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A NEW YORK SHAKESPEARE FESTIVAL PRODUCTION in association with Plum Productions Joseph Papp Presents fi CHORUS LINE Conceived, Choreographed and Directed by Michael Bennett Book by Music by Lyrics by James Kirkwood & Marvin Hamlisch Edward Kleban Nicholas Dante Co-choreographer Bob Avian Setting by Costumes by Lighting by Sound by Robin Wagner TheoniV.Aldredge Tharon Musser Abe Jacob Orchestrations by Music Coordinator Bill Byers, Hershey Kay & Robert Thomas Jonathan Tunick Music Direction and Vocal Arrangements by Don Pippin Associate Producer Bernard Gersten Piano Reduction by Robert H. Noeltner ISBN 0-88188-011-b (previously ISBN: 0 8494 0088 4) A publication of EDWIN H. MORRIS & COMPANY A Division of MPL Communications, inc. FIRST PERFORMANCE AT THE PUBLIC THEATRE, NEW YORK April 16, 1975 CAST OF CHARACTERS (in alphabetical order) ROY . . Scott Allen KRISTINE. . Renee Baughman SHEILA . Carole Bishop VAL . Pamel Blair MIKE. .. Wayne Cilento BUTCH Chuck Cissel LARRY. « Clive Clerk MAGGIE . . «+ Kay Cole RICHIE Ronald Dennis TRICIA . . Donna Drake TOM.... . Brandt Edwards JUDY... .. Patricia Garland LOIS. .. Carolyn Kirsch DON. . Ron Kuhlman BEBE. . s+. Naney Lane CONNIE... Baayork Lee DIANA ... . Priscilla Lopez ZACH Robert LuPone MARK . . Cameron Mason CASSIE . Donna McKechnie AL .. .. 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 REED: 1. 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, II, III (All Double Flugelhorn) 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 Ilis 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 55th Street, New York, N.Y. 10022 and Jack Lenny Associates, 140 West 58th Street, New York, NY. 10019. ‘Applications for performance ofthis work. whether lagitmate, stock, ‘amateur, of foreign, shou bs adresed to "TANS WITMARK $560 Lexington Avenue New York, WY 10022 22a. 23. 24. 25. . After ‘The Opening” (The Li ine) MUSICAL NUMBERS Opening ......-- 20.0020 6+ 1 Hope Get It. “Morales” — Underscore. Intro— 1. Can Do That 1Can Do That. Introduction ‘*. “Amd... Introduction — At The Ballet At The Ballet. . Montage— Part 1 (‘Hello Twelve: Mark Connie) . Montage — Part2 (“Nothing”) Montage — Part3 (Don, Judy, Mother”) 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’ One..... Tap Dance. . 157 . 157 188 Alternatives. . 196 New — What I Did For Love — ‘17. - 201 After — What I Did For Love = 208 Bows... 2-0. -.0.0005 = 209 5 A CHORUS LINE tarics 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 Pee. ZACH: A @ ©, A-gain! Step, kick, kick, leap, kick, touch, Again! iano Soto) fF ‘ , (Piao) Step, kick, kick, leap, kick, touch, A-gain! Step, kick, kick, leap, —kick, touch, A-gain! Step, Kick, kick, leap, kick, touch, Right! ‘That con-nects with turn, turn, out, in, touch, step, (©1975, 1977 MARVIN HAMLISCH, INC. and EDWARD KLEBAN [AU Rights Contac by WREN MUSIC CO. ang AMERICAN COMPASS MUSIC CORP. rolled by WREN MUSIC CO. and AMERICAN COMPASS step, kick, kick, leap, kick, touch, Got it? Go-ingon and turn, turn, touch, down, back, step, Turn, turn, touch, down, back, step, Turn, turn, touch, down, back, step, piv-ot, step, walk, walk, walk, The last part is: Piv-ot, step, Let's do ‘Turn, turn, touch, down, back, step, _piv-ot, step, walk, walk, walk, Right! — the whole combination facing away from the mirror. From the top, A 29 4 tempo F ceprass oust.) ] A 39 New Tempo - Bright in 1 [vamp] ©.K., let's do the ballet Boys and girls together. combination one more time, Don't kill yourselves. MARK! 44 Ballet Waltz —— a — Vocal - Tempo > Soy ©.K., I'm going to put you into your groups now. When callout your number, 'll tell you where you're gonna be in the formation. Dialogue continues - - - - = ~ _ [ome NOTE: Cassie does not sing in the opening number. Bebe, Vicky, Lois: 71 Warming cus: On Cues orto engl tof purple zacit: Number $7, sumer 60, wpstage. 