, S‘elp you God. [=] Vivo ENS: 2 “ BILLY: Roxie, [have here a ENS: statement in which you admit. 56 BILLY: % (cont) a5 (Whispered) re a (Cue to continue) ROXIE: When he sold Amos and me our funiture, Also, he was a regular patron at the nightclub ‘where Iwas a member of the chorus. (Attacea) VampPiano/ Conductor 29 #29- Courtroom Scene Charleston rhythm C3) vamp’ 49 FRED: Ey BILLY: And your personal relationship 4, with him - when did that begin? ey, ROXIE(in rythm): When I permitted him. to drive me home one night. (FRED enters) Vamp ROXIE: Hello, Mr. Casely! Fine night for ducks, Why don't I drive you home? Is rain-ing so hard and all ENSEMBLE: 59 (Whispered) o a e a (ERED mimes zipping Charleston! Charles-ton!___—Charles-ton!__—_Charles-ton!__ yer tie ont} ia RatchetPiano/ Conductor —230— £29 - Courtroom Scene ROXIE: Oh, he seemed like such a fine gentleman, BILLY: Yet, you were married, Mrs. Hart ROXIE: [know. And I don't think I would have ‘gone with him if Mr. Hart and me hadn't Quarreled that very morning, (AMOS enters) BILLY: Quarreled? About what? Moderately (in 3) (oi Piet: « j « ® ot (Repeat until cue for Cut-off) ROXIE: Oh, Amos, I don’t want to work in that cheap Southside nightclub. AMOS: Yeah, yeah. wee eb tn ROXIE: I don't like you working those long hours at the garage either. AMOS: Sure, sure. AL! LN . Bg (Cue for Cut-of) ROXIE: Oh, Amos, Iwant a real home and a child. (MUSIC out) AMOS: Fat chance. 6 Son a) "oePiano / Conductor 21 229 Courtroom Scene BILLY: So... you drifted into BILLY: Yet, you do respect the sacredness of the marriage vow? this illicit relationship with ROXIE: Oh yes, si. Fred Casely because you were BILLY: Then why didn't you stop this affair with Casely? unhappy at home. ROXIE: I tried to. (FRED enters) ROXIE: Most unhappy. But Mr. Casely, , he'd plead and he'd say. AMOS: I love ya, honey. | FRED: Ican' live without you! Tove ya | Lean't live without you! AMOS: love ya, : | Teant live without you! honey, Ilove ya. a 2 Lian ' a Bite hon Tom toms (Clank Pop gun Bike horn ROXIE: Iwas being tom apart (AMOS and FRED exit) a! a a w BILLY: Roxie Hart, the State has accused you of the murder of Fred Casely. Are you guilty or not guilty? ROXIE: Not guilty! Not guilty! Oh, I killed him-— yes- but Tam not a criminal! BILLY: There, there... (Handing ROXTE a handkerchief) ‘There, there. (Thrusts the handkerchief toward HER. ROXIE remembers to sob.) Ind ENSEMBLE: —_ BILLY: Roxie, can you recall the night of February Lith? ROXIE: Yes sir, 17 (Whispered) 28 5 so (] Give'em the oldPiano / Conductor —232— 229 Courtroom Scene BILLY: Tell the Jury, in your own way, the happenings of that night. ROXIE: Well it was after work about 2 a.m. and I 2 93 a Back since the days of old Ma-thu - sa-leh, Ev-‘ry-one loves the big bam-boo - ze-ler ROXIE (cont.): stopped in at an all night grocery store to pick up some baking powder to make cup cakes for my Amos. Oh, Amos just loved my cup cakes. And then, I went right home. And I was getting ready for bed when, suddenly the doorbell rang, 6 7 oo ~ a Give ‘em the old three ringcir-cus, Stun andstag-ger ZN Whenyou're in trouble... is 