81 ih e = = = Ss = == = [vem] Att: God, 1 hope I get st, T hope get it (Organ Plays) fate.) 10 BOYS: crese. gg Cutan) How man-y peo-ple does he need? (Girls Hold) How man-y peo-ple does he need? GIRLS: God, I hope I get it. GIRLS: Howman-y boys, how man- 86 ALL: aa eer a Bors. I hope T get it. How man-y boys, how man-y~ girls? Look at all the peo- ple! cee How man-y peo-ple doeshe (Woeal Cues Only) (Pedal) o iF a t a crese. need? How man-y boys, how man- y girls? How man- y peo-ple does he... ? 94 TRICLA: I really (Harp) ee _ me ST Ive got to (Tpts. /Sxs.) need this job. SS SF need this job. (to PIANO) wt | = a —_— 2 a J = ‘ors.) tiu LLU ack bec [=~ L beg _ rr fF wna prod ror zac; Third group of f boys. Number "63" downstage... ete. First grow 1p of girl # oe Seconlgrow follow. 4 > 5 f a= =: Cue? 1st Group Ballet Girls ‘2 Ee # tf Wom] are ere a. fe z ae} fe ft ot TW) 4 t , it rt || TW oe os! at ZACH: Diana, you're dancing with your tongue again. bad pee 129 ZACH: 23 2nd Group Ballet Girls ‘You! Any ballet? (bn) B {fo yD P (rel. erBass)! 7 ry ? VICKY: ZACH: ar No Don't dance... Don't dance! 13 (ws. wd? Sout Bad 2 (And) Hike 1 He (Brass) crimp.) enor r 2s ra Grow Ballet iris eS AD 2 crpts./Aip. Nt) > 7 (simile) | | ‘Tons. r P (Bass) 14 Ws.) ut gl a EA? 2 race: Boys! (and) et Group of Boys 186 * (rons. soll) vp! Up! Upl (Dre. .Bn.) feed Hold it, Hold it, Stop! (to Roy) How many F (soto Piano) Rov: ZACH: ROY: ZACH: (to Roy) “8° years ballet? One! Any Broadway shows? No. Arms 15 st (vam) are second, down, fourth, I wanna see it. Again: “ea. ‘Ast Group of Boys again an (Tons, soll) nf (Bass +Bn, Drs.) 15 A (TLmp.) a9 Grass) 15 > = Next Group:(And) wo va ZACH: Boy in the head band: Keep your head up. —, _———_~ i 2 CTpte oe r yf Timp.) 195 (Ww. 8va,) Head band, jead up! = r 2 (Thns. sound octave lower) Right! (@TImp.) Last Group of Boys vp! Up! 2028 Timp.) 202m Tempo ane (boys on top) 203 Yelled, not sung. ALL: God, 1 real-ly blew it! I real-ly blew it, How could I do a thing like 18 BOYS: How could I do athing like. ..? 206 Tans Hor ea Now 'Unev-er make it. Pl ney-er make it! He does-n't like the way tutte A (vocal Cues Only) (Pedal) “ of ltt = Tempo di Funk nt i c 1 Girls fh: look He does-n't like the way I dance. He does-n'tlike theway 1. OT see nodes (Oxgam (Ad lib.) | eres. coon FP PLT | T cll F ioe. | | pf De vu (te. no ao) (TO PIANO) \ Gtr. .Sx8,) } (Piano) much better but still too much tension, face, VICKY: Hold it! Hold it! neck and shoulders, Relax. §- 6- 7- 8 ZACH: Hold it! (Fender, Plano) (Bass) 3 8 — (+Drs.) ; oy S cols 226 (To Fender) VICK: Zacu: I think I know the steps, but could you have someone do it in front please? Larry - = sees ago 204 Group of Girls U & (Org. sust.) (Fender, } : (cores) r 253 pL c rp opt (Piano) |(Org.) 20 3rd Group of Girls orgy ¢ BF) SPF C 3 ZACH: fo Val) Dance out (ete.) x ptr TT OF lth Or ate You dance up stage, 2450 (tutti) Ff, (Piano) (iano) Amt (Fender) (to Val) you downstage, 5- 6-7-8 (Fender Rodos) (Ong. ,Gte. with wacwa & fuzz) 21 en . ales 34 (Sust. Sxs.) Ong. ad Ub) ZACH: I: Sheila, do you know the combination? 238 SHETL, Thnew it when I was in front. ZACH: Okay, boys. 5 - 6-7-8 - a st Group of Boys (Gtr. wa-way (Fender Rhodes) 253/org), I. 22 ZACH: Hold, hold, stop! (Piano) @ Al) The step is down step, pivot step, Not pivot 206 > te eee ee neat ratte J = . Pe = > step, pivot step, right? You chewing gum? Get rid of it, (To Butch) It's step, “step, up, cross, turn from there. Okay, got _it? ain, (Fender Rhodes) 8 = 6-7 - B- Ist Group of Boys: arr 23 z d S sete sg 2md Group: Richie overdoes it) 2 s te 2 (Tutti unis.) 7 rd Sea ~~ zchle) Listen, that's really great, and tone it down, Relax, Boy in the headband, but stay in the formation Okay? keep yourheadup. 5 - 6-7-8 - Plano Only ) s 2nd Group of Boys Again LH pond. . xn n \F “GultaY on melody (wa-wa) (sxs.) PPLE PPLE fr Ft 24 loco A 302 eet a a r pr etre ToBar S12¢ Last Group of Boys ZacH: Next group, 5 - 6-7-8 312 (render Rhodes) mn ttt rea | PP (Plano Only) = a cls 8 8 8 316 ALL: this job, need this job, ST tnt a = = # (Bass) & fn) (8va bassa) 414] 320 get (Brass) $$$ rr of ff $f f ZACH: (to Vicks) ZACH: (to Tricta) TRICIA: (in2) Any Broadway shows? Broadway shows? ‘Touring company. 329 _—1 =. |—J ae h subito pp ZACH: Okay, I'm eliminating down, When T call out your number please form aline. Girls first, — N (Ww, cues) i Slow 4 i 3 aed Gaia > Cis.) (Plano tacet) Slowly, ip.) 26 «149, 152, 179 - - - Cassie. Other girls, thank you very -\ | much for coming. 1" . —2 ig. i'm sorry, (Plano Solo) tf (roa) Ht Slow 2 (Plano tacet) (xs. Tebe.) >| ——- (Gass)¥ (Cymbal Roll) Cut off on Cue im ZACH 32 y GQ Bland 84, The other boys, thank you, Tempo I ZACH: Larry... (Plano) (+ Organ) te I (Offstage volces continue to sing) 345 GROUP: God, I think T've got it, I think T've got it, (Almost whispered) 27 ZACH: MAGGIE: = _I want your pictures and resumés, please. What's com = ing 318 T knew he liked me all the time, OTHERS: Still, it is-n't_o- ver. MK Gms: 2 next? What hap - pens now? I can't im-ag-ine what he... It is-n't o-ver, I can'tim-ag-ine what he wants, God, T hope T get it! T hope 1 get iti ve come this far, but " « A - ® (Vocal Cues Only) wu ven it could be yes, it could be no, How man-y peo-ple does he. . .? 1 real = ly (ips (sxs. Tos, (Bass va) 2B Offstage singers plus Mike, Diana, Judy, Richie, Al. Bobby, Connle, Al, Val, Vick1,Barbara and other offstage voices 61 My un-em-ploy-ment is gone. I knewI had it from the start, ALL: pr OTHERS: Please God, 1 this job, (Bar. Sx.) 365 get this Jp ~ (Harp) panty ZACH: Collect the pictures and résumés, PLEASE. ZACH: Larry, (semplice) 270 can A ne? (tutty ee am [Vamp] ster Zoek A says "Larry" = yeway? That is a pic - ture of a per - son I don't know. Tbs.) | PO ea What does he © want from me? What should 1 try to be? So man-y fac- es all a - round, and here we go. I 389 need this job, = ((Wws./Harp) \—= P t (Bass) No.2 “MORALES” - UNDERSCORE oe ieee orci omy (Wood Block) Com 5 (Tpts.) ae wd i crriy/ “1 4 (Wood Block) ZACH: ‘Tell me about the Bronx. Qa —— 2 31 Slower - 2 16 (Elec: Plano) 2 => a eee 2 7 >> => (Bass) What made you 2 start dancing? eg 4 = a be mf (-Wwe., Hp.) a oul? (0d, Timbales) (Fee+ Plano) SH aa (Ob., Timbales) d => = oud? © _tioscie, Tinto