4 a BILLY: ‘And what did he say, Roxie? ROXIE: Now, I thought it wasmy BILLY: FRED: girlfriend, Gloria, so slipped into. And who was there? ‘That note you wrote me! my Kimono and went to the door. ROXIE: Telling me it was all over? ENS: Dictated __ Fred Casely. Why did you write it?! (cont.) 100) ey 101 a 2 ay Car, Bs. Cla, Piano, Low Tors aPiano / Conductor 23 229 Courtroom Scene ROXIE: Because Thave seen the error of my ways and ROXIE: And? BILLY: And when you asked him to, did he go away? HARRISON: Tobject!_ The counsel is leading the witness. JUDGE: Sustained! (JUDGE hits gavel once.) BILLY: Til rephrase the question. What did you say? ROXIE: I said, “go away!” ENSEMBLE: Beat it, buddy. (JUDGE hits gave! three times.) ROXIE: I tried to close the door, but he forced his way in. Tan into the bedroom, ‘= but he followed me. Vivoding A Ole 7 tha she a T f : : FRED: Look, just have one little drink with me and Ill go. BILLY: Why didn't you scream? (to FRED) ROXIE: Twat afraid to wake the neighbors, Please, no good will come ofthis, ws a ‘at ‘and besides, love my husband. 4l Attacca BILLY: ‘So you told him that you loved Yyour husband and what did he say to that? FRED: It doesnt matter. ‘You're mine Maestoso con moto ' mine. ENS.GP.E = > ot Hal - le - la-jah! Halle - Iu- jah! Halle — Iu-jaht ENS. GP. II: 7 (UDCE claps hands)Piano / Conductor 2 229 Courtroom Scene New tempo - Apache - In3 Ge] ROXIE: I can't go on. Tean't go on. Tcan't go on. BILLY: And what BILLY: No, Roxie, you (To FRED) did he say to that? must ell the Jury everything. Amos and meare FRED: Til kill you ‘They have a right to know. going to have a baby. before see you have BILLY: ROXIE: Okay. (SHE tops | another man's child! What FRED’s shoulder three times) ! happened 16 aM! m0 | 1 next? Wood biock (Choke Cym. Rim shot (Toa JUROR who has pinche her) ROXIE: In his passion he ripped off my Oh, you nasty man! (Continuing) ‘Kimono and threw me across the room! Mr. Hart's revolver was layin’ there fe] between us, He grabbed for the gun - knocked it from his hand - me 0 i m1 >Piano / Conductor 235 229 Courtroom Scene ROXIE: (To the JUROR who pinches her again) ‘Will you cut that out? BILLY: ‘And then? ROXIE: ‘And then, in rythm) we ‘Doth reached for the gun. But I got it first. 12 a a 8 vu he whirled me aside. \ a BILLY: Did you think he meant to kill you? ROXIE: ROXIE: Then,, he came toward me with Oh, yes, sit. | 7 that funny lookin hiseyes. BILLY: ENSEMBLE: Hurray! ' FRED: So it was his life or yours? oy : Tmean to kill yout ! vs | mal AA 2 = a ROXIE: ‘And not just mine! (SHE pats her stomach ENS, 00 times with music) SoT closed my Roxie ath : eyes and Ishot! please neePiano / Conductor —236— 229 Courtroom Scene (om BIL: Indes ROXIE: Toaave my husband's ‘Tempo inborn child! ins: 7 iz bia i ou and they'll make you aPiano / Conductor 237 CHICAGO, No. 30 NBC Chimes (Underscore) MARY SUNSHINE: Mrs, Hart's behavior throughout After applause this ordeal has been truly extraordinary! (continues) No. 31 Class (Velma & Matron) (cue) MATRON: ‘Well, whaddya expect?