d t (Bass va bass) — (Bells) } Hp) —? Pee (ies ova bases) 32 Slow DIANA: Can't be the first. .. please?. (Wo. Hp.) we ! (Plano tacety SEGUE #3, wm 2g mal s 32 AFTER “THE OPENING” (The Line) ZACH: Before we do anymore dancing. .. Zach continues ----------- Moderato 1 (G2 Clas) wie (P10) (PP) Ln, Keay (Bs.,Basscl) Talk and be yourselves, Just relax, as much as you can, 16 No. 4 Intro - 1 CAN DO THAT cuz: MIKE: I could if you started at the end, MIKE: What do you wanna (Sounds octave tower) Easy -2 by 2 ot b b, _ (tpt, solo) (tpt. loco) (Bells, FLL) (Plano solo) eww) ———4 4 —p- P . . Twas an acedent, eT Cot sole od ba. 1 Oh, a was the sister, aye ne) — SEGUE as one to. «5 —— Bar 13 34 No. 5 I CAN DO THAT 13 (MIKES) Faster in 2 Rosalie-~ She was etc, ...and I'd sit there all perky and... VAMP MK (Last time) Pm wateh-in' Sis ary (B. Clar.) (Base) 17 on cur: mead a (Clara. (7a. count” ork wary ry rs.) 1089 2 rm te te = a SS 7 = + f = Knew ev- ‘ry. step. right off the bat Sald, "I can do that. \Fe CETESTAIptt,) w. /Clars, ! [subito P I can do that\___ ao 32 One morn-ing Sis won't go to dance class. I. grab her shoes_and tights and all, but my foot's too small, So, A A A (Orch, tacet I (cr8) I (Clar. Ten.) (clTen) 2 (vibes) cm? RR, Dance stuff her shoes with ex-tra socks, run sev-en blocks. noth-in' flat. Hell, T can do that.— (Br. /Ten, (Bary) f (Gtr) Bho Tots.) emi dda] da bt des (Tbns, 52 (CL Tpty, (reny (RED HOT") 4 aicad ¥ cenmenm I got to class and had it made —_ and so I stayed. (CL Vibes, gtr, bass) (Ten) subito PP — the rest__of my life, All thanks to Sis (Tons) (ls, Ten, (Tons, Bar.) Jcte.) a9 2 abt Abyss chpait chops, cs 68 — (now mar-ried and fat), T can do this. (Gr) chmay? a9/eb eet 38 oy) CDI By 0.89) (6.8, ee 1 7] + -That I can dol (Tons. Bar) (*Bor., Thn, | 49, ‘And then everybody started calling me A "Twinkle-Toes." (Grand cai BTS ) br Dbe (Plano Sole) 3 (vibes c1., Pen.) re meer Slow 4 8 couple of dance lessons, a _rall Softly Gip.cly 2 Segue #6 1089 Bch) me 39 bio INTRODUCTION “..AN. CUE: BOBBY: Well, actually, I don't. Moderato (in 4) Bobby continues... FENDER VOLUME 9 1/2 Fender P 4 4 cenime st Dt Laer Tom PUT ZACH: Bobby, are you gonna do a routine? + v gy 8 (Flug. 1/rbns, /E. Hin, /vibes Gtr. /Bass/Drs.) (Piano) | render) $0 (Plano) 7 (To Fender) (FENDER) 15 omy 7 7 7 7 1789 40 . (Plano) 1 (Fender) | (Gan, va basen (Tbn., Baas) * (Ww., Gtr., Hp.), | (Pons. bes, Gtr) oF oy 74 I 2 ows . . . . (Br., vibes bg (@asstDsn) He was 0.K, «+ strange one. a (Ww) Ia Continue at CUE: BOBBY; Bizarre recitals... (Plug. +Bsn.) (soll) 0 aon (+Piano., Tons.) (Soft Pedal) gg CUE: ws. Frankenstein, (Celesta) Az ‘SEGUE to "AND" toa a1 No, 6a 1 CUB: BOBBY: Pores can't breathe, .. Tempo I -++ soles of his feet. And. RICHIE: (vibes, Hp) sate.) } = P(Bass,+cym.) What if I'm next? Whatiif I'm next? What am I gon-na do? Thave-n't got actue._ (Harps) (FENDER RHODES) (W./Lows) I got-ta think_of some-thing. What does he want? What does he want ? Stor-ies from_the + 42 bet-ter find one mors = ass) GROUP I: 141, MAGGIE, GREG, RICHIE, 2, VAL, BEBE, PAUL PP rs.) ete, «Fat Bells) REO DOS Pimp OT ro F r oUF * a tempo FY A (Hampsi. /Vibes/Hp.) (electric Piano) (cly| 20 a5(Plano) (+Plug. /Thns. /tp.) (L/L) BOBBY: Rearrange the furniture, (vibes, Hp.) 2.c1)—<$—_$_————_ Bass) 1089 43, Or-phan at three. Or-phan at three. ‘Moth-erandDad— both gone, amsiy 2 \ (vibes, | ENDER — flwanTIpT | Hp..Gtr.)] | RHODES) (Bs. /B8.C1. /Cym,) (Bs.) (C.B.CL) (Irkje~s Fy Raisedbyasweet__ ex-con. Tied up and raped_at sev-en, Ser-i-ous-ly! —_Ser- -ous-ly! Noth-ing too ob - scene! Td bet-ter keep_ it clean. (Plano) r 41 GROUP 1, DIANA, CONNIE, RICHIE: 2, VAL, SHEILA, DON: ort What should 1 say? tel him? (Bells — (ToE lec. Piano) 44 48 poppy: school? (-Marimba-Hp.) (Electric Piano} , . ' So he told ‘em all Thad POLIO. = (Vibes, sust.) A 1... Limp for him. #64 * a tempo God, I'm a wreck. God, I'm a wreck. (ip. Bells) 45 a & (reer RHODES) a a I. don't know where to start. I'm gon-na fall apart, | Where are my child~hood mem- ‘ries? Who were the boys? What were my toys? Alternate lyrics for JUDY (measures 64 — 72) ‘IF the actres playing JUDY isnot especialy tll, but instead ‘extremely thi: God, I'm a wreck. God, Im a wreck, don’t know where to start, rm gonna fall apart. Where are my childhood mem'ries? Who were the boys? What were my toys? How will I begin? And why am so thin?!" ‘#1 the actress playing JUDY is neither especially tll nor ‘expecially thin: Try tobe calm Ty tobe calm, You're getting overwrought Follow strait of thought ‘Tat way you won't be nervous, Try to relax Ty to relax Only Tass a while, Til lose my eyes and smile. (Does so) 46 69 r) Gms bepotre = vamp hel at ome ioe 1, CONNIE, MAGGIE, DIANA, JUDY, RICHTE: ral 2, VAL, MIKE: What should 1 say2__ tell him? (Bells) (tpt) it (tons, (Bass va. bassa) Continue at CUE: BOBBY: .... is redundant, 0x a CONNIE, MAGGIE: ncn VAL, DIANA: And, ee 2 veeAnd (FENDER RHODES) (o Lows) I, (Ws /Hp.y Belle) TURN FENDER i ‘TO VOLUME 5 Pr Fr (Bass, -cym) SEGUE Tota 1089 #7 DOES NOT EXIST. 47 Nos INTRODUCTION-AT THE BALLET WARNING CUE: He wants me. CUE: ZACH: To talk, Pw. Cool-sexy4 ov (Tas ( Cont, at Cue: SiTEILA:| weit ...twanted to |" [vibes! Ibe aprima ballerina. J+J; (+Hp.) WAND) P om j ae (Ore.sempre) ———, © dat ZL ene # ~e —27Ta SHEILA: ‘ad lib an Isit on your lap (Vibes last time) "ope sued « cian sat ye (Bass) 27 SHEILA: My parents? ZACH: Your father. SHEILA: My mother was raised like a little ‘ a nun, a1 ey @s.cl.) 48 rt cut to 5g CUE: SHEILA: You don't like it, 8 Fly 8 gs tet (Opt. Bvabassay PP ” “cnc Better! rr: Ta. Mie ‘And then I saw The Red Shoes. Slightly Quicker Bl gst 3) ee Fade on Cue: Iwas only six, 6 7 a Almost SEGUE 49 No.9 AT THE BALLET CUE: ZACH: Sure, you're strong enough. (Begin Vamp) SHEILA:"Well let's face it. My family scene was not good, 1 Rock-strong four ON CUE: Dad-dy al-ways thought that he mar-ried be-neath.him, That's what he said, that's what he said. Io os) ad Ub VAMP A A ALL FENDER (Volume 6) When he pro-posed he in- formed my moth - er he was prob-a-bly her ver- y last 40b.,C1, 4 a, chance. And — though shewas twen-ty two, though she was twen-ty-two, (Tas 50 r_? though she was twen- ty two. (0b.,C1) |(rbns., Gtr.) A she mar-ried him, a tempo (Plano, Bass) Pp Hp.) Life with my Dad was-n't ev-er a pic- nic, More like a "Come as you are, ‘Wibesy When Iwas five I re-mem-ber my moth-er dug ear-~ rings out of the car.. ra 1 knew that they were-n't hers, but it was-n't (Wwe) ba some-thing you'd want to dis- cuss, He was-n't warm. Well,not to her. Well, not tous. But ‘A(Cl ps, Vibes) (rpts.) F (Chip. Vibes), Yes, Grace-ful men—__—=iift_—love-ly girls in_— white. (8va,) }, ev -‘ry-thing—__ was beau-ti-ful___ atthe bal - let. Hey! 1 was loco ad Mil, Vibes) 4 