_ She's alow brow. The whole world's gone lowbrow. Things aint what they used to be ‘Moderately slow (in 4) rey v7 2 VELMA: 4 “VELMA: eaeeny bans Rigi, Mae hapepelill Ge: ke lige | Quasi Shubert - not the theater but Franz.Piano / Conductor No. 31 Class ° 10 —3— 3 What -ev - er hap-pened What-ev-er hap-pened to “Please, may I,” And “Yes, thank you,” And “How charm-ing?” Now, ev - ‘ry son of a bitchPiano / Conductor 239 No.31 Class What-ev-er hap-pened to class? Ah, there ain’t no gen-tle-men to o-pen up the doors.____ There ain‘t noPiano / Conductor 240 No. 31 Class 0 ” 2 Kids - ‘Il knock ya down so’s they can No-bo-dy’s got no What-ev-er hap-pened to old sr VELMA: * breed-ing?Piano / Conductor 21 ) p MATRON: “ 2 Now no one ev-en says “Oops” When they‘re pass - ing their vm What-ev - er hap-pened to there ain't no gen - tle - man who's fit there ain't mo gen - tle - man who's fit for for No. 31 ClassPiano / Conductor 22 No.31 Class 2° (VELMA): = (MATRON):Piano / Conductor 23 No.31 Class (VELMA): ~ kids ‘ll kick your shins and give ya sass, No bo-dy’s got (MATRON): x & ia arses sass, No - body's got no Vi ir [———— All you read a-bout to-day is rape and theft. co ral. Ey 9 « a pocora Ain't there no ? No-bo-dy’s got no s poco all.Piano / Conductor 2 No.31 Class a tempo woTH): © MATRON: Ev-‘ry-bo-dy you watch Ho-ly crap! -Ho-ly crap! What a shame. What a shame. What be Vin. Cs. = Se og dQcarl [a] tempo i a ts This poco rall.Piano / Conductor 5 CHICAGO, No. 32. Billy’s Speech (Underscore) MARY SUNSHINE: Ladies and gentlemen, the final day ofthe trial of Roxie Hart has come. Ahush has fallen over the courtroom as Billy After applause Flynn prepares his summation to the jury. Th rext voice you hear will be that of Me. Flynn ~ champion of | the downtrodden. Accordian “NBC Chimes” 1 2m 3 Hymn-like tempo BILLY: Ladies and gentlemen, you and I have never killed. (cont) f@ Repeat until cue to cut-off, — “Rock of ses"|) Bb eb (cue to cut-of) BILLY: But, despite what the Prosecution says, things are not always what they appear to be. (cutoff Attacea to meas. 16) BbPiano / Conductor 26 +£32_Billy’s Speech, (BILLY removes MARY SUNSHINE’S jacket and wig to reveal her to be aim.) BILLY: The defense rests! MARY SUNSHINE: (ad tb.) Attacca Circus style (MARY exits)Piano / Conductor 207 CHICAGO, No. 33. The Verdict (Underscore) JUDGE: Will the defendant please tise? And what is your verdict? ENSEMBLE MEMBER #1: ‘You should see what's going on out there! (cont) a Sh. Dr. (gunshots) (cue) BILLY: You're a free woman, Roxie Hart, and God save Illinois! My exit music please. os Caps. a + Tuba Slowly ritard. poco accel. all. BILLY & ENS. WOMEN: AIS Sf about i o a AIL{ LIS, about is | tow [(_ = Slowly Vin. tremoloPiano / Conductor 2s CHICAGO, No. 34 Nowadays (Roxie & Velma) AMOS: My exit asic, please. (tie ORCHESTRA dows play) Okay. (AMOS exits) neat aren Be Moderately slow 4 +A Rox: 2] 2 4 nit it? Grand, is Swell, is - mt it? Fun, is - AcoPiano / Conductor 29 #34Nowadays Slightly faster A ee #8 men ev - ‘ry-where, Jazz Ges, oH (Brushes on SnDr) days. cbs Straight Sth’s the life you like. ?Piano / Conductor 250 #34Nowadays 2 2 Py ~ [as] 2 ™ » (ROXTE exits) Grand, is - n't it? Great, is - © cas) co)Piano / Conductor 21 #34Nowadays ENSEMBLE MEMBER #2: Eee ene it Qn» Nm a ai oe eee eka Vin. w — Th first time, anywhere, there as been an act ofthis nature, Not only one litle lady but two! You've read about them in the ol gq (ROXIE and VELMA enter during speech.) i Com, Toms TAA fo¢ GGTa | Aaa papers and now here they are-- a double header! Chicago's own killer dillers — a those two scintillating sinners ~ Roxie Hart and Velma Kelly! fl. Ss “ 6 ROXIE &Piano / Conductor [s] ” « “ #34Nowadays nit it? Great, is - n't it? Swell, is - nt it?Piano / Conductor se « @ 6 #34Nowadays “Poetry in motion, ot © Two moving as one”Piano / Conductor [>] ENS. MEMBER: 7 rn a #34Nowadays (Whistie) Sop SeePiano / Conductor 255 #34Nowadays @ ENS. MEMBER: @ oy a [oe] ROXIE VELMA: sr 2 © wa, wa, wa, wa, WaPiano / Conductor @ o % #34Nowadays good, is - nit? Grand, is - n'tit? Great, is - mtit? Swell, is - nt it? F7g5) FTPiano / Conductor 257 #34Nowadays 10s 108CHICAGO, No. 35 Hot Honey Rag (Velma & Roxie - Dance) Bright Charleston 2 2 4 erese, poco a poco Ad lib. repeat D 8 Alto Sax ‘MARY SUNSHINE (as « man): Let's all go to Hell in a fast car and keep it hot! Tp (Charleston) 7Piano/ Conductor 259 £35 - Hot Honey Rag, “Shimmy” [i] apes 2 A 2 “ APiano / Conductor 260 £35 Hot Honey Rag 23 Saxes ™ aN A 25 SavesPiano / Conductor 261 £35 Hot Honey Rag “Snake Hips” Beri “ 4“ 6 EGS) Emin EminPiano / Conductor —262— 435 - Hot Honey Rag, a “ © 0 =Piano/ Conductor —263— £35 - Hot Honey Rag, “Joe Frisco” Piano 1 iy A &] “Cakewalk” eal 3 3Piano / Conductor 261 £35 Hot Honey Rag 11 Saxes ee «FRC FTC a poco tf Amin? Piano mf crese. poco a pocoPiano / Conductor 265 £35 Hot Honey Rag Sexes 2 Applause seguePiano / Conductor 266— CHICAGO, No. 36 Finale (Ensemble) eoareRaR aaa Pm eseosating sacaan Rubato Roxie and I would just like to take this opportunity to thank you... (cont) anos : ; ; (Dialog continues) 5 Car. Gar. a Car. 2iano lor —267— 236- Finale Piano / Conduct 267. dud Wea 36 - Finale But we are the living examples of what wonderful country this is. (continues) » “ o3 wm ‘Vamp tempo ENSEMBLE: 0 a 2 No, Fm no-one's wife but Oh, 1 weds ts Ad love my life— And pe ‘Drums: Straight 8th feel BbPiano / Conductor 268 236. Finale ez] Se, ee 9 (Loud whisper) ‘That jazz! \ Short stopPiano / Conductor 69 CHICAGO No. 37 Bows (Orchestra) roF r F Both Pines Circus style but swing, if possible ~ gy Bo Circus style but swing, if possible ——— by Caa(s) abr br Cains) Bb7 *Piano / Conductor Bh7 Cmin() Bb7 2 237- Bows rey Fain7 phy | br Faia? hr Fmin(6) Bb7 Cmin(6) Bb7Piano / Conductor am. #37- Bows benim) Abmin(6)ic} me, BbrCmin(6)B}7 BhT Cmin(6) BFPiano / Conductor as. #37- Bows Abmin(6) Abmin(s)Piano / Conductor a #37- Bows cain(sy AttaccaCHICAGO. Piano / Conductor =a No. 38 Exit Music ; | (Orchestra) Bright vamp, in 4 ‘ Tp. 1 2 + 6 = ‘Old Tie Drm Marck (Gli WEBI Cow let) weil, 10 Fan oes£38. Exit MusicPiano / Conductor 71 338- Exit Music as Rag (in) [2] tpt. ewt-waty sf 8 zs) Tp. Solo (Grow) Sil of St Dr. 4 Tpt. Solo (Grow)31 Ye ws = = = Piano / Conductor cy, eo of oA £38 - Exit Music Bbmintés) abr Db Dbdim Ebmin? Db ce SH Fine