7 col (rons) (Ton. Bs) hap- py. (F1s.,C1.) (p., Gtr.) 8 SHEILA: Up a steep.and ver-y nar- row (bns.) “a was-n't par = (Wwe, Ha ‘Spoken: That's when I started class, = let. 80a. (Ww., Bells) > (rbns.,Hp.) SHEILA & BEB! : To thevoice— like a met-ro - a steep_and ver-y nar- row SHEILA & BEBE: a-dise,— It was-n't par - iano, Hp.) a-dise, bat it was home. o: . Sr \ = = (vibes) l (Bs) Moth-er al-ways said I'd be ver-y at-tract -ive when I grew up, when I grew up. A A (eTbns.) A "Dif- f'rent," she said, "with a spec - ial some-thing and a ver ~y, ver-y per-son-al (wwe) SS Stair." And though I was eight or nine,— though Iwas eight or nine, (pts) Tg) A \Saee f: though I was eight or nine,— hat-ed her. {0b.,CL) id ne z a ore) SEES if frent" is nice, but it sure is-n't pret-ty. “Pret - ty" is what it’s a~ bout, IT nev-er met an-y- one whowas "dif-f'rent” who could-n't fig-ure that out, beau-ti-ful___ I'd nev-er live to see. But itwas clear, if'notto her, —welll, then to a—————__ Se (#2. ——— (Wws., HBS) a = a MAGGIE & BEBE: % Valse Lento me sss, . that. ev ~ 'ry-one (no staccato) 1S (Tr, cont thru bar 82 beau-ti - ful at the bal ~~ iet. Ey -'ry prince has got to have his swan.. ev ~'ry-one—_ fs beau-ti-ful_____ atthe — bal - let. Hey! BEBE: T was Hip. 56 83 SHEILA: aaa (Bells) (CL, Bells) (Change Fender Volume to6) 85 * (MAGGIE + BEBE on top volce when only two parts) TRIO: MAGGIE, BEBE, SHEILA: Up a steep_andver-y nar- row stair - to the voice like a met-ro- (Add Gtr, Bass. Dr P P r a steep_and ver-y nar - row é MacalE; BEBE: a dise,. SC 57 94 ‘TRIO: cs 93 (Shetls:) was-n't par - a~dise,— but it was home, (Rhythm Tacet) st 2 ere sto T don't know what MAGGIE‘ they were for or against really... 2.2... 2. 2 = a= a a 103 i ao a + RAH) , MAGGE: ,,, Indian Chief, and he'd “MAGGIE: ... Fantagy life say. < a Ve ' — | a 107 "Daddy, I would love to dance." OTHER 2GIRIs: Do (Tpts, ~cup, + Vibes) (p.) GET Rr +++ But it was clear... ++:When he pro-posed.... +++That I was born to (Brass))-fada Rhythm) help their mar- riageand when... ++ That's what he said... ++ That's what she said... 59 NT wacom: I used to dance a - round the liv-ing room, ss+He was-n't warm , Do. Do do do do. do \ ay / (bas) Xf easy Fos 120 BEBE: MAGGIE: ++.Not to her... + It was an In-dian chief and he'd say: SHEILA: SHEILA & BEBE: do do do. do do do do do. "Mag-gie, do youwan - na dance?" AndI'd say, "Dad-dy, I would love. tone." apts.) div. (Bells, Hp., Gtr.) | ©. Ha.) 60 127 MAGGIE: let. wwe, Bells) | (ass, *Bari) 130 Raise your arms and some-one's al - = ways -— ? 183 ev -‘ry-thing. (Ww, Bells) J (rts. (itp. cont, simile) Flasss.-narty 136 crese. poco a (Timp. roy bz bi 62 151 b (aus, Barly P ‘4 yAcar: BEBE: SHEILA: MAGGIE: Hey! pret- ty, 1 was (FENDER) (Hp) 8va,- -- ~~ ----- = (Wibesy ‘Tempo. goat ™®/Bells (Tons. muted) (Fone. ip) Vase, spar) 63 No. 10 INTRODUCTION-SING CUE: AL: Tell him how you started. Perky and Light (in 4) 1 owes go (Plano tacet til 29) mp KRISTINE: This little girl could be a star, Be i i 7 Oo compe AD, Ady ds 2 ie gy Als""Ed Sullivan” KRISTINE: It was. .. oh-right. Slowly in 2 25 (p1,, Ban, -expressivo) | Te cay On downbeat (KRISTINE: Doris Day.) During ® "Except I had this litte. AL: Problem 33 KRISTINE: See, 1 real-ly could-n't FL, Bsn.) “vibes, Hp., Gtr.) A (chy ‘SEGUE as one to "Sing" (Bass) (Bar 12) Now SING! Moderately (in 2) 32 KRISTINE: sing, I could nev-er real-ly sing. What I could-n't do was... + (Brass Cued) ‘@lano) (Bsn. Hp.) Thave trou-ble witha... It goes all a-round my... It's a s+Sing! ++ note. ++-throat. ++ thing. is (Ww., Bells) —= By Pima Ban) 66 See, I real-ly could-n't hear which note was expt. 3) crbns.) Which is why I dis- ap - pear if some-one says “Let's start a... echo = in.” (Ww. Brey Hp,) (ip., Bsn, Hey, when Ibe-ginto.., It's a cross bet-ween a... + shriek, = 7 -+-moan, (Wwe, Br, cue) (colests he 4h i GB sn. is) (Plano) 67 Ie a lit-tle like... Or the rec-ord play-er ‘What it does-n't have is... -+- croak, +++ broke, stone, \ ott otf Cs ae (Bsn. Hp.) (Hp.,Bsn.) (¢Bsn,,Bs, know you're think-ing what a cra- zy... (wor) ceeding = a= ling, a out pal (Bs., Hp 24, Matempo but Ireal-ly could-n't.., I.could nev-er real-ly... What] could-n't dowas... + ing. sing. ++ sing! a tempo (Plano, +Timp.,Bs.,Drs.) 68 4 AL: KRISTINE: (Sings off pitch 5 sax sf (Sings off ptoty, (Spoken:) Three blind mice, ‘Three blind mice, It isn't in - ten-tion-al. 56 (Sings off-pltety- - = - = - = - ~~ ‘(Spoken:) KRISTINE: She's do-ing her best. Jin-gle bells, Jin-gle bells, — Jin-gle bells, Jin-gle bells. It (ratty KRISTINE: real- ly blows my mind, She gets de - pressed, But what 1 (+Hp.. Ww.) 69 5° Slower in 4 pitch I sure make up in... +e:Pow = er! (ww) Bry (Piano, Hp.) Fy ff rit. 4 Sings off-pitehy A) friends say I am per- fect for the (Spoken) Still... I'm ter-ri-fie at Ww. Hp) \ I ion com-tnt in their .. I'm a bird-ie on the... a dance, ++ pants, 2M. ys, Br, cue) eal + heh 5 Ve v— ! (Plano) * (Bsn. ti 70 But when I be-gin to... they say,"Who's the lit-tle. +++80= in! ‘Pong’ in-stead a... bt (oan Hp.) (Plano) Bsn, Hp.) And when Christ-mas comes and all my friends go Ping!2" (wwe) (Ww, Tet 3, By) SF nf Uh, |rrnoViip:, Bells, Bry (Hp.,Bs., Ban., Tons.) so dis- heart-en .., It is so dis- qui-et.., -e=ning, (Col, Wws.) = v m so dis-cour - ag... Dar-ling, please stop an-swer ... Cl, Bsa, Tons.) iN See, I real-ly could-n't ... Teould nev-er real-ly... What I could-n't do was... + ssing, sing. = (Ww.,Hp.,Celesta, Bells) = ° Pit mosso ott ken) Do re mi fa solla ti do, BOYS: Do ti lasol fa mire do. La, La, ‘= Do re mi fa sol la ti do. (Ob..cl) | A (Piano, Bs., Bsn, 72 97 GIRLS: KRISTINE: mis: (tt-key) sing a sing a sing sing sing, Boys: (FL.CL.Ob.) SBF.) Timp.) 101 KRISTINE: + Sing. note, Please nev - er, ww ers, 105 ALL: 108 1064 107A 108 a SePno., -B% (Sight cue) = © Aimost SEGUE to #12 (Bs. Piano, Timp.) 73 No. 12 MONTAGE - PART 1 (‘Hello Twelve”, Mark, Connie) ou Beg Mare. MARK: Well, I get the feeling ... ete. BS c (Cls.) i -~4 a (PAC) af S_rall MARK: No, I... Hel - 10 (Plano only) 74 1 Lary 2 MacGrE: ‘Thir-teen, aT Ss (Plano soft pedal) 5 PAUL AND JUDY: 9 Tempo Rock - 4 MIKE: MAGGIE: @poken) doubt, To break out, It'sa_ mess, (WorUniE $372] ow. Ap.) (it's mess,)_Time to grow__ 2 Frans (FENDER RHODES) quas! colest Low 75 ALAND MAGGIE: RICHIE, BOBBY, CONNIE: ALL: atempo ge =e += r Ae - == == = Toe to go ad-o - lesce. (ad-o - lesce). (FENDER RHODES) vt ALL: a Too young_totake 0 - ver, Too old—_to ig-nore——— ALL: I'm almost read - what.... for? There's a lot 25 I not. in of, Hel-lo Twelve, (apafa~ 76 doe - tor down the block Sure @ ~ nough.. (we wS) oe rushed me (Betts) (Ws. Hp.) to the cute ap- pen- di - ef- tis!__ They right 4, hos - pi - tal. (B+ Dn) fig-ured this book ws.) the rest of my lite, | aa err) | (CL) Dr) a ae 48 VAMP -TALK ON CUE When I was 13 I had my first wet dream .,., milky discharge Gon-or-rhe-a, gon-or-rhe- a, (Hp), Fl ae. . A BARCATO) [PIANO ALSO (Gtr) VAMP ~TALK 5 (continue at cue) ‘TALK . ‘Mother Thad... ‘A gon-or = the = a. Rp) my ano AY Gp.) Last So all Tcould do was mee = ao Ke (vane) 78 drink the wa - ter drank like twen-ty glass - wws., Mar.) (ev Wws. /Mar,) (Hp., Ben) confession ... o1 For three weeks almost drowned ... Finally I went to ry In 1Glowly) and I told the priest that I had gonorrhea! ... He was in shock, too, "who have you been with, my (FL, Ban, (chimes) ws. [TPP ug.tin| RH, Pons. (85) ¥.C.30 Dispason son?"("Nobody, Nobody.’)"Then have gon- or - rhe - a?” 79 a tempo I told him about the book's diagnosis for milky discharge and he set me straight! 1 Ve ip.) Jazzy 4 one oon . # SS = 1's the only time the chureh ever helped me out, Well, 1 was Four-foot = ten,— ee) SJ (rts) 1B (cy (Bs,, Ben.) ov.nyt fof r (rey four foot - ten, That's the sto ~ ry of my life, Gob.) (Ton) 1 remem -ber when ev - 'ry-bod - y was my size. » - OFF : (0b.,c1) Boy, was that great! (subitop) (Brass) ‘But then everybody started moving up, and... there Iwas stuck at A ip) Bar - zo (loco) @s.,Ban.,Drs.) Sua bassa ~~ 0 VOCAL ON CUE: + a5¢ time = Four foot ten, ___ (But I kept hoping Tused to hang from a and praying. ) 24 Four foot ten! fricad J (eafety vamp) r Twat fo? roe ft , ro rot 92 928 par - el = lel bar—_____ hop-ing I'd stretch A (Ww.,Br. Hp.) A ‘(On cue bar Tor P ‘orehestra) A a just an inch more. {into dancing then and I was good and I wanted so much to Fy —— Piano Gtr.) tecet) (cl) a1 (Cheer leader ~ like yell) grow up to be a prima ballerina. Then I went out for cheer—lead-er! And they told me: ier! J (4 Br pg | —™d. z= fe (Bs rs.) March Tempo (Tima 103 "No dice. You'd get lost on the football field. ‘The pompoms are bigger than you."" ary (tpt thn. any | (RH) costes Berrie.) ne ee) VAL: Ind I spent my whole childhood waiting to grow... ...tits! When I row spent my whole waiting to grow 8! rare am gon-na gi bis Ge » (Hp. , Bells) Slowly 109 In 2 PAUL: MIKE: One little fart... tits? Sec-ret, my whole life was a sec - ret. (Wwa,,Tpts.) b A (ww. Hp.) (ip. Bells) ‘P) Lf 82 12 Tempo Bright ALL: (Connle does not sing) -sand they "STINKY" for | three years, Ohhhh! Good-bye Twelve, sefied me PP yy tt rs) Timp BEBE: Rob-eef Gou-let, Rob-ert Gou-let, my a Thir + teen, Love, (pay bells (Ww. /Ap. /ate.) (iano) #* oe Eire otry DF r God, Rob-ert Gou-let! t POF isso) = ~l SS 1s 8 ALL: wi pow (avai: Play~ing doc-tor with | Eve - lyn. T'll show you mine, you show me yours, eK =bove lala la (Ww. Hp (Celesta, Hp.) (Tons) Tt lcBrsuse (a aes) is iJ a3 wg 125 KRISTINE: ALL: See- ing dad-dy nak |- Time to grow. Sur-prise! 129 SHEILA: Moderate 3 Mom and Da were doing, Ba gousta bea mov-ie tar 8 teenth (mre ay ATE 00 (wwe) g Piso) Blane — ‘But you see, the only thing (trbs,) out me that grew Was my desire. — AA (Bells va) ) Twas never gonna be Ma- ‘rw. 4: tr fA (Tons, db Ee naff Coes 84 Quickly (Dialogue) ur a ZACH: RICHIE: ‘CONNIE: ‘Ah-hah, the year of the Chicken, ... thirty-two? Puck-puck-puck-puck girl! SoIgot caught! But I don't Alternate lines for non-Orlental CONNIE, "Thirty-two? I thought you said you were born in 1955. (RICHTE line omitted) a (Cls.) 149 (CONNTE®) last time look it, and I shouldn't knock it, ‘cause I've always been able